Teaching Artists Guild Quarterly: Issue 11
Quarterly Magazine Staff:
TAG Executive Director: Jean Johnstone
TAG Membership Director: Kenny Allen
TAG Quarterly Magazine Administrative Associate: Caryn Cooper
TAG Quarterly Magazine Design Associate: Wendy Shiraki
National Advisory Committee:
Glenna Avila (Los Angeles, CA) Eric Booth (Hudson River Valley, NY) Lindsey Buller Maliekel (New York, NY) Lara Davis (Seattle, WA) Kai Fierle-Hedrick (New York, NY) Jon Hinojosa (San Antonio, TX) Lynn Johnson (San Francisco Bay Area, CA) Nas Khan (Toronto, Canada) Tina LaPadula (Seattle, WA) Miko Lee (San Francisco Bay Area, CA) Ami Molinelli (San Francisco Bay Area, CA) Betsy Mullins (Miami, FL) Louise Music (San Francisco Bay Area, CA) Maura O’Malley (New Rochelle, NY) Nick Rabkin (Chicago, IL) Amy Rasmussen (Chicago, IL) Nicole Ripley (Chicago, IL) Sandy Seufert (Los Angeles, CA) Yael Silk, Ed.M. (Pittsburgh, PA) Jean E. Taylor (New York, NY)
Teaching Artists Guild is a fiscally sponsored project of Community Initiatives.
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Teaching Artists Guild is also made possible through the generous support of our members.
Teaching Artists Guild Quarterly: Issue 11
The Necessity of Self-Care - January 2018 HAPPY NEW YEAR! 2018 is going to be amazing. I can feel it. Artists are working like never before and solutions feel on the horizon. This issue focuses in on some of those efforts, and we spend some time looking at how to care for ourselves in the often busy and tumultuous realm of working in the arts education sphere. Self-care has cropped up a bunch in the last few years, and become something of a trendy topic. Why? This piece by Brianna Wiest really spoke to the “what and why” of it for me, and to what we do here at TAG: “Self-care should not be something we resort to because we are so absolutely exhausted that we need some reprieve from our own relentless internal pressure. True self-care is not salt baths and chocolate cake, it is making the choice to build a life you don’t need to regularly escape from.” After years of conversations and meetings and conferences, we know what we need to sustain those who deliver the great benefits of arts in community. Now it’s time to make it happen. This is why TAG was created, and why we are moved to create these resources. Do you believe in the power of the arts to create positive change? In Creative Youth Development? Of the strengthening, joyful use of the arts with elders? In hospitals, in serving those with trauma? Do you dig integrated learning, and its proven results in the classroom? Thrilled to see the recognition Arts in Corrections is receiving?
We need a sustainable environment for teaching artists, including: • Fair wages and benefits. • Excellent training and professional development programs, available to all, easily trackable across systems, organizations, and geographic areas. • Connections, Pathways, and Pipelines! There is a lot here: clear ways of getting into the work, clear tiers or levels within the profession which are tied to increases in pay, mentorship, strengthening our networks; all towards the goal of bringing in and keeping talented teaching artists in the field, from all backgrounds and ethnicities. This is the path to equity. Now let’s go get it. We’ll keep working on it here at TAG: providing the Pay Rate Calculator, starting work on a credentialing system for professional development programs, and building out our asset map of the field with the twin goals of connecting individuals and organizations, and measuring the equity of arts offerings. But there is so much left to do. Want to pilot a TAG program in your city? Talk to us. Let’s make these changes! Reading this and want to help out in some small way? Become a member and support us in this work. We know what we need to take of ourselves, so that we can keep caring for others. In 2018, let’s get it.
It’s time to support the individuals on the ground, doing the work. Jean Johnstone Executive Director Teaching Artists Guild Page 3
Teaching Artists Guild Quarterly: Issue 11
CONTENTS
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Teaching Artists Guild Quarterly: Issue 11
“Stage the Change: The Arts as a Social Voice” Now More Important Than Ever! Elise May discusses the arts event aimed at empowering teens to affect change and express themselves through the arts. p.6
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I Interview Teaching Artists: Niizeki Hiromi
Kate Bell’s series of TA interviews continues, this time with Niizeki Hiromi. They discuss the value of finding beauty in unlikely places, planning for retirement as a TA, and more. p.10
#TreatYoSelf #THATTALIFE
Erika Atkins & Renata Townsend pass on wisdom shared in their self care-themed committee meeting. The article includes 5 crucial tips and tons of links to resources! Start the new year off right by making self-care a habit. p.18
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CULTIVATING EQUITY AND ACCESS IN ARTS EDUCATION
Caryn Cooper gives advice on making sure that you’re seeking partnerships and business relationships that make the most of the TA community’s resources, benefit everyone, and make the biggest impact. p.22
FEAUTRED PODCAST: TEACHING ARTISTRY WITH COURTNEY J. BODDIE
A preview of the goals of and topics covered in this teaching artistry podcast. Courtney J. Boddie interviews leaders in the field to explore the big questions of the field and discuss why it’s so vital in a fast-changing world. p.26
THE TEACHING ARTIST PAY RATE CALCULATOR
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Version 2.0 of the calculator is here. In this article, TAG’s Memberhsip Director, Kenny, gives us an update on the calculator development, and shares some useful negotiation tips for teaching artists. p.35 Page 5
Teaching Artists Guild Quarterly: Issue 11
“Stage the Change: The Arts as a Social Voice” Now More Important Than Ever! By Elise May
Olivia Harris brings down the house with her song POWER
Bullying, teen suicide, drug overdoses and the overall stress of being a teen in these trying times makes us realize the necessity of strengthening the ability of young people to communicate their fears, emotions and dreams. Theatre, dance, and film, are avenues through the arts that enable teens to express their cares and concerns looking toward making the world a place they want to live in.
Stage the Change – The Arts as a Social Voice had their 5th annual conference at Tilles Center for the Performing Arts at LIU Post on November 3rd, where over 650 students, teachers and Page 6
administrators came together to learn how to use their art to create the change they want to see in the world. “The day was electric!” Executive Director Ruthie Pincus shared. “The students were ripe to make change. In our current climate of people beginning to engage and trans-
STC Executive Director Ruthie Pincus
form - we had students who were claiming their right to ‘take a risk’ through their ‘arts voices’ and devise art to make a difference in their world.” After LIU’s Dean of the College of Arts, Communication and Design, Steven Breese, rallied the audience by saying, “The world needs you now more than ever!” we watched an exhibition of juried, socially mindful student work emceed by arts advocate and NYS Regent, Roger Tilles. It is truly amazing what students can create with the freedom to do so and the guidance of their caring teachers.
Teaching Artists Guild Quarterly: Issue 11
Suspicious Refugees is a deeply moving piece about two immigration workers who are tripped up as the new intern reevaluates their vetting process. This introspective piece searches how we view others who are different than ourselves.
Stand Up is a skit showing two NFL announcers furious in the wake of Colin Kaepernick kneeling for the national anthem, pointing out how our society and the NFL ignores the almost daily transgressions of sports heros and celebrities and yet
to overcome her battle with mental illness.
I Matter is a powerful performance that mixes singing, poetry and spoken word sharing the depth of oppression and its effect on generations of people of color.
Dancers face obstacles and Rise
RISE was a beautifully intense dance created to focus on the uneasy world we live in from the events of 9/11 to the hurricane in Haiti, the Pulse night club shooting to the Manchester bombing, where too many civilian lives are being lost. The piece inspires and reminds us that we can overcome any obstacle and rise above it all.
when Kaepernick expresses an opinion in an appropriate, non-threatening way, the NFL unravels.
DON’T is a mesmerizing dance revealing the battle of insecurities in the mind of a person who struggles with body dysmorphia. In this piece, five dancers display the thoughts in the mind of one dancer as she struggles
Next, we moved on to workshops. With so many wonderful presenters to choose from with specialties in theatre, dance and video, fortunately everyone got to participate in two. Some of the choices were: Writing an Original Play or Musical With a Social Voice (Jim Hoare: Theatrical Rights Worldwide and playwright J.
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Teaching Artists Guild Quarterly: Issue 11
Julian Christopher), Making Films to Make a Difference (Roger Sherman: Florentine Films), Comedy Video as a Platform for Activism (Dan Ferrara and Kelly Harper), Dancing for Every Body (Chanon Judson: Urban Bush Women), Exploring Diaspora (Theara Ward: Dance Theatre of Harlem), Prevention through the Arts (Elizabeth Bojsza: Stony Brook University) and so many more. Terence McNally and Tom Kirdahy graced our 5th annual conference as keynote speakers. The inspiring writer-and-producer duo shared personal stories about their lives and their love of theatre. McNally spoke of his utmost admiration for his high school English teacher who
“made me fall in love with the English language and Shakespeare.” This led him to write groundbreaking (and Tony award-winning) theatre. His Mothers and Sons was the first play to include a gay married couple. He shared personal stories of the impact his work has had in the LGBTQ community. Kirdahy clarified, “You don’t have to be on a Broadway stage to make change.” Both stressed the importance and value of community theatre in staging a change at the local level. At the end of the day, the Songwriter’s Orchestra and Broadway Advocacy Coalition wowed everyone with performances by Brinae Ali and Olivia Harris. The Songwriter’s Orchestra is a genre-defying
ensemble that pairs singer/ songwriters with a group of twelve orchestral musicians to present brand new musical arrangements of original songs. They have focused on making activism a key part of their mission, harnessing the power of sharing personal narratives through music. This inspiring performance featured Brinae Ali, a tap dancer who appeared on Broadway in Shuffle Along, and Olivia Harris, an up-andcoming singer/songwriter who frequently writes about social and racial justice issues. The Broadway Advocacy Coalition is a group of young Broadway artists that formed a collective with Columbia Law School students and professors to fuse policy conversations with artistic
Battling body dysmorphia in Don’t
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Teaching Artists Guild Quarterly: Issue 11
Hauppauge School District, Tilles Center for the Performing Arts at LIU Post and is also supported by funds from the Decentralization Program, a regrant program of the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and administered by the Huntington Arts Council. Our Fiscal Sponsor is HEARTS (Helping Enrich the Arts in Port Washington).
Brinae Ali of the Broadway Advocacy Coalition sings with The Songwriter’s Orchestra
voice. The finale, Power by Ms. Harris, had everyone on their feet! No one wanted this fabulous day to end. This conference is a powerful and moving day for all involved. Schools participating come from all over Long Island and the NY metropolitan area to experience the transformative empowerment of students using their arts voices to take a stand, make a social statement and bring something back to their communities to share. They learn the world won’t change if we stand back and watch – they have to be part of the solution. This conference gives
them the tools they need to do just that.
Stage the Change: the Arts as a Social Voice is co-produced by Stage the Change, Inc., the
For more information and to learn how you can help your students stage a change, please go to
www.stagethechange.org Elise May, a Stage the Change board member, focuses on Community Outreach and Sponsorship. She is also a socially conscious, entrepreneurial Teaching Artist who uses theater to enhance vocal empowerment and communication skills through her original, award-winning educational programs for mainstream, Special Education and ESL students of all ages. www.expressive-elocution.com
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Teaching Artists Guild Quarterly: Issue 11
I Interview Teaching Artists:
Niizeki Hiromi
The endlessly inventive Niizeki Hiromi.
By Kate Bell I’m here at Think Coffee near Union Square in New York City with Niizeki Hiromi, who goes by Hiromi. The first thing I want to know, Hiromi, is how long have you been a Teaching Artist?
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When I started teaching, that was in Tokyo, we did not have this name. But I believe I’ve been doing this same kind of business for a long time. Thirty-two years. Five years in Tokyo. And then for my first three years here in New York, I did not teach. I didn’t feel comfortable speaking English. But in the fourth year, 1991, I started to teach again at The Children’s
Teaching Artists Guild Quarterly: Issue 11
Museum of the Arts. So, twenty-seven years here, and five years in Tokyo. So, thirty-two years. Great! Wow. I didn’t know you’d been teaching for over three decades! I’ve always enjoyed teaching. And it’s supported my life. And now I’m only working for one organization in New York, Marquis Studios. So, the theme of this issue is self-care. What, in your mind, are the biggest reasons why Teaching Artists need to reflect and plan on self-care? Well, as a Teaching Artist, why I’m in this business, is I want to maintain teaching and my artistic practice. Not just teaching alone. I want the balance. The balance is very important. You need to get paid, and you need to be healthy. But also your mind, your creativity you have to maintain.
Teaching Artist business. And I’ve found that one thing I need to do is to live without a lot of money. If I need less money, I use less time and energy to teach. And I love to teach, I’m very good at doing it. My students like me, and I like them, and I think this is great. But I don’t want to stop there. I need to make my own time, too, to keep working as an artist. And I have my son. Only one! And I think my husband and I are doing a great job, but it’s not so easy. He’s eighteen now, and we’re looking into scholarships for college. That’s what we have to deal with. Education is very important. Let me ask you this, how have the organizations you’ve worked for supported the self-care of their communities of Teaching Artists? I don’t think many organizations really support Teaching Artists’ self-care. Like we don’t get health insurance. The best thing in terms of support for self-care from Marquis Studios is that they pay you to visit and observe other
Is that easy to do? Of course not! (Laughter.) So how do you do it? How do you personally find the balance between teaching and making art? Well, I also need to think about what kind of life I want, what quality of life. I worked corporate jobs in the past, to get my green card, and I studied English, and really did all of these things to create my life in this country. I don’t want to feel like I wasted everything, so I’m very serious about my balance in this
Hiromi’s students folding giant origami.
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Teaching Artists Guild Quarterly: Issue 11
Teaching Artists. And I use all of my observations, every year. I get paid a little bit, and I choose a time to visit my co-workers and observe what they’re doing. And this is self-care to me. Because you work by yourself, all the time. And I know that I’m very good at doing it, but because you teach and you go to the studio, you’re always concentrated on what you’re doing. But someone very close to you could be doing something amazing too, a really big deal, and you may not really have a chance to explore that unless you take the time to go observe them. And so you go and meet the person, and watch them teach, and then you get to introduce yourself to this other Teaching Artist as well. I usually go for three or four classes to observe, a whole day. So I simply relax and watch how the other artist communicates with children, how they create air in the classroom. That may not be a very particular thing, but I enjoy being there as a student as well. Because that’s something you don’t usually get. And then you get paid your fifty dollars for a day of observation. How do you think the organizations you’ve worked for could improve their support for self-care of their Teaching Artists? At some point, Marquis Studios switched all of us from 1099 workers to W-2s. And I guess that is one good thing. I guess. I think for social security, now they’re paying half of it. And when you’re freelance, you can deduct more from your income taxes, but I still have my own business in addition to teaching, so I can still take advantage of that as well. You have to learn all of the financial things. What I’m facing now is I’m fifty-four years old. And I’m learning that physically I might have pain, or I don’t see well now without glasses. And sometimes I cannot remember many things. And really this is happening to me, this realization of my aging, this year for the first time. And I don’t think it’s going to get better. I can’t go back. So, I’m not sure how things work. But I also hear from other Teaching Artists how they’re starting to think about making retirement work. And Teaching Artistry is a new business, so we don’t hear much from the generation that came before us about how they made retirement work.
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“I need to make my own time, too, to keep working as an artist.”
Teaching Artists Guild Quarterly: Issue 11
So you’re looking for more connection to other Teaching Artists who are in your age group…
there were a workshop about retirement for Teaching Artists offered to me, I definitely would be there.
When I talk to colleagues who are a little older, and they don’t say much, but I know they are worried about this next step. What does retirement look like for a Teaching Artist? And I’m an immigrant, and my husband is Japanese, too. So we know we’re at a disadvantage. And now that Marquis Studios has all of us on as W-2 labor, I’ve started to get those letters telling me how much Social Security I’ll be getting when I retire. So maybe if I could get more of an education about what these letters mean, how Social Security works, maybe…I’m not that good with money. (Laughter.) And we’re first generation immigrants. I know we’re not getting anything from Japan. So getting Social Security from this country is everything. So I opened an I.R.A. some time ago. And I know I have a lot less in there than many other people, but I’m doing what I can.
It’s such a huge self-care issue! So, what creative projects of your own are you working on right now?
Something is better than nothing. If you think too much about this stuff, you can be sick. If organizations offered a workshop about planning for retirement, that might be helpful, to a whole bunch of Teaching Artists. And not just to Teaching Artists who are closer to retirement, but to all of us, right? And I might not feel comfortable if I were in a retirement-saving workshop with people in very different kinds of business, but if I’m in a workshop with similar workers, other Teaching Artists, I would feel more comfortable. If
For the last two years, I’ve been trying to apply for grants for projects, but I haven’t been successful. And writing is a big weakness for me. But I thought, I can do something! So, two years ago, I started selling my art on the street. And I’ve been documenting stuff, things that are thrown away on the street. Especially chewing gum. Yes, I remember seeing your chewing gum work! I loved that! And now band-aids also. And the chewing gum, any shape of hardened chewing gum stuck on the street, and I document it with my cell phone camera. Especially when my son was younger, it was very difficult to find a time to focus on art-making. But I thought, if I can make art now, while I’m pushing the stroller or walking around with my son on playgrounds…I know I have a good camera in my cell phone, maybe I can take photos of what I see there. And it’s disgusting, I know. (Laughter.) But I’m using what I have. And I want to start to print these photos on material, bags, T-shirts, usable art. And I’m an immigrant. That’s not always elegant. So this is my art. The way other artists write grants and get money, that didn’t work for me. Or it hasn’t worked for me yet. I’m still doing it, but I thought maybe I can sell my work as usable art. I’m also working to open my own on-line store. I am not a computer person. Page 13
Teaching Artists Guild Quarterly: Issue 11
Hiromi demonstrating paper crimping.
You should send out a query to all the Teaching Artists at Marquis Studios and ask for some sort of skill share or trade, right? So that if someone helps you to set up your on-line store, you’ll give them as many T-shirts with the gum and band-aids as they want. Do a trade! That’s right! This is treasured information. We need to help each other! I know for myself, when I look at self-care, I think of how hugely resourceful we all are. These communities of Teaching Artists do a lot of different things, so if there’s something that you need, you have all these things to give as well. So it’s worth your time to ask for help, for a trade. Because, in truth, we’re all sort of in the same boat, in terms of, we’re not making a lot of money, we’re all trying to balance a lot of different things. You should ask! I lost the person who was going to help me set it up, and then for the past two weeks, I keep going to the site thinking, maybe I can just do it. And I’m almost ready. I want to open it before the holiday season. I’m putting pressure on myself. This is my business! And I’m still considering myself as a contemporary artist. I am not considering myself a bag-maker. No. This is the tricky part. Page 14
Well, I think it’s such an interesting concept, because it’s calling attention to something that exists in modern society. Our sidewalks are covered with gum. Our sidewalks are covered with used bandages! Right? But then, there’s also beauty to be found in things that seem disgusting. And many people may not see the beauty part… But you do. And to me, that’s a “fine art eye,” seeing beauty where others do not recognize it. Those bandages were healing someone. And then they fell down. And I find them healing something else on the ground. I wonder, what are you healing now? I also take photos of condoms around on the street. It’s a wonderful place for this sort of documentation in New York City! Wonderful! (Laughter.) Yeah! We’re trashy! Our streets are dirty! (Laughter.) Let me ask you this…if you could change one thing about your life as a Teaching Artist, what would it be? Oh…I don’t know. What would it be for you? Right now, I feel similar to you in thinking forward to retirement. I’m forty-three and I’m thinking about the trajectory of my entire career, and I’m thinking about how I’m growing. I guess I would like more opportunities to grow. More support from the organizations I work for in terms of growing as an artist, growing as a Teaching Artist…having more agency in being able to say I have this relationship with this high school over here and what I’d really like to do now is… and I could propose a project. Like there’s an international high school in Brooklyn I’ve worked with for many years, and I would love to collaborate with students on creating a web series about an international high school like theirs. And it would be nice to have an idea and get the support to make it happen, as a residency project…and I understand there’s not a lot of money… But so many things can be done at low cost. You never know.
“when I look at self-care, I think of how hugely resourceful we all are.”
Teaching Artists Guild Quarterly: Issue 11
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Teaching Artists Guild Quarterly: Issue 11
I think it is definitely a self-care thing that if you have an idea, or if you have something you want, or you have a need, or there’s something that’s stressing you out, as much communication about it that you can put out there…to other Teaching Artists, to your organizations, especially people that you really trust in those organizations. Because, you know, some administrators are better caretakers than others, right? Uh huh. Definitely. I’ve had some very hard times with organizations I work for. We all have. But continuing to dream and asking for help is… the two things at the same time, are really important. But, I could use more organizational support. In communicating about dreams and making them happen. When Marquis Studios holds Professional Development sessions with all our co-workers, all the Teaching Artists, like I know I’m not very good at the computer stuff, the internet, so
I want more workshops in stuff like that. Like Photoshop. I need it. Yeah, yeah, yeah! I’m trying to learn. I don’t need to be a web designer. I don’t want to be a designer. But I need to use more tools… and I hope not to pay much to learn to use these new tools. So I try to attend all of those workshops that Marquis Studios offers. Especially for my generation, because we were not exposed to that kind of media early on…but still, I’m using it! Are there any upcoming teaching or creative projects that you want to plug, to tell everyone to watch out for? Either your own or of someone you know? I’m teaching origami this cycle and during the last two cycles I’ll be teaching inclusion residencies, that bring together special education and general education students in one classroom for creative projects. A District 75 school with a general education school?
One of Hiromi’s visual arts materials: flubber!
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Yes. They are in the same
Teaching Artists Guild Quarterly: Issue 11
Hiromi’s installation, “Dwell with Thousands of Windows,” Queens Art Intervention, Murray Park, Long Island City, New York. September 2017. Windows of donated used window envelopes were torn and glued together to create a temporary dwelling in a local park.
building, the two separate schools. But the residency puts students from the two different schools together in the same classroom and I’ll come to work with them, encouraging them to communicate using various visual arts tools. This is the fourth year that I’ve done this kind of project, and that’s coming up. From January on. And that’s very interesting. It can be difficult, two schools together. But personally, I find it can also be very meaningful. I want to do it. Awesome, awesome. And we should also all look out for your on-line store that’s going to be coming soon.
Kate Bell is a writer, theater maker, musician, and Teaching Artist in Brooklyn, NY. Kate seeks to understand the field of Teaching Artistry more deeply through her “I Interview Teaching Artists” series, which is featured in the TAG Quarterly, and on her blog: www.katebell.info.
http://niizekihiromi.com/ I want one of your bags so I will be visiting your shop soon! Thank you, Hiromi, this has been a wonderful conversation. Thank you very much!
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#TreatYoSelf #ThatTALife By Erika Atkins & Renata Townsend It is an incredible feeling when you see a student, that you have worked with, connect to a new part of themselves. It can be fulfilling, uplifting, and rewarding for both student and teaching artist. Most teaching artists and arts administrators are willing to push themselves mentally and physically to spread the joy of the arts, and more practically, to pay their bills. 12 hour days? Multiple meetings? Classwork? Rehearsals? Traveling to multiple schools in one day? The list goes on. The reality is that as much as we arts educators love the work, it can be grueling. The Teaching Artist Affairs (TAA) Committee of the New York Arts in Education Roundtable (NYCAIER) recognized this, as many of us struggle with work/life balance ourselves. TAA comprises of teaching artists and arts education administrators who advocate and plan programming for fellow teaching artists in the New York City area. One of our most suc-
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cessful events, “Teaching Artist Meetups,” are quarterly meetings that give local teaching artists a chance to chat, network, and deep dive into an issue that affects their career. As we sought out to plan our first meet up of the year, we couldn’t escape the fact that in addition to fall being its usual arts education crazy, 2017 itself has been a particularly chaotic year for the world. We realized that what the committee really wanted was time to kick back, and indulge in a little self-care - what better way to do that than with wine and cookies? In June 2016, Erika Atkins attended a workshop by Beth Kanter at the American for the Arts Annual Convention where she discussed that the idea that self-care was more than just something one individual could do, but it is often more successful if it is a community mindset. Inspired by this, Erika began to build a “We-Care” program at her organization, Opening Act, that emphasized not
only committing to your own self-care goals, but doing self-care activities as a group and having a partner to hold you accountable. With this in mind, we decided to not only use the meetup as an opportunity to gather teaching artists, but lean on each other as a support network. Our event at Abrons Arts Center on December 11, 2017 was small and intimate, which lead to a safe environment and comfortable environment for sharing. The teaching artists had an opportunity to chat while decorating holiday cookies (and who doesn’t love a good cookie?). As we turned our conversation towards selfcare, we immediately tackled the biggest elephant in the room, “What does burnout look like?” The answers were pretty unanimous - always being tight on time and not being able to complete your work to the level of quality you want. Symptoms included lack of sleep, short fuses, and constantly using a small digital device to catch up on tasks - because who has time to sit at a computer? So you have to wonder, if the work we do can be so
Teaching Artists Guild Quarterly: Issue 11
stressful and demanding, then why do we do it? We’ve found that being intentional and reflective can be its own form of self-care, so we wanted to make sure the teaching artists reminded themselves of what fuels their passion for arts education. Aside from the joy of sharing the arts with others, especially younger generations, there is the obvious fact that many teaching artists have to work at multiple organizations to be able to support themselves. However, beyond that, it’s also a reality that to have a long term career in arts education you have to have some level of business savvy. While you may be stressed out because your plate is full now, there are certainly projects that will pay off later as you’re building your career and networking with others. After reflecting on the ups and downs of the teaching artist/arts education lifestyle, we had the group brainstorm a list of self-care activities. We challenged them to:
1) Commit to a previous activity, and 2) Pick a new one to try out in the new year Here are some of the group’s favorites:
Reading for pleasure
Not emails. Not lesson plans. Just a good old fashioned story. It’s important to take time to read something simply because it’s fun. Pick up a good mystery book, a historical non-fiction, or a romance novel. You do you.
Gym/Yoga Time
Whether it’s jogging, kickboxing, dance class or a relaxing savasana, many of us recognized that exercise is an important outlet for stress relief. Hot tip: Planet Fitness is a good low cost gym option. If you’re into more into fitness classes, check out ClassPass or your see what your local park and recreation centers offer.
Less time on social media
While social media is an amazing tool to stay in contact with people and promote your own work, too much social media can leave you feeling a little out whack. A recent study shows that “exposure to the carefully curated images from others’ lives leads to negative self-comparison, and the sheer quantity of social media interaction may detract from more meaningful real-life experiences.” To that end, many in the group made a commitment to cut back on screen time. Some ideas included not getting on Facebook right after waking up and right before going to bed, and perhaps limiting the amount of times you post in a day.
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Saying no
This is a big one for teaching artists and arts administrators alike. For teaching artists who work at multiple organizations, it can be hard to say no. Especially when you consider that the fall and spring are very busy, and winter and summer can be slow. How can you say no when you’re not 100% where your next check is coming from or if you’re going to miss out on a great connection by not being involved in a project? However, we agreed as a group that you can’t do anything well if you’re spread too thin. The same goes for arts administrators. It’s no secret non-profit culture often requires a lot of responsibilities to be put into one job, but don’t be afraid to say when there’s too much on your plate. As you grow in your career, it’s important to evaluate the work you’re doing and try to focus your time on projects that really matter to you, so that you can complete them successfully.
Advocating for your needs in a work setting
“Saying no” feeds into the last big takeaway many of us committed to. Sometimes it’s not quite as much about saying you can’t, you just need to advocate for your needs in the workplace. Maybe it’s not that you can’t do a project, you can’t teach that class - you just need more support do it. Sometimes we think people can tell what’s going on with us, but most of the time that’s not true. Everyone else is pretty busy thinking everyone else knows what’s going on with them. Speak up, ask for help, and you might be surprised what happens.
Being a teaching artist gives people the flexibility to make their own schedules and decide what work they are interested in taking. Unfortunately, due to a variety of a reasons like, pressures from the outside world, fear of not making enough money, and the artists “I can do it all” attitude, many times teaching artists overbook themselves and are taken advantage of. On a larger scale, the field of Teaching Artistry needs to continue to conversation of how the field is supporting their teaching artists to avoid burn-out. How are arts administrators setting their teaching artists up for success? How are teaching artists structuring their lives to avoid burn-out? What can we do as a field to further support the work so teaching artists feel fulfilled? Through this experience, the TAA committee wants to remind teaching artists that they are in control of their schedules and to identify what they need and advocate for those needs. When work is slower, take advantage of that time and use it as an opportunity to self-reflect and plan for the future.
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Interested in finding out more about the NYCAIER and Teaching Artist Affairs Committee? • Check out the Roundtable website • Follow on social media: NYCAIER Twitter NYCAIER Facebook Teaching Artists of New York City Facebook page
Come join one of these upcoming events:
• LABOR EVENT - Join us to learn more about the results from the Teaching Artist Compensation Survey conducted in 2016 and have a conversation about teaching artist labor best practices. • Date: February 12, 2018 Time: 5:30 pm - 7 pm Location: Lincoln Center Education - 165 65th Street • Day of Learning on Equity and Inclusion Date: March 9, 2018 Check out the Roundtable website for more info coming soon... • “Face to Face 2018” - a professional development conference for arts administrators, teaching artists, and others interested in the field of arts in education. Date: April 4 and 5th, 2018 Time: All Day Location: The City College of New York, Shepard Hall - Convent Ave between W. 138th St. and St. Nicholas Terrace
Renata Townsend Renata Melillo Townsend creates shows and content for kids, adults and their families. She has worked at the The New Victory Theater since 2010 and is the Head of Enrichment for Trusty Sidekick Theater Company, as well as a teaching artist and performer based in New York City. Education: BFA from the University of Maryland and a MA from City University of New York.
Erika Atkins Over the past decade Erika has worked as an arts administrator, youth development professional, teaching artist and performer in not only New York City, but also her native Washington D.C. area. Erika’s life changing experiences growing up as a young artist led her to attend George Mason University, where she obtained a B.A. in Music. She has served as the Director of Operations and Communications and a Teaching Artist at Opening Act since 2015 and also holds a M.S. in Arts Administration from Drexel University. She currently serves on the boards of the American Alliance for Theater Education(as Communications Director) and the NYC Arts in Education Roundtable, where she is a Co-Chair of the Teaching Artist Affairs and Membership Committees, and a member of the Taskforce for Equity and Inclusion. She also serves on the Arts Education Advisory Council of the Americans for the Arts. Page 21
Teaching Artists Guild Quarterly: Issue 11
Cultivating Equity and Accessby Caryn in Arts EducationCooper November 2017, marked the 19th annual National Dance Education Organization (NDEO) conference. Dance educators, administrators, artists, and advocates gathered in San Antonio, TX, to discuss ways to mobilize as a collective field to increase equity and access in the arts (and specifically dance education) for all students. It is the vision of the NDEO that all people regardless of their gender, age, race, culture, socioeconomic status, ability, and interest will have access to quality dance education programs. As part of the conversation of cultivating equity and access in the arts, Kerrianne Cody- dance educator at a New York City public elementary school, and myself- arts administrator for Flushing Council on Culture and the Arts (FCCA)- an arts organization based in the NYC area, led a discussion on advancing community partnerships between K-12 schools and arts organizations. Working in the arts is about collaboration. There is only so much that we can do separately. We are often limited in our resources- whether it is space, funding, supplies, etc. The arts tend to be on the chopping block when funds or programs need to be cut- which has been even more visible recently on the national level. But, despite these challenges, how can we ban together and create partnerships to ensure our students have equitable access to the arts? How can we use our limited resources as opportunities for our communities that are often underserved in the arts? In what ways can we develop and enhance community partnerships through the arts? As a public elementary school based in the New York City area, as part of the school’s programming, they offer students in grades PreK-5 a scaffolded arts standards aligned dance curriculum with a balance between creative movement and performance technique. FCCA offers education programs to schools that provides meaningful connections between classroom subject areas and the arts. As both her school and my organization are located within the same neighborhood, it seemed that we could both work together to provide access to high quality and equitable arts education experiences. Page 22
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“Working in the arts is about collaboration. There is only so much that we can do separately.� Before developing our partnership, there were five things that we considered:
1. Commonalities in our missions and goals
Although we worked in two different sectors within the field of arts education (a public school and a community-based arts organization), we realized that it was the mission and goal of us both to expose children and their families to a variety of arts and dance experiences that one wouldn’t traditionally have access to.
2. Who is in our community
Kerrianne and I both knew each other prior to working in our respective jobs. However, despite that both of us worked in the same neighborhood, she had no idea that my organization was located only a short 10 minute drive from her school! She often took her students on a 45 minute to an hour bus ride into Manhattan for similar programs that we offered right in her own backyard. Once she learned about FCCA and the services we provide to schools, it was a no-brainer that she now wanted to collaborate.
3. Knowing the populations that we serve
Since we are both located in the same community, we also noticed that we are looking to serve the same populations- students in schools through the arts. We asked ourselves, why compete to serve the same people, when we can work together and provide even more access and equitable arts programs?
4. Working with/Support academic disciplines
As artists, we already know that not all students learn the same way, and that the arts can be used as a vehicle to teach different subjects and skills. To us, the connections are clear between seeing a cultural dance performance and social studies. These are the cases that we were able to present to school administrators and fellow classroom teachers to get them on board.
5. Flexibility with funding
Who is going to pay for these wonderful arts programs? That is the question that we (and I am sure many of you) ask. Funding in the arts is always something that is scarce. It requires a level of flexibility on both ends to work within a limited budget, all while not totally compromising the artistic integrity of the program. In our case, we were able to meet each other in the middle to help cover the costs. Page 23
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As you seek to develop new connections and contacts in the new year, I encourage to consider the following as you build partnerships and collaborations:
1.
Research who is in your community
2.
Connect on commonalities in your mission and goals
3.
Know the populations you serve (or seek to serve)
4.
Flexibilities to work across academic disciplines
5.
Be creative on where to find funding
As much as it is attractive to see a performance or exhibition at a large, well-known arts institution, there may be a number of small community based organizations located in your neighborhood. Or, you may feel that you are alone in your neck of the woods. I encourage to research the different arts organizations, companies, museums, arts councils, and networks. You may be surprised by what you find!
You as the school, the arts organization, or individual artist may work in completely different sectors and have your own personal goals and missions. But if you actually are able to sit down and hear more about what the other person or organization does, you may find that you are not that different after all. Schedule meetings with folks you see as potential partners and look to find out more about each other and possible collaborations. You may find it is a perfect fit. But, you may also find that it is not a good fit, and that is ok. But you will never know until you sit down and talk.
If the two of you are located in the same community, chances are that you are serving the same people. In addition to that, actually know what your populations are interested in, what kinds of programs are they looking for. Don’t assume!
Working in the arts is about collaboration, not only with each other within the arts, but also outside the arts. Have an open mind. You may be surprised of the kinds of projects and programs you can do.
As much as we struggle to find funding for the arts, in some cases, it is because we are all fighting after the same sliver of the same pie. There are other pies out there that we may not have traditionally thought of. Reach out to your local community/ neighborhood banks, research smaller or lesser known family foundations, talk to your local elected officials. They may not be able to offer large sums of money, but in our case, every dollar helps.
Caryn Cooper is an arts administrator, educator, and writer from New York. She has trained in ballet in the Royal Academy of Dance (RAD), teaches dance under the direction of Dr. Martha Eddy- Moving for Life, and works as the Education Coordinator at Flushing Council on Culture and the Arts. Page 24
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Arts advocates from across the country will convene in Washington, DC for our annual Arts Advocacy Day on March 12-13, 2018. Arts Advocacy Day brings together a broad cross section of America’s cultural and civic organizations, along with more than 700 grassroots advocates from across the country, to underscore the importance of developing strong public policies and appropriating increased public funding for the arts.
Register for Arts Advocacy Day 2018 here!
Carnegie Hall, DreamYard, and Lincoln Center Education will host the ITAC4 conference in New York City. This conference brings together teaching artists along with organizations, funders, researchers, and other leaders from around the world to explore key issues of participatory arts practice in a dynamic mix of practical workshops, keynote speeches, site-specific observations, and round-table discussions.
learn more about itac4 here! Page 25
Teaching Artists Guild Quarterly: Issue 11
What the Arts Needs Now: A Podcast That Puts Teaching Artistry Downstage Center
Teaching Artistry with Courtney J. Boddie, a podcast that examines the art of Teaching Artistry as a professional, rapidly-growing and increasingly influential career, is celebrating its inaugural season. But it’s only just begun. The team behind this series of arts talks has episodes lined up through 2018, and you’re going to want to tune in! Page 26
Teaching Artists Guild Quarterly: Issue 11
This podcast zooms in on the arts, arts education and how Teaching Artists work as conduits that deliver the arts to populations who need creative experiences most. This podcast, helmed by Courtney J. Boddie, asks big questions about this unique profession like: What kind of work goes into teaching artistry? What is a Teaching Artist’s role in arts education right now, and how can it evolve? Does the term indicate that teaching artists are teachers first and artists second, or vice versa?, and much more. Teaching Artistry with Courtney J. Boddie, the brain child of Courtney J. Boddie in collaboration with Producer Ben Weber and Creative Content Manager Christopher Totten, aims to advocate for arts education and those passionate about bringing the arts to our communities. Teaching Artistry with Courtney J. Boddie’s official mission is, in part, to highlight the impact that teaching artistry has had, and must continue to have in all communities, particularly in the arts community. In this podcast series, Boddie chats with teaching artists and arts educators who are working diligently and thoughtfully to
move the profession forward and to exact positive change within the profession and are fiercely devoted advocates for the arts. She discusses the intrinsic joys and challenges in this work, and how acknowledging triumphs and recognizing and celebrating failures is a key component to success—especially in the arts. So far the podcast has covered topics on Teaching Artist pay scales, Arts Advocacy Day (2017) in Washington, D.C. and National Arts Education Week (including a special guest appearance by Arts Education Program Manager Jeff Poulin at Americans for the Arts), just to name a few! Coming up, the series will feature discussions with artists at the National Guild conference (2017) in San Francisco, CA, and in-depth conversations with a number of established Teaching Artists who share their personal stories about discovering themselves, their artistry, and what it means to be a Teaching Artist. In a time when the future of the arts, education and arts education are in suchflux, and their impact is called into
question on a daily basis, it’s important to remember how vital their roles are in our everyday lives—not to mention the positive effects they have on our society. How do we do that? By talking, discussing, asking big questions and digging deep into the heart of artistry. Or, in this case, Teaching Artistry!
About the Author
Courtney J. Boddie, Director of Education/ School Engagement, The New Victory Theater, is an actor, director, teaching artist who sits on boards, committees and is an adjunct faculty member at New York University and The New School. Subscribe to Teaching Artistry with Courtney J. Boddie on itunes, SoundCloud or wherever you download your podcasts.
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Teaching Artists Guild Quarterly: Issue 11
Carving Space for Teaching Artists
by Courtney J. Boddie, Director of Education/ School Engagement, The New Victory Theater and Travis Laughlin, Senior Director of Programs, Joan Mitchell Foundation Page 28
Teaching Artists Guild Quarterly: Issue 11
Every November marks the beginning of the holiday season, but before that all that happy, jolly and merry, for arts educators November also means traveling to an exciting US city to attend the National Guild for Community Arts Education conference. This conference provides space for networking, meeting new colleagues from around the nation, finding inspiration listening keynote speeches from leading practitioners and thinkers, and participating in conversations and workshops around issues that are trending, innovative or in need of examining. In 2017, the conference was set in San Francisco, California, and in the midst of the conference, we led a networking lunch session focused on Teaching Artistry. As we anticipated there would be a wealth of experience in the room, the goals for this session were to help illuminate resources for teaching artists, plant seeds of conversation and to activate authentic networking through generative conversations. In order to capture the tools and resources being employed, we asked participants to record responses to two questions addressing this concept. Here are the questions we asked and the responses we received:
What Teaching Artist networks, organizations, associations, etc. are your go-to for resources, job postings, professional development, etc.? What tools do you use for self-management and organization to help do your Teaching Artist work most effectively (apps, strategies, materials, etc.)?
• National Council on Education in Ceramic Arts • Association for Teaching Artists (ATA) • Teaching Artists Guild (TAG) • Department of Children Youth and Family (local and state) • Teaching Artists Support Collaborative (TASC) • Youth Development Resource Center (Detroit) • The Art of Ed • TAB Choice (Teaching for Artistic Behavior) • Facebook groups like Teaching Artists of New York • LA Culture Net (Los Angeles/So Cal) • New York City Arts in Education Roundtable • Attitudinal Healing Connection
• Old school paper calendar • Google calendar • Facebook groups • Experimenting with apps like Slack • Pinterest • Base camp • Google drive • One-on-one check-ins
What would you add to these questions? What are some resources that we didn’t capture that you could share more widely? Tell us! @teachingartists
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In order to open up the space
for generative dialogue, peer-to-peer resource sharing and networking, we decided to use a modified version of Open Space Technology. In the brief set up for the session, along with the essential best practices of framing large/small group work (i.e. be respectful in the small groups; listen and take note if your voice is unheard or too present), we explained a few things that come directly from Open Space Technology that would help shape the processes and energy of the session: • Vote with your feet - bumblebees and butterflies - seeding information in various conversations is great! • The people who are talking with you, are the people you should be talking with • Share contact info as you wish - this is a networking event after all • No need to try to force separate conversations to come together • These are conversation starters, nothing specific may be resolved here, but perhaps motivate you to continue the conversations elsewhere that could morph into some sort of action. To maximize on the allotted time of 75 minutes, we offered up two starting topics and invited participants to join the group that most resonated with them in the moment. But as conversations continued participants could break out into other topics of their design, or move between conversations. Given our respective roles and experiences in the field of teaching artistry, we felt it important that we present topics that not only connected with said experiences, but modeled for the group the process of designing a topic that was both professional and personal in scope. The topics we presented were: • Advocacy: What does it mean to advocate for the arts, for yourself, etc.? What are the ways to advocate and be active and use your voice in this field as teaching artists? How does self-management and self-care fall under this category? • Supporting the Artist and Educator: What does it mean to nurture both sides of the teaching artist? What is the benefit of professional development that addresses the whole self? What does this look like within an organization? Where, when, and how is this happening? We found this structure and process incredibly conducive to idea sharing and community building. Participants spoke of the need for organizations to ensure their values are represented in their own structure and processes as it pertains to their Teaching Artists; activating the newly developed Teaching Artist pay rate calculator as a tool to advocate for one’s pay; the need to celebrate/support the artist part of the TA’s career (i.e. time off for residencies or shows, create opportunities to showcase TA artwork/practice); how to create space within an organization Page 30
Teaching Artists Guild Quarterly: Issue 11
for Teaching Artists to feel heard, create community and invest in the mission and inner workings of a company; ways to help those outside of the field, like funders, to better understand the deep contribution teaching artists have in specific communities of interest. All of these ideas garnered excitement and
inspired many participants to connect beyond the session and to work to implement change within their own organizations. Day in and day out teaching artists are on the ground creating space for different learners to learn, discover, make meaning, etc. in the
arts, and this was a wonderful opportunity for the space-makers to have time for themselves to learn, discover, make connections and more. Thanks to the National Guild for Community Arts Education for inviting us to be a part of this year’s conference.
About the Authors Courtney J. Boddie
Travis Laughlin
Director of Education/School Engagement, oversees New Victory Theater’s Education Partnership program and professional development for teachers. Serves on the Board of Directors of the Association of Teaching Artists (President 2015-2017) and the NYC Arts in Education Roundtable: Teaching Artist Committee. She is adjunct professor at New York University and The New School. Twitter: @courtneyjboddie
As the Senior Director of Programs, Travis Laughlin is responsible for the oversight of the Foundation’s various artist support programs and is a member of the senior management team. In his previous role as the Art Education Director for the Joan Mitchell Foundation, Travis Laughlin served as the visionary and implementer of all Foundation art education initiatives, including spearheading the Senior Art Program in 2012. Prior to his role as Art Education Director, he worked with the Foundation as the Professional Development Program Coordinator.
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UPDATES from the field
NBC COMMITS $500,000 TO SUPPORT HIGH SCHOOL THEATRE PROGRAMS NBC is launching R.I.S.E. America, a program
National
that grants a half-million dollars to high school theatre programs across the country. R.I.S.E. (Recognizing and Inspiring Student Expression) America will award 50 high schools a $10,000 grant that will enable them to enhance or revitalize their theatre programs. Learn more here.
SNAAP release annual report on arts alumni Each year, the Strategic National Arts Alumni Project (SNAAP) releases an Annual Report that details new data gathered on arts alumni and their involvement with the field. More information and a download link are available here.
Senate restores nea arts funding for 2018 Senate Appropriations Chairman Thad Cochran and Senate Interior Appropriations Subcommittee Chairman Lisa Murkowski rejected President Trump’s request to shutter major cultural agencies by restoring FY 2018 funding, largely due to pressure from constituents. Read more.
New NEA report on arts, design, and innovation in rural america Rural Arts, Design, and Innovation in America: Research Findings from the Rural Establishment Innovation Survey found that rural arts organizations draw more non-local audiences to their venues and report greater civic leadership and customer connectedness than their urban peers. Click here for more findings and a link to download the full report.
Vermont
Vermont Creative Schools Initiative TA Academy & Fellowship Program The Teaching Artist Academy will explore the best practices that ensure that classroom teacher/teaching artist partnerships thrive in real-world situations in two sessions in January and March. More information here.
Vermont Creative Learning Forum A weeklong gathering of researchers, teaching
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artists, and educators resulted in the reader Growing The Ultimate Sustainable Crop: Creative Capacity In Vermont Students: A Guide to Help Vermont Educators and Community Partners Identify, Develop and Assess Creative Capacity in Students, available to view, share, or download for free here.
Teaching Artists Guild Quarterly: Issue 11
Applications open for NYSCA/NYFA artist fellowship The NYSCA/NYFA Artist Fellowship is a $7,000 unrestricted cash award open to individual and collaborative artists living and working in New York State. Applications close on Wednesday, January 24, 2018. For eligibility and application info, click here.
Community-Word Project (CWP) Teaching Artist Project (TAP) Co-Facilitator Community-Word Project (CWP) is a community of artists dedicated to bringing high-quality arts programs to NYC public schools. They are currently accepting applications from Teaching Artists with substantial experience in facilitating professional development seminars and workshops. Information on qualifications, salary, and how to apply can be found here.
NEW YORK
Lifetime arts receives grant to support creative aging programs NYC-based Lifetime Arts received $600,000 from The New York Community Trust to lead a two-year effort to improve the Creative Aging programs, arts education courses for older adults in the visual, performing, and literary arts. Read more about Lifetime Arts and its plans here.
Justin Ayala becomes new director of the StARTSomething Arts in Education program in York County The
Pennsylvania
StARTSomething Arts in Education program is the third-largest of 14 state arts-in-education programs; Ayala is a practicing multidisciplinary artist as well as a veteran Teaching WArtist with plans to expand StARTSomething’s artist directory and develop more residencies, as well as advocate for arts in the region. For more information, click here.
Help Session for AIS 2018-2019 Teaching Artist Application The Hardesty Arts Center in Tulsa is hosting a drop-in help session for the Artists in the Schools (AIS) Teaching Artist application. Get advice and help from experts on any part of your application! Swing by anytime on February 12 or 22 from 4-6pm, or attend a recruitment workshop to learn about the program on January 22 at 5:30.
OKlahoma
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Teaching Artists Guild Quarterly: Issue 11
Texas Creative Youth Development Orgs Team Up for SXSW EDU Creative Youth Development (CYD) is a new term that
texas
unifies a longstanding practice that intentionally integrates the arts, humanities, and sciences with youth development principles. In this moderated panel, hear from student participants and national leaders about the impact of this emerging field. Discover networks and resources to incorporate CYD principles in policy and practice. Explore how this framework sparks creativity and life skills for youth shaping the world they want to live in!
LA County Arts Education Profile survey The survey was administered in all LA County Public Schools and found that nearly every school offers at least some arts instruction, but also found troubling inequities that reflect disparities in the wider society. For key findings, the full report, and an interactive online tool, visit the LA County Arts Collective’s page on the survey.
California
New director of CAlifornia arts council Anne Bown-Crawford of Arcata is a longtime visual and performing arts teacher and a working studio artist, and the new director of the California Arts Council. She was appointed by Gov. Brown in December and started her work in the new year. For the full story, click here.
Got an update from your state?
Let TAG know - we could feature it in the next quarterly!
A feature in the TAG quarterly for your community’s updates can get your page more views, make connections with other interested TAs, and inspire others in the field! Send us a tweet @teachingartists or fill out our quick Google Form and let us know what’s going on near you!
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Teaching Artists Guild Quarterly: Issue 11
Teaching Artist Pay Rate Calculator:
Past, Present, & Future.
This October, we released the Teaching Artist Pay Rate Calculator, a new web application that allows teaching artists and hiring organizations to better understand the true costs of the teaching artist profession. For more information about the calculator and how it was developed, we published a blog post that you can read here. The purpose of this tool is to help Teaching Artists to negotiate at least a living wage, and to help hiring organizations advocate for funding to pay teaching artists that living wage. The feedback we received from the teaching artist community has been incredible. Here are just a few of the comments that have come in since the release of the calculator:
“This is so validating! I’ve been charging a few dollars under for small venues and $15 less for large venues. When you multiply that times 20-60 hours, depending on the residency, those missed dollars add up. Again, thanks!!” “This is a big bold move toward transparency and accountability -- for arts orgs and teachers themselves! Certainly not foolproof and everyone’s needs are different, but a really exciting tool.” “I love this and love the idea!” We’ve also received a lot of constructive feedback and ideas for improving the calculator. “This is a great tool! I’d love to see the calculated rate explained more, especially with language that TAs can use to negotiate higher rates, that managers can use to push for higher rates to their organizational leadership, and that organizations can use to share with funders.”
The top three concerns were: 1. The rate calculated was much higher than some current asking rates, and may feel out-of-reach for both the individual teaching artist and the organization looking to hire teaching artists 2. Users had trouble understanding how the rate was calculated 3. Users need help implementing knowledge the calculator gave them - what’s the best way to work toward this calculated pay rate?
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We’ve taken steps to address these concerns already, including: • Changing/clarifying language on our calculator webpage • Hosting a livestream event to discuss the calculator in greater detail • Preparing a guide on using the calculator results to negotiate as a teaching artist (see the next article!)
Things we plan to do in the future to continue to address these concerns: • Webinars for teaching artists AND for hiring organizations about how to better utilize the results of the calculator. • Creation of short videos to help understand the way the calculator works • Continued advocacy for fair rates, including but not limited to: highlighting organizations that are consistently offering wages in alignment with our calculator and promoting further discussion and transparency around pay rates in the field • Special features for premium TAG members, including a personalized pay rate report with a detailed breakdown of your specific rate and exactly where it came from. We’re proud to announce that we have already released version 2.0 of the calculator, which includes the following improvements: • The calculator now remembers the inputs from your last search, allowing you to more quickly try several calculations with different data inputs. • The calculator now displays your pay rate results in both an hourly and an annual format. • The results page has been re-designed to provide more clarity. • The location search bar has been rebuilt and now guides users to the nearest applicable metro area. Page 36
Teaching Artists Guild Quarterly: Issue 11
We’re excited to have “shipped” these updates already, and we would love to have more feedback on what updates we should plan for the future.
What can we do to make this tool
even more useful?
Give us your ideas; tell us what else you need! Use the TAG forum or tweet us @teachingartists
Please help us continue to spread the word about this powerful new tool.
A tremendous THANK YOU to our partners at the Economic Policy Institute, and to our tremendous working group: Kenny Allen, Lara Davis, Kai Fierle-Hedrick, Lindsey Buller Maliekel, Jacob Winterstein, Ami Mollinelli. Also to the New York City Arts Education RoundTable, New Victory Theater, Lincoln Center Education, and the National Guild for Community Arts Education.
Kenny allen
Kenny Allen (TAG Membership Director) received his B.A. in Theatre Arts from California State University, Fullerton. Kenny has worked in the marketing, development and administrative departments for companies such as The Laguna Playhouse, Shakespeare Orange County, Segerstrom Center for the Arts, and South Coast Repertory. Prior to joining TAG, Kenny worked as the marketing director for Marin Shakespeare Company.
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QUICK GUIDE TO USING THE PAY RATE CALCULATOR AS A NEGOTIATION TOOL
Negotiating your salary is always tricky, and teaching artists generally have to do those negotiations more often than people in other fields. There are some great resources out there on salary negotiations in general, like this TED Talk and this guide from Monster.com. Here are some more specialized tips from TAG, just for teaching artists and relating to the TA Pay Rate Calculator specifically:
01
Decide your own interpretation and use for the rate suggested by the calculator. Do I have expenses that should be added to this number? Are my expenses lower than average in some part of my life, meaning I should subtract from the given rate? Is my income the primary/only source in my household, or is this a number that should be split between two or more people?
02
Make an effort to understand the basis of the calculations, and pass on that understanding
03
Understand the full cost of you. Tax liabilities + other work related expenses (supplies,
04 05 06
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to your employer/client. Especially in the coming weeks, TAG will be releasing more content to make the calculations behind the wage you’re given more transparent.
transportation) Failure to account for “small” things like this adds up quickly over the year!
Lead with value. Understand that you are what makes the organization’s work possible. If you’re worth hiring (and you are!), you’re worth a fair wage.
Make it a win-win. You charging what you need to live = you being happy/healthy = you being able to do your job better -- especially when a living wage means you can focus your attention, instead of working multiple gigs at once to make ends meet!
Stick to your guns! The incredible teaching artist Dave Ruch has a wonderful article about this.
Teaching Artists Guild Quarterly: Issue 11
Support the work of Teaching Artists Guild today.
DONATE
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TEACHING ARTISTS GUILD
www.teachingartistsguild.org