We're Back!

Well, hello there! Long time, no see... and I'm just going to get this in before another month passes us by.

When I last left you, were we just getting into the thick of things with the high school musical. I'm happy to say that the experience was excellent and left us with positive vibes all around. I learned a lot from the experience and came away with some good data; I hope to write more about those things in the future.

For now, I'll say that the work begun in 2019 has successfully revitalized and grown our theatre program. Students are more engaged, families and faculty are excited, and there's all around good will toward our work. We've laid a solid foundation from which to grow and, yesterday, I received the gift of comfort being told that my contract will be renewed for next year. That's a huge weight off my shoulders! And, this is the first time in five years I've had that information before June. Now, we can turn attention toward next year with a confidence and certainty we've never had before.

In the meantime, I will return to school on Monday (after a surprise second bout with Covid right at the end of spring break) and the last two week of A Midsummer Night's Dream rehearsal at the middle school. I'm meeting wtih the musical collaborators to plan, not just for next year, but for two years at two schools. It's a great opportunity that I'm blessed to have. Can't wait to see what happens next!

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Building Connection and Understanding

The stereotype of athletics vs. arts is a tired one.

I realize that the tension is present in some schools and communities, but I believe it is time to move past that. If education is truly for the benefit of the whole child, then creating a culture (in school, at home, in the neighborhood, wherever...) where a student's participation in athletics, arts, and academics is paramount.

I am fortunate to be in a school district where that idea is a reality. There are great people in the athletic department and administrative chairs who see the value in what we do in the arts programs. I frequently connect with coaches to ensure students can be on stage and on a team. Many of those same students excel in Honors and AP level coursework, too. However, it takes work. It requires conversations and sacrifice and recognizing the common ground between us. In my school, we've done this through conversations (largely on social media, of all places) about leadership and coaching and the values we seek to instill in our students. (I've posted about my perspective on what school theatre is for here and here).

Whether you have the privilege to be in an environment like mine, or struggle in a place that does not see the value in arts education, I encourage you to reach out to community. Ask questions of stakeholders and detractors. Identify areas of common ground. Use your advocacy tools to demonstrate that value. Nothing is a panacea, but is a place to start. 

I'm curious to hear from you. What are relationships like where you are? How can we work to build understanding and connection among programs, activities, and factions that are traditionally viewed as opposed to one another?

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Get Action!

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Recently, the universe has been sending reminders that nothing happens without taking action. That's come to me from Theodore Roosevelt (via The Art of Manliness) saying to

"Get action; do things; be sane; don’t fritter away your time; create; act; take a place wherever you are and be somebody; get action.”

Taking action is an oft repeated theme in the Dare to Lead podcast with Dr. Brené Brown and no better stated than in the episode "Brené on Armored versus Daring Ledership, Part 1 of 2" in which she says

"to research leadership is easier than to practice it."

That is true of just about everything, especially in education. We can research, and learn, and think, and plan, but in order to get anything out of that process, we must do. The best educational theory and buzzwords and concepts don't mean anything until they are put into action. Only then can we know what "works" and what doesn't. That is true for teachers and it is true for students, too.

I think of all that I plan to accomplish establishing a culture within the theatre classes and after-school program. I can set expectations, I can talk about reflection, but until it is done, it really doesn't mean anything. That can be lost easily and I think we would all do well to remember it, especially after the two school years we've just had.

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Grit and the Achievement Theory

This summer I read the book Grit: The Power of Passion and Perseverance by Dr. Angela Duckworth. This was an enjoyable read with easy to follow concepts and relatable examples. Within the first two chapters were ideas that I see as easily adapted to the theatre classroom or after-school program. The most exciting part of the book was a later chapter that included an entire section devoted to how after-school & extra-curricular activities are the best environment for students to learn and develop perseverance. This perseverance is what Duckworth defines as "grit".

Expanding further, Duckworth defines grit as "passion and perseverance for long-term goals" ("What is Grit?"). Grit is purposeful determination aimed toward achieving higher-order goals. Grit is what Duckworth's research shows may be the greatest indicator of future student success.

What incredible supporting evidence for my experience that I learn more about how well a student will do in a theatre class, or a school production, based on their demeanor and conversation in an audition or rehearsal room. Often that tells me more than "talent". In fact, while Duckworth identifies talent as the first step toward developing grit, effort "counts twice" in that pursuit.

This is explained in Duckworth's achievement theory, which works like this:

talent x effort = skill

skill x effort = achievement

Based on this theory map, talent is the first step toward skill development, which is necessary for goal achievement. It isn't enough to have talent - one must apply their talent through effort. Further effort, bolstered by subsequently developed skills, brings achievement.

This makes a lot of sense. How many times have we theatre teachers and directors - and I would assume coaches in school and youth sports - seen a child with talent who did not realize their full potential due to a lack of effort? However, there is one slight adjustment I might make to the achievement theory above. I don't know that talent is an essential first step toward goal achievement. Perhaps "interest" is all that is needed?

Let's consider "talent" as a natural skill that gives a person a head start toward achievement. As explained by the theory, a talented person still needs to put in the effort to accomplish the end goal. However, those who lack the same "talent", but posses a strong interest in goal achievement, can still get there through effort. It may not be as easy, but it is certainly possible.

That is an important idea to keep in mind when conducting our classes and leading our productions. In fact, I envision that first level of the Achievement Theory as the classroom and the second level as the production. Skill can certainly be developed through effort in the rehearsal process, but the classroom provides time for individual instruction and for focus on specific skill development that cannot always be achieved in the rehearsal room. It is an interesting model that I am eager to bring to my high school classes. I'd be curious to hear how you view this approach and whether or not it may, or has, worked for you.

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Audience Engagement & Education

This is my third consecutive year teaching in the classroom (not counting the one year immediately after grad school). My journey to this work has been anything but traditional, which I think is one of the biggest benefits that I bring to the position I am in today. And not just content-wise as a theater teacher, but because of what I learned about audience engagement. My daily audience is my students; however, they're not the audience to whom I'm referring. Student engagement is important, of course, but so is engagement with the families and community outside of the school.

Audience engagement is important inside and outside the classroom

Dr. Joe Sanfelippo is the superintendent of Fall Creek School District in Wisconsin. His One Minute Walk to Work videos are a great resource for educators, but also a master class in leadership. In a recent Tweet, Dr. Sanfelippo talked about regularly connecting with parents, not just in the moments where we need them, or need to inform them. I've recently found how important that part of the job is. In the short time I have been in my current job, a number of parents have told me how much they appreciated hearing from me. Building those relationships is important for a child's education. I've taken steps this 3rd quarter to reach out to parents more often, but also emphasized the idea that Theatre is a communication between actors and audience. That skill is at the heart of my curriculum and surprisingly something in need of development in our society of advanced technology meant to bring us closer together. Just two weeks in now and already it seems as if students are creating with each other quicker and with less hesitation than in previous quarters. I hope this will lead to deeper collaboration by the end of our 10-week session.

At the high school, I hope to achieve my goal of expanding the student theatre program's social media presence will have long-term benefits. Our first gauge will be how well increased communication and engagement works with regard to ticket sales for the upcoming musical (Into the Woods - March 12, 13, 14). Perhaps from there, a link can be made to the transferable marketing skills developed in the theatre classroom.

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Curbside Prophet

There are a number of roadside signs near where I live and work that frequently post maxims, sayings, and other quick philosophical sayings. The family-owned auto repair shop is one of my favorites; I also enjoy the fun marketing of a local ice cream parlor. However, today it was a church that had a great, quick saying:

Today hasn't happened before.

Simple and elevating in just four words. It resonated with me personally, but also felt true for the students I teach who are anxious and uncertain about speaking in front of peers in a theatre class. What has happened before is past and we don't know what tomorrow will be. But today is here in front of us and can be whatever we want. Why assume it is the same? Why not make it different? Or at least take a step in the direction you want to go?

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Coaching in the Theatre Classroom

Image: "Coaching" by Shane McGraw
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A few months back, I attended one of my last doctoral seminar classes. In fact, if I remember correctly, it was two weeks after successfully defending the dissertation, which meant that I was no longer required to go - a detail I did not know until I tried to sign in and found my name wasn't on the roll. However, it was good that I was there to hear a research topic proposal presentation that I have been thinking about ever since.

Unfortunately, I no longer have the proposal paper and cannot rightfully credit the person doing the research. He was looking at a music education pedagogy with similarities to athletic coaching. I don't remember all of the specifics, but I do remember being struck by how well this seemed to adapt to theatre education at the high school.

Then, this evening, I was listening to The Art of Manliness podcast while ironing clothes for the week. This particular episode (#405) was a conversation with a man named Sam Walker who has written a book called The Captain Class about how the captains of some of the most dominant sports teams are often not the best players, celebrity athletes, or known names. I didn't get far enough into the episode to get into the heart of the findings, but generally Walker's book discusses common components of these leaders' styles. That got me thinking about the research topic and how I might apply it to the high school theatre program where I teach.

I would like to take some time this summer to read about coaching psychology and methodology and see how it can be applied to the theatre program as a whole. I see the program defined by both the classroom instruction and the practical application of that work in the school productions and other performance opportunities (competitions, festivals, etc). How can athletic training be brought into both of those areas to improve my instruction and student learning? In what ways are these two environments similar and different? How much practical training is "enough" and how can psychology and education about training be implemented? How can I teach leadership in an arts-based curriculum?

Lots to learn. Looking forward it learning and putting it all to use!