In this case-study presentation, participants learned about embedded assessment methodologies developed in a year-long residency dedicated to "Making Process Visible." During this residency, we visually mapped the HOWs, WHYs and MOTIVATIONs of our arts in education partnership work in the school's public gallery space. The gallery is transformed into a learning lab for our school community, where art objects, student and teacher voice, and new technologies become vehicles for meaningful story-telling and reflection. This PPT / workshop was presented as part of Common Ground, an annual state-wide arts education conference hosted by Partners for Arts Education.

1. PROCESS MADE VISIBLE: ACTIVATE YOUR POTENTIAL AS A RESEARCH PRACTITIONER STEPHANIE PEREIRA, BRIC Contemporary Art / Juan Morel Campos ESP Arts Partnership

5. Fall residency map drawing by Angela Earley

6. What is my role? Asking questions. Planning. Listening. Recording. Feeding Back. I am documenting our progress towards fulfilling our year-long inquiry, and supporting our efforts in making it happen. My questions are the partnership’s questions -

7. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community? PARTNERSHIP INQUIRY QUESTION:

8. How can we transform our art gallery context, through technology, through programs - into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community? Concert/ Vote with artwork decorating Advertising cards Personalized invites Award ceremonies Free food and drinks/DVDs Kids co-organize Older students mentor younger ones Link with businesses Hospitality space Cool space OTHER ART FORMS Meeting space for community groups Marketing/ brand Recognition space (kids, local folk arts) Distribution of student works (Academic/Art) Edible Art Display cases Use lights, etc. for specific events Performance Get published Take it outside Guest artists—Local or folk artists Green Screen Teacher Planning iPod- Radio Show More uses for space Video monitors in hall showing student performances, work Column in school publications, communications Furniture, comfort! Refreshments  think Latino food, culture, music, Family  community Lighting School event space Student clubs Folding chairs for flexibility Host other types of events Increase exposure, familiarity Collaboration with other schools, our students teaching younger students Go to place (school + gallery) Who needs the space / who can use it Lose “gallery” label- REBRAND , “FESTIVAL!” Scaffolding programs with elementary school Meeting spot for community groups (not just school) Advertise it  empower SLT, parent coordination Visibility within school – show work throughout(to see more…) Student ART out into community Work up in school during events, prep time CULTURAL theme to art Student culture reflected in the work- link to content of community life Performances linked Video install of performances (dance concert, poetry, etc.) Small groups, comfy furniture will help Other themes for events (Monthly, regular, reading group, etc.) Reach out to local community groups, churches Representations of student work in school linked with a symbol or bench (comfort)- benches around school Student-created, sponsored by local organization LOGO? student-generated contest (?), rename High Tech apps Get room wired! Projector hooked to ceiling (Films! Screenings) CREATE BUZZ Catering: talk to local restaurants, yearbook advertisement- “preferred caterer” Little corporate sponsorship Art, advertising goes up in local businesses LONG TERM: Make evident dialogue within and out of school Re: Art Space Intimacy of space is a highlight

9. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

10. How can we transform our art gallery – through technology , through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

11. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

12. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

13. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes , efficiently absorb and share data and integrate our community?

14. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

15. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community ?

16. How can we transform our art gallery – through technology , through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

17. learning LAB juan morel campos / BRIC rotunda gallery Evidence Of Teacher And Student Learning AROUND SCHOOL PROFESSIONAL LEARNING GET INVOLVED ACADEMIC CONNECTIONS VIDEO INTERVIEWS

18. juan morel campos / BRIC rotunda gallery Evidence Of Teacher And Student Learning Browse by: SUBJECT DATE learning LAB

19. juan morel campos / BRIC rotunda gallery Evidence Of Teacher And Student Learning Browse by: SUBJECT DATE ACADEMICS ARTS learning LAB

20. Evidence Of Teacher And Student Learning Browse by: juan morel campos / BRIC rotunda gallery SUBJECT DATE VIDEO / PHOTO MURAL COLLAGE INSTALLATION DRAWING / PAINTING BOOKMAKING learning LAB ACADEMICS ARTS

21. Evidence Of Teacher And Student Learning juan morel campos / BRIC rotunda gallery BOOKMAKING learning LAB FALL 2008 Discovering ACTIVE CHANGE in PERSONAL ESSAYS through DIAGRAM and DESIGN Visual Artist Angela Earley in residence with 8th Grade ELA teachers Adam Davison and Keith Miller

22. How can we transform our art gallery– through technology through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

23. LEARNING LAB - PROGRAMS

24. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

25. LEARNING LAB - ENVIRONMENT

26. LEARNING LAB - ENVIRONMENT

27. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes , efficiently absorb and share data and integrate our community?

28. DISSEMINATE OUR SUCCESSES

29. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community?

30. EFFICIENTLY ABSORB & SHARE DATA

55. How can we transform our art gallery – through technology, through programs – into a learning laboratory to disseminate our successes, efficiently absorb and share data and integrate our community ?

56. LEARNING LAB - COMMUNITY

57. LEARNING LAB - COMMUNITY

59. Research: What it’s for, and what anyone can get from it. WHAT DOES THE WORD RESEARCH MEAN TO YOU?

60. Research: What it’s for, and what anyone can get from it. WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH?

61. Research: What it’s for, and what anyone can get from it. WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH? Who wrote from a personal perspective? Who wrote about it as a requirement?

62. Research: What it’s for, and what anyone can get from it. WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH? WHAT ARE YOUR HANG-UPS OR CHALLENGES WHEN IT COMES TO RESEARCH?

63. Research: What it’s for, and what anyone can get from it. WHAT DOES THE WORD RESEARCH MEAN TO YOU? WHY DO RESEARCH? WHAT ARE YOUR HANG-UPS OR CHALLENGES WHEN IT COMES TO RESEARCH? WHAT DO YOU NEED TO KNOW?

64. EVALUATION v. ASSESSMENT Extremely oversimplified definitions, but useful: EVALUATION is used to measure success. It is often summative - that is to say it comes at the end of a project. It is used to rate or score, are standardized, numbers based, and formal. ASSESSMENT is used to measure performance. An assessment can be ongoing, and can include evaluations. It can be formative - enacted during a project - or summative. It is a diagnostic tool for your work. They are not mutually exclusive! Both are valuable.

65. Reflective Practice is what we do . It is ongoing self- assessment of your work. Formalizing the work we are already doing is the easiest method for documenting and learning about your practice. You can collect emails, notes, images, drafts, hand-outs to get a picture of your work. THEN - Find ways to capture more of your process - recording, note-taking, system for collecting materials, visible thinking strategies… Use a question, or series of questions to help you pull information from the data you collect - The material alone won’t do anything for you! ex. Assessing Student Objectives : Backwards design - What are your learning goals - big, broad strokes. Define your lesson. From their clarify, refine, identify objectives. Pull from those objectives a set of embedded activities or questions that will help you demonstrate learning or success. REFLECTIVE PRACTICE, etc.

67. OUTCOMES : Manageable work plan, ongoing program improvements, snapshots or stories about ongoing work, more effective practice, team-building. APPLICATIONS: Grant proposals and reports, advocacy, planning, dissemination, teaching and learning. REFLECTIVE PRACTICE, etc.

68. What is Reflective Practice? A FEW MODELS Capture educator / programmatic thinking: Face-to-face, over email, over the phone. A possible frame for this discussion could be something like the looking at student work activity I showed you before. Embedded Assessment Strategies: Turn and talk, mind-maps, inventories, critiques, presentations. Interviews, checklists, critiques. Reflection - I used to know, now I know. I want to know, I need to know; I wonder... What’s happening? What makes you say that? ( Visible Thinking Routines ) AGAIN - This is stuff you are already using as a teaching tool. The next step is organizing the material into a narrative. REFLECTIVE PRACTICE, etc.

69. What is Reflective Practice? ARCHITECTURE The 80/20 Rule: This work is only easy if you plan for it. If you do a good job of planning and thinking at the outset (80% of time and energy) the work will do itself (20%). Think about ONGOING , REGULAR , BUILT-IN TIME to do your work. TEAM-BASED work can be more fun and rewarding, but requires a more commitment and organizing. Set deadlines . While the activities of reflective practice are formative, it won’t work without a schedule of events. REFLECTIVE PRACTICE, etc.

70. What is Reflective Practice? ARCHITECTURE, cont. TIME: Finding time and mental breathing space to reflect on your work can be the most challenging thing you do. Your work plan might be as simple as setting up a regular meeting , where you discuss what you have been doing, look at photos and write about them, tackle a specific challenge that came up (and write about it), etc. Once you make the time - RESPONDING to a set of questions or images is easy. If you have a team, take turns setting the discussion for the day. REFLECTIVE PRACTICE, etc.

71. What is Reflective Practice? ARCHITECTURE, cont. Activities for everyone don’t work. While you do want some uniformity in your practice, everyone has different ways to do their best work - Someone might sketch everyday, other people might be rabid journalers or emailers. Some might be into checklists, others are photographers or interviewers. All of these methods are valid, as long as you have a plan for using them. The constant in your work should be your essential question or big idea. How you respond to and collect evidence to support your question depends on the nature of that question, as much as it does the people who are addressing it. REFLECTIVE PRACTICE, etc.

72. MAKE IT MEANINGFUL : Too often people collect data because they should, and with no plan for what to do with it. So now you have all this stuff - What do you do with it? In my example, I created a mural. I felt that it would be a friendly, accessible way for the school community to access the story of our arts partnership. All the files are digital - and as you saw today, I can use them in many different ways, to tell different stories to many people. REFLECTIVE PRACTICE, etc.

76. REFLECTIVE PRACTICE, etc. DEMONSTRATION!

81. PARTING THOUGHTS?

82. PARTING THOUGHTS. MAKE IT HAPPEN. KEEP IT REAL.

83. THANK-YOU! Stephanie Pereira for BRIC Contemporary Art Brooklyn, NY [email_address]