Elementary Music Best Practices
Music begins primarily as an aural subject with children doing what they do instinctively- Play!  Imitation, experimentation, and personal expression occur naturally and are supported by the development of motor and visual tracking skills as students become confident, life-long musicians and creative problem solvers.  Music skills are first expressed through the body and voice; instruments are viewed as an extension of these.  Students need experiences in hearing, naming, and producing musical sounds before symbolization is introduced. Planning decisions are based on the ongoing assessment of students as they participate in music activities.  Activities are adapted for individual differences including cultural diversity, English language learners and students with special needs. Elementary music is the foundation of an articulated K-12 music program and functions as a part of the total educational program in the school; music specialists and classroom teachers integrate appropriate content to reinforce continuity in student learning. The music program in the elementary school provides opportunities for students to demonstrate their learning for the school and community.  Students who receive a rich music education in their elementary years will go on to benefit from all that music can offer. Those who go on to sing in choirs or play an instrument will do so in a more musical manner. Those who do not choose to later sing in choirs or play an instrument will still be enriched by social, emotional, and intellectual benefits along with the ability to share music in their daily lives.

Purpose 
Standards, Learning Targets, and Teaching Points

• Lessons reflect the Oregon standards for music education, the BSD K-5 music scope and sequence, BSD K-5 music learning targets, and learning needs (academic background, life experiences, culture, and language)

• Lesson objectives are explicitly communicated to students through visual and verbal strategies

• Students and teachers set and analyze success criteria as well as reflect on progress made

• Lessons develop music knowledge and skills that are transferable to the artistic processes of creating, performing, responding, and connecting 

• Lessons encourage musical independence and ownership of learning

• Lessons are clearly linked to previous and future lessons

Student Engagement 
Intellectual Work, Engagement Strategies and Talk

• Teacher expectations and strategies actively engage all students and focus on deep understanding and application of musical knowledge and skills
• Students are actively engaged in the artistic processes of creating, performing, responding, and connecting
• Lessons promote student agency, responsibility, and problem-solving skills
• Teacher serves as a facilitator of learning, creating opportunities for students to give input, prescribe solutions to musical challenges, and respond to peer and teacher ideas verbally or through performing.
• Lessons build on student’s prior knowledge and help students make meaningful connections
• Engagement strategies capitalize on students’ interests, academic background, life experiences, culture and language to support rigorous and culturally relevant learning.

Curriculum & Pedagogy 
Curriculum 

• Music taught comes from a variety of cultures, genres, and historical periods 

• The teacher researches and selects repertoire using an equity lens and considers the role of cultural appropriation, and historic misrepresentations of music

• The teacher provides opportunities for students to make cross-curricular connections

• The teacher chooses vocal music at a developmentally appropriate range for young voices  

• The teacher has necessary visuals, music, instruments, and materials readily accessible during the lesson

• Lessons are well sequenced and allow students to interact with content at multiple levels of thinking (i.e. Bloom/Webb)

• Students demonstrate an understanding of musical concepts through singing/playing instruments, movement, improvising/composing, reading/notating, listening/analyzing, and responding/evaluating/connecting

Teaching Approaches and Strategies

• The teacher is familiar with a variety of internationally recognized music teaching approaches (e.g. Orff, Kodàly, Dalcroze, Gordon Music Learning Theory)
• The teacher models expected skills, behaviors, and musicianship and provides students opportunities to do so for each other
• The teacher uses different instructional strategies based on planned or in the moment decisions to address individual learning needs.

Scaffolds for Learning

• Teachers use a gradual release of responsibility to students when learning new music and to develop independent performing skills (e.g., I do, we do, you do).
• Music literacy is taught in a sound before symbol method in the same way we learn a language.
• New concepts and skills are developed through the sequence of: experience/explore, describe, identify, practice music, create, and evaluate with familiar and unfamiliar music.

Assessment for Student Learning  
Assessment and Adjustments

• Assessment methods include a variety of tools and approaches to gather comprehensive and quality information about the learning styles and needs of each student (e.g., anecdotal notes, audio/video recordings, work samples).
• The teacher uses formative assessment data to make in the moment adjustments, modify future lessons, and give targeted feedback.
• Students are given multiple opportunities to demonstrate learning
• Students have opportunities to self-assess and assess the performance of the group using an agreed-upon criteria.
• The teacher has an observable system and routines for recording formative assessment data and uses the system to inform instructional practice (e.g., spreadsheets, portfolios, rubrics).

Classroom Environment & Culture
Physical Arrangement of the Music Room

• The room arrangement allows for students to safely perform all activities involved in the music curriculum- moving (locomotor and non-locomotor), speaking/singing, listening, playing instruments, reading/notating, and creating.
• Students have access to a self-regulation place, e.g. calming corners, chill chair, zen place, etc., and students use it appropriately.
• The teacher uses the physical space of the classroom to assess student understanding and support learning (e.g., student seating is purposeful and strategic and teacher moves around the room to observe and engage with students)              
• Students have access to resources in the physical environment to support learning and independence (e.g., instruments, manipulatives, materials, visuals, technology).

Classroom Routines and Rituals

• Classroom systems and routines facilitate student responsibility, ownership and independence (e.g. arrival/dismissal; distribution and collections of instruments, sheet music, and other materials; equitable turns for answering questions, leading class activities, playing instruments, etc.).
• Available time is maximized in service of learning (Lessons are well-paced; transition time is smooth and minimal).

Classroom Culture

• Classroom discourse and interactions reflect high expectations and beliefs about all students’ intellectual and musical capabilities creating a culture of joy, inclusivity, equity and accountability for learning.
• Classroom norms encourage risk-taking, collaboration and respect for thinking. Students feel safe and supported to perform alone and with others

Instrumental Music Ensembles Best Practices
Instrumental music education in the ensemble setting provides a multitude of invaluable benefits for students and develops skills for critical thinking, collaboration, communication, creativity, self-expression, and leadership. The acquisition of these 21st century skills in the cooperative learning setting of a music ensemble allows students to develop both individually and as members of a larger community, empowering them for post-high school success. The creativity inherent in the interpretation and performance of a musical selection fosters creative thinking and problem-solving skills that permeate other facets of life. The National and Oregon state standards for Music Ensembles are articulated by skill level from novice to advanced. Students’ first year of instruction takes place in a beginning classroom setting, allowing the time and differentiated support needed to become proficient with basic instrument assembly, tone production, technique, and music literacy skills required for success in subsequent ensembles.  A comprehensive instrumental music program of quality is one that provides pathways for both students who wish to pursue music for personal enjoyment, social-emotional connection, and creative self-expression as well as students who wish to pursue careers in music after high school.

Purpose 
Standards, Learning Targets, and Teaching Points and differentiated needs.

• Lessons reflect the National Association for Music Education Ensemble Standards, Oregon Standards for Music Education, BSD Music Ensemble Learning Targets, BSD Band Scope and Sequence.
• Lesson objectives and rehearsal plans are clearly communicated to students. This could take the form of a rehearsal agenda posted on the board with goals and measure numbers for each piece.
• Students and teachers set short and long term goals and regularly reflect on progress made using agreed upon success criteria.
• Lessons develop knowledge and skills that are linked and transferable to performance literature. This includes tone, rhythmic accuracy/independence, phrasing, music reading, intonation, technique/facility, balance, dynamics, articulation, ensemble playing, and comprehensive musicianship.
• Lessons are structured to prepare students for opportunities to perform for an audience.

Student Engagement 
Intellectual Work, Engagement Strategies and Talk

• The teacher's expectations and strategies engage all students and focus on deep understanding and application of musical knowledge and skills.
• The teacher asks questions and assigns tasks that keep the whole class engaged when working with individual sections and/or students. Time spent working with individual students/sections during rehearsals is typically limited to a few minutes at a time. 
• Lessons promote student choice, responsibility, critical thinking and problem-solving skills.
• The teacher serves as a facilitator of learning, creating opportunities for students to give input, prescribe solutions to musical challenges, and respond to peer and teacher ideas.
• Lessons build on students’ prior knowledge and help students make meaningful connections.

Curriculum & Pedagogy 
Curriculum 

• The teacher uses a daily warm-up that intentionally includes ear training and technique building exercises such as breathing, long tones, tone/intonation, articulation, rhythm studies, scale studies, dynamics/phrasing and uses these fundamentals to teach skills that apply to the learning targets and the music being prepared. 
• The teacher studies conductor’s scores ahead of time and is aware of essential skills and knowledge needed for students to perform the music selected (pedagogical analysis).
• Repertoire selection encompasses a variety of cultures, styles and/or historical periods. Consideration is made to incorporate works that elevate the voices of historically under-represented populations.
• The teacher takes into account the skill, knowledge, backgrounds of individual students, as well as the entire ensemble, when selecting repertoire.
• The teacher selects music of high quality and interest that sequentially develops students’ musical and technical skills.
• The teacher’s instruction reflects extensive knowledge of the works performed with regard to period and style of the music and the skills and knowledge required of students for success in performing a given work.
• The teacher makes interdisciplinary connections when applicable. 
• Every performing ensemble presents a series of performances for parents, peers and the community. These performances -- which may occur outside of the school day -- are a summative demonstration of acquired skill.

Teaching Approaches and Strategies

• The teacher provides opportunities for students to hear and see high-quality, authentic performances of music in order to inform their own practice.
• The teacher provides instruction and repertoire-specific opportunities to understand and use concepts of music theory.
• The teacher models expected skills, behaviors, and musicianship and provides students opportunities to do so for each other. This can be done through conducting, play/singing for students, or having students model for each other.
• The teacher is proactive in correcting technical and stylistic mistakes by students, and is able to communicate style through conducting and modeling with minimal verbal instructions.
• The majority of rehearsal is spent playing music. Teacher talk is minimal, and feedback is followed by allowing students to demonstrate understanding of the concept(s) being discussed on their instruments.
• A significant portion of each rehearsal is dedicated to teaching concepts and skills through a carefully planned warm-up which may include long tones, technical exercises, chorales, and tuning.  
• The teacher uses a variety of metaphors and imagery to describe musical concepts.

Scaffolds for Learning

• Lessons connect concepts and skills taught in the previously performed music to new music.
• Students are taught how to break down challenging sections of music into smaller, manageable chunks and practice them slowly.
• Students are provided opportunities to practice music without instruments through strategies such as counting, clapping, air and fingers, singing note names, on a neutral syllable, or solfege.
• Lessons are differentiated based on individual needs.
• Music literacy is taught in a sound-before-symbol method in the same way we learn to speak a language.
• Teachers use a gradual release of responsibility to students when learning new music and to develop independent performing skills (e.g., I do, we do, you do).
• New concepts and skills are developed through the sequence of: experience/explore, describe, identify, practice music, create, and evaluate with familiar and unfamiliar music. 

Assessment for Student Learning  
Assessment and Adjustments

• Assessment methods include a variety of tools and approaches to gather comprehensive and quality information about the learning styles and needs of each student (e.g., anecdotal notes, audio/video recordings, work samples).
• The teacher uses formative assessment data to make in-the-moment adjustments, modify future lessons, and give targeted feedback. 
• Students are given multiple opportunities to demonstrate learning.
• Students regularly reflect on their thinking and learning in relation to the learning targets and individual performance.
• Students have opportunities to self-assess and assess the performance of the group using an agreed-upon criteria.
• Students demonstrate understanding of musical concepts through the processes of singing, playing instruments, movement, improvising, composing, reading, notating, listening, analyzing, responding, evaluating, and connecting.
• The teacher regularly asks questions to check for student understanding.
• The teacher has an observable system and routines for recording formative assessment data and uses the system to inform day-to-day instructional practice (e.g., spreadsheets, portfolios, rubrics).

Classroom Environment & Culture
Physical Arrangement of the Band Room

• Student seating is purposeful and strategic, with chairs and stands neatly organized. 
• The floor is free from clutter and allows the teacher to move around the room. 
• The percussion section and instrument storage areas are organized with designated space for various instruments and equipment.
• Visual aids support student understanding and practice.
• Students have access to resources in the physical environment to support learning and independence (e.g., instruments, extra sheet music, supplies, technology, etc.).

Classroom Routines and Rituals

• Classroom systems and routines facilitate student responsibility, ownership and independence (e.g., arrival/dismissal; starting/ending rehearsal; warm-up/technique building; distribution and collections of music/materials; assigning parts (percussion, 1st, 2nd, 3rd parts), leading class activities, students who did not bring materials to class, etc.)
• Available time is maximized in service of learning (rehearsals are well-paced; transition time is smooth and minimal).

Classroom Culture

• Classroom discourse and interactions reflect high expectations and beliefs about all students’ intellectual and musical capabilities creating a culture of joy, inclusivity, equity and accountability for learning.
• Classroom norms encourage risk-taking, collaboration and respect for thinking. Students feel safe and supported to perform alone and with others.
• Students assume responsibility for high quality music-making by offering constructive criticism, suggesting musical techniques or interpretations, and helping peers.
• Student leadership should be utilized when possible (i.e. section leaders, student conductors, class librarians, etc.)
• Students are respectful of their own and others instruments/music (i.e non percussionists do not play the percussion instruments unless given the permission by the teacher). 

Choral Ensemble Best Practices
Choral music education in the ensemble setting provides a multitude of invaluable benefits for students ranging from collaboration and communication skills, creativity, self-expression, and leadership to improved academic outcomes. The acquisition of these 21st-century skills in the cooperative learning setting of music ensembles allows students to develop both individually and as members of a larger community, empowering them for post-high school success.  The creativity inherent in the interpretation and performance of a musical selection fosters creative thinking and problem-solving skills that permeate other facets of life.  The National and Oregon state standards for Music Ensembles are articulated by skill level from novice to advanced. Students’ first year of instruction takes place in a beginning classroom setting, allowing the time and differentiated support needed to become proficient with basic tone production, technique, and music literacy skills required for success in subsequent ensembles. In this regard, the voice should be developed in the same ways as any other instrument, allowing students time and support to develop at the novice and intermediate levels before progressing to more advanced ensembles.  A comprehensive choral music program of quality is one that provides pathways for both students who wish to pursue music for personal enjoyment, social-emotional connection, and creative self-expression as well as students who wish to pursue careers in music after high school.

Purpose 
Standards, Learning Targets, and Teaching Points

• Lessons reflect the National Standards for Music Education, BSD Music Choir Learning Targets, district pacing guides and differentiated needs
• Lesson objectives and rehearsal plans are clearly communicated to students. This could take the form of a rehearsal agenda posted on the board with goals and measure numbers for each piece
• Students and teachers set short- and long-term goals and regularly reflect on progress made using agreed-upon success criteria
• Lessons develop knowledge and skills that are linked and transferable to performance literature. This includes tone, rhythmic accuracy, part independence, phrasing, music reading, intonation, technique/facility, balance, dynamics, articulation, blend, and comprehensive musicianship.
• Lessons are structured to prepare students for opportunities to perform for an audience.

Student Engagement 
Intellectual Work, Engagement Strategies and Talk

• Students explore a wide range of beliefs, cultures, and life experiences through pedagogically-appropriate repertoire.
• The teacher asks questions and assigns tasks that keep the whole class engaged when working with individual sections and/or students. Time spent working with individual students/sections during rehearsals is typically limited to a few minutes at a time. 
• Lessons promote problem-solving skills and student ownership of learning.
• The teacher serves as a facilitator of learning, creating opportunities for students to give input, prescribe solutions to musical challenges, and respond to peer and teacher ideas verbally or through performing.
• Lessons build on students’ prior knowledge and help students make meaningful connections.

Curriculum & Pedagogy 
Curriculum 

• The teacher uses a daily warm up routine that includes ear training and vocal technique building exercises such as breathing, tone/intonation, articulation, dynamics/phrasing and uses the routine to teach skills that apply directly to the pieces of music being performed.
• The teacher uses daily, sequential sight singing exercises wherein students can develop skills in rhythmic and melodic music literacy.
• The teacher studies scores ahead of time and is aware of essential skills and knowledge needed for students to perform the music selected (pedagogical analysis).
• Music taught comes from a variety of cultures, styles, and historical periods. Consideration is made to incorporate works that elevate the voices of historically under-represented populations.
• The teacher takes into account the skill and knowledge of individual students as well as of the entire ensemble when selecting repertoire.
• The teacher’s instruction reflects extensive knowledge of the works performed with regard to period and style of the music and the skills and knowledge required of students for success in performing a given work.
• The teacher makes interdisciplinary connections when applicable. 
• The teacher selects music of high quality and interest that develops students’ musical and technical skills.

Teaching Approaches and Strategies

• The teacher provides opportunities for students to hear and see high-quality, authentic performances of music in order to inform their own practice.
• The teacher provides instruction and repertoire-specific opportunities to understand and use concepts of music theory.
• The teacher models expected skills, behaviors, and musicianship and provides students opportunities to do so for each other. This can be done through conducting and vocal modeling by teachers and students.
• The teacher is proactive in correcting technical and stylistic mistakes by students and is able to communicate style through conducting and modeling with minimal verbal instructions.
• The majority of rehearsal is spent singing. Teacher talk is minimal and feedback is followed by allowing students to demonstrate understanding of the concept(s). 
• Student leadership should be utilized when possible (i.e. section leaders, student conductors, class librarians, etc.)
• The teacher uses metaphors and imagery, as well as musical and anatomical terminology, to describe concepts.

Scaffolds for Learning

• Teachers use a gradual release of responsibility to students when learning new music and to develop independent performing skills (e.g., I do, we do, you do).
• Music literacy is taught in a sound-before-symbol method in the same way we learn a language.
• Lessons connect previously-taught concepts and skills to new music.
• Students are taught how to approach challenging sections of music and practice appropriately using strategies such as counting, clapping, singing on a neutral syllable, or solfege.
• Lessons are differentiated based on individual needs.
• New concepts and skills are developed through the sequence of: experience/explore, describe, identify, practice music, create, and evaluate with familiar and unfamiliar music.

Assessment for Student Learning  
Assessment and Adjustments

• Assessment methods include a variety of tools and approaches to gather comprehensive and quality information about the learning styles and needs of each student (e.g., anecdotal notes, audio/video recordings, work samples).
• The teacher uses formative assessment data to make in-the-moment adjustments, modify future lessons, and give targeted feedback. 
• Students are given multiple opportunities to demonstrate learning.
• Students regularly reflect on their thinking and learning in relation to the learning targets and individual performance.
• Students have opportunities to self-assess and assess the performance of the group using agreed-upon criteria.
• Students demonstrate an understanding of musical concepts through the processes of singing, movement,  reading/notating, listening/analyzing, responding/evaluating/connecting, and improvising/composing.
• The teacher regularly asks questions to check for student understanding.
• The teacher has an observable system and routines for recording formative assessment data and uses the system to inform day-to-day instructional practice (e.g., spreadsheets, portfolios, rubrics).

Classroom Environment & Culture
Physical Arrangement of the Choir Room

• Student seating is purposeful, strategic, and neatly organized 
• The floor is free from clutter and allows the teacher to move around the room
• Visual aids support student understanding and practice. 
• Students have access to resources in the physical environment to support learning and independence (e.g., instruments, extra sheet music, supplies, technology, etc.).

Classroom Routines and Rituals

• Classroom systems and routines facilitate student responsibility, ownership and independence (e.g., arrival/dismissal; starting/ending rehearsal; warm-up/technique building; distribution and collections of music/materials; assigning parts, leading class activities, students who did not bring materials to class, etc.).
• Available time is maximized in service of learning (rehearsals are well-paced; transition time is smooth and minimal).

Classroom Culture

• Classroom discourse and interactions reflect high expectations and beliefs about all students’ intellectual and musical capabilities creating a culture of joy, inclusivity, equity and accountability for learning.
• Classroom norms encourage risk-taking, collaboration and respect for thinking. 
• Students feel safe and supported to perform alone and with others
• Students share responsibility for high‐quality music-making by offering constructive criticism, suggesting musical techniques or interpretations, and helping peers.
• Students are respectful of their own and others’ materials.

Theatre Arts Best Practices
Access to a quality theatre arts curriculum is essential for an equitable, well-rounded education. Theatre Arts education programs provide students with multiple opportunities for social and emotional learning, developing essential skills for the 21st century. Theatre Arts education must include representation of diverse cultures, religions, and lifestyles which will foster deeper understanding, mutual respect, and open dialogue in personal and community contexts. Theatre Arts nurtures observation, critical thinking skills, creativity, communication, collaboration, global awareness and empathy, helping students to question and understand the world around them. These skills are essential to developing artistic literacy including, but not limited to; acting, technical production, script analysis, play-writing, and the study of theatrical production. The theatre provides students a venue to express themselves and develop aesthetic awareness. Students learn to envision and innovate multiple solutions to a single problem, while developing empathy as they examine the world through someone else’s perspective. A comprehensive theatre arts program of quality is one that provides pathways for both students who wish to pursue theatre for personal enjoyment, social-emotional connection, and creative self-expression as well as students who wish to pursue careers in theatre after high school.

Purpose  
Standards, Learning Targets, and Teaching Points:

• Lessons reflect the Oregon and National Theatre Arts Standards, BSD Learning Theatre Arts Targets and differentiated needs.
• Lesson objectives and learning targets are clearly communicated and intentionally linked to other lessons providing a logical progression of learning.
• Students and teachers set and analyze success criteria as well as reflect on progress made.
• Lessons develop knowledge and skills that are linked and transferable to the artistic processes of creating, performing, responding, and connecting.
• Academic planning and instruction encourages diversity and the exploration of the human experience.

Student Engagement   
Intellectual Work, Engagement Strategies and Talk: 

• Teacher expectations and strategies engage all students in gaining and applying theatre arts knowledge and skills beyond the classroom.
• Lessons build on students’ prior knowledge and help students make meaningful connections.
• Students are engaged in the artistic processes of creating, performing, responding, and connecting.
• Teachers promote student choice, responsibility, and problem-solving skills.
• Teachers serve as facilitators of learning; creating opportunities for mutually influential dialogue, offering critiques and responses to peer and teacher feedback.
• Student talk reflects discipline-specific habits of intellectual thinking and ways of communicating.
• Teachers facilitate students’ journey of self-discovery as well as developing their understanding and appreciation of theatre.
• Teachers intentionally build community and collaboration across different identity groups. 
• Teachers demonstrate high standards of professionalism in their artistry, consider themselves artists, and consider their students artists.

Curriculum & Pedagogy 
Curriculum 

• Teachers choose culturally responsive and relevant content and projects that represent a variety of cultures, genres, and historical periods building understanding while challenging preconceived ideas and stereotypes.
• Teachers provide opportunities for students to make cross-curricular connections.
• Teachers choose theatre arts materials at a developmentally appropriate range for young voices.
• Teachers have adequate materials readily accessible during the lesson. 
• Teachers provide opportunities to learn soft skills like public speaking, self-advocacy, time management, and organization.
• Teachers design units that are well-sequenced and allow students to interact with content at multiple levels of thinking (e.g. Bloom/Webb).

Teaching Approaches and Strategies

• Teachers and students provide oral and written evaluation critiquing student work. 
• Teachers foster a strong sense of mutual respect and support while engaging students in rigorous discourse that encourages participants to build on and respond to each other’s thoughts.  
• Teachers provide collaborative activities that are structured and assessed to promote participation from each student.
• Teachers design and provide opportunities for students to investigate, explore and take ownership of the content. 
• Students read a variety of texts utilizing critical reading strategies for the purpose of building understanding and devising theatre projects.
• Students view a variety of diverse live and/or, pre-recorded performances that serve as models and inspiration, as well as to gain background, history, and context.

Scaffolds for Learning

• Fundamental skills are developed sequentially and build upon students’ prior knowledge. 
• Teachers practice gradual release of responsibility when developing products and performance.
• Lessons are differentiated based on individual needs and interests. 
• Students are provided opportunities to experience theatre arts in multiple ways (performance, analysis, stagecraft)
• Information is presented in both visual and oral format, for the different types of learners.  

Assessment for Student Learning  
Assessment and Adjustments

• Most assessment is performance-based and formative.
• Teachers observe students and adjust instruction throughout lessons.
• Students reflect regularly upon their thinking and learning.
• Students have opportunities to self-assess and assess the performances of the group using an agreed-upon criteria.
• Students demonstrate an understanding of theatre arts through a series of performances.

Classroom Environment & Culture
Physical Arrangement of the theatre arts space

• Theatre space is accessible for all students regardless of ability.
• Materials are accessible for all students regardless of ability.
• Theatre space is conducive to movement, interactive learning, with secure and safe storage and workspace.
• Theatre performance space has up-to-date safety features that are conducive to live performance and audience appreciation.
• Theatre space is physically safe and conducive to teaching students about parts of the theater, lighting, sound equipment, costuming and set storage and movement.

Classroom Routines and Rituals

• Teacher has established routines for:

  • Check-Ins/Updates

  • Warm-ups (appropriate to unit/lesson)

  • Collaboration time

  • Work time

  • Performance time

  • Critique/Reflection time

Classroom Culture

• Teachers are positive, enthusiastic, involved throughout lessons, and facilitate students’ appreciation of theatre.
• Students are enthusiastic, actively involved, and responsive to lessons.
• Students feel safe and supported to perform alone and with others.
• Lessons promote a dialogue between teacher and students that is mutually influential.
• Teachers intentionally build community across different identity groups.
• Teachers model high standards of professionalism in their artistry and treat their students artists.

Professional Collaboration and Communication

• Teacher engages with fellow theatre instructors for the purpose of improving student learning opportunities.
• Teacher uses differentiated tools in order to communicate with students and parents about progress and opportunities
• Teachers advocate for and support the learning of all students (including the historically underserved) through friendly, ethical, and professional methods, and techniques.

Visual Arts Best Practices
Access to a quality Visual Arts curriculum is essential for an equitable, well-rounded education. A visual arts education provides students with multiple opportunities for social and emotional learning and develops skills critical for the 21st century. Some of these invaluable skills include complex problem solving, critical thinking, creativity, communication, collaboration and empathy. The Visual Arts nurture observation and critical thinking skills which help us to see and question and are essential for visual literacy. Art also teaches us envisioning and innovation. Art teaches multiple solutions to a single problem. Art teaches empathy as we examine the world through someone else’s perspective. Art helps students engage with community, civic, social issues and enhances global awareness. A Visual Arts education must include representation of diverse cultures, religions, and lifestyles which will foster deeper understanding, mutual respect, and open dialogue in personal and community contexts. It provides a venue for students to express themselves and develop aesthetic awareness. Art provides ways of understanding the world.

Purpose 
Standards

• Visual Arts lessons reflect the grade-level National Core Arts Standards,  Oregon Visual Arts Standards, BSD Learning Targets and differentiated needs. 
• Lessons are intentionally and thoughtfully sequenced to develop knowledge and skills that are linked to prior knowledge in the visual arts, culture, language, life experiences, and academic background in relation to the learning targets.
• Lessons help develop 21st century skills including critical thinking, creativity, collaboration, communication, information literacy, media literacy, technology literacy, flexibility, leadership, initiative, productivity, and social skills.

Learning Targets and Teaching Points

• Lesson objectives and technical and creative skill development are clearly communicated to students in a variety of ways (i.e., rubric, criteria, verbal & written instruction, hands on demonstrations).
• Students and teachers set short and long term goals and regularly reflect on the creative process and progress made based upon success criteria.
• Lessons support all students through differentiated instruction based on each student’s learning needs.

Student Engagement 
Intellectual Work

• Students experience intellectual engagement when they are experimenting with the artistic processes involved in “making visual art”. 
• The Visual Arts offer unlimited avenues for engagement through the creative process, from brainstorming, researching, ideation, inspiration, production, revision, reflection to presentation.
• The creative process requires reading, writing, sketching, thinking, problem solving and meaning making. Purposeful experiences creating or engaging with works of art is at the core of Visual Art Education.
• Students take ownership of their learning when they document the creative process through journaling, sketching, planning, collaborating, getting feedback, revising, assessing and reflecting on rubrics and presentation. 

Engagement Strategies

• Engagement strategies capitalize on and build upon students’ academic background, life experiences, culture and language to support rigorous and culturally relevant learning. 
• Engagement strategies encourage equitable and purposeful student participation and ensure that all students have access to, and are expected to participate in, learning. 
• Engagement is evident when a positive and safe classroom environment has been established and where activities are differentiated so that all students experience success and growth. 
• Students demonstrate intrinsic motivation when initiating, exploring and developing projects that are rewarding and challenging.
• Students are given the opportunity for self expression, social, community, and global connections and personal growth. 

Talk

• Student talk reflects art discipline-specific habits of thinking and ways of communicating (e.g., creative process, artistic vocabulary, studio habits of mind). 
• Student talk embodies substantive and intellectual thinking. 
• Student talk is facilitated by task specific group activities that encourage individual and group participation.
• Respect and trust among all participants is shown through open communication and collaboration, along with a belief in student capacities. 

Curriculum & Pedagogy 
Curriculum 

• Instructional materials (e.g., consumable supplies, media specific equipment, visual resources, technology) and tasks are appropriately challenging and supportive for all students, are aligned with the learning targets and content area standards, and are culturally and academically relevant.
• The lesson materials and tasks are related to a larger unit and to the sequence and development of conceptual understanding overtime. 
• The curriculum provides opportunities for teachers to develop, modify and adjust instruction to meet the individual needs of students.

Teaching Approaches and Strategies

• The teacher makes decisions and utilizes instructional approaches (e.g., inquiry, modeling, critique) in ways that intentionally support his/her instructions or purposes.
• Instruction reflects and is consistent with pedagogical content knowledge and is culturally responsive, in order to engage students in artistic habits of thinking. 
• The teacher uses different instructional strategies, based on planned and/or in the moment decisions, to address individual learning needs. 

Scaffolds for Learning

• The teacher provides scaffolds for the learning task to support the development of the targeted concepts and skills and gradually releases responsibilities, leading to student Independence (e.g., taps into prior knowledge, pre-teach vocabulary, demonstrations, chunking information, gradual release of responsibility, reteaching/mini-lessons, differentiation, review of instructional resources)

Assessment for Student Learning 
Assessment

• Students assess their own learning in relation to the learning target. 
• The teacher creates multiple assessment opportunities and expects all students to demonstrate learning. 
• Assessment methods include a variety of tools and approaches to gather comprehensive and quality information about the learning styles and needs of each student (e.g., anecdotal notes, student work samples including process documentation, critique, verbal and/or written student reflections).
• The teacher uses observable systems and routines for recording and using student assessment data (e.g., critique, sketchbooks, conferring records, portfolios, rubrics).
• Assessment criteria, methods and purposes are transparent and match the learning target.

Adjustments

• The teacher uses formative assessment data to make in the moment instructional adjustments, modify future lessons, and give targeted feedback to students.

Classroom Environment & Culture
Physical Arrangement of the Visual Arts Room

• The physical arrangement of the art studio is conducive to student learning for all students, including those with specialized needs (e.g., appropriate work space for the art medium, visual and material resources, dedicated space for displaying student artwork).
• The teacher uses the physical space of the classroom studio to assess student understanding and support learning by moving around the room to observe and confer with students individually and in small groups.
• Students have access to resources in the physical environment to support learning and independence (e.g., supplies, art materials, visual aids, digital resources, books, storage of student artwork).
• Appropriate space is provided to safely and properly store a variety of classroom art materials, student artwork, and student sketchbooks/portfolios.

Classroom Routines and Rituals

• Classroom systems and routines facilitate student responsibilities, ownership and independence. (e.g., modeling the use and access of materials, consideration for others’ materials in a shared workspace)
• Appropriate studio practices are explicitly taught, modeled and practiced (e.g., access and storage of projects and materials, care and cleaning of equipment and workspace) 
• Available time is maximized in service of learning. 

Classroom Culture

• Classroom discourse and interactions reflect high expectations and beliefs about all students' intellectual capabilities and create a culture of inclusivity, equity and accountability for learning. 
• Classroom norms encourage risk-taking, collaboration and respect for thinking. 
• Teachers create a safe and supportive environment that encourages emotional openness and honesty as students take academic risks through artistic experimentation, exploration, and inquiry. 
• Students avoid comparisons with others and, instead, use feedback as a catalyst for personal improvement.
• Social and emotional learning supports students in the following ways:
• Engaging with others in the learning experience;
• Awareness of level and nature of attention and commitment to the learning experiences of others (active listening/watching, offering support, encouragement, critique, as appropriate, and so on)
• Willingness to adjust one’s own focus in order to support the learning of others
• Seeking a productive balance between accepting responsibility for one’s own learning and the learning of others
• Developing self‑motivation, initiative and a willingness to take informed risks 
• Supporting, encouraging and working with their peers in a positive and productive way 
• Developing a sensitivity to art practices and artworks from their own and various culture