Guide to Reading Using the Framework 2020 Arts

Guide to Reading & Using the Framework 2020 Arts Education Framework for California Public Schools, Transitional Kindergarten Through Grade Twelve California Department of Education Tony Thurmond, State Superintendent of Public Instruction

Introduction to the Guide to Reading and Using the Framework The goal of the guide is to highlight what is in the Arts Framework so that readers may determine which chapters best support their needs at any given time. The Guide • explains the purpose of the Framework; • identifies the audience for the Framework; and • provides an overview of the content of the Framework. 2

Questions for the Guide to Reading and Using the Framework 1. What are the guiding documents for arts education in California? 2. Who might use the Arts Framework? 3. What is the difference between standards and frameworks? 4. How is the Arts Framework organized, and what are some content highlights? 3

Q 1—What are the guiding documents for arts education in California? 4

Documents That Guide Arts Education in California • The California Preschool Learning Foundations Volume 2 (preschool) • The 2019 California Arts Standards (transitional kindergarten through grade twelve) • The 2020 Arts Framework (transitional kindergarten through grade twelve) • California Career Technical Education Model Curriculum Standards for Arts Media and Entertainment (grades eight through twelve may include courses aligned to these standards) 5

A Note About Prekindergarten vs. Transitional Kindergarten • The Arts Framework provides guidance for implementation of the prekindergarten (PK) arts standards which are intended for use in transitional kindergarten (TK). • In the Arts Framework, the PK standards from the Arts Standards document are referred to as TK standards. • PK educators should use the California Preschool Learning Foundations, Volume 2, which addresses the development of children 36 to 48 months. 6

Q 2—Who might use the Arts Framework? 7

The Framework is for All Arts Education Stakeholders • Local Educational Agencies (TK– 12 Educators, Administrators, School Counselors, etc. ) • Community Partners • Developers and Publishers of Instructional Materials • Professional Artists • Institutions of Higher Education • Policymakers • Arts Education Advocates • Museum Educators • Arts Community Partners • Parents/Caregivers/Families 8

Sample Entry Points for Different Stakeholders (1) For a single subject dance teacher • Read Chapter 3: Dance. • Read and cross-reference with Chapter 2: The Instructional Cycle, to get a broader understanding of some of the discussions around instruction. For an elementary generalist: • Read Chapter 1: Vision and Goals for Standards-Based Arts Education. • Read Chapter 8: Transcending Disciplinary Boundaries—Arts Integration. • Read specific discipline chapters to plan foundational arts learning experiences to build into an integrated unit or lesson. 9

Sample Entry Points for Different Stakeholders (2) For an administrator • Read Chapter 1 and Chapter 9: Implementing Effective Arts Education. • Work with designated leaders such as teachers on special assignment to use Chapter 2 to plan professional learning experiences to support arts teachers. For a parent or community arts educator • Use Chapter 1 and some discipline-specific chapters for a better understanding of what to expect in the arts learning experiences students are getting in school. 10

Q 3—What is the difference between standards and frameworks? 11

Standards and Frameworks: What is the Difference? Standards • The “what” for instruction • What we want students to know, understand, and be able to do • End of a grade level • End of their school career Frameworks • The “how” for instruction • Guidance for educational programs • Provide content for different users • Reflect current and confirmed research • Meet the needs of ALL students 12

Q 4—How is the Arts Framework organized, and what are some content highlights? 13

How is the Framework Organized? • Guide to Reading and Using the Framework • Chapter 1: Vision and Goals for Standards-Based Arts Education • Chapter 2: The Instructional Cycle • Chapters 3– 7: Discipline-Specific Chapters • Chapter 8: Transcending Disciplinary Boundaries—Arts Integration • Chapter 9: Implementing Effective Arts Education • Chapter 10: Instructional Materials • Appendices 14

Chapter 1: Vision and Goals for Standards. Based Arts Education • Philosophy & goals of the standards • Definition of artistic literacy • Connection to social–emotional learning (SEL) • Access and equity Framework Highlights 15

Chapter 2: The Instructional Cycle • Structure and intention of the standards • Backward design and curriculum mapping • Assessment approaches and methods • Culturally and linguistically responsive teaching • Universal Design for Learning (UDL) Framework Highlights 16

The Discipline Chapters Chapter 3: Dance Chapter 4: Media Arts Chapter 5: Music Chapter 6: Theatre Chapter 7: Visual Arts Each discipline chapter includes discipline-specific explanations and approaches to • Universal Design for Learning (UDL); • Culturally and Linguistically Responsive Teaching; • Students who are English Learners; • Students with Disabilities; and Framework Highlights • Considerations for instruction in the discipline. 17

Chapter 8: Transcending Disciplinary Boundaries—Arts Integration • Articulates a co-equal approach to arts integration • Provides models and examples including how arts teachers and non-arts teachers might collaborate to plan and implement integrated instruction Framework Highlights 18

Chapter 9: Implementing Effective Arts Education (1) • Guidance for administrators on effective and equitable arts education programs • Improving arts education through strategic program evaluation and planning • Discussion of the Opportunity to Learn Standards, which LEAs can use to evaluate their programs • Engaging all stakeholders in leadership and advocacy for arts education • Professional learning Framework Highlights 19

Chapter 9: Implementing Effective Arts Education (2) The arts are not a frill. The arts are a response to our individuality and our nature and help to shape our identity. What is there that can transcend deep difference and stubborn divisions? The arts. They have a wonderful universality. Art has the potential to unify. It can speak in many languages without a translator. The arts do not discriminate. The arts can lift us up. Barbara Jordan—Former Congresswoman 20

Chapter 10 and Appendices Chapter 10: Instructional Materials • Guidance for publishers of instructional materials to be used as criteria for the adoption of instructional materials Appendices: Links to resources • California Education Code sections governing arts education programs • Guidelines for safe use of artistic materials, tools, and appropriate performing teaching facilities • Professional learning • And more… Framework Highlights 21

• What Framework content chapter stands out as most useful to you right now? Reflection • What chapters will you explore in the future? • What questions do you have? 22