Arts Integration Specialist Final Portfolio: Kimberly A. Kroetsch
Arts Integration Specialist Final Portfolio: Kimberly A. Kroetsch
Arts Integration Specialist Final Portfolio: Kimberly A. Kroetsch
Final Portfolio
SLIDESMANIA.COM
Kimberly A. Kroetsch
Table of Contents
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Curriculum Writer
● Representative for urban music education on the Minnesota State Arts Standards Committee at the
Minnesota Department of Education. Roles included collaborating with a variety of arts educators,
drafting, providing feedback and revising to ensure vertical and horizontal alignment of the 2008
Minnesota State Arts Standards.
● Member of St Paul Public Schools Elementary Music Education Steering Committee. Roles include
collaborating, creating, providing feedback and revising to ensure vertical and horizontal
alignment of district level K-12 music scope and sequence.
● Author of digital anchor lessons for St Paul Public Schools aligned to Minnesota State Music
Standards. Anchor lessons are designed to comply with criteria set forth by the school district and
include the create, perform, respond and connect processes in the arts.
Entrepreneur
● Founder and creator of In and Through Music: an online business dedicated to the creation of
digital, music integrated resources for elementary educators.
Education
Master of Education in Music Education, 2006 University of Minnesota, Twin Cities
Bachelor of Arts in Music Education & Vocal Performance, 1996 University of Minnesota, Twin Cities
I have 25+ years as a founder, teacher and arts integration leader in Minnesotaʼs first A+
school whose mission is to provide a quality, comprehensive, arts-integrated education.
A+ is a nationally recognized, transformational model of arts integration in schools
across the US.
I collaborate with others who view the arts as a powerful vehicle for equitable learning.
I am excited to partner with you!
Arts Integration Specialist as Change Maker
Kimberly A. Kroetsch
1878 Laurel Avenue,
St. Paul, Minnesota 55104
(651) 246-7889
[email protected]
`
Arts Integration Standards Alignment Guide
By Kim Kroetsch
Vocal Music & Arts Integration Specialist
Global Arts Plus Lower Campus
St Paul, Minnesota
[email protected]
What is Arts Integration?
According to the Kennedy Center’s Definition… “Arts Integration is
an Approach to Teaching
in which students
construct and demonstrate
UNDERSTANDING through an
ART FORM.
Students engage in a
CREATIVE PROCESS
which CONNECTS
an art form and another subject area
and meets
EVOLVING OBJECTIVES
in both.”
Alignment Guide Introduction
This arts integration alignment guide has been designed as a starting place where educators may come to develop arts
integration lessons. This guide is centered around the newest edition of the Minnesota State Arts Standards and Minnesota
State Elementary Content Standards. It includes lesson seeds integrating the following standards areas:
● Dance & English Language Arts Writing
● Visual Arts & Science
● Music & Math
● Music & Social Studies
● Music & English Language Arts Writing
● Theater & Social Studies
● Visual Arts & Social Studies
Some lesson seed ideas in this alignment guide are designed to encourage collaboration between classroom teachers and
arts specialists. When the expertise of two or more teachers is used to develop arts integrated lesson plans and/or projects
together, the brilliance of all educators is maximized for the good of all students.
About the Author
I have been the Vocal Music Specialist at Global Arts Plus (GAP) PreK-8 in St Paul Public Schools since 1996. The mission of
GAP is “to provide a quality, comprehensive, arts-infused education for all.” As one of the founding members of this arts
integrated program (formerly known as Linwood A+ and Linwood Monroe Arts Plus), I assisted in bringing the A+ Schools
Model in 1995 from North Carolina to St Paul, Minnesota to establish the first A+ School in Minnesota. The A+ Schools
movement was established by the Thomas S. Kenan Institute for the Arts in Winston-Salem, North Carolina. It was known as
an arts integrated school reform program based on the concept that the arts are not only a crucial element of comprehensive
education, but that the integration of the arts with other content areas provides a powerful way to build important learning
connections and increase student achievement across all areas of the curriculum for all learners. In 1996, I was hired to
become a K-6 music specialist at Minnesota's first A+ school: Linwood A+ Elementary.
The A+ Schools team collected data for seven years and found the following through their research:
● Over the first three years of A+ implementation, schools met their growth goals with The School Performance Score
increasing by a full letter grade.
● The number of students achieving grade level proficiency between 2013-16 increased by an average of 22 percent after
A+ implementation.
● Traditionally marginalized groups of students showed the most significant, fastest gains with A+ implementation.
● As schools committed to the A+ program for longer periods of time, the stronger student achievement grew.
● In addition to increased achievement data, A+ school reported an improvement in attendance, a decrease in disciplinary
problems, higher satisfaction of teachers and increased levels of community and family involvement.
Source: North Carolina Arts Council, in collaboration with the Department of Public Instruction.
https://www.ncarts.org/aplus-schools/impact/schools-change-agent
A study called Transforming Teaching Through Arts Integration, documented improvement of standardized testing scores
over the course of four years by 20% at the middle school level in Anne Arundel County Public Schools. This improvement
positively correlated with the implementation of the Supporting Arts Integrated Learning for Student Success (SAILSS)
model in that district. There is empirical evidence within this research to support the use of school-wide arts integration
as a strategy to affect meaningful change. Through increased arts-focused professional development, administrative
support, and interactions with art and artists, a low performing middle school transformed student achievement and
school climate.
Source: Transforming Teaching Through Arts Integration, Snyder, L., P. Klos and L. Grey-Hawkins. (2014).
Transforming Teaching Through Arts Integration. Journal for Learning through the Arts, 10(1).
Within another study called The Collaborative Residency Project: The Influence of Co-Teaching on Professional Development in
Arts Integration, educators observed how arts integration heightened student engagement, supported social and emotional
learning, and activated creative problem solving which in turn grew student self-efficacy. Through teacher implementation
of a scaffolded, constructivist practice, they were able to teach in a more culturally relevant way by accommodating
students’ unique strengths and abilities. Additionally, the introduction of resident artists into classrooms provided
meaningful professional development focused on specific integrated content, curriculum planning, modeling of arts
integrated teaching techniques and assessment of student learning outcomes.
Source: Schlaack, N. and J. Simpson Steele (2019) The Collaborative Residency Project: The Influence of Co-Teaching on
Professional Development in Arts Integration, International Journal of Education & the Arts, 19(11).
Twenty-eight years later, I am happy to report that I continue to teach the children of the same school, now known as Global
Arts Plus in St Paul, Minnesota in and through the arts. Though the name has changed, the school’s mission remains: To
provide a quality, comprehensive, arts-infused education for all. Thousands of children have benefitted from that mission set
forth largely by myself and the other founding teachers of Linwood A+. This guide will help me and my colleagues continue to
not only meet the mission and goals of our school, but deepen and expand arts integration across countless other schools, as
well.
Purpose and Instructions for Using this Arts Integration Alignment Guide
The purpose of this alignment guide is to offer educators a place to come for lesson seed ideas that integrate arts and
classroom content areas. The alignment guide begins with lesson seeds created for grade 1 and advances to lesson seeds for
grade 4. In this way, both classroom teachers and arts specialists can access lesson seeds associated with the grade level(s)
they teach. Here is how to use this guide:
1) This alignment guide includes 10 arts integrated lesson seeds for grades 1-4.
2) The first column indicates the alignment number, for reference.
3) Column 2 indicates the grade level for whom the lesson seed is designed, according to Minnesota State Standards.
These lesson seeds can certainly be adjusted up and down in rigor by a teacher for application in other grade levels.
4) Column 3 indicates the cognitive demand level of each arts integration lesson seed. Cognitive demand refers to the level
of rigor in which we ask our students to engage. When we integrate the arts with other content areas, we provide rich
opportunities for students to engage in evaluation and creativity, for example. These are high order thinking skills
needed in the 21st century. When creating arts integrated lessons, the goal is to match the rigor of verbs across content
areas. In this alignment guide, arts area verbs are highlighted in blue, while grade level area verbs are highlighted in
red. Focusing on the alignment of verbs ensures that the cognitive demand of the arts and classroom content are on par
with one another rather than in service of one or the other. When the cognitive demand levels are equal across content
areas, we create lessons that are truly integrated, rather than arts enhanced.
5) Columns 4 & 5 reflect the Minnesota State Standard Benchmarks for the arts areas (dance, drama, music and visual art)
and elementary grade level subject areas (English language arts, math, science and social studies) being aligned.
6) The last column highlights a lesson seed, designed to be an idea or a starting place from where one may build full arts
integrated lesson plans and assessments.
Alignment Grade Cognitive ART STANDARD CONTENT STANDARD LESSON SEED
Number Demand
Level
1 1 Level 3 Dance Benchmark English Language Arts Students will improvise and video
1.1.2.3.1 Writing Benchmark record movement in 3 parts with a
Improvise 1.6.3.3 beginning, middle and end. Using
movement that has Write narratives and other their video, students will write a
a beginning, middle creative texts in which narrative recounting the dance
and end. they recount two or more improvisation including details of
appropriately sequenced their dance with temporal words to
events, include some signal the order of
details, regarding what the 3 parts, then summarize with a
happened, use temporal simple artistic response to their
words to signal event work.
order, and provide closure.
4 2 Level 2 Music Benchmark Math Benchmark Students perform the song One
3.2.3.6.1 2.3.3.2 Dollar using technical accuracy and
Perform music with Identify pennies, nickels, expression. In each verse, students
and for others, using dimes and quarters. Find identify coins and calculate to
technical accuracy and the value of a group of determine their combined value,
expression. coins and determine speaking their calculations to a
combinations of coins that steady beat until they
equal a given amount. reach $1.00.
5 2 Level 3 Music Benchmark Social Studies Students will learn about the history
3.2.2.2.1 Benchmark: and role of Territorial Songs in
Create: Generate 4.3.1.1.1 Ojibwe culture. Using Chrome Music
rhythmic or melodic Create sketch maps to Lab technology, students will create
patterns. illustrate detailed spatial original melodic Territorial Songs
information about settings inspired by their own modern
from stories; describe the territorial landscapes. By composing
spatial information found in Chrome Music Lab, students also
on the maps. create visual sketch maps, describing
through illustration the information
found on their territorial map.
6 3 Level 3 Music Benchmark Math Benchmark Using the technology tool “Groove
3.3.2.3.1 3.3.1.2 Pizza”, students create and organize
Create: Organize Create shapes in layered polyrhythmic phrases using
chosen musical various contexts; recording technology. Layered
patterns into Sketch polygons with a musical patterns are created as
phrases using a given number of sides or shapes are created and sketched out
system of notation vertices. with a given number of sides and
or recording vertices.
technology.
7 3 Level 3 Music Benchmark English Language Arts Students will create and write an
3.3.2.2.1 Writing Benchmark: original opinion piece in which they
Create or improvise 2.6.1.1 introduce their piece, state an
rhythmic or Write opinion pieces in opinion supported by reasons
melodic patterns. which they introduce the connected by linking words and a
topic, state an opinion, conclusion about a topic of choice.
supply reasons that Through the process of
support the opinion, use improvisation, they will create
linking words to connect original chants/raps using their
opinion to reasons and original writing.
provide a concluding
statement or section.
9 4 Level 3 Visual Arts Physical Science/Energy Students will create and construct a
Benchmark Benchmark sculptural electrical circuit by using
5.4.2.2.1 4.2.3.2.2 wires, batteries, light bulbs and a
Create: Generate Construct a simple variety of provided visual art
new ideas by electrical circuit using materials.
combining wires, batteries, and light
dissimilar ideas bulbs.
together.
21st 21st Century Theme: Mastery of Key Math: Line, vertices, sides, angles,
Century Interdisciplinary Themes Vocabulary hexagon, rectangle, trapezoid, octagon,
Skills rhombus, quadrilateral, square,
quadrangle, triangle, polygon
Learning & Innovation Skills:
Creativity & Innovation Music: Rhythm, Polyrhythms
Materials Teachers:
List ● Printed lesson plan
● Google Slides for Lesson: Polyrhythms & Polygons
● Groove Pizza Website (QR code is included on Slide 9)
● Link to Summative Assessment in Seesaw- teachers will need to SAVE this link created
assessment titled “Groove Pizza Polygons” to their own Seesaw account, then assign it to
their own class.
Students:
● iPads
● Camera on iPad to scan QR code
● Seesaw App with Groove Pizza Polygons
GOALS
Student Learning Outcomes: I can create (compose) and record 3 original polyrhythms from 3 original
polygons with different numbers of sides and vertices.
ACCESS (PRE-ENGAGEMENT)
Transition: Three claps and a snap for participation in discussion. Eyes up on the board where Groove
Pizza will be projected. Slide 5 includes link to Groove Pizza
NEW INFORMATION
APPLY
Minnesota Throughout this phase of the lesson, the teacher moves Type: Formative Level 3
State Music around the room to check for understanding , monitor
Benchmark progress and provide support. Task: Composition
3.3.2.3.1: Observation
Create: Individual work: (Whole Class)
Organize Students access the Groove Pizza link in their Seesaw
chosen Journal. Criteria for
musical ● Students use individual exploration time to Success:
patterns into create shapes and rhythms. The student
phrases using ● The teacher circulates and uses guiding creates 3 rhythms.
a system of questions to uncover understanding about
notation or personal music preferences and design of Revisions are
recording shapes. observable.
technology. ● Teacher uses a timer, so students know how long
they have to work on their creation. The student
Minnesota ● When the timer chimes, it is time to have 3 records 3 rhythms.
State Math rhythms and 3 unique polygons completed in
Benchmark Groove Pizza. Each of the 3
3.3.1.2: rhythms are
Create unique.
shapes in
various The student
contexts; creates 3 unique
Sketch polygons.
polygons
with a given The student
number of correctly names 2
sides or polygons that they
vertices. created.
Student correctly
identifies the
number of sides of
the 2 polygons.
Student correctly
identifies the
number of vertices
of the 2 polygons.
SUMMATIVE ASSESSMENT
Music Now that we have had time to practice creating Type: Summative Level 3
Benchmark: polyrhythms & polygons in Groove Pizza, you will record
3.3.4.7.1 and share your musical creation and tell about the Task: Individual
polygons that you created in your composition. composition +
Math: summary frames.
Benchmark: ● Students will use the Seesaw app to complete
3.3.1.1 Summative Assessment Criteria for
● They will also need to have Groove Pizza open Success:
with their composition. Students will toggle See Summative
between the 2 apps. Teacher
Assessment
When you open the Seesaw app, you will see an Description
assignment called “Groove Pizza Polygons” (display on
whiteboard). The directions are in the Seesaw
assignment, but let’s go through them together.
CLOSING
Music One student volunteer connects to the projector. Type: Formative Level 3
Benchmark:
Explain Teachers select a student who has met or come close to Task: Three
personal meeting the criteria of the lesson: Minute Pause
preference of (3 rhythms + 3 unique polygons created.) The class
music listens to their musical composition and looks at the Criteria for
selections by polygons. Success:
identifying Students use
music Teachers use a Three Minute Pause to stop and reflect musical language
elements that upon their classmate’s work before sharing. to analyze their
generate ● What did you notice about the polygons? classmates'
personal ● What did you notice about the music? musical choices,
interest. ● What questions do you have? and analyze
polygons,
Math: If you want to take your learning even farther, Here are identifying the
Benchmark: some options to work on during independent work time number sides and
Describe or as homework. vertices of their
geometric shapes.
shapes WOW CHECKLIST
Create more than 1 polyrhythmic idea.
Make stylistic choices for your composition.
Make tempo choices for your composition.
Compare and contrast 2 of your polygons on
page 4 of Seesaw using a Venn Diagram.
Directions: Within the NEW INFORMATION section of the lesson, the teacher monitors student
active engagement in music making and discussion.
● If 80% or more students meet the criteria, the teachers may continue with the lesson.
● If fewer than 80% of students meet the criteria, take additional time to ensure students have
the opportunity to master shape vocabulary and demonstrate attendance to musical
differences.
Please Note: Use of sentence starters, visuals, audio recordings and non-verbal responses (polling)
are built into the diagnostic assessment and slides to support EL & SPED learner success. Teachers
should use all of these tools to encourage all students to participate and demonstrate
understanding. Word walls with accompanying visuals can also support academic language
development in the classroom.
Minnesota State Music Benchmark 3.3.2.3.1: Minnesota State Math Benchmark 3.3.1.2:
Create: Organize chosen musical patterns into Create shapes in various contexts; Sketch
phrases using a system of notation or recording polygons with a given number of sides or
technology. vertices.
Directions:
1.The NEW INFORMATION section of the lesson includes an observational, formative assessment
using guided questioning. In this section, the teacher should monitor students within the group
who show thumb responses regarding musical preferences, participate in creating and revising
rhythms, and verbalize correct shape vocabulary during discussion.
2.Within the APPLY section of the lesson, teachers monitor individual student progress while
creating music and responding to questioning. This section of the lesson involves more specific and
individualized criteria for assessment, allowing the teacher to see if students are ready for the
summative assessment.
● If 80% or more students meet the criteria, the teacher may continue on to the summative
assessment.
● If fewer than 80% of students meet the criteria, take additional time to ensure students have
the opportunity to master shape vocabulary and demonstrate musical creation.
Minnesota State Music Benchmark 3.3.2.3.1: Minnesota State Math Benchmark 3.3.1.2:
Create: Organize chosen musical patterns into Create shapes in various contexts; Sketch polygons
phrases using a system of notation or recording with a given number of sides or vertices.
technology.
Cognitive Demand: High Cognitive Demand: High
This formative assessment task will include monitoring the whole class as they work on their own
musical composition and polygon creation.
Minnesota State Music Benchmark 3.3.2.3.1: Minnesota State Math Benchmark 3.3.1.2:
Create: Organize chosen musical patterns into Create shapes in various contexts; Sketch polygons
phrases using a system of notation or recording with a given number of sides or vertices.
technology.
Cognitive Demand: High Cognitive Demand: High
This summative assessment task will include an individual musical composition with summary
frames.
Exceeds Standard:
The student created more than 1 polyrhythmic idea.
The student made stylistic choices for their composition.
The student made tempo choices for their composition.
The student correctly compared and contrasted their 2 polygons using a Venn Diagram.
Accommodation: Students who require accommodation may create and submit work with the support of a
partner/buddy or the support of an aide.
Beginning The student made an effort at the assignment. 1-3 criteria for individual
success were met through the assignment.
Developing The student partially fulfilled the assignment. 4-7 criteria for individual
success were met through the assignment. The student meets at least two
criteria from both music and math.
Proficient The student fulfilled the assignment of all 8 criteria for individual success at
the meets standard level.
Exceptional The student exceeded the meets standard level of the assignment. 1 or more
criteria from the exceeds standard were met through the assessment.
Student Reflection
Here is what I like the most about my composition: ___________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
_____________________________________________________________________________________________________
Kim Kroetsch
Arts Integration Lesson Plan 2
Content Area Arts Area Lesson Title
English Language Arts: Music Music Composition & Poetry
Speaking, Viewing, Listening Reading
and Media Literacy
Minnesota State Music Benchmark 3.3.2.2.1 Minnesota State English Language Arts Benchmark
Create original artistic work 3.8.5.5
Speaking, Viewing, Listening and Media Literacy
Create or improvise rhythmic or melodic patterns.
Create engaging audio recordings of stories or
Create: Organize chosen musical patterns into poems that demonstrate fluid reading at an
phrases using a system of notation or recording understandable pace.
technology.
Addressed Music Benchmarks: 3.3.2.3.1, 3.3.2.4.1, Addressed ELA Benchmarks: 3.1.10.10, 3.3.1.4, 3.8.8.8
3.3.3.5.1, 3.3.3.6.1
21st 21st Century Theme: Mastery of Key Music: Audio recording, tempo, loop,
Century Interdisciplinary Themes Vocabulary volume, accompany, rhythm, melody,
Skills create, pattern,
Learning & Innovation Skills:
ELA: clarity, feeling, fluency, pace,
Creativity & Innovation expression
Materials ● iPad with Garageband app & Seesaw App with Link to Summative Assessment
List
GOAL
ACCESS (PRE-ENGAGEMENT)
Transition: Today, we are going to create and record music to bring out the meaning of this poem and to
accompany our speaking of the poem.
NEW INFORMATION
Transition: Directions
● When I say go, quietly walk to your table spot, put on your headphones and open Garageband on your
iPad.
● Open Live Loops and explore musical options for your recording.
● Record your loop(s).
● Record yourself reading Hold Fast to Dreams.
● Need help? Please ask 2 tablemates before raising your hand for teacher help.
● The teacher will walk around to talk with students about their music and reading.
When the timer chimes and the classroom lights go off, you should complete your work.
APPLY
Create Throughout this phase of the lesson, the teacher moves Type: Formative Level 3
engaging around the room to check for understanding, monitor
audio progress and provide support. The script below can help Task: Composing ------------
recordings guide the teacher and students through each step if more and recording
of stories support is needed. music and voice
or reading poetry.
poems that The teacher can use a timer for each step so students know
demonstrat how much work time they have. Criteria for
e fluid Success:
It is helpful for the teacher to project Garageband on the Students…
reading at
whiteboard to demonstrate how to record and change * show that they are
an able to record
understanda tempo. music and voice in
ble pace. Step 1: Poetry Rehearsal
2 separate tracks
● Practice reading through “Hold Fast to Dreams”
*make adjustments
fluently and with a good tempo.
to fluency, clarity,
Create or expression and
Step 2 Musical Composition
improvise tempo as they
● Open Garageband App
rhythmic or rehearse and
melodic ● Tap +, Select Live Loops & Explore! record.
patterns. ● Select a loop that you think accompanies the meaning
of your poem.
● Record the loop
● Speak line 1 of your poem to your recorded music.
Keep trying until it flows nicely. Maybe you need to
adjust the tempo so the words flow better? Tap
wrench to adjust tempo (the speed of music), if
needed.
● Continue to add on each line- speaking each line of
your poem to the music until they flow like you want
them to.
● Once you are done with the entire poem-
congratulations! You have created original music to
accompany the reading of your poem.
● Practice will lead to a clear performance!
● When the performance is rehearsed, record the loop
and the vocal track.
ELA Now that we have had time to compose music and record Type: Summative Level 3
Benchmark our voices, you will share your musical creation.
Task: Each
Music ● Students will use the Seesaw app to complete student will record
Benchmark Summative Assessment a musical creation
Explain ● They will also need Garageband open with their including at least 2
personal composition. Students will toggle between the 2 tracks: their
preference apps. instrumental loop
of music track and their
selections When you open the Seesaw app, you will see an assignment voice reading a
by called “Music Composition and Poetry Reading (display on poem fluently.
identifying whiteboard). The directions are in the Seesaw assignment,
music but let’s go through them together. Criteria for
elements Success: See
that Link to Summative Assessment Summative
generate Teacher
personal Assessment
interest.
Evaluation
Transition: I will put 10 minutes on the timer for you to share your poem and music. When you are done,
decide if you would be willing to share your work with the class.
CLOSING
Raise your hand if you have a recording you would like to Type: Formative Level 3
share? One student volunteer connects to the projector.
Task: Listening
Teacher selects a student who has met or come close to and Responding.
meeting the criteria of the lesson:
(music + voice recording) The class listens to their Criteria for
musical composition. Success:
Students use
Teachers use a variety of critical response guided academic language
questions to guide analysis: to analyze their
● What did you notice about the voice? classmates'
● What did you notice about the music? musical choices
● What questions do you have? and reading.
If you want to take your learning even farther, Here are some options for you to work on during independent
work time or as homework.
WOW Checklist:
I created my own poem for the assignment.
I have composed and performed a rhythmic way to speak, chant or rap my poem or Hold Fast to
Dreams.
I have composed and performed an original melody for my poem or Hold Fast to Dreams that goes
with my instrumental accompaniment. Now it’s a song!
Group Project Yes, especially for students receiving EL and/or SPED support
Whole-Class Diagnostic Teacher Assessment
Directions:
1. Within the PRE-ENGAGEMENT section of the lesson, the teacher monitors student active
engagement in Think/Pair Share discussion. Students will share noticings about fluency,
clarity, expression and tempo with a partner and/or with a group.
2. Within the NEW INFORMATION section of the lesson, teachers monitor students' active
engagement in music response and generation of feeling words to describe a poem.
● If 80% or more students meet the criteria, the teachers may continue with the lesson.
● If fewer than 80% of students meet the criteria, take additional time to ensure students have
the opportunity to demonstrate musical preference and use of feeling vocabulary.
Please Note: Use of sentence starters, visuals (ie: emoji faces), audio recordings and non-verbal
responses (polling) should be built into the diagnostic assessment to support EL & SPED learner
success. Teachers should use all of these tools to encourage all students to participate and
demonstrate understanding. Word walls with accompanying visuals can also support academic
language development in the classroom.
Directions: Within the APPLY section of the lesson, teachers circulate around to students as they work to
monitor individual student progress in creating music and rehearsing their poem.
● If 80% or more students meet the criteria, the teachers may continue on to the summative
assessment..
● If fewer than 80% of students meet the criteria, take additional time to ensure students have the
opportunity to demonstrate musical creation and practicing reading/reciting with fluency, clarity
and expression.
Minnesota State Music Benchmark: 3.3.2.2.1 Minnesota State Math Benchmark: 3.8.5.5
Create original artistic work Speaking, Viewing, Listening and Media Literacy
This formative assessment task will include composing and recording music & voice reading/
reciting poetry with fluency, clarity and expression.
This summative assessment task will include a recording of each student’s musical creation
including at least 2 tracks: their instrumental loop track and their voice reading the poem fluently.
Exceeds Standard:
The student has created their own poem for the assignment.
The student has composed and performed a rhythmic way to speak, chant or rap their poem.
The student has composed and performed an original melody for their poem that goes with their
instrumental accompaniment.
Accommodation: Students who require accommodation may create and submit work with the support of a
partner/buddy or the support of an aide.
Extensions for additional challenge would pursue one or more of the following criteria for exceeding
standard:
● The student created own poem for the assignment.
● The student has composed and performed a rhythmic way to speak, chant or rap a poem.
● The student has composed and performed an original melody for a poem that goes with the
instrumental accompaniment. Now it’s a song.
Overall Criteria for Success: Summative Assessment
Beginning The student made an effort at the assignment. 1-3 criteria for individual
success were met through the assignment.
Developing The student partially fulfilled the assignment. 4-6 criteria for individual
success were met through the assignment. The student meets at least two
criteria from both music and ELA.
Proficient The student fulfilled the assignment of all 7 criteria for individual success at
the meets standard level.
Exceptional The student exceeded the meets standard level of the assignment. 1 or more
criteria from the exceeds standard were met through the assessment.
“Wow” Work:
I created my own poem for the assignment.
I composed and performed a rhythmic way to speak, chant or rap my poem.
I composed and performed an original melody for my poem that goes with my
instrumental accompaniment.
Student Reflection
As you worked on this project, what did you learn about yourself?
_______________________________________________________________________________________________________________
_______________________________________________________________________________________________________________
If you had the chance to do this project again, what would you change?
______________________________________________________________________________________________________________
______________________________________________________________________________________________________________
Kimberly A. Kroetsch
Professional Development Presentation:
Music & Writing Strategy
In this professional development
session, I present a strategy that
fosters active engagement and
Session achievement in both writing and
4. Extensions:
● Record your loop(s).
● Record your spoken rhythm.
● Want to go further? Encourage your students to sing their rhythmic words with the loop.
Now they have composed a song! You can add more loops, a musical introduction and coda
(ending), transitions, more verses… the options are endless!
● Share your rhythm on your classes interactive learning platform (such as Seesaw or
Schoology), on a class website or at a concert or assembly!
Appendix
SLIDESMANIA.COM
Kimberly A. Kroetsch
01 Professional Development Session 3 Transcript
Have you ever noticed how engagement and achievement increases in your classroom when
students connect with music? Do you notice joy, inspiration and connections among students AND
content when music is centered? If you answered “yes”- you have come to the right place!
This strategy can vary in complexity, and thus could be used as a group activity in Kindergarten, all
the way up into high school for creative writing and music projects. A 1 page handout, as well as a
transcript are available for this session to use in the way that is most helpful for you. You might
consider using the handout or the transcript to take notes throughout this session,
as a starting point to create your own personalized lesson plan using this strategy, or as a place to
collect your exit ticket ideas for future implementation. I hope that these additional resources will
support you as you implement this strategy in your classroom. Now let’s get started.
Here is a sample that was created by a team of teachers at my school to give you an idea of how this
might go. They wrote:
Our students are oh so fine.
Through thick and thin they always shine.
Showing CARE each and every day,
They make us proud all along the way.
This group of teachers chose to rhyme their words. Your students certainly don’t have to do that,
but that is an example of what this writing assignment could look like.
Step 2: Open Garageband app
Now that you have created a piece of writing, it’s time to create some music. We are going to be
using the Garageband app for that which is available on Apple products. If you do not have access to
Garageband, there are free Digital Audio Workstations available for download on the web. Simply
search “ Free Digital Audio Workstation + kids'' to find something that will work for you, but today I
will model this strategy using the Garageband app. I will make a video to show you how to do that
next.
Now that we have created our writing, it’s time to start exploring some musical ideas. We are going
to open the Garageband app. It’s that guitar with the red and yellow background. When you go into
Garageband or any apple product, you will see the plus sign- that is always how you start a new
project. When you go into Garageband, you will see two avenues; there is a Live Loops avenue and
there is a Tracks avenue. Today, we are going to use the Live Loops avenue. I have a lot of loops on
my iPad. I downloaded those from the Sound Library. You will have a handful of loops on your
devices and you can certainly add more.
I want you to think about this time like playing in the sandbox. So, open up a loop that looks
interesting to you. You can choose individual cells. You can start to layer sounds on top of each
other. Tap the square to stop. Also, at the bottom you will see that there are arrows. If you want to
play an entire column, the arrow will play all the cells in that column. If you want to explore a
different sound, go back to the loops and try something else. I want you to just play for a while and
explore the different sounds you can make with this musical creation tool.
We have our first line of text: our students are so fine. Usually what I do is that I play the music (or
have your students play the music, because ideally they are the ones creating the music). You might
want to model the project or do a class project together so I am treating this example like that.
They are going to put a steady beat on their lap while they listen to the music. Start out with the
first line and ask the students to speak the words to the beat- we are adding rhythm now. Let me
model how that might go. 1, 2, ready, say the words! Ooh! I like that- it’s a great start!
It’s interesting, the class really eventually comes to a consensus around what they want the rhythm
to be. Then you are going to speak it repetitively until everybody’s got it memorized. Then you will
continue on with the second line, and the third line and the fourth line.
Now you have music that you have created at a tempo that suits your text. You have also created a
rhythmic way to speak the text so that they have become lyrics. If you have done those 2 steps: You
have achieved the most basic version of this strategy.
4. Extensions
Since you have now created an awesome rhythmic chant with a musical accompaniment, I know you
will want to save it to come back to again. Next I will show you how to record your loops, then I will
demonstrate how to record your spoken lyrics.
Recording is easy! Tap the red dot to record. Tap the white square to stop.
First you are going to record your music track. This is the track that we will be using for your chant,
or rap, or rhythmic lyrics. Garageband always defaults to only 8 measures of music. If you want to
make it longer, tap the + and you can make it longer if you want. With four lines of music, 8 bars
should be perfect.
Up on the top there is a microphone. I am going to select the studio setting (students love the fun
setting!) but for today we are going to use the studio setting. You can see (if you tap the track icon
on the top- 4th from the left), we have the instruments recorded and now we are going to add our
voices. Now here is how this piece turned out when I did it with my staff at school.
So there you go! You have recorded the music that you created and you have your own words that
you have turned into your own piece!
More Extensions
If you want to go even further with this strategy, encourage your students to sing their rhythmic
words with the loop. Now they have composed a song! You can add more loops, a musical
introduction and coda (ending), transitions, more verses… the options are endless! This is also a
great project to share on your classes interactive learning platform (such as Seesaw or Schoology),
on a class website or at a concert or assembly!
In Summary: I hope that you will find many ways to use this strategy involving composing rhythms
and songs. In this lesson, you created a short excerpt of writing, you created music using
Garageband app’s live loops and then you turned your written words into rhythmic lyrics. As an
extension, you practiced recording your music and lyrics. If you wish, to go further with this
strategy, you may sing your rhythmic lyrics to compose a song, add more loops or more sections to
your piece.
Exit Ticket
Think back on the strategy you learned about today- write yourself a note with ideas you have
about how you might embed this strategy into your own curriculum. I have used this strategy in SO
many ways within my own classroom. I have helped students create rhythmic chants to remember
math facts. I have helped students create songs that reflect the rules they have created for the
school year as well as their hopes and dreams. Each year my fourth graders create their own story
and then they compose their own songs and turn it into a fourth grade opera. We have done that at
my school for over 25 years now! This is a strategy that I have used to write hundreds of songs with
kids. I hope you find many and varied ways to use this strategy in your own classroom.
Thank you so much for your interest in this session. If you have any questions, you can find my
contact information on the next slide. Best wishes as you continue your journey with arts
integration!
Kim Kroetsch Revision Summary Defense
Sprint 1
Feedback Points Revisions Made Revision Reflections
Add more research beyond A+ I dug into other sources of Completing and citing
research. research to speak to others additional research allowed
who want to learn about arts me to speak to a broader
audience and present a
integration, and are outside of
broader perspective on the
the A+ Schools Network. value of arts integration.
Note research in your own I reviewed the research points Going through this process
words rather than using quotes. and summarized each point helped me more deeply think
using my personal writer’s about the research and the
voice. meaning behind the findings.
Within lesson seeds, ensure that I analyzed the lesson seed and As a teacher who often tries to
you are addressing the true with some help, got to the assess multiple learning goals
purpose of the content heart of what the lesson seed within 1 assessment, I needed
standards. was really asking students to to focus my work to reflect
do. only one arts standard and one
content standard.
Ensure the introduction teaches I added more clarity to my step Making a transition from being
others how to use the alignment by step within the alignment a teacher who creates content
guide step by step so that they guide and focused on writing for myself and my own
can build an arts integration to an audience looking at this students, I am going through a
lesson from the idea suggested alignment guide for the first period of adjustment and
within the lesson seed. time. learning to use a writer’s voice
that is for others.
In the ‘During Lesson’ section, Previously, I had written the This simple revision is
tell the user what the students ‘during lesson’ portion of each symbolic; it represents that in
will do during the lesson, but lesson plan separating out true arts integration it should
you also want to showcase how
each standard. A simple, yet be hard to tell where one
the music and math standards
are intertwined to make arts important revision that I have discipline ends and the other
integration. made is combining the begins because the two should
language to show the be taught in tandem with one
integration of the two another.
disciplines.
What is the criteria for success Once again, my first draft The revision of the summative
for the summative assessment? reflected a lesson written for assessment now contains
How will the teachers know myself. Through the process of checklists to show when a
that students have an
revision I was able to get the student has met standard or
acceptable understanding of
both concepts? assumed thoughts about exceeded standard. In doing
assessment criteria that were so, the reader will have a clear
inside of my head more clearly understanding of what is
spelled out so that another required for the summative
person could clearly assessement, as well as overall
understand. criteria for success.
It doesn’t look like your My first draft lesson plans This was challenging for me
summative assessment is actually reflected one day of because in the real-world, I
included within the lesson itself. instruction and a second day of would take two days for each
Is there a way it could be? The
assessment. I needed to lesson. I combined the lesson
apply section of the lesson
seems to ask the students to do re-work the lessons to reflect and all assessments into one
the task that is evaluated the summative assessment lesson to meet the criteria of
within the rubric. Could this be within one lesson. this assignment.
the summative assessment?
Be careful with the message you Much like the first revision I Truly, this is how the
may send by separating the mentioned in sprint 2, I assessments occur so I am not
content and art standard at revised the way I worded each sure why I separated them in
each step of the lesson plan. We
assessment to combine the first place!
don’t want users to think that
arts integration is always standards and assessments to
teaching and assessing the demonstrate how they are
standards separately. Instead, intertwined.
we want to see the lesson,
standards, and assessments
woven together.
Right now, the closing just tells This feedback encouraged me I selected a closure idea that
the students what they will be to dig into the resource section involves students in creating a
doing next in the following of the Institute’s website to NEWS HEADLINE for the
lesson. I think that by including
identify some new closing lesson. I selected this idea
the summative assessment
within the lesson, it will allow activities that I could embed because I thought it would be a
you to create a closure that into each lesson. great way for students to share
allows for some reflection from their learning with the
students possibly or give some community on a blog or
other type of closure that brings website.
full closure for the students.
Sprint 3
Feedback Points Revisions Made Revision Reflections
The sound varies throughout This feedback encouraged me I am grateful that the time I
the video. Most of the time it is to do some more research spent teaching virtually during
easy to hear and clear but there involving sound editing. This the pandemic really grew my
was at least one point, (I think was challenging to accomplish ability to learn new technology
it was around the 6 minute because the PD session skills and learn how to find
mark) where it became difficult involves listening to my answers to problems. I used
to hear. Sometimes the sound speaking voice and music. I both of those relatively newly
from the rhythm playing in the did go back and revise the established skills to problem
background makes your voice sound- changing both when I solve around the feedback I
difficult to hear also. Just keep spoke within the presentation received. I believe the sound
that in mind with any revisions as well as changing sound in the revised presentation is
you make. levels within the presentation an improvement.
itself.
It does at times look as if you I took the opportunity to Again, I am grateful to have
are reading off of the screen re-record the sections of the less fear about technology and
while presenting. If possible, video featuring my image. I discovered a new teleprompter
you can use a teleprompter hope the result looks less like app that made for a better
website or app to help make it reading and more like a presentation with more direct
easier to read your presentation. eye contact.
presentation.
Please try to give a little recap I needed to go back into my Adding this component to my
at the end of the presentation to presentation to understand presentation makes for a
finish off your “Tell them what what this feedback meant. clearer professional
you are going to tell them, Tell When I did so, I was able to development session. I also
them, Tell them what you just identify where the gap was in used my evaluator’s feedback
told them” format of your my closure and add a clearer to add in work time pause into
presentation. Put this right summary recap. the presentation.
before the exit ticket.
It will be helpful to give I went back into the session I trust that professional
participants a little bit more of and added a short section educators know how they
an introduction to the handout referencing the hand-out, and learn best and will make use of
and how they can use it as an encouraged its readers to use the handout in a way that
immediate take away. it in the way that works best meets their individual needs as
for them, adding a few learners.
suggestions and ideas.
Check voice throughout the There is no doubt that I am With the feedback, I was able
session to ensure it is PD-voice currently a working to identify when I was not
and not teacher-voice. I don’t practitioner teaching young using my PD-voice and
need to give as much detail to children daily. I appreciated re-record those sections to
teachers as I would to students. the feedback as my present a more professional
teacher-voice is such a natural tone within my session.
go-to for me.
Sprint 4
Feedback Points Revisions Made Revision Reflections
Alignment Guide I have added the following I appreciate that Maria shared
I think it would be a good idea language into the Alignment the perspective of a classroom
to include in the introduction Guide Introduction: Some teacher reading this alignment
the importance of utilizing the lesson seed ideas in this guide. That feedback helped
content and art teachers in alignment guide are designed me clarify the language in my
your building to help generate to encourage collaboration introduction. Again, she has
full lesson plans. between classroom teachers encouraged me to expand my
and arts specialists. When the writer’s voice and use it to
expertise of two or more speak to all audiences- not just
music educators.
teachers is used to develop
arts integrated lesson plans
and/or projects together, the
brilliance of all educators is
maximized for the good of all
students.
Use this checklist to guide your project development then complete it as a self assessment to combine with your final project and submit
for one-time feedback.
Accomplished Arts Integration Specialists develop an evolving Accomplished Arts Integration Specialists:
philosophy that addresses goals of arts integration and how those 7.1 Expert ability to develop an evolving philosophy that addresses goals of arts
goals will effect change, including identifying concrete behaviors integration
that emerge in arts integrated schools. 7.2 Identifying how their goals will effect change, including identifying concrete
behaviors that emerge in arts integrated schools.
Accomplished Arts Integration Specialists intentionally reflect on Accomplished Arts Integration Specialists:
their teaching and learning process, as well as their facilitation of 8.1 Intentionally reflecting on their teaching and learning process, as well as their
arts integration efforts, and use these reflections to guide revisions facilitation of arts integration efforts
to their practice as necessary. 8.2 Using their reflections to guide revisions to their practice as necessary
TO DO: Use the following checklist to guide and self-assess your Sprint 4 portfolio:
Almost RESUME
YES NO
There
Justify your placement: I have created a professional resume that highlights my varied, professional instructional
experiences including music teaching, arts integration, curriculum writing, professional development leadership, digital
learning instruction, as well as my own entrepreneurial project related to arts integration. The resume shows my
educational background and arts integration experience, as well as professional training I have received and
achievements and grants I have been awarded.
Almost PHILOSOPHY
YES NO
There
Your philosophy of a Specialist includes the intended goals/concrete attributes of an arts integrations specialist overall
Your philosophy of a Specialist includes a description of how those goals can effect change
Your philosophy of a Specialist includes a synthesis of how you as a specialist showcase the above goals and intended
outcomes
Your philosophy includes what someone can expect from you as a Specialist with regards to what you look for when
observing arts integration in action
Your philosophy includes what someone can expect from you as a Specialist with regards to what expectations you have for a
school/classroom that integrates the arts
Your philosophy includes what someone can expect from you as a Specialist with regards to what concrete behaviors can be
seen when a school/class integrates the arts
Your philosophy includes what someone can expect from you as a Specialist with regards to how you can effect change based
on the expectations and behaviors above
Justify your placement: In my arts integration philosophy presenation, I begin with an introduction that helps others learn
about who I am; that my passion comes from a belief that all children are gifted and talented and it is through arts
integration that students discover their strengths and abilites. The introduction also centers the evolution I continue to
go through as an educator committed to equity and the intersection of that belief with arts integration. This point is
underscored in my statement of arts integration as change maker. As an educator from the state of Minnesota, it is my
responsibility to work toward closing one of the biggest racial achievement gaps in the country and face the role I play as
a white educator of black and brown children. Here I state that “students have voice and choice (a culturally responsive
practice) in demonstrating learning in and through the arts.” Next, I underscore the attributes of an arts integration
specialist and my “why” as an arts integration change maker. My philosophy clearly lays out my goals in serving
teachers, schools and districts as they develop their own art integrated identity where the learning and persepectives of
ALL are represented and valued. Additonally, I concisely lay out the attributes and behaviors of arts integration
programs. It is my desire through this philosophical statement to help others learn what to expect from me and my
specialized skills as a certified arts integration specialist committed to equity.
The revision summary defense highlights specific feedback received on each of the 3 projects
The revision summary defense details specific revisions made based on evaluator/coach feedback.
The revision summary defense clearly articulates the “why” behind each revision showcasing the
learner’s growth and progress in fully internalizing the Arts Integration approach.
The full compilation is in the following order and submitted as one PDF:
Justify your placement: Within my revision summary defense, I thoroughly review the feedback I received in each sprint, I
highlight the changes that I made in response to the feedback, then reflect upon the learning I experienced through the
process of each revision. I chose to present my defense in table form for ease of reading and clarity. Through the
process of completing this defense, I have come to notice patterns in my work and have worked to improve those
patterns. A couple of examples include:
● evolving my writer's voice to be for clear for others rather than just myself.
● writing in a way that highlights the interwoven nature of disciplines taught and assessed through arts integration.
It is my hope that the summary defense highlights my growth and evolution through the program and my deepening
understanding of all of the components of being an effective arts integration leader.
Arts Integration Specialist Self-Reflection
It is our goal that at the end of the Certification program, learners have achieved 8 standard outcomes. Please
reflect on your time during the program, your final portfolio, and any work done with your students and
colleagues to rate your current confidence in each standard outcome. Review your original self-assessment that
you completed at the beginning of the program, add your original rating below, reflect on the questions you
posed and then add your current rating. Then provide evidence from any of the above areas or any experiences
over the past year that influenced that rating.
4 = Extremely Confident 3 = Somewhat Confident 2 = Not Very Confident 1 = Not Confident At All
Evidence: As I review the work and revisions done in my Sprint 1 Alignment Guide, the work reflects the create, perform
and respond processes in Dance, Music, Visual Art and Theater with natural alignments to English Language Writing,
Math, Science, and Social Studies. I analyzed the verbs to ensure that cognitive demand was balanced between content
areas and required students to demonstrate learning equitbly across both standards areas within each lesson seed.
The lessons that I created for Sprint 2 demonstrate my ability to create diagnosic, formative and summative assessments
of integrated lessons. Through revision, I also created overall criteria for student success on the summative evlauations.
One area of growth I have identified for the future involves deeper exploration of the arts processes beyond my own
background as a musician and music educator. I intend to grow my practice in this area as I gain more experiences as an
art integration specialist.
Evidence: As a music specialist, this was a more significant area of growth for me. I dug into the content standards of
English Language Writing, Math, Science, and Social Studies both within my own school district and state. Learning
about the importance of verbs and balancing cognitive demand helped me focus my work and identify some of the most
natural connections between the arts and classroom content standards. The feedback that I received from my evaluator
helped me to revise my work in a way that showed the integration of assessments, rather than separating them out. This
is a symbolic and fundamental learning for me in this process. Standard 2 will continue to be an area of growth for me
and I am grateful to my collaborator Rebecca Lund for sharing her knowledge and expertise with me around the
evaluation of classroom content standards.
Evidence: Jay McTighe & Grant Wiggins “Understanding by Design” has been the foundation of my lesson planning
process for many years. I always begin arts integration planning with the final results in mind, then decide what evidence
of learning and understanding students will need to demonstrate, and from there the learning activities flow. This
“backward planning design” is how I approached the creation of my Sprint 2 Lessons. My thinking began with the
summative assessment, then worked backward to the formative and the diagnostic. Once I had a clear sense of the
criteria for each assessment, the lessons flowed. Again, the revision feedback encouraging me to dovetail the standards
across both content areas- rather than separate them- strengthened my work and led to an integrated and equitably
assessed evaluation of all standards.
Evidence: One of my favorite takeaways from this program came in Sprint 4. This quote summarized how I wish to
move forward in my practice as an art integration specialist, be it in my school, district or beyond. “Here is where our
gaps are, here is how we can fix it and here is the plan.” is a quote I will carry in my heart and my head as I move ahead
as an arts integrated specialist in the state of Minnesota committed to closing one of the largest
achievement/opportunity gaps in the US. I commit to using data to determine where the gaps are, creativity through
arts integration to fix it and leadership to move the plan ahead for the good of all.
Evidence: It has been my privilege to develop and present professional development sessions for educators for more
than two decades. I always plan these sessions with the audience in mind and speak with my practitioner's voice. I
accept participant feedback to grow my practice as a presenter. Sprint 3 provided me with an opportunity to practice
creating a PD session virtually. I find that being in person with others is a more engaging and interactive way for me to
present PD, so creating a virtual session was a good challenge for me. My goals were to create a session on a topic that
could be useful to a wide array of educators, then outline that session succinctly through my handout. It is my hope that
others will find this arts integration strategy useful in teaching classroom content in and through music.
Evidence: When I went through the process of creating my Arts Integration Philosophy, it gave me the opportunity to
synthesize and present the educational values that are important to me. I was able to reflect upon and articulate the
goals I have in this work and illustrate how I view arts integration as change-making work. My own experiences and
observations of arts integration over the course of many years has evolved and shaped what I view are the most
important components and behaviors of an arts integration school. I wrote my philosophy statement as a presentation; I
hope that I may have opportunities to share my philosophy with others who wish to collaborate with me.
Evidence: This certification program has provided me with many opportunities to refine my own reflection process.
It is my hope that this portfolio, along with the reflections I have written at the end of each Sprint, demonstrate
evolution in my work and how I think about that work. I appreciate all of the feedback that I have received throughout
this process as it has encouraged me to grow and evolve as an arts integration specialist. I now move ahead with more
information, skills and confidence that I will use to continue to serve others through arts integration for the good of all.
Considering the expected outcomes above, reflect back to the beginning of the program and share where you
feel your largest areas of growth have been. You can also include any additional areas you have felt growth
outside of the standard outcomes if you wish.
My most significant area of growth has been creating and implementing an arts integration philosophy. It was through this
process that I was able to synthesize my learning in this program and illustrate my values as an educator. Through the
creation of an arts integration philosophy, I was able to articulate:
● who I am as an arts integration specialist.
● what my goals are and the future impact of those goals.
● what key attributes I possess that make me an impactful arts integration specialist.
● why I choose to dedicate my life’s work to arts integration.
● who I hope to serve through my work and an expression of my desire to collaborate with others.
● what I believe are the key components and behaviors in an arts integration school.
SUPPORT CHECKLIST
Please view the [INFORMATIONAL VIDEO] before beginning your journey.
As an independent learner, you have flexibility within the program to set up your learning experience in a way that
best suits your needs. It is encouraged that you take advantage of all support offerings available in order to prepare
your best work. Please use the following checklist to document your journey through the program and the supports
you invested in. Please submit this document with your final Sprint 4 portfolio.
Q & A Sessions
While the program is time-flexible, we follow a calendar year for our Q & A sessions. These sessions are broken up
by quarter and each takes place once a year. These are not coaching sessions so it is important that you submit your
general questions to be addressed at the session and if time allows we will open up for questions from those in
attendance.
Sprint 1 Q & A will occur within January - March
Sprint 2 Q & A will occur within April - June
Sprint 3 Q & A will occur within July - September
Sprint 4 Q & A will occur within October - December
Once a session is scheduled, our registrar will send an email inviting you to the session and soliciting any questions
you would like answered during the session. While this is optional, it is highly encouraged.
Project Checklists
We have added checklists for each project. These will help you monitor your project development and are the same
checklists that evaluators use when reviewing projects. These checklists must be submitted with each project as it
provides justification and defense of your work and allows us to see your thought process. This is also a self
assessment/reflection opportunity which is an important facet of the learning process and one of our core standards
for an Arts Integration Specialist:
STANDARD 8: CREATING A PRACTICE OF INTENTIONAL REFLECTION AND REVISION
Accomplished Arts Integration Specialists intentionally reflect on their teaching and learning process, as well as
their facilitation of arts integration efforts, and use these reflections to guide revisions to their practice as
necessary.
It is expected that you complete the checklist for each project and combine it with the sprint project to submit to
your evaluator for one-time feedback. This includes completing an Arts Integration Specialist standards assessment
at the beginning and the end of your time in the program.
Project Submissions
Sprint project submissions for feedback are mandatory. We have found that learners are most successful when they
are receiving feedback along the way, so you will be expected to submit each sprint project for one-time feedback
from one of our certified evaluators. Because each sprint builds upon the previous, this ensures you are on the right
track before you submit your final project. Once you complete a sprint project, submit it to the platform and you
will be assigned an evaluator who will be with you throughout your journey.
Revision Summary Defense
Our program is standards-based and relies heavily on evidence of learner growth, progress, and reflection.
Throughout the program you will receive feedback from certified evaluators and will conduct personal reflections.
As you progress through it is important to capture this feedback, revisions, and reflections in order to present this
information as evidence of full internalization of the Arts Integration approach. While you can format your revision
summary however you wish, it must explicitly include feedback given, revision made in response, and a reason why
the revision was necessary. The “why” will provide evidence of your comprehension. It is suggested that you keep
track of your feedback and revisions in real time as it is difficult to recall some of this information once you have
reached the end. This summary will be included in your final portfolio.
Sprint Intensives*
Beginning Summer 2023, sprint intensives will be available for any learner wishing to have a more interactive
experience and additional support with a specific sprint. You can register for as many intensives as you wish, they
are optional, but they do have an additional fee. When enrolled in a sprint intensive you will be placed on a team
with a dedicated level I & II certified specialist to provide one-on-one coaching. Over the 8 week intensive you will
receive access to additional mini lessons for more instruction on sprint-specific topics, virtual meetings to workshop
through your individual project with on-the-spot feedback, open office hours sessions to ask questions or get quick
feedback on specific components, and a dedicated coach who you can reach out to anytime during the intensive for
additional assistance. The only prerequisites are to register and view the sprint lessons prior to the start of the
intensive. Intensives will be available quarterly throughout the year.
There are many offerings to accommodate your schedule and timing as you work through the program. Please
review the [FULL CATALOG] for enrollment process, run dates, and tuition.
*Due to university requirements, learners wishing to register for grad credits from CSUSM must participate in all 3 sprint intensives
and the sprint 4 seminar. Please refer to the [PROGRAM HANDBOOK] for details.
SUPPORT CHECKLIST
As an independent learner, you are responsible for your own timeline for completing each sprint. It is recommended
that you use the left side of your checklist to set your own personal dates to ensure you complete the full program
within the time allotted.
Set up and organize your google drive. All of our resources, templates, checklists, rubrics, etc
are in google doc form so having an organized google drive with a folder devoted to your AI
Summer 21
work will help you keep track of everything. If you do not have a google account, it is free to
make.
View the informational tutorial at the top of the first page of this document
Log into your dashboard and review all helpful information (navigating the platform, course
policies, getting started, FAQs)
Download and print the tips and terminology resource, they will
[TIPS & TERMS]
be helpful as you design your project
View the project samples and checklist available under the project tab
Session Date: Submit questions and attend the Q&A session (optional). Refer to
[Q&A FORM]
the Sprint 1 email for dates, times, virtual room links, etc.
Run Dates: Register for a Sprint 1 Intensive for additional help and an
[REGISTER HERE]
interactive experience (optional)
Submit Date: Submit Sprint 1 project (with self assessment checklist) to Evaluator:Maria Golden
platform for one time feedback
Download and print the tips and terminology resource, they will
[TIPS & TERMS]
be helpful as you design your project
View the project samples and checklist available under the project tab
Session Date: Submit questions and attend the Q&A session (optional). Refer to [Q&A FORM]
the Sprint 2 email for dates, times, virtual room links, etc.
Run Dates: Register for a Sprint 2 Intensive for additional help and an
[REGISTER HERE]
interactive experience (optional)
Submit Date: Submit Sprint 2 project (with self assessment checklist) to Evaluator:Maria Golden
platform for one time feedback
Download and print the recording tips and tricks, they will be
[TIPS & TRICKS]
helpful as you design your project
View the project samples and checklist available under the project tab
Session Date: Submit questions and attend the Q&A session (optional). Refer
[Q&A FORM]
to the Sprint 3 email for dates, times, virtual room links, etc.
Run Dates: Register for a Sprint 3 Intensive for additional help and an
[REGISTER HERE]
interactive experience (optional)
Add the link to your video to the top of your handout, then save as a PDF. Combine your
transcript, handout, and self assessment checklist into one PDF.
Submit Date:: Submit Sprint 3 project (with self assessment checklist) to Evaluator:Maria Golden
platform for one time feedback
Submit Date: Submit questions and attend the Q&A session (optional). Refer to
[Q&A FORM]
the Sprint 4 email for dates, times, virtual room links, etc.
Run Dates: Register for a Sprint 4 Seminar for additional help and an
[REGISTER HERE]
interactive experience (optional)
Complete the post-program self reflection which revisits your self [SELF REFLECTION]
assessment of the 8 Standards for Arts Integration Specialists
Submit Date: Submit Portfolio draft WITH all components listed on the Evaluator: Maria Golden
June 20. 2023
portfolio checklist AND this signed checklist form.
By checking this box I certify that I am aware of the available support offered such as submitting
optional questions, attending optional Q&A sessions, attending optional intensives, and submitting
projects for one time feedback, and made an independent decision on how to take advantage of
those supports.
Kimberly A Kroetsch
_______________________________________________________________ June 30, 2023
Name (Print/Type) Date