Quality Review Study Group

Quality Review Study Group Binder Master
Table of Contents

Logistical information (1)-

(documents not included, to be inserted when complete)

Schedule of Study Group Meetings

Staff Contact Sheet

Participant Contact Sheet

Quality Documents (2)

4 Aspects of Quality Diagram………………………………………………………….. 2

Summary of Approach…………………………………………………………………… 3

*Events & Tools for Quality Visits…………………………………………………… 4

*Dimensions of Quality Teaching & Learning………………………………….. 5

Tools for Site Visits (3)

*Site Visit Template……………………………………………………………………….. 7

Pre Observation (Possibility of Practice/SMART Goal) Discussion…... 10

*Observation Tool (Running record template)……………………………….. 11

*Principal Interview……………………………………………………………………….. 13

Student Interview…………………………………………………………………………. 17

Student Waiver……………………………………………………………………………… 18

Post Observation Teacher Debrief…………………………………………………. 19

*Profile of Arts Learning……………………………………………………………….. 20

*Summary Sheet…………………………………………………………………………….. 22

Examples (4)

(documents not included in electronic copy of binder)

SMART Goals Study Guide – will be distributed at orientation

*How to Document – available on creatingquality.org

*Sample of Running Record – available on creatingquality.org

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• Voluntary
• Constructive
• Focused on teaching and learning in the arts (supports, community of learners in the classroom, not teacher evaluation)

• System and School Supports
• Teaching and Learning in Classrooms
• Student Work

• Classroom instruction by arts specialist (e.g. a music teacher)
• Cultural partner with an in-school program
• Arts integration

• 2 individuals (arts specialist, classroom teacher, teaching/community artist, researcher)
• Focused on a specific arts area (e.g. music, visual arts, etc.)
• Trained using Boston’s Dimensions of Quality

• Interview principals, students and relevant others
• Practice observation skills and data collection
• Give constructive feedback both pre and post observation

• Using video clips of classroom practice

• Collect background information on students and circumstances to be informed observers
• Learn about the curriculum, lesson and strategies that will be on view during the site visit
• Identify a problem of practice to focus on when conducting the observation

• Learn about the school and its arts programs
• Collect data on the system and school-level supports for arts learning
• Using a standardized set of questions

• 30 -45 minutes low-inference running record of arts classrooms
• Short Interviews with two students from the class
• Followed by time for discussion among visitors
• Post-observation Meeting with host teacher/teaching artist
• Opportunity to give constructive feedback and ask questions.
• Study Group Discussion

• Process observations and interviews in teacher – observer groupings, using a tuning protocol (What did we notice, what did we wonder, followed by response from the teacher)
• Discuss what this suggests about supports needed for quality teaching and learning

• Data on the School and System Supports across the representative sample of schools
• Aggregate profiles of Quality of Teaching and Learning across the representative sample of schools
• Recommendations for the supports needed to build practice.

• What was observed about the focus of practice issue?
• What are the strengths of the practice?
• What are the “frontiers” for the practice?
• In this classroom?
• In this field of arts education (e.g., dance)
• In district policy?
• In partnerships with cultural partners?

• Themes/issues by disciplines (e.g. music)
• Themes/issues by grade levels (e.g., primary grades)
• Needs at the school and the district level

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• Goals
• Materials
• Assignments and longer-term projects
• Processes and ways of working

• Physical and psychological safety
• Strategies that help learners manage their behavior and interactions
• Set-up of space and materials that facilitates learning

• Creative choices in creating or executing works or performances
• Ownership and leadership (e.g., students choose repertoire, lead sectional rehearsals)

• Examples of student work at high levels
• Discussions/critiques/performance notes
• Connections to standards or expectations that will permit young people to continue in the arts (e.g., portfolios, auditions, etc.)

• Informal exchanges
• More structured sharing (e.g., discussions and critiques)
• Ensemble practice, rehearsal, or collaboration

• Individual conversations and “notes” following rehearsals or performances
• Peer critiques
• Shared rubrics or criteria written in language learners can understand and use
• Connections to what will be expected at the next level or in outside-of-school

• Physical set-up that facilitates access
• Differentiated instruction that allows full participation
• Support and respect

• Repertoire and artists chosen from multiple cultures and traditions
• Opportunities to understand works and performances from range of cultures
• Opportunities for students to draw on their knowledge and experience

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BPS Arts Expansion Quality Review
Site Visit Template

(To be completed by host and emailed to visitors and EdVestors)

At least three days before each site visit the site visit team (the host and both visitors) should have their Pre-Observation meeting . This is when the observers and the observed establish the problem, or opportunity, of practice. These should be significant challenges or new initiatives where the insights of skilled colleagues can add insight and perspective

Host (Observed Teacher’s) Planning Tool

During each site visit the visitor should do the following:

1. Principal/School Leader Interview (20-30 minutes) This may need to be tailored to individual sites depending on whether the person has been interviewed previously.
2. Two Class Observations (full periods if possible, representing a range of classes and ages)
3. Student Interviews (20 minutes) These can be individuals or small groups of students from the observed classes.
4. Observation Debrief with observed teacher (30 minutes)

Scheduling Tips:

- If possible, scheduling mini-breaks so observers can work on paperwork in between activities works well

- If scheduling visit around lunch time, let visitors know to bring lunch and schedule in time for them to eat

- When possible, it is best for the principal interview to occur after visitors get to know the school.

- Student interviews should take place after you have observed those students in the class.

- Debrief should be at the end of the day or within two days after the visit. The Debrief should be conducted in person.

Please fill in the slots below with these activities and pertinent details.

After the Visit

(Paperwork to be completed by the Visitors)

After the visit the Visitors will then fill out the Summary Sheet as well as the Profile of Arts Learning. Each visitor must fill out their own Profile of Arts Learning.

The paperwork collected at the final meeting will be the following:

• Running Record
• Principal Interview
• Profile of Arts Learning
• Summary Sheet (one per visitor pair)

Problem of Practice/SMART Goal Conversation with Arts Teacher/ Cultural Partner

As a part of an effort to build arts education in the School District, EdVestors, and teams of teachers and cultural partners are working to collect information about the strengths and needs of schools, educators, and students in the arts.

We will be observing in your class or session as part of that work. As a part of helping us to focus, we would like to talk with you about your school and the one of the SMART goals/problem of practice that you are working on this year. (See the SMART Goal insert in the resources section of the binder, if you are unfamiliar with this approach.)

• Describe the arts program at your school and how your work fits into that.

• What SMART goal/problem of practice are you focusing on this year?

• How does the lesson we will observe reflect the SMART goal(s) you have set for yourself?

• How does the lesson we will observe fit into a larger unit of study? Into your goals for your students this year?

• What circumstances (in the class, the school, the district) make this a particular challenge (e.g., lack of supplies, students enrolled in, rather than choosing the class, poor quality instruments, working in the lobby, etc.)?

• What kind of feedback would be helpful?

*Document to be turned in

Observer Name: ______

Person being Observed: ______

Partner Observer: ______

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*Document to be turned in

Observer Name: ______

Person being Observed: ______

Partner Observer: ______

Principal/Lead Teacher(s) Interview

As a part of an effort to expand quality arts education in Boston, the District, working with EdVestors, and teams of teachers and cultural partners are working to collect information about the strengths and needs of schools, educators, and students in the area of teaching and learning in the arts. Since principals and teacher leaders play a key role in shaping the arts in their buildings we want to ask you the way you support the arts in this building.

For the purposes of this conversation, we are defining arts education as in-school teaching and learning in a wide range of art forms, including dance, music, theater, visual arts, creative writing, and media arts.

This interview is to collect information that complements the survey that you have already submitted to EdVestors. Questions marked with * are important to ask. Others are supplementary.

1. Most important:

1. Next most important:

1. Next most important:

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