My activities and content tie neatly into this train of thought, which is broad enough to fit into most schools' needs, objectives and goals for grant writing.

PLEASE ORGANIZE YOUR GOALS LIKE THIS:

1) CROSS-CULTURAL

One goals should have to do with various cultures and how music will connect to global or cultural concerns.

2) INTERDISCIPLINARY

Another goal should relate to non-music subjects and how music will help students with other subject areas.

3) INTRINSIC

And most importantly, one goal should have to do with music/art for music or arts sake. To provide an experience unique to the art form. This can also be connected to a variety of reasons ranging socialization, brain development or for no reason other than to provide  this artistic experience or exposure to the art form.
 

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
 
 

GENERAL ACTIVITIES ARE:

Assembly Program- traces the development of American folk music through its ethnical roots and incorporates a large assortment of conventional, homemade and world instruments. the main concepts are 1) American music (jazz, country, folk, rock, bluegrass, blues, etc) has been profoundly influenced by various cultures abroad and neighboring and 2) American "folk" music is people's music that is accessible and part of a living oral tradition.

Small group sessions- sing in call-and-response, playing folk instruments, instrument building, movement and dance, storytelling, song writing, new music composition, creative expressive instrumental improvisations.

SPECIFIC CORE ACTIVITIES CAN INCLUDE:

-students play in an ensemble with mr. kanas of which he is a performing member
-students play homemade instruments including gut-buckets, spoons, saw, washboards, canto, shakers and whamp tubes etc.
-students play traditional American folk instruments such as limberjacks, autoharps and dulcimer.
-students play world instruments like kalimba, cabassa, claves, and cuica
-students sing in call and response
-students make and play instruments made from recycled materials including shakers, pan pipes, dulcimer (made from a kit), and drums
-students engage in movement such as juba rhythms and clogging
-students create visual art to music (audio to visual imagery) and collaborate with other teachers from various specialties
-students write songs
-students analyze traditional and contemporary songs for compositional devices such as metaphors, theme, symbolism and abstract or investigate for connotation and figurative language. students reach conclusions based on storyline.
-students use social studies themes in song and study topical songs (American and Illinois history)
-students compose and digitally record and/or perform live and improvise new music. the composition is a collage of sounds and textures which follows compositional form and utilizes elements of music (melody, harmony, rhythm, dynamics etc) and logical considerations developed by the students with mr. kanas. narration can be applied to the sounds and an compact disc is produced.
-the students write a story using characters from folk songs
-the students participate in all the non-core activities

NON-CORE ACTIVITIES

-students participate and attend the opening assembly on the development of American folk music
-students sing in call and response
-students play various homemade and world folk instruments with Mr. Kanas
-students participate in the culminating event with the core group as leaders
 
 
 

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

To:
From: Jim Kanas <jimkanas@rochelle.net>
Subject: Q & A's combined- edit in progress
Cc:
Bcc:
X-Attachments:
 
 

SAMPLE QUESTIONS, ANSWERS AND CONCERNS-IAC RESIDENCY WITH JIM KANAS
 

ASSEMBLIES
 

this is an introduction as to the tone, structure and content of the residency.  if i do the opening assemblies on the first day,  a pre-service on that day might be difficult. there is an enormous amount of work that goes into setting up for the assemblies. here is what has been working out very well though! why don't we schedule the assemblies for the SECOND day and do the pre-service and meet with small groups on the first day. this will give me a chance to physically get my gear where it needs to be and work out any final details for set up, which usually takes up time. this is my first choice. we COULD do the pre-service after the assemblies on the first day, but i've got to tell you, i've done that many times and i'm always really beat by then. if you still want to do the assemblies in the first day, that is fine but it should be assemblies and small groups only.

GUEST ARTIST

there is not a guest artist on the opening assembly(s). the guest artist will serve to enhance the residency at a later date.

 .....can tell you that these are the kind of organizational concerns that are explained in the IAC residency roster/application/guideline booklet. This structure or organization is imposed on us by the Illinois Arts Council since some funding comes from them. I've worked in this framework for over 12 years and have found it to be good to work with.
 
 
 

>I am starting to fill out the paperwork for  the cash request.

 The cash request form is very important to get the funds moving out of Springfield.
 
 I need to know the type of schedule you would like to have
>at __________ school. How much time would you like
>to spend with each group per week?

 The core group or core groups must meet daily.
>
>How long do you visit with non-core groups?

 There are 20 hours total per week of residency time in the school (for the artist). 5 hours are planning time. this leaves a total of 15 hours contact time where the artist meets with students. There is also some one time things that need to be worked into the schedule like pre-service, in-service, culminating event ,and opening assemblies. These are not in addition to the 20 hours.

 So to answer your question about non-core times: 15 hours contact time divided by three days = 5 "Hours" (sessions) per day. (If you jam pack, to the minute, my time with kids, I won't have any flex time to work effectively. Usually some open times are needed to carry activities over, include more groups that  show an interest later, or just plain, put in more time.) It works really well!

 So, getting back to non-core times: If there are 4 core groups and each meets about 1 hour per day, that leaves about 1 hour for non-core per day.
 

 I assume you only see them one time
>during your residency.

 It can be more. We could have a sub-core that doesn't have to meet everyday but more that once.  Sometimes a jazz band, chorus gifted or special class can meet like this.
 

 How much plan time per week do you wish?

 5 hours per week.
 
 

How much
>conference time with teachers?

 Fits into the planning time. This is usually an informal meeting to help stay on track. We can decide on a time or just say we'll meet x # of times.
 
 
 
 

>Perhaps you could let me know a general guideline....

 I have a sheet that might come in handy for you that I used at a workshop. Please remind me to send you a copy. the important thing is to get familiar with the guidelines book for residencies. There are only a few pages that have to do with structure and residency organization. Remember, this is YOUR residency. Within the guidelines there is very much freedom for all of us.
 
 
 
 

here is an idea for the middle school fine arts day.

this is for about 20 or so students in jr. high, for 45 minutes. you requested a hands-on experience as opposed to a demonstration. since it is middle school and there is not an assembly which provides background information on the development of american music, i could do a mini-assembly with hands-on. i have done this in the past with groups that only meet once and it works out well. i'll give you two choices:

1) BRIEF PRESENTATION WITH STUDENT INTERACTION AND HANDS-ON ACTIVITY

 15-20 minute presentation emphasizing the ethnical influences on american music  (mostly european and african, i.e.. the blues, banjo, call and response,  instruments and style) and the "living oral tradition of american folk music"

 activities include: a) playing the spoons doing echoes and arranged in a song  with parts to play during vocals and free improvisation (applying techniques)   and;  b) juba rhythms/hand rhythms and/or; c) playing limberjacks with jim  accompanying on the fiddle and calling instructions

2) ALL HANDS-ON ACTIVITIES/INTRINSIC EXPERIENCE (little or no background information)

 same activities as a), b) and c) above including reading rhythms with spoons  more detail and intricate juba rhythms plus d) performing on other homemade  instruments with jim on the banjo arranged in song (three activities are  possible depending on the group of students and how well they follow directions.  "d)",  the homemade instrument activity usually takes the most time. generally  speaking, 2-3 activities are possible in a session if everyone is on task.

>>>>>>

the song writing workshops sound great! i frequently engage kids and adults in song writing workshops which explore songs, both traditional and contemporary. i'm actually very comfortable with this role because it taps into my formal training in composition and literature. as you suggested with your program, as song writers, or someone who studies and sings songs by others, as the case may be, we look for compositional devices such as theme, structure, development, foreshadowing, repetition, etc., it's fun! i especially like to look at norman blake's songs and others. this may seem trite, but dylan's "blowin' in the wind" is perfect for 4th grade on up. it is so tight and consistent but still imagistic and obviously symbolic.
 
 
 

  One idea I have
>works on paper, but I worry that I am spreading you too thin.  Do you
>prefer many meetings with the same group, or one meeting with more
>different groups?
 

if you mean with the non-core group, i usually meet with many different groups. it all depends on how many students we want to involve and/or how often.

so.....if you follow the iac guidelines, there is about 12 hours/sessions per week left over for non-core. there are 20 hours total per week - 5 hours planning - 3 hours core-group = 12 hours for non-core.

usually  a day (in a three day per week residency) goes something like this:

one session for core-group and four non-core group sessions. there can be more if they are only 30 minutes of so. i need to have some down time to rest my hands. plus there is a planning session and lunch in the day too.

the more classes we involve as non-core, the less often i get to meet with them. it is nice to meet with the non-core groups about three times. this kind of hinges on what our goals are for the students.
 
 

> How do you feel about assemblies?  For all K-5 to see you would take four
>assemblies - does two per day work?  Would you like them all in one week
>or spread out?
 

(please see other response on assemblies first)

i usually do the assemblies all in one day.  how many students in each assembly did you figure to get four assemblies total?
if we need four assemblies, i could do two in one day and meet with the core on the day. please remember, there is lots of set-up and lead time needed for the assemblies. the room/space needs to be available before the assemblies.
 

> the K and 1st grades do not take
>Stanfords - is that a grade level that works for you for some one-shot
>meetings?

sure!
 
 
 

> I'd like to show you my idea, but always feel free to comment/rearrange.
>
>8-9 planning
>9-9:30 3rd grade (3-1)
>9:45 - 10:15 3rd grade (3-2)
>10:15 - 10:45 plan
>10:45 - 11:45 lunch
>1:55-12:30 CORE (gr 1)
>travel
>1:00 - 1:30 gr 3 (Northbrook)
 
 

if i have to travel to another building, couldn't i have more time to get there and set up. am i in one room at the first school. i need to know more.
 
 

i'll wait to hear from you. 'looks like everything will work out fine. i am still a little concerned about the two building shift though.......but we'll make it work!

...jim

 can tell you that these are the kind of organizational concerns that are explained in the IAC residency roster/application/guidline booklet. This structure or organization is imposed on us by the Illinois Arts Council since some funding comes from them. I've worked in this framwork for over 12 years and have found it to be good to work with.
 

  There are four core groups. How much time would you like
>to spend with each group per week? Do you prefer one or two core groups per
>day or would you like more in one day?

 The core group or core groups must meet daily. This help define it as a core-group.
>
>How long to you visit non- core groups?

 There are 20 hours total per week of residency time in the school (for the artist). 5 hours are planning time. this leaves a total of 15 hours contact time where the artist meets with students. There is also some one time things that need to be worked into the schedule like pre-service, in-service, culminating event ,and opening assemblies. These are not in addition to the 20 hours.

 So to answer your question about non-core times: 15 hours contact time divided by three days = 5 "Hours" (sessions) per day. (If you jam pack, to the minute, my time with kids, I won't have any flex time to work effectively. Usually some open times are needed to carry activities over, include more groups that  show an interest later, or just plain, put in more time.) Check out the schedule at Waterbury. It works really well!

 So, getting back to non-core times: If there are 4 core groups and each meets about 1 hour per day, that leaves about 1 hour for non-core per day.
 

 I assume you only see them one time
>during your residency.

 It can be more. We could have a sub-core that doesn't have to meet everyday but more that once.  Sometimes a jazz band, chorus gifted or special class can meet like this.
 

 How much plan time per week do you wish?

 5 hours per week.
 
 

How much
>conference time with teachers?

 Fits into the planning time. This is usually an informal meeting to help stay on track. We can decide on a time or just say we'll meet x # of times.
 
 
 
 

>Perhaps you could let me know a general guideline....

 I have a sheet that might come in handy for you that I used at a workshop. Please remind me to send you a copy. the important thing is to get familiar with the guidelines book for residencies. There are only a few pages that have to do with structure and residency organization. Remember, this is YOUR residency. Within the guidelines there is very much freedom for all of us.
 
 
 

here are some questions that i often get asked and the responses . please don't be offended if you know this stuff. i'm just trying to save as much time as possible. i'm still not sure if we can meet next week. i know we need to talk about how to fit the older kids and music students into the residency and details. let's please try to do as much of the basics as we can via e-mail, fax and phone. i really enjoyed meeting your friend at the iac meeting. i got a great feeling about the residency and i am honestly excited about it!!

usually, the next step at this point is for you to float me a ruff schedule. we can bounce it back and forth and fine tune it with several revisions.

we also need a start date and other dates in the residency. please see my web site calendar for an overview. that is a good place to start.

please share this message with everyone who is involved with this year's residency and/or is involved in the blanking process.

thank you, kim.

-------------------------------------------------------------------------------------
 

X-Attachments:

Are you available March 2001?

yes, march 2001 is open at this point. since the grant is not technically approved till next year, and the balance of schedules gets more involved as time goes on, i can make a tentative commitment to march 2001. chances are that it will pan out almost exactly as we plan on. i'm sure you will need flexibility when you find out the details of your school schedule. please keep in mind that a professional artist must maintain his/her career, professional achievements, etc., and this is in part what helps to artistic quality of the residency high and "cutting edge" (please excuse the dated over-used expression). i can tell you that i keep my promises and you find that is tue if you talk to people that have worked with me.

karen, thank you for your interest in this program and dedication to your students and school community.

at this point it is good to remind grantees that if for what ever reason the funding does not get approved or is not available, we can still follow through with the residency independently on a limited bases. i.e., the funds allocated by the sponsor can usually still be used to proceed with the residency but perhaps without some of the extra expenses (documentation, guest artist, materials).

should you decide to apply for this residency, you may want to take a look at some of the sample grants related to my work.

talk to ya soon.

jim kanas

<<<<

Here are some activities I would be able to fit into your social studies goals.

Audio Recording

-Produce an audio cd that reflects various cultures. Students and artist would first play and digitally record instruments, sounds and spoken word that reflect various cultures.  The students would then be guided with respect to compositional devices and arrange sounds to demonstrate an understanding of form, theme, development etc. by developing a score or map using original notation.  Artist would rearrange, cut and paste and layer sounds on a digital audio workstation according to score. Students would then respond and suggest edits to the composition. Finally a cd would be produced and made available as documentation, for school web site and for students and teachers to dub copies of.
 

i'm thinking about engaging the students in  the production of an original composition/sound collage/compact disc. i've been doing this lately and it has been great fun! it is kind of like the live performance sound collage i've done many times at schools but with more detailed structure. the kids actually follow  the same train of thought that a composer has to in making compositional choices. they consider form, theme, development, connotation, repetition, foreshadowing and musical elements like melody, harmony, rhythm, texture etc. they make a recording of instruments they make and play with me. we chart out the composition and i cut and paste on my digital studio. i add music to it and the piece comes to life as a montage of sounds  which is very "new music" (this is a style) in nature. the thought process is akin to creative writing and literature. in some cases the theme can be connected to history and social studies. so, in that case, the music has to convey feelings and images using metaphor and symbolism as well as other compositional devices. students can get a tape or cd copies of the project and/or it could "live" on a school website.

this is just one suggestion.

African Influence

"...utilize mr kanas' background and introduction to the roots of american music in regard to the african influence.... to spur and interest and curiosity in students' own heritage and to dovetail into m.l.k. day by engaging students in contemporary music with blues, jazz and folk elements. ....the guest artist will enhance this experience by exploring african music/culture in more depth by adding to this experience..."

....build off previous years by...
 

...given the high percentage of african american students it seems natural to focus on their backgrounds by exploring... and tapping into their interests in contemporary music by engaging them in activities....

...an audio project which utilizes mr kanas' interests and experience in electronic music and recording....connect into visual art by  having students produce art work for the cd...each student can have individual art/inserts which thematically ties into the project and music and goals of the residency (ie the african american  heritage)...
 

...not as an exercise in african music but american music which has so profoundly been impacted by the african and european culture...
 

...not a world music residency but and american music residency including the oral traditions of folk music and hands-on nature of learning and performing traditional and original music..."

jim kanas

2001
 
 
 

 

Topical Songs

-Students would sing and listen to songs that are about various aspects of US History. Students would then write lyrics to an original piece(s) regarding subject matter. Students and artist would select and compose music to the creative writings and consider compositional devises such as metaphor, connotation, imagery and symbolism. Artist and/or students would then digitally record music and produce a cd.

Instrument Making

-Students would make and play instruments modeled after traditional ethnic, indigenous or American instruments. Students would perform in an ensemble with artist and sing in call-and-response.

Multidisciplinary Power Point Presentation

-Students would research various cultures with specific goals in mind. Students, artist and teachers develop a power point presentation integrating the research, digitally captured images, student recorded music and/or sounds including narration. The final product could be included on school web site, coordinated during computer lab periods for student viewing and/or presented to younger students or other audiences.

Other activities I would most likely engage the students in include an assembly on the development of American music through its ethnical influences, performing with students, guest artist collaboration dealing with jazz and improvisation, audio to visual imagery activities and culminating event.

>>>>>>>>>>>
 

IMEA Presentation Plan

SESSION I

Folk Music- activities
 

Jim Kanas shares FUN hands-on activities and project ideas he has collected as an artist-in-residence and as a music educator. Jim helps to bridge oral traditions with traditional general music goals and objectives. This American Music presentation is cross-cultural in tone and interdisciplinary in nature.

Some of the activities and projects participants will learn about and/or engage in include:
1) playing various folk and homemade instruments such as the bones, spoons, limberjacks, gut-bucket, saw, dulcimer and more!
2) using world instruments to create and perform a montage of textures and sound utilizing conventional compositional techniques and concepts (form, dynamics, improvisation, theme, development etc).
3) making functional class made instruments from scrape or as a inexpensive preplanned activity.
4) playing "juba rhythms" (hand and body sounds)
5) visual art and music
6) storytelling and music
7) folk music as a topical resource
8) utilizing music writing software and digital recording for general music class project
 

SESSION II

American Folk Music- retrospective narrated performance

Folk Musician/Multi-instrumentalist Jim Kanas traces the development of American Music through its ethnical roots. This is a geared up version of Mr. Kanas' school assembly program for music teachers which connects European, African and Latin influences to American Music. Jim will tell about and perform on Native American flutes, fiddle, banjo, dobro, guitar, double string tuned autoharp, dulcimer and various "pocket instruments".

>>>>>>>>>

(what will the artist do with the core groups?)

"Core groups will focus on....
 
 

.....Students will identify the sound of specific instruments in an original composition composed with mr. kanas. Students will make queekas, shakers and other simple folk instruments and use some of them in the composition. this composition will be a collage of sounds organized to follow a scheme of development based on imagery generated by student stories and brainstorming. The imagery is also  influenced by the topical nature of many of the folk songs done is separate playing and singing activities with jim. Students will gain an understanding of the compositional tools available to a composer such as
texture, theme, rhythm, melody and dynamics, etc.. Each core-group will have a different theme for their composition which will stand alone or be unified within a single structure.
 The public will be invited to hear the composition either digitally recorded or in a live performance.
The core group will also participate in non-core activities.

.............................................................

question #15

("...non-core participants...activities...")

"All students will participate in an opening assembly at which time Mr.
Kanas will explore the roots of American music though its ethnic origins. The primary influences covered will be African, European and Latin. The students will respond with clapping, singing and movement. Students will be introduced to world and homemade instruments as well as the concept of "folk" music (the oral tradition and process of)."
 

(after this "...instrument building and storytelling.")

"Students will play limberjacks, spoons, gut-bucket, dulcimer, saw, other homemade and conventional instruments and world instruments."

"All students will participate in a culminating event with the core-group as leaders. the event will be in the spirit of folk music by including all students adults in song."
 

>>>>>>>>>>>>>>>>>>>>>
 
 

----------------------------------------------------------------------

#9

We heard about folk musician/jazz guitarist/educator Jim Kanas at a grant writing workshop.  A teacher called him and arranged an in person meeting with our committee on location of which he attended. The Dolan Arts Committee met to confirm our artist selection and further discuss this project which includes our art instructor who is an avid folk music fan and musician. The grant writer has a well supported staff. We have also communicated with Jim various times through e-mail and fax and US mail.
 
 
 

---------------------------------------------------------------------------

#12

Students:

1) Introduce and expose students to American folk music and jazz, build and play instruments and engage in activities that stimulate their interest in music.
2) Enhance social development .....

Educators/Staff:

1) Integrate music with art, social studies, English, technology and/or science
2) Staff will be exposed to new ways to motivate students and gain an intrinsic understanding of the value of the creative and performance experience.

Community:

1)....American folk music and jazz.

-----------------------------------------------------------------------
 
 

#13

We heard many positive things about Jim kanas as an artist-in-residence. He has extensive experience working with kids with disabilities including behavioral disorders. Mr. Kanas' background as an educator and performing artist will help us to achieve our goals in regular curriculum and the arts, specifically in music.
 

-------------------------------------------------------------------------
 

#14

(...criteria used to select the core group...)

The core groups are the established art classes of the school.  The faculty and arts committee selected groups which they believe, from student observation and trends, would most benefit from, show an interest in and would cooperate in music activities.

(what would the artist do with the core groups...)

Mr. Kanas will work with the students in an ensemble of which he is a performing member. The students will play a variety of homemade, conventional and world instruments ranging from the spoons, washboard, dulcimers, limberjacks to cuica and kalimba. They will sing in call and response and Jim will play guitars, fiddle, banjo, dobro, harmonica and more. The students will engage in movement activities such as juba rhythms, and clogging and relate them to contemporary music. The students will create visual art to music in cooperation with the art teacher through instrument building and audio to visual imagery (creating audio and then visual art). The students will compose music using non-traditional notation and new techniques such as digital sampling and hard drive audio recording.  The students will use traditional form an structure to organize their thoughts and application of compositional considerations such as theme and development, climax, texture, dynamics, connotation, suggestion and the elements of music, to give the piece direction and continuity.  The end result would be the release of an audio recording.  The core-group will participate in all non-core activities.

-------------------------------------------------------------------------

#15

(...specific activities...)

All students will participate and attend an opening assembly on the development of American folk music. The students will clap and singing in call and response. Mr. Kanas will play and assortment of homemade and conventional instruments including above mentioned (core ensemble) and more. The emphasis will be on the African, European and Latin influences on early American music through contemporary music including jazz. During that assembly Mr. Kanas will also stress the "folk" process and how that connects to contemporary music oral/aural traditions. The students will engage in playing instruments (see above), singing in call and response, movement and visual art activities similar to the core.
 
 
 

>>>>>>>>>>>>>

Dave, thanks for the reply.

i really would appreciate it if we did as much as possible regarding scheduling and other details before we set up a meeting.  please help me be as efficient as possible with time.

i'm still looking into the possibility of meeting with your committee next week. in the mean time, here is what we an do by phone, fax, e-mail and postal mail:

1) please share this writing with others who are involved.

2) could i have a draft of a daily schedule to respond to. i'll provide a list of considerations which will make the days be productive go smoothly (below).
 
 

6) there is not a guest artist on the opening assembly(s). this is a introduction as to the tone and content of the residency. the guest artist will serve to enhance the residency at a later date. IF i do the opening assemblies on the first day, pre -service and donuts etc would not be a good idea. there is an enormous amount of work that goes into setting up for the assemblies. i have an idea that has been working out very well though! why don't we schedule the assemblies for the SECOND day and do the pre -service and meet with small groups on the first day. this will give me a chance to physically get my gear where it needs to be and work out any final details for set up, which usually takes up time. this is my first choice. we COULD do the pre -service after the assemblies on the first day, but i've got to tell you, i've done that many times and i'm always really beat by then. if you still want to do the assemblies in the first day, that is fine but it should be assemblies and small groups only.
 

7) i need to know what funds are available for lodging. please provide me with some options regarding lodging close to the school. the lodging needs to be in a safe area of town. i would like to come directly to the school the evening before and load out before going to where ever i will be sleeping. THAT CAN ALSO BE AN OPPORTUNITY FOR US TO MEET IN PERSON. i have done this before and it works great!
 

CONSIDERATIONS FOR A DAILY RESIDENCY SCHEDULE

1) please keep in mind that i am usually performing with the students and need reasonable breaks.

2) if we are making instruments or something that is not as demanding physically, we can pack more session time in with the students.

3) there is usually lots of instruments i use with the kids so staying in one space most of the time works the best (we already talked about using dave's room so this is taken care of)

4) i can easily travel to certain classes for certain activities. for example: guitar-in-hand to work with older students on songwriting. let me know what you have in mind and i'll let you know if i can do it

5) there are approximately 5 sessions i would come into contact with students per day on a 3 day/week residency.

6) planning time can be used to break up the day. for example: 2 student sessions then plan, then 2 or 3 student sessions (if there are 3 student sessions back to back, there should be a little break in there for me to plan and/or take a breather (depending on the activity)

WHAT TO EXPECT

1) the sessions with the students will usually be very hands-on. they will be performing with me as a class. there will be call and response singing and things to do/play on cue. please see original grant proposal for exact activities.

2) teachers should feel free to make connections to their regular classroom subject at almost anytime.  the chances of me having an activity or song related to what they are doing in class is pretty good. teachers should feel free to brainstorm and contribute to class residency activities to help make interdisciplinary connections.

3) the assemblies will be mostly presentation with some clapping, singing, movement and student volunteers

4) i am very adamant about students following direction and not talking or playing when i am. i will not hesitate to ask that a student be removed from a session.

5) expect to have   F  U  N   !!!
 
 
 

thanks,
 

...jim

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