Arts Education Program Goals

The Utah Arts Council's Arts Education Program seeks the following in its funded projects:

1. To enhance the cultural life of a community by encouraging greater understanding and appreciation for the arts and the role of artists and artistic companies in schools and communities.
2. To encourage, develop, and strengthen ongoing arts education programs, and to facilitate a cooperative commitment to arts education among artists, educators, arts organizations, and communities.
3. To demonstrate the role of the arts in reflecting diversity and cultural resources.
4. To encourage the active participation of all Utahns in arts education and the creative process.
5. To support educators and communities in developing and implementing innovative arts education programs in schools and community sites.
6. To demonstrate the efficacy of professional artists as resources to stimulate and supplement the arts in Utah schools and communities.
7. To partner and collaborate with the state and local agencies and arts organizations statewide in striving to meet the arts education needs of the state.
8. To provide participants with opportunities to work directly with practicing artists and artistic companies, thereby encouraging individual creativity.
9. To provide artists and artistic companies with opportunities to work in school and community settings.
10. To clearly articulate the premise that the stabilization of the arts begins with arts education.

Arts Education Projects Support:

• Curriculum and instructional material development.
• Methods of instruction.
• Professional development for teachers and artist educators.
• Long-term arts education implementation activities.
• After-school and weekend programs for youth and/or parents.
• Pre-service and/or in-service programs (workshops, summer institutes, conferences, seminars).
• Development of evaluation and testing of student achievement and of arts curriculum materials.
• Collaborative projects between arts and educational institutions, organizations, or agencies, including higher education.
• Educational activities in arts festivals, hospitals, prison, museums, camps, social service agencies, libraries, and other appropriate sites.
• Museum arts education programs for grades K-12.
• Community arts programs. For example, a dance group may want to sponsor a workshop in dance; a theater group may want to do a residency in play writing.

Projects are intended to promote excellence in the arts and must have a significant educational component.

Arts education projects are not limited to the preceding examples; the parameters are broad and are limited only by the imagination. The only concrete requirements are that art education projects must be sponsored by non-profit organizations, they must promote artistic excellence, and they must be educational.

Arts education projects are required to use either AE roster artists or AE artistic company partners unless there is an exceptional reason for using someone outside the roster. For example of such an exception, a project might need to hire Native American master artists to teach traditional arts within their own community.

An example of how an artist has been used in a long-term arts education project is the Holt Elementary after-school theater program, which was conducted for the entire calendar year, including the summer session. One of the theater artists from New York flew in for two-week workshops three times over the course of the project period. While at the school he set up theater projects and exercises for teachers and students to do until his next visit. During each visit he worked with teachers to plan activities to increase the students' skills and the complexity of their activities, and planned opportunities for the community to see the progressive growth of the theater program.

As in residencies, the artist's fee is set by AE, but in the case of Arts Education Projects all sums, including per diem and travel expenses, are paid directly to the artist by the sponsor from its grant. The sponsor is required to pay the artist a minimum of $30 per hour. The diem is negotiable between the artist and the sponsor up to a maximum of $50 per day, with suitable adjustments made if the sponsor provides lodging and/or a car, or if lodging costs exceed $50.

In arts education projects there is far more latitude in scheduling and various specific arrangements than in residencies. For example, the sponsor and artist may negotiate the number of times an artist is to visit the site, and the sponsor may use part of its grant money to pay for extra trips.

We will be happy to assist in the negotiation process and to give advice on budgets. Call (801) 320-9794 for assistance.

Teacher Initiated Project Grants

Any teacher in any private, parochial, charter, or public school is eligible to apply for a Teacher Initiated Project grant. Funds in this category promote artistic excellence and focus on professional development and art making for the individual teacher. No cash match is required; matches for these funds are provided through teacher time and commitment.

Artists in Residence General Information

The heart of the UAC's Artist in Residence program is our belief that the artist makes an invaluable contribution to the educational process. The artist can be a catalyst for change -- the creative spark that helps a classroom, school, district, or community to realize that the arts can be a part of everyone's daily life as well as a valuable element in their ongoing education.

The AE Artist Roster consists of artists representing all disciplines. Artists are available in crafts, literary arts, dance, folk traditions, theater, music, visual arts, film/video, storytelling, or a combination of disciplines. This roster indicates which artists are available for residencies, short-term projects and/or teacher training. A series of panels review the artists every two to three years. The panels consider the artistic merit of the artist's work as well as the artist's ability to engage participants in the creative process.

In residencies ranging from 10 to 290 days, participants in target groups have the opportunity to work in depth with accomplished artists, who integrate their work into the regular learning life of students, schools, and communities. This is the major distinguishing factor between artist residencies and single performances and exhibitions. Other participants also may be involved in the residency through workshops, readings, performances, exhibits, or other activities. Every residency also includes a community event and an in-service teacher-training workshop which may center on methods of instruction in the arts core curriculum required by the State Board of Education.

The intent of the residency program is to enrich and support quality arts education, not to supplant or in any way furnish a substitute for services more appropriately provided by trained arts educators.

In a school residency, the artist is scheduled an average of 20 hours per week. The artist's remaining time is for his or her own artistic endeavors. In a community residency, the artist may work with any age group in an appropriate facility, with sessions scheduled over a number of weeks.

In addition, because we want to draw attention to the research finding in arts education, and in an effort to demonstrate that inclusion of the arts in basic education is essential, AE is focusing more attention on the Utah State core curriculum standards in the arts. Educators are increasingly under pressure to demonstrate how their programming addresses the core curriculum. By emphasizing the Utah State core curriculum standards in the arts in our residencies, we offer educators assurance that arts activities comply with the mandates of the Utah State Office of Education.

Many artists already address the objectives of the core curriculum in their residencies, of course. Some not only teach the core but also address objectives of the language arts, math, science or social studies core, as well. For example, an artist may teach the solar system through dance, or use a historical or current event as the basis for a play. It is important that you plan the residency or project with the artist and participate in the selection of the core objectives that you, as the sponsor, would like to see addressed. Artists are prepared to work with you to assure objectives are met.

It is also important to remember that artists bring to the experience an artistic component traditionally not offered in the classroom. Therefore, it is important to allow the artist to remain the artist and to work within the context of their art form. By calling attention to the core objectives, the artist richly enhances the residency experience.

Definitions

ARTIST: The role of the artist is to design experiences featuring the process, techniques, history, and aesthetics of a particular art form. In the residency forum, the artist spends four hours a day working with residency participants. It is important to remember that these artists are not members of the Art Council's regular faculty or staff. The artists are not to serve as substitute teachers. During the residency, in accordance with law and liability issues, faculty or staff members must remain with the students and are asked to participate in residency activities.

ARTIST/SPONSOR HANDBOOK: This detailed guide to coordinating a residency and project will accompany notification of all grants awards.

COMMUNITY EVENT: At least one community event is required per 40-hour residency. This is an activity open to members of the community who are not otherwise participating in the residency. Sponsors are asked to notify the AE office about the time and date of the community event.

CONTACT HOURS: Contact hours are the number of hours the artist is in direct contact with students or in-services. The target group and workshop sessions cannot be less than 50 minutes per session. Each day with the artist should not exceed four hours of contact time (exceptions can be made depending on the artist?s schedule).

DOCUMENTATION: Documentation of the residency is determined by the sponsor's residency/project coordinator and the artist. It can take may forms: student exhibits showing skill development, slide shows, newspaper articles, videotapes, audio tapes, teachers' lesson plans, or any other form that effectively documents residency activities. (See Publicity.)

EVALUATION: Evaluation of the residency will be based on mutually determined criteria. The coordinator should meet with the artist regularly throughout the residency to assess progress. Report forms provided by the UAC are to be completed by the artist and the sponsor and returned to the UAC within ten days after the completion of the residency. Copies of media coverage will be requested as part of the evaluation process, as described under "Publicity." UAC panelists and/or AE staff may visit the site to evaluate a residency.

IN-SERVICE: An in-service is a workshop session for all faculty, staff, or appropriate participants. At least one such session is required for a ten-day school residency. Schools are encouraged to open the in-service to district and personnel.

PLANNING COMMITEE: Composed of community members, teachers, and administrators, the sponsor's planning committee determines objectives of the residency, identifies participants, and coordinates or guides the selection of artist and target groups.

PUBLICITY: To help assure community support for future programming, publicity before and during the residency is vital. Publicity can include public service announcements or interviews with the artist on local radio and TV, sending fliers home with students, using local marquees, or making announcements and presentations at meetings of civic groups and the PTA. Invitations to selected residency activities can be extended to parents, administrators, the school board, city council members, legislators, and the community. All publicity materials should acknowledge sponsorship by the Utah Arts Council and the National Endowment for the Arts.

SPONSOR: A nonprofit, tax-exempt organization, civic group, school, school district, or local government agency who submits an application to the AE program and is selected for funding.

STUDIO/REHEARSAL SPACE: The artists on the roster are professionals and if possible, a studio space should be made available for their use. This space, provided by the sponsor, might be on the residency site or in the community. The artist would need access during hours when he or she is not teaching, as well as adequate heat, light, a secure storage area, and in some cases, a sink. Some artists may choose to work in his or her home studio.

TARGET GROUPS: The primary participants of a residency are target groups (maximum of 35 students) which meet with the artist a minimum of eight hours for each 40-hour residency. At least one target group per residency is required for schools and community sites. All participants must be in either a target group (8 hours of contact time) or workshop group (3 hours of contact time).

WORKSHOP GROUPS: In addition to the target groups, the workshop group meets with the artist at least three hours for each 40-hour residency. All participants must be in either a target group (8 hours of contact time) or workshop group (3 hours of contact time).

Requirements

There may be no more than 35 students per session unless approved by AE for special cases such as theatrical or choral productions.

Each session must be at least 50 minutes long. Adequate time must be allowed for the artist to prepare for consecutive sessions or get from one classroom to the next in the event sessions are held in more than one classroom. When scheduling consecutive sessions allow 50 minutes of contact time with 10-15 minutes of preparation time in between the sessions.

The artist is to have a maximum of four 50-minute sessions per day (exceptions can be made depending on the artist's schedule). For purposes of payment, these are considered one-hour sessions, to allow for travel between rooms and setup time. The other four hours of the day are to be devoted to his or her professional work.

A teacher must be present in the classroom at all times. There are three reasons for this requirement:

1. The artist is there only to teach art and must not be expected to control or discipline unruly students.
2. One of the aims of the program is to allow teachers as well as the students to learn from the learn from the artist. In this way the artist has a lasting impact on the school, since the teacher will apply concepts taught in the future. Teachers are encouraged to participate in activities. When teachers leave for coffee, grade papers, or otherwise remove themselves from participation, it clearly announces to artist and students that the arts activities are not important.
3. The artist carries no liability insurance in the event of an accident, and is not responsible for the safety of the students. Therefore, under no circumstances is the artist ever to be alone in the classroom with the students. Schools which violate this requirement risk having their funding withdrawn.

By federal law, individuals with special needs must not be excluded from residency activities if they are regularly a part of the classes that are designated as target and workshop groups. We are asked in our yearly evaluation reports to the NEA specifically what percentage of those individuals served are minority or at-risk populations.

Resources and training for artists and sponsors serving populations with special needs are available through Arts Access Utah.

AE may withdraw funding if any of these requirements are not met.

Activities

Residecies may include (but are not limited to) several of the activities below:

• Workshops for groups such as teachers and administrators, parents, local artists, community leaders, school boards, and museum docents.
• Demonstrations of the art form or the artist's personal work through readings, audio/visual presentations, assemblies, concerts, and other appropriate events.
• Discussion of the artist's approach to teaching skills and concepts outlined in the Utah Arts core curriculum.
• Consulting time with school staff.
• Demonstration session where the target groups present skills learned in the residency.
• Special events such as exhibits, readings, performances, and lectures.
• Informal session with artist and a larger group to share professional views of artistic process and product, e.g., what decisions and thought processes were used in developing the work, what the intent of the finished work is, and whatever other topics the artist and the group may feel are relevant.
• Parent/child workshops, daytime or evening.
• Interviews with local media.
• Apprentice programs in which selected students can work closely with the artist.
• Informal time when interested faculty, students, and community members can observe the artist developing his or her own creative work.
• Residencies for teachers only.
• Residencies for teachers and community leaders.
• esidencies for small school districts where the entire district utilizes the artist.

Residency Finance Breakdown

Distribution of Costs

What the sponsor pays:

1. Supplies and materials - the sponsor pays for all supplies and material required for residency activities.

 
2. A percentage of the artist's salary as follows:
   • Each sponsor receives a grant to pay for a percentage of the artist's salary and must provide the rest of the salary through matching funds. The percentage that the school is required to pay depends on how many years the school has had residencies in the past. The scale is:
     • First time sponsors pay 50% of the artist's salary.
     • Second and third year sponsors pay 65%.
     • Fourth year or more sponsors pay 70% of the salary for a 40-hour residency, and 65% for longer residencies. The higher percentage for shorter residencies is meant to encourage longer residencies.
   
    
3. Artists are paid $30 per hour, or $600 for 20 hours. A 40-hour residency would pay $1,200. Thus, a first-time sponsor's share of the salary would be $600 for a 40-hour residency. A second or third-year sponsor's share would be $780, and a fourth-year sponsor would pay $840 for a 40-hour residency.

 
4. This structure is meant to encourage an increasing commitment on the part of the community and school district as they see the success of each residency. The AE program is meant to provide a way to initiate arts programming where it does not exist and to demonstrate its importance to those in charge in the school and community. Our hope is that after several successful years with the AE program, the school, school district, and/or community will be ready and willing to do their own arts education programming. (The AE program will remain a valuable information resource indefinitely, however.)

 
5. The sponsor pays the UAC its share of the artist's salary immediately after the residency. We send invoices to the schools six weeks in advance of the residency and expect the paperwork to be submitted to the district, PTA, or school accountant in enough time so we receive payment within ten days after the residency ends. Failure to pay within ten days will automatically jeopardize future funding. Sponsors with outstanding debts will not have subsequent applications reviewed.

What the AE Program Pays:

1. The portion of the artist's salary not paid for by the sponsor.

 
2. The artist's expenses:
   • travel to state one time per fiscal year
   • housing
   • per diem
   • prep-time
   • mileage or the provision of a state car depending on the distance traveled

Residency Planning Timeline

January

AE grant applications are available online at arts.utah.gov/funding/arts_education_grant/index.html.

Potential sponsors develop planning committees.

The UAC staff provides assistance in planning the projects and in completing applications. (The demand for technical assistance is high during this time of year. If you would like assistance, please contact the AE office early, preferably before February.)

February

Sponsors draft applications, working with the chosen artist.

Note: You must use an Arts Education Roster artist. Artist Applications for inclusion into the Roster are available through the Artist Roster page. Call AE if you need help selecting an artist, or if you can't reach the one you want.

March 1

Sponsor applications due at AE office complete with artist in place.

April/May

The AE Advisory Panel reviews sponsor applications and makes recommendations to the AE Board Committee.

The AE Board Committee reviews the Advisory Panel recommendations and makes recommendations to the UAC Board of Directors.

Late May

AE sends out notice of sponsor grant awards.

As soon as residency dates are set

• Develop a residency plan with the artist using the following checklist. It is preferable to meet in person with the artist if possible, but you may have to work by phone or mail because of distance. Whether you work in person or by phone, prevent future misunderstandings by following up your discussions with a written copy of the arrangements made.
• Select at least one target group that will meet with the artist at least eight hours during a 40-hour residency.
• Select workshop groups that will meet at least three hours during a 40-hour residency, i.e., three hours in a 40-hour residency, six hours in a 80-hour residency.
• No participant can meet with the artist if they are not in a target group, workshop group, or teacher inservice.

A common problem in scheduling is that sponsors often try to have the artist meet with the entire school population. Only very small schools are able to accommodate the entire population and stay within the scheduling requirements. The requirements are based on evidence that shows the residencies are more effective when smaller groups get intensive exposure rather than when schools try to get everyone in.

• Select at least one teacher for in-service training.
• Plan, together with the artists, at least one community event, such as an exhibit, performance, or reading.
• Discuss with the artist how the residency may address the state fine arts core curriculum. AE artists are given copies of the state fine arts core curriculum and are expected to be familiar with requirements that pertain to their discipline.

September

AE holds regionally-based sponsor orientations for residency and project grantees.

By November 1

Set dates for residency jointly with the artist. AE must be notified of dates of residency, in writing, by November 1.

It is crucial to be scrupulous about AE due dates. If we do not receive your notification of the residency dates and selected artist by November 1, you risk forfeiting your grant unless you have demonstrated to our satisfaction that you have not been able to find an artist through circumstances beyond your control. Please let us know if you have difficulties and we will do our best to help you.

If any residencies are scheduled to begin before November, you must notify us at once. No residency can begin until you have attended a Grantee Orientation Meeting and you and your artist have signed a letter of agreement and submitted to our office.

Early November

By early November you will receive letters of agreement for any residencies you have planned. Please return a signed copy promptly and retain a signed copy for your records.

Two Months Before the Residency

Establish your goals and expectations for the residency and how these relate to your long-term arts education objectives. Discuss these goals and expectations with the artist. What core curriculum requirements should the artist address?

• Working with the artist, define the residency details, such as how many classes and which will comprise target groups and which will be workshop groups; how often the classes will meet and what activities will be done; and how his or her individual skills and artistic philosophy address the goals of the state core curriculum.
• Inform the artist of school policies and regulations she or he needs to know.
• Have the artist supply you with a list of supplies, equipment, and space needed for the residency.
• Discuss studio, rehearsal, or other work space with the artist.
• Consult with the artist about materials teachers may use to prepare the students for the residency.
• Make a joint decision with the artist about how the school will document the residency, i.e., with photographs, videotape, and anthology, etc. For suggestions on documentation, see the section titled Documentation.
• Put together publicity information for local media and get posters designed. Most artists have personal publicity packets they will be glad to provide to you. See the section titled Publicity for suggestions.
• Ask the artist for biographical and professional information that can be used for publicity in local media.
• Although you are not obligated to do so, consider providing school lunches for the artist. You may also offer to provide housing with a member of the community.
• If scheduling problems, disagreements with the artist, or any other kind of problems arise during the planning stages or at any time during a residency, contact the AE office. It is part of our job to help resolve them.

Six Weeks Before the Residency

Finalize schedule and send to AE for approval if you haven't already done so. Remember that future funding may be jeopardized if we do not receive and approve the schedule six weeks before the residency.

• Order supplies and settle other details that have not already been taken care of.
• You are not obligated to offer your personal homes for housing of the artist, but some sponsors volunteer to do so. If the artist needs a hotel room it is up to the sponsor to suggest possible hotels/motels to the AE office, as it is easier for the sponsor since they are familiar with the area. The AE office will make the final arrangements and payments for a hotel stay.
• Publicity activities should now be fully implemented.
• You are encouraged, though not obligated, to consider writing to your state senator and representative to thank them for the state legislature's part in funding AE programs, and invite them to attend residency activities. You may also invite a UAC board member.
• If practical, have the artist visit and approve the studio or other workspace to be provided for him or her.

Three Weeks Before the Residency

A final review with the artist of details of the schedule, housing arrangements, and supplies, if necessary.

Day 1 of the Residency: Orientation

Introduce the artist to the teachers involved, the principal, and the on-site coordinator to review the schedule and mechanics of the residency.

Introduce the artist to the residency community through an introductory assembly, a PTA presentation, an exhibit of the artist's work, a dinner with members of the community, or other appropriate activity.

During the Residency

The sponsor's planning committee will meet as necessary to discuss any problems or changes that are needed.

After the Residency

Meet with the artist to discuss whether objectives of the residency were met. At this time you should exchange mutual constructive feedback.

Send a thank you letter to the artist from the teachers and children.

Send AE the evaluations and the statistical report form. Future funding depends on getting the report forms in to the AE office within two weeks of the end of the residency.

Remit your payment with the AE invoice within ten days. Your invoice is included in this notebook, and it will be the only invoice given to you. The state permits us to charge interest for late payments, and to submit delinquent bills for collection after 90 days.

Who Is Involved in a Residency

RESIDENCIES TAKE A LOT OF WORK! There are many parties involved in a successful residency. Some of them include:

Planning Team

The first step in planning a residency is to assemble a team. The team identifies the groups to participate in the residency, selects the artist from AE's Artist Roster, secures the matching funds for the residency, works with the artist in setting goals and objectives, and finally writes the grant. All of the team members are responsible for compiling documentation of the residency, helping the artist with arising needs during the residency, and contributing to the evaluation process.

On-site Coordinator

The on site coordinator is the direct liaison between the artist, the sponsoring organization, and AE. He or she is the most important person on the planning committee and bears the major part of the responsibility for seeing that the residency runs smoothly.

School Principal or Agency's Director

The principal or director is involved in the planning process and ensures that the organization as a whole is supportive of the schedule changes and redirection of resources often necessary during a residency.

Community

Community organizations sometimes contribute the matching funds required for a residency. This may be the PTA, school, school district, local business, or community member.

Teachers

Teachers who will be involved in the residency through target and workshop groups should be involved in the planning process. Other teachers interested in the art form may be invited to participate in the planning committee.

Artist

Sponsors must consult with an artist while putting together a proposal. An artist experienced in residencies make valuable suggestions as to what is needed to make a successful, smoothly running residency. The artist also helps establish realistic goals. He or she can suggest activities that address the state fine arts core curriculum requirements, and will know of ways to integrate art activities with other subject areas, where appropriate.

Supplemental Activities

With the artist's consent and cooperation, supplemental activities can be planned to gain support in the community and in the school for the idea of integrating the arts across the curriculum.

• Arrange a potluck supper or other informal gathering to bring the artist, teachers, and community together.
   
• Ask the school librarian to create a display of books relevant to the artist's field on a special shelf or table prior to and during the residency.
   
• Look for creative ways to capitalize on the artist's visit by arranging special projects, incorporating the artist into other curricular areas, inviting him or her to participate in the school's career educational program, or encouraging projects involving those with disabilities and special needs. A performance, demonstration, or talk to community organizations such as the Kiwanis or Jaycees, for example, may encourage such organizations to help fund future arts projects in your community.

These extra activities are not covered by the artist's salary under the grant; therefore, you must arrange payment from other sources.

On-site Coordinator

The on site coordinator is the direct liaison between the artist, the sponsoring organization, and AE. He or she is the most important person on the planning committee and bears the major part of the responsibility for seeing that the residency runs smoothly. The coordinator is responsible for the following:

• Sees that the materials and technical requirements of the artist are taken care of prior to the artist's arrival.
   
• Introduces the artist and the AE program to the school or non profit organization by arranging for the artist to meet the faculty or agency staff before the residency/project begins.
   
• Publicizes the residency/project.
   
• Arranges meetings with key community groups such as local arts councils or museums.
   
• Gives support and guidance to the artist, helps arrange housing, orients the artist to local traditions and events, provides maps, helps move them from room to room if necessary, and in any other way possible makes the artist's stay comfortable and convenient.
   
• Plans the artist's daily schedule with the artist, staff, teachers, principal, or any community members involved.
   
• Contacts teachers, staff, or community members who will be involved in the residency/project.
   
• Finds creative ways to capitalize on the artist's visit by arranging special events and projects involving other curricular areas.
   
• Works to resolve any conflicts and logistical problems that may arise.
   
• Plans follow-up activities after the residency/project, such as teacher or staff training and participant performances.
   
• Keeps records relevant to the residency/project.
   
• Helps the school or organization and the AE staff evaluate the residency/project.
   
• Is responsible for payment and reports to AE at the end of the residency/project.

Publicity

A good publicity effort will result in well-attended arts events and stronger support for future arts programs. Let as many people as possible know about the program, the artist, and what the artist will be doing in your school or community.

The news media are your most valuable resources in giving positive visibility to the AE program. Coverage of a residency or project is more successful if the on site coordinator contacts the media. Radio and television stations regularly schedule public service announcements that are available at no charge to nonprofit groups.

The on site coordinator may ask a parent volunteer or a local community organization to be responsible for the publicity. That person will want to keep in mind the following suggestions:

• Small communities lacking newspapers or local radio stations can publicize a residency or project effectively with notices posted on bulletin boards at local gathering places such as restaurants, grocery stores, trading posts, and ward houses.
   
• If your community has a newspaper, radio, or TV station, contact the person who usually covers stories about the arts. In small cities this may be the editor, publisher, or program director. Send them a press release and follow it up with a phone call. Encourage them to visit the site and develop stories about the activities.
   
• Send copies of your press release to your legislators and all schools, libraries, and community centers in your area. For more detailed information on writing publicity material for radio and newspapers, contact the Public Information Officer at the Utah Arts Council.
   
• Take a look at available resources in the school and community. For example, students in a journalism, photography, or English writing class could benefit from interviewing the artist and writing brief articles. Use students' voices on the PA system or radio.
   
• Use available video equipment to document the artist's activities with students (with the artist's consent). Video can provide a means of sharing these activities with teachers and students who are not directly involved in this residency, and can help the teachers who wish to build on activities introduced to their students by the artist.
   
• Create a poster or flyer for distribution and posting.
   
• Invite school board member, local arts council board members, community leaders, and legislators to observe activities. Their interest can be the key to receiving funding for future arts programming.

The following statement MUST appear in all press releases and media announcements:

"This project is supported by a grant from the Arts Education Program of the Utah Arts Council. The UAC is a state agency funded by the Utah State Legislature and the National Endowment for the Arts."

Documentation

You may document the residency/project in any appropriate form. The choice of form should be decide jointly between the artist, the participants, and site personnel. Final responsibility, however, rests with the on site coordinator. The artist is not expected to compile anthologies, produce videotapes, or provide other forms of documentation.

Slides, scrapbooks, videotapes, photographs, anthologies, or a permanent art collection are all appropriate means of documenting a residency/project. A theatrical workshop can be videotaped or photographed. Writing workshops may be documented with an anthology of student writings or recordings of participants reading their work.

Sponsor and artist are free to invent innovative forms of documentation. What matters to the Utah Arts Council is that there is a concrete and permanent record of the activities and products of the residency.

Documentation of the residency is not required under the terms of your grant, but it has many benefits. It can bring recognition to your school/organization, show how your community is being positively affected by your participation in the program, and help you persuade the PTA, school district, businesses, and community organizations that they should support arts education.

Documentation that can be easily copied and mailed - such as photographs, anthologies, and drawings - should be included with the report forms sent to the AE office so that we have copies on file. Photos and slides are especially helpful because we can use them for Arts Council publications, our reports to the NEA, publicity, and fund raising activities.

Artists in the program are encourage to submit video footage of themselves teaching for future review by the Utah Arts Council Advisory Panels. They may ask you to help them videotape a session. We would appreciate your cooperation in this.

Evaluation

*KEEP IN MIND...

Failure to submit final reports on time has long-lasting consequences. Sponsors who do NOT submit reports within 10 days of activity completion are NOT eligible to re-apply for funding for THREE YEARS.

See what happens to us when you fail to submit your reports in:

The most important thing to remember about the evaluation process is that the goals set by the NEA for AE activities focus on long-term impact. When the Utah Arts Council applies for our funding from the NEA, we must show how the money we receive fosters change in how the arts are being taught in Utah. Thus, evaluation and documentation of residencies need to show as clearly as possible that the residency has advanced this purpose.

Evaluation should be an ongoing process to assess what has been done and to plan for the future. All members of the planning committee should assist in carrying out the evaluation process.

Required methods of evaluation

Below are sponsor evaluation forms. Collecting the information to fill out these forms constitutes the evaluation procedure and is required under the terms of your grant. These forms must be distributed to teachers, students, on-site coordinators, administrators and people in the community, who are involved in the residency/project. Photocopy as many of the forms as are needed, fill out in entirety and return to the Arts Education Program.

Artist in Residence Form	Arts Education Project Form	Teacher Initiated Project Form
Forms in MS Word Forms in PDF Format	Forms in MS Word Forms in PDF Format	Forms in MS Word Forms in PDF Format

Grant applications of sponsors who fail or have failed to return the required evaluation forms or who submit inadequate evaluations or late evaluations will not be considered for future funding for three years. If you are not sure if your evaluations meet our requirements, please contact us and we will be glad to advise you.

*HELPFUL HINT...read through the report form questions BEFORE you start your project or residency...WHY? You'll have the questions in mind WHILE working on your grant activities. Some teachers even write the questions on the board, so that everyone can be thinking about their own answers as they work with the artist(s).

Optional methods of evaluation

Many of the things you do to document the residency/project can double as tools of evaluation. For example, if the artist has been videotaped while working with the participants, the tape is not only valuable as documentation but can also be used to evaluate the artist's teaching style. Although none of these methods are required, we recommend that you utilize one or more of them to get the most benefit out of your residency/project.

• Schedule time during the residency for the artist and teachers to meet and discuss the ongoing progress of the project. Encourage the teachers to let the artist know which activities were most successful and why.
   
• Have teachers keep a log of student response throughout the residency. How has the artist made a difference? How has time with the artist helped students with other subject areas?
   
• Solicit responses from parents by asking them to observe residency activities and to share their children's feelings about the residency.
   
• Schedule a brief meeting with the artist at the end of the residency to assess the residency. The artist's comments can be valuable in planning future arts activities. It is important that both the on-site coordinator and teachers be candid about both the successes and failures during the residency. Constructive feedback enables the Utah Arts Council, the artists, and the schools to improve arts programming.
   
• Report forms can be augmented in many ways. Use your own creativity to expand your grant activity reporting.
  
  Call the AE office for suggestions at (801) 320-9794 or (801) 320-9795.