Arts Corps is hiring two teaching artists, one specializing in music and one specializing in theatre or performance, who will develop and teach project-based curriculum that integrates their art form with core curriculum in order to enhance student learning, classroom engagement and creative thinking skills. Each teaching artist will be placed in an elementary school where they will teach 3-4 classes per day, 2-3 days a week, primarily focusing on Kindergarten through third grade. The Creative Schools Teaching Artists are also responsible for the planning and coordination of performances to celebrate and showcase student work. In addition, they support professional development for classroom teachers, program evaluation and some administration as it pertains to their school sites.
Arts Corps is an Equal Opportunity Employer. This position has a social justice component that will allow for critical thinking around how external systems impact our work through the lens of racism and intersections with poverty. As an equal opportunity employer, we highly encourage people of color to apply.
Arts Corps, EMP Museum, and Macklemore & Ryan Lewis are hosting year 2 of the Hip Hop Artist Residency, which will serve up to 40 emerging youth artists through two tracks: the Vocal Track, which will foster self-expression through lyricism, rhyme structure, and delivery and the Production Track, which will emphasize media literacy, beat-making, and song construction. Participants will feature their work at a culminating event at the end of the residency.
Meet our cohort of incredible teaching artists who will be leading the program this year!
Maddy “MADlines” Clifford is a rapper, writer and educator from Seattle. She’s taught hundreds of literary arts workshops throughout the Bay Area, where she currently resides. Maddy also holds an MFA from Mills College, has independently released three musical projects, and performed widely, including opening for Souls of Mischief. In 2015, she served as a Hip-Hop Ambassador to Uganda through the Next Level Program, a project of the US Department of State. She’s also spent the last three years facilitating poetry workshops with incarcerated youth in San Francisco. Her range–from stage, to panel, to urban classroom, to academic setting–is extensive. Maddy’s ultimate goal is to leave an indelible footprint in a shifting cultural landscape, one in which young people’s dreams for peace can take root!
Olisa “Spyc-E Enrico has been rockin’ the mic for over 20 years. Born into a life of music Olisa began exploring theatre in 2003. She has a BFA in performance and an MFA in Theater Pedagogy. Olisa believes that artists and art are vital to the state of culture and society and hopes to share her soul through performance and teaching. Olisa is a board member of www.TheConciliationProject.org (TCP) (501c3) whose mission is “…to promote through active and challenging dramatic works, open and honest dialogue about racism in America in order to repair its damaging legacy”. Olisa teaches students of all ages and stages. Her teaching, of any subject, incorporates principles of community and shared responsibility.
Jamal Farr a.k.a. Jace is a Seattle hip-hop fixture. He’s been involved with the Seattle hip-hop scene since the mid-1980s and has done work with such organizations as National Black United Front, Impact Management/K Records, and Loose Groove/Sony, as well as rapped on many independent releases.
As a hip-hop performer, Jace participates in the broader arts scene, beyond just the hip-hop scene, and uses his time to help young people in his creative writing classes to navigate their lives with words. Jace is currently a member of the hip-hop/soul-inspired group Black Stax. He prides himself of the work they do with other artists internationally as well as within the Seattle community.
Erica Merritt began singing and performing at the age of five. In middle school she was featured in a band called Starlighters, which consisted of three student vocalists and a few members of the faculty. At 14, she joined theatre and music performance groups at Langston Hughes Cultural Arts Center. She studied voice and music in college, and began teaching choir through Northwest Folklife in 1998. Over the course of the last 15 years she has taught voice, songwriting, and choir through various art organizations. Merritt has also worked in the field of social and human services for over 18 years, and has enjoyed the amazing opportunity to combine her passions of social well-being and music through the art of teaching.
Winner of Vocalo Radio’s “Quest For The Best DJ” battle, Tyrone “DJ Bizzon” Miller’s creative turntablism skills, original production and hands-on style has made him one of the Midwest’s most sought- after DJs. He’s opened for or performed with artists including Kendrick Lamar, Baauer, Mac Miller, ?uestlove, Just Blaze, Naughty By Nature, People Under The Stairs and DJ Abilities. From the songs you’ve heard to bangers you haven’t, Tyrone prides himself on rocking the party without compromising artistic music selection. The same work ethic and originality that make him a standout on the turntables carry through to his other roles in music – radio host, music columnist, event organizer and youth work professional.
In addition to DJing, Tyrone co-hosts Those Hip Hop Guys Radio on WMSE 91.7FM, Milwaukee’s only all underground and old school hip-hop radio show. He’s a member of Vocalo Radio’s DJ collective, which broadcasts on Chicago’s 91.1FM and Indiana’s 89.5FM. He created and writes for JSOnline’s Those Hip Hop Guys Blog, the only column in a major Wisconsin publication focused on hip-hop culture. He is also a youth work professional with experience in teaching music classes, directing youth programming, creating curriculum, leading workshops, writing grants and organizing fundraising events and concerts. All of these projects are inspired by his mission to put musical diversity and real choice back into people’s hands, rather than letting mainstream media dictate what defines good music.
Born and raised in the Central District, Otieno Terry is a singer-songwriter and producer sure to take you on a journey with his eclectic and passionate style. With roots in soul, hip-hop, and jazz, Terry blends a vast array of genres for a truly unique sound through which he delivers powerful messages. As a former participant in Seattle Theatre Group’s More Music @ The Moore program, and winner of EMP Museum’s Sound Off! competition in 2014, Otieno continues to gain recognition for his collaborations with Seattle-based artists, in addition to his own music. Furthermore, he is a teaching artist and mentor with Creative Justice Program.
In the fall of 2015, the Creative Schools Initiative entered into a three-year project in the Highline School District funded by the U.S. Department of Education.The Creative Schools Teaching Artist will collaborate with 5th and 6th grade teachers in Highline Public Schools to deliver project-based arts integrated units.
Arts Corps is hiring a visual teaching artist (the project has two visual artists and two theater artists) who will teach units that integrate visual art with language arts in order to enhance student learning, classroom engagement and feelings of belonging. Each teaching artist will split their time between two elementary schools, where they will contribute to an arts rich environment by co-teaching in the classroom, supporting students’ online portfolios and guiding exhibits/performances with students. Creative Schools Teaching Artists will also be responsible for the support of professional development for classroom teachers, program evaluation and some administration as it pertains to their school sites.
Highline Public Schools is one of the highest poverty, most diverse and lowest performing school districts in its region. This district serves nearly 19,000 Washington students Kindergarten through Grade 12 in South King County, an area characterized by the availability of inexpensive housing and the presence of diverse populations of low-income families, including many different immigrant and refugee populations. Because of these factors, Arts Corps is especially seeking applicants who have some connection to the communities of South King County, and who are bilingual in English and Spanish. People of color are strongly encouraged to apply.
We have been closely following the online conversation regarding the comments made by Michael Butera at the April 28th convening around diversity hosted by the National Endowment of the Arts, as shared by Keryl McCord of AlternateRoots, and we wish to add ours to the growing chorus of voices calling for true commitment and action towards racial equity by the National Association for Music Education. We are a group of white staff from Arts Corps, who meet intentionally as part of our organizational practice of racial caucusing.
While we do not know Michael Butera or Keryl McCord personally, Ms. McCord’s account immediately rang true for us. Even if Mr. Butera’s words were heard in a way that did not match his intentions, it is clear that he became deeply defensive, shut down a critical conversation and left the room. This defensiveness feels familiar, and it alone speaks volumes. As white people, we have been socialized to respond in anger and defensiveness when people of color ask us to grapple with our complicity in racist systems. These responses are harmful and keep the status quo in place. To not challenge ourselves to overcome our defensive responses in the work against racism is a disservice to our collective work towards access to arts for all.
Over the past several years, Arts Corps has helped lead conversations around organizational transformations toward racial justice for arts education leaders at the National Guild for Community Education annual conference. We have seen this kind of defensiveness show up in big and little ways. We have heard racist statements, many subtle, some almost as blatant as those attributed to Mr. Butera, from our colleagues across the sector.
Also telling is the response of NAfME and Mr. Butera himself to the incident. A mission statement and written values are meaningless without actions that make them real, and the responses have been absent any such evidence. Mr. Butera is right that systemic inequity does make NAfME’s desire for diversity harder to achieve. But that is exactly why working to do so must take precedence.
The truth is that many in the arts express similar hopes that all people should have access to high quality arts and music education, while still believing in and spreading the dominant racist narrative, which upholds white dominance and blames people of color for their lack of “skill.” If we actually believe that all people should have access our first step must be a self assessment of our personal beliefs and biases, and only then can we begin addressing the deep structural barriers to arts education that exist for youth of color (and educators of color).
Reckoning with structural barriers will not happen easily. It requires the leadership and perspectives of people of color. It requires new ways of operating and organizing our work. It requires reshaping the cultures of our institutions with a critical lens toward dismantling the effects of outdated ideologies that perpetuate white privilege. But if we do not do this, we are in fact perpetuating the systemic oppression that will ultimately prevent us from meeting our missions, missions aimed at ensuring arts education access for all.
This is not easy work. And it poses added challenges for those of us who are white. As leaders and as white people, we have been socialized to believe we should be competent, knowledgeable experts. How can we lead around something that we have been taught not to see, or to change systems that we have benefitted from? Are we willing to transform the ways we operate and the culture of our organizations in order to welcome and actually share power with leaders of color in our work?
This honest work is where the rubber meets the road, where our value, quality and sustainability actually lives or perishes. Fortunately there are many arts education organizations actively seeking answers to these questions. Our own organization, Arts Corps, is still on this journey. As an organization focused on bridging the gap in access to arts education, we had few board members or staff of color for many years. But as we have worked to truly live our mission and values in all aspects of our work, the leadership of youth and people of color has grown in our organization, and people of color now make up the majority of our staff, board and teaching artist faculty.
This was not accomplished through a recruitment effort, nor because there was suddenly an influx of people of color into arts education leadership in our region. This happened through collective education around racism and other oppression, and by a deliberate, and sometimes painful, look at the ways our organizational culture, processes, compensation, fundraising, board and staff recruitment align with our values. This work has involved making space for staff of color to meet, support each other, and give collective feedback to the organization and help drive our racial justice work. It has also involved making space for white staff to meet, support each other in our own growth and commitments to racial justice, and to listen and receive feedback. And this is still an ongoing change process for our organization. This work involves constant discipline as our organization seeks to undo the impacts of systemic racism while continuing to work in deeply inequitable and racist systems.
We realize that Arts Corps is a very different organization, and that NAfME may be less nimble and capable of quick change. But we know that change is possible. We know it is necessary. Deeply unjust inequities persist in the arts and arts education. To rectify this we will need NAfME, and other field leaders to truly live their values of equity and inclusion, and to work with pointed courage.
The development director will work closely with the executive director and board to build on our current base of support and implement a strategic development plan that generates a diverse base of support from individuals, corporations, foundations and public agencies. They will play a key organizational leadership role to mobilize effective development and communications teams that include the executive director, grants manager, communications lead, board members, program staff and volunteers.
For more information, see the Job Description and to apply, send resume and cover letter to firstname.lastname@example.org and write “Development Director Application” in the subject line.
Arts Corps is an Equal Opportunity Employer. This position has a social justice component that will allow for critical thinking around how external systems impact our work through the lens of racism and intersections with other oppressions. As an equal opportunity employer, we highly encourage people of color to apply.
Featuring Sassy Black Cat (of THEESatisfaction), hosted by Hollis Wong-Wear (of the Flavr Blue)
10 finalists grace the Grand Slam stage for 1 transformative night of poetry. Witness stories of love, loss, resistance and survival, told through the raw medium of spoken word. The truth will change you. The top 5 poets will be named the 2016 Youth Speaks Seattle Slam Team and will rep Seattle at the 2016 International Brave New Voices Festival in Washington, D.C, this July.
We are excited to invite all of you to one of the most supremely magical nights of the year! Would you help us spread the word by re-posting, forwarding and inviting your community to the event? Here is the link: https://www.facebook.com/events/606224629540295/
If your org is interested in bringing a group of 5+ youth to the event, check out the homie discount on our ticketing page! If cost is still a barrier, email email@example.com and we will work it out.
Arts Corps, EMP Museum and Macklemore & Ryan Lewis are hosting year 2 of the Hip Hop Artist Residency. We are seeking Hip Hop Teaching Artists who are exceptional creative role models with strong youth development skills and a commitment to social justice.
The Hip-Hop Artist Residency aims to bridge the gap in access to arts opportunities for at-risk teens, empowering confidence, professional development in the music industry, and leadership identity by building participants’ skills in artistic expression and collaboration. From July 25- August 12, 2016, this intensive residency will serve up to 40 emerging artists through two tracks: the Vocal Track, which will foster self-expression through lyricism, rhyme structure, and delivery and the Production Track, which will emphasize media literacy, beat-making, and song construction. Participants will feature their work at a culminating event at the end of the residency. Following the residency, youth will participate in four monthly 3-hour cyphers (from Septemenber through December 2016) as a way to advance their collaborative learning.
Please e-mail info and materials below to: firstname.lastname@example.org (and please designate HHAR TEACHING ARTIST APPLICATION in the subject line) by Friday, April 1st.
Personal teaching artist mission statement.
Class description sample.
A sample curriculum or lesson plan (2 pages maximum)
Deadline for submission is April 1, 2016
Arts Corps is an equal opportunity employer and does not discriminate on the basis of race, sex, age, religion, sexual orientation, or gender identity. Teaching artists of color are strongly encouraged to apply
The Highline Creative Schools Initiative is a three-year research project in the Highline School District funded by the U.S. Department of Education. This project explores the impact of arts integration on student academic mindsets by placing teaching artists who integrate theatre or visual arts into 5th and 6th grade language arts classes.
Highline Public Schools is one of the highest poverty, most diverse and lowest performing school districts in its region. This district serves nearly 19,000 students, many of whom are students of color and/or from low-income families, including many different immigrant and refugee populations. Because of these factors, Arts Corps is especially seeking applicants who have experience in and a passion for working for racial and social justice. People of color are strongly encouraged to apply for these positions.
To Apply: Send resume and cover letter to email@example.com and write “Creative Schools Program Manager” in the subject line. Position open until filled; applications received by February 15th will receive priority for review.
Mark your calendar for March 18th, 2016 for La Festa del Arte–Arts Corps’ biggest party of the year! This gala event will feature dinner and drinks, an amazing raffle and a huge stage production starring youth and adult artists from Arts Corps’ programs.
What: La Festa del Arte
When: March 18th, 6pm
Where: Showbox SoDo (1700 1st Ave S, Seattle)
You may recall that last year’s event sold out, with more than 400 people in attendance, and was our largest and most successful Festa in history. We’re working on making this year’s gala even bigger and better-it’s going to be a blast.
Formal invitations will be sent out in the coming weeks but you can purchase tickets and tables today via our website. Individual tickets cost $150 until March 1st, after which they go up to $175–a portion of which is tax-deductible.
Want to bring your whole crew? Be a Festa table captain! Table captains are asked to sponsor or recruit a table of up to 10 people. Full-table sponsorships are available for $1,500-1,750, or you can ask your guests to purchase their own tickets. Click here for more info.
PURCHASE A TABLE
Patron – $1,750
Free parking for you & your guests
VIP table for 10
Recognition in program
Fan – $1,500
Recognition in program
Table for 10
Many thanks to our sponsors for making this event possible, including:
As the year comes to a close, we hope you’ll take a moment to check out our 2014-15 Annual Report: “Risk Takers, Makers and Culture Shakers,” which you may have received in the mail recently. In it, you’ll read 5 stories of the impact the arts have had on the lives of Hollis Wong-Wear, TJ Paaga, Lashaunycee O’Cain, Nemith Phum and Tien Vo. You’ll read about break dancers, teachers, poets and musicians–what motivates and inspires them, and why the arts are such a big part of their lives.
We hope you will be inspired by their stories, and consider the role the arts have played in your own life. You’ll also see links to our 2014-15 financial and program evaluation reports, an updated list of our teaching artists, and recognition of our donors from the 2014-15 fiscal year.
Thanks for being a part of the Arts Corps community! It is your support that makes our work possible.