​its pathways are overgrown with all the knowledge you have to have already acquired
just to figure out in which direction the road goes. You can get lost in Poetry. And, in fact,
Poetry is designed to lose you. As Marianne Moore—the famously thorny and difficult poet of
American Modernism—says in her poem “Poetry,”: “I too, dislike it: there are things that are
important beyond all this fiddle.” Poetry, says the dominant culture all of our students have
grown up in, is not for you. Or: Poetry is not for you. It’s hard to tell which is worse.

Even the students who think they might be poets are suspicious of the word Poetry. “I just like
to write what I feel,” they say. They shrug. They dismiss Poetry in favor of…what?...not the
poem (they haven’t met the poem, yet) but maybe the act of writing. Of making the shape of the
word that gets the feeling out of their body and onto the page. Many students when they first
come into my class tell me that writing a poem is a kind of therapy for them. “I take everything
I’m feeling and put it on the page,” they say. “Ok, yeah,” I answer, “and then, just like in
therapy, all your feelings make more sense, right?” They blink at me at this point, because the
answer to that question is no, of course. After art, we do not feel better so much as we feel
more.

Ok, but so, here’s the point: as Marianne Moore (who was also famously tongue-in-cheek, was a
huge baseball fan, wore unironic tri-cornered hats and suggested naming the new Ford Edsel the
Utopian Turtletop, The Anticipator, The Intelligent Whale) goes on to say in “Poetry”— “if you
demand on the one hand, in defiance of their opinion—/the raw material of poetry in/ all its
rawness, and/ that which is on the other hand,/ genuine, then you are interested in poetry.” The
they Moore refers to here—the “half poets,” “autocrats,” and “literalists of the
imagination”—are everyone who would tell you what Poetry is, rather than just show you a
poem. So, that’s where we start; I show my students a poem. Usually a short poem. Something
concrete about bats or geese or getting lost and then seeing the moon. Sometimes the poem
even rhymes, but most of the time it doesn’t. Rhymes don’t matter when you can speak rhythm
out loud. That’s what we do. We read it out loud.

“Oh,” they say, “yeah, I know what that is, my teacher in third grade, or my mother at bedtime,
or my granddad when he can’t get the car started and we have to wait for the tow truck, used to
say something like that to me.” And that’s it. What they recognize is something they used to do
to while away the time after recess or before bed when there was nothing more to accomplish
than the practice of being human. They recognize something that came to them when they were
most themselves and made them more. The antidote to Poetry is the poem.

A child knows a poem with their knees and elbows. They know a poem with their earlobes and
with the way it makes them wiggle or want to look out the window and see if they can spot
some more. Our job as educators is to help them recognize what it is they already see and give
them the vocabulary to describe it. Look, there! A wild poem—let us observe its habits; let us
speak about its dappled skin. What does it eat? How does it go? When it lies down to sleep what
dreams fill its head and why are they so very much like our own?

A real toad in an imaginary garden, as Marianne Moore would call it. Let’s all spill out into the
sunshine and see if we can mimic how it hops.

For several decades, summer Arts Teacher Institutes have been offered by SCDE, providing valuable opportunities for professional development. While some already know about these institutes, it seems that most of our state’s arts educators have never even heard of them—and I was one of them! As a high school music educator before joining the SCDE, I had no idea these institutes existed. Well, they are fantastic—and
they’re FREE!

Are you an arts teacher in your first three years of teaching?
Check out South Carolina Arts Leadership for Success Academy (SCALSA)

Want to make your lessons stronger and more engaging?
Explore Curriculum Leadership in the Arts (CLIA).

Are you a dance or art teacher?
Consider the Dance Technique or Visual Arts Teacher Institute.

Want to take a deeper dive into arts integration?
Register for Arts Integration Leaders.

Teach at a STEAM school or want to learn more?
Look into Muse STEAM Institute.

Administrator?
Join Joint Arts Administrators.

These institutes and more (Arts Assessment, Design Lab, Gifted and Talented,
Visual Arts Literacy, Strategic Arts Planning) are just at your fingertips. JSYK…most
of the institutes award graduate credit (or recertification points) and only take a week in
June. (Yes, housing and meals are included!) As you might guess, space is limited.
​
I encourage all arts educators to take advantage of these Arts Teacher Institutes. They
are designed to empower you, enhance your teaching practice, and ultimately benefit
your students. For more information on how to participate, please click the button below!

As the holiday season approaches, food takes center stage in celebrations across the Palmetto State. From traditional autumn crops like pumpkins, apples, and pecans to the hearty flavors of sweet potatoes and okra, each ingredient we enjoy today has roots that
stretch deep into our state’s rich history.
​
Working as the Director of Exhibitions and Programs at the Morris Center for Lowcountry Heritage, I had the privilege of hosting The Food We Celebrate, on loan from the South Carolina State Museum. This exhibit provided a remarkable look at South Carolina’s iconic foods and reshaped my understanding of their cultural significance, especially during the holiday season.

South Carolina’s foodways are a blend of traditions from Native Americans, enslaved
Africans, and European settlers, each contributing to the dishes and ingredients we hold
dear. Sweet potatoes, for instance, which feature prominently in holiday pies and
casseroles, were cultivated by Native Americans long before becoming a staple in
Southern cooking. Similarly, okra, an ingredient in hearty stews, was brought to the
region by enslaved Africans who carried their culinary traditions across the Atlantic,
helping shape the foundation of Southern cuisine.

Exploring resources like Taste the State: South Carolina's Signature Foods, Recipes,
and Their Stories by David S. Shields and Kevin Mitchell has deepened my appreciation
for these foods’ origins. This book highlights how many of the ingredients we enjoy
today and tells a story of resilience and adaptation.
​
Whether baking a pecan pie, stirring an okra stew, or roasting sweet potatoes, each
dish is a celebration of our state’s agricultural heritage and the diverse communities that
helped shape South Carolina’s culinary identity. While you are celebrating this season,
let’s honor that legacy by recognizing the cultural significance behind every bite.

“I’m not a dancer!”
If that thought has ever crossed your mind when considering dance integration, don’t worry! Dance integration isn’t about perfect pirouettes or flashy jazz hands—it’s about using movement creatively to make learning more engaging and memorable. Let’s swap fear for curiosity and explore simple ways to bring dance into your classroom.

Dance isn’t just for the studio or the stage; it’s a powerful tool for learning. When students move
their bodies, they engage multiple senses, reinforce concepts, and build connections. Wherever
you are on your dance integration journey, here are a few tips to make it feel less scary and
more approachable:

Start Small
You don’t have to jump into a 45-minute dance integration lesson immediately. Instead, ease
into it with small, manageable steps. Start by incorporating simple movement strategies,
perhaps ones you picked up at PSAE’s Arts Integration Conference, as an activator or check for
understanding.

For example, try the Move It! Shape It! strategy:

● Give students a vocabulary word or concept to express in movement.
● Play music and students move to express vocabulary or a concept through movement.
● When the music stops, students freeze in a body shape.
● Repeat with different terms.

Even a few minutes of dance can enhance engagement and learning.

Utilize Resources
There are plenty of resources to support you on your dance integration journey. Reach out to a
dance specialist, integration coach, professional learning community, or a colleague as thought
partners. Collaborating on curriculum connections, discussing dance strategies, and
implementation will help refine your ideas and strengthen your plan. The ArtsNOW website also
offers a wealth of tools for dynamic arts-integrated learning, including unit guides, single lesson
plans, and video modules. With these resources and a supportive network, your dance
integration journey will feel more manageable and rewarding.

No Dance Skills Required.
Successfully facilitating a dance integration activity or lesson doesn’t require special dance
skills. What’s important is knowing the learning target, standard, core content vocabulary, and a
few key dance terms. These key terms fall under the elements of dance: Body, Space, Time,
and Energy. Key terms for each element include:
● Body: Body Shapes, Movement, Locomotor and Non-locomotor
● Space: levels, size, pathways
● Time: tempo, beat
● Energy: qualities of movement, force

As the facilitator, your role is to guide the process of creating, performing, responding to, and
connecting dance with other content areas. Here are some content ideas with key vocabulary:

● Students create symmetrical and asymmetrical body shapes at high, middle, and low
levels.
● Students create a 3 movement sequence that retells events from the beginning, middle,
and end of a story using locomotor and non-locomotor movements.
● Students explore movements for different types of weather focusing on movement
qualities (vibratory, heavy, sudden, smooth)
● Students create movements that depict key events during westward expansion utilizing
changes in tempo, at least two movement qualities, and pathways.

With a thoughtfully designed integration activity and a solid understanding of essential dance
terminology, you'll be leading learning through dance — no fancy footwork necessary.
​
You don’t need a dance studio or fancy costumes to integrate dance. Remember to begin with
small steps, utilize available resources, and deepen your understanding of essential dance
terminology. As you embark on your integration journey, let curiosity and courage take the
place of fear. Dance integration isn’t about achieving perfection; it’s about fostering expression,
engagement, and creating meaningful learning experiences for your students.

​1. Space for students to gather
As educators, we understand the importance of a thoughtfully arranged classroom. The
layout of our teaching space plays a crucial role in facilitating effective discussions,
collaborative group work, and dynamic movement activities such as tableaux and
dance.
Take a moment to evaluate your classroom environment. Consider the following
questions:

• Do you have a designated meeting area for group discussions?
• Could replacing desks with tables create more versatile floor space?
• Where can students gather for collaborative projects?
• What areas are available for performances, such as skits, dances, or tableaux?
• Where will the audience be seated during these activities?

Investing time in arranging your classroom at the start of the year can significantly
enhance both your teaching experience and your students' engagement, particularly as
you incorporate the arts into your curriculum.

2. Procedures for class management
Just as we carefully arrange our classroom space, it's equally important to prepare our
students for the integration of the arts. At the start of the year, dedicate time to setting
up clear procedures for managing student behavior and fostering a collaborative
environment.
Establish and communicate classroom norms that support effective group work. Design
a structured approach for transitioning students from their seats to areas like the carpet
or open floor for discussions and activities. Work collaboratively with students to form
diverse partner and group combinations, ensuring a balance of skills and strengths.
Additionally, set clear expectations for respectful audience behavior during
performances.
By planning these elements thoughtfully in advance, you'll facilitate smoother transitions
and a more engaged, productive classroom environment.

3. Art materials and recyclables
Integrating the visual arts into your classroom requires a well-stocked array of materials.
To set your students up for success, ensure you have these five essentials on hand:
Sharpie markers (both fine and ultra-fine if possible), colored pencils, watercolors,
construction paper crayons, and air-dry clay.
Given that art supplies can be costly, think outside the box and consider incorporating
recyclables into your inventory. One versatile medium is cardboard—it's abundant and
provides a fantastic base for numerous projects. Additionally, items like toilet paper
rolls, egg cartons, old t-shirts, and buttons can all be repurposed to inspire creativity.
Embrace these resources to enrich your classroom and support your students' artistic
exploration.

4. Courage to try new things
As arts integration teachers, we often encourage our students to step out of their
comfort zones and explore new approaches. Similarly, we must be willing to stretch our
own boundaries and incorporate diverse activities into our classrooms. If visual arts are
your forte, set a goal to introduce elements of dance or movement into your lessons. If
music isn't your strong suit, consider integrating a song or drumming beat into your
teaching. By demonstrating your own willingness to take risks and embrace new
challenges, you inspire your students to do the same. This approach not only enhances
their learning experience but also builds their confidence to explore and experiment
creatively.

5. Excitement for a brand-new year
Finally, infuse your classroom with excitement and energy. Make it clear to your
students that the arts are a vibrant and engaging part of their learning experience.
Embrace the fun by laughing, singing, dancing, and exploring alongside your class.
Your enthusiasm will not only set a positive tone but also encourage your students to
fully engage with the arts throughout the year. Enjoy every moment and celebrate the
creative journey that lies ahead for both you and your students.