Scope and Sequence: Who’s Got the Monopoly?

Posted by Deborah Vaughn On June - 26 - 2013
Deb Vaughn

Deb Vaughn

I’ve been thinking about “scope and sequence” lately. A passionate arts specialist used the phrase repeatedly in a recent conference presentation and I started to worry it was something the education community had a monopoly on, that the arts community got left behind this time. But then I started to second guess myself: Why should only schools and certified teachers provide scope and sequence?

Is scope and sequence possible outside a school setting? Obviously, schools are ideally situated to deliver meaningful scope and sequence with mandatory attendance for (hopefully at least) 170 days a year, (generally) consistent contact with the same group of students for that time and a trained, professional educator leading the charge. But does that preclude community organizations from also offering a scope and sequence, on their own scale?

Having just reviewed state-wide grant applications for arts learning funding, I can tell you that in Oregon, at least 75% of arts organizations offer educational programming that represents significant scope and sequence. In fact, I would say that it is nearly impossible to provide meaningful arts education without scope and sequence. With the exception of a pure field trip model where students are bused in and out of a performance, every arts education activity includes some scope and sequence. Read the rest of this entry »

The Baltimore Art + Justice Project: A Question of Scope, Not Scale

Posted by Karen Stults and Kalima Young On December - 5 - 2012

Karen Stults

At the Baltimore Art + Justice Project, we generally do not debate the merits of scale. We are a citywide project based in Baltimore. Our scale is fixed. What we have wrestled with, adapted to, and been challenged by is the question of scope.

Scale is about numbers. Scope is about variety.

A project designed by Director of the Office of Community Engagement at the Maryland Institute College of Art (MICA) Karen Stults, the Baltimore Art + Justice Project was originally designed as an asset inventory for the newly-minted office. In building the office, there was a distinct and urgent need to more fully understand MICA’s impact and role as a community-engaged campus in Baltimore City.

The asset inventory was to identify where, how, and with whom MICA was engaged in arts-based social change in the city, as a framework for the creation of new programs that avoid duplication, build on strengths, and increase impact.

When presented with the opportunity to receive national funding from the Open Society Foundations in New York, and to use the data collection process as a means to also contributing to a larger dialogue about the role of socially-engaged art and design, the MICA-specific inventory expanded to a citywide initiative. Read the rest of this entry »