Teaching Artists Leading Professional Development for Teachers: What Teaching Artists Say They Need

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Teaching Artists Leading ProfessionalDevelopment for Teachers: What Teaching ArtistsSay They NeedRosalind M. Flynn aa Catholic University of America , Washington, DCPublished online: 24 Jun 2009.

To cite this article: Rosalind M. Flynn (2009) Teaching Artists Leading Professional Development for Teachers: WhatTeaching Artists Say They Need, Teaching Artist Journal, 7:3, 165-174, DOI: 10.1080/15411790902932562

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As arts and education organizations that provideprofessional development opportunities for educators havefound, teaching artists are a rich resource to tap into forteacher training. Amy L. Duma and Lynne B. Silverstein’s2008 article “Achieving Greater Impact: Developing theSkills of Teaching Artists to Lead Professional Developmentfor Teachers” detailed the Kennedy Center’s professionallearning for teaching artists who lead workshops forteachers. This article builds on theirs by sharing thethoughts of teaching artists involved in learning experiencesfocused on building their capacity to develop and delivereffective teacher workshops. An examination of theirperspectives on their own learning and developmentresulted in this article’s eight recommendations for otherorganizations and individuals who design similar trainingexperiences.

In 2003, four Kennedy Center Ohio Partners in Education teams1

articulated the goal of developing a roster of highly qualifiedteaching artists from their state to lead arts education workshopsfor teachers. The Ohio teams called their project the Ohio StateBased Collaborative Initiative (OSBCI). As per a Teaching ArtistContinuum developed by the National Conversation on ArtistProfessional Development and Training (Gradel), candidates for theOSBCI would be artists who appeared ready to grow professionallyinto a role labeled “Master Instructional Artist.” One component ofthat role is providing professional development for educators, anext step for teaching artists “who excel at teaching young people,and who are also able to share their work with teachers and otheradults so they can use the arts in their teaching” (Shepherd 253).

The OSBCI developed into a four-year series of training eventsand ongoing support involving and influenced by the participating

165TEACHING ARTIST JOURNAL 7(3), 165-174Copyright © 2009, Taylor & Francis Group, LLC

ABSTRACT

An in-depth study ofhow teaching artistscan best learn to lead professionaldevelopment in thearts for classroomteachers.

Teaching Artists Leading ProfessionalDevelopment for Teachers: What Teaching Artists Say They Need

Correspondence regarding thisarticle should go to:

Rosalind M. Flynn15336 Baileys LaneSilver Spring, MD [email protected]

Rosalind M. Flynn

HTAJ #393428, VOL 7, ISS 3 6/7/09 11:36 PM Page 174D

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166 2009 VOLUME 7, NUMBER 3

teaching artists. (Note that throughout thisarticle, the word training is used broadly toinclude the array of seminars, workshops,observing, mentoring, and coachingintended to develop skills and proficiency viaspecialized instruction and practice; seeDuma and Silverstein) By the end of thefourth year, twenty-four teaching artistsremained involved in the OSBCI training.

Burnaford endorses documentation ofwork done by arts partnerships as acontribution to the field of arts inquiry that“makes teaching and learning visible for thewider arts and education world” (36). Sheencourages arts organizations to “enter intoa culture of evidence” and share what theydo because “dissemination of results ofresearch is a compelling need in the artseducation field” (40). I was a presenter inthree phases of the OSBCI training. At theend of the fourth year, when the OSBCIsteering committee asked my advice on nextsteps, I strongly urged them to review allthey had accomplished, create a writtenreport, and share what they had learnedwith others doing similar work. So I waswritten into the scope of their work asfollows: “Retain a researcher who is familiarwith the OSBCI training process and theOhio teaching artists to assess the impact ofthe training on their personal andprofessional growth and practice … .” Thisarticle was prepared to share this learningbeyond the borders of Ohio.

Recommendations forTeaching Artist TrainingPrograms

The following eight recommendationsbased on the findings of the OSBCI reportmay be useful to arts and educationorganizations as they design trainingexperiences for teaching artists developingarts-integrated workshops for teachers; theymay also inform the practice of individualteaching artists. Within therecommendations that follow are the voicesof the Ohio teaching artists—indented andenclosed in quotes.

1. Familiarize Teaching ArtistsWith Learning Standards andTeachers’ Needs So That TheyCan Make ConnectionsBetween Their Art Forms andSchool Curriculum

Nationwide, employment for teachingartists overwhelmingly requires them toaccess learning standards and curriculumframeworks identify and articulate the linksbetween their art forms and academicsubjects, attend closely to the needs andinterests of teachers and students, andintegrate the arts into the curriculum(McCaslin and Cohen). Even though theymay work daily in schools, many teachingartists have never laid eyes on academiccontent standards, benchmarks, learningoutcomes and indicators, or other suchcurriculum documents.

Training emphasis on arts and curriculumconnections made the OSBCI teachingartists more aware, in many cases, ofconnections they were already making orthose that they could make. Although theprocess of finding, clarifying, and refiningthe connections could be daunting,especially at the start of the workshopdevelopment, the teaching artists repeatedlyendorsed this element of their training:

“I thought, ‘I’m never going to be ableto do this—forget it,’ but then [OSBCIsteering committee member] sat downwith me and we started breaking downwhat is theatre and what are the skillsand all that that you have in theatre?Then we looked in the AcademicContent Standards and it’s amazing.Once you stop panicking, you can findthere are so many connections.”(Teaching Artist 04I)

“Doing [this training], I became moreaware of teacher needs. I did teacherworkshops before, but more to involvethem with what I was doing with thekids rather than to show themsomething they can use in theirclassrooms. Going through this


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Teaching Artist Journal 167

2. Provide Well-Planned andPresented Training ExperiencesThat Include Modeling byExperienced Presenters

Each OSBCI training event was designedand delivered in keeping with the principlesof effective professional development—clearobjectives, a schedule that is adhered to,clear directions, many examples,demonstrations, modeling, interactionamong participants, and content based onparticipants’ needs (Sharp). The teachingartists valued these qualities of their trainingexperiences and their comments provideinsights into why they worked hard todevelop workshops and return for additionaltraining:

“When I came into this program[OSBCI], I got solid information, solidexamples. I saw things that were doneby artists, by the presenters and Iknew, ‘I can take this directly back. Ican use this. I no longer have toreinvent the wheel.’… It just gives you

program made me more aware of whatteachers need to help them in theirclassrooms.” (Teaching Artist 04K)

“Including the state benchmarks is agreat selling point for the teachers.Knowing that my workshop addressesthis benchmark can convince teachersand administrators that I am worththeir time.” (Teaching Artist 05T)

Because it has become imperative forschools today, and thus for teachers, toidentify and address established state, local,and national standards in every learningexperience, teaching artists must becomefamiliar with their content and language.Once they overcome the initial intimidationthat these daunting documents and Websites can provoke, teaching artists find manyways to align their work with prescribedcurriculum goals. Every art form is rooted incontent of some sort. Teaching artists whomine the standards and benchmarks toidentify the authentic connections with theirwork increase its value in the eyes ofeducators.

Teaching artists who have an established support system are much more likely to achieve training goalsthan are those expected to function as sole supporters of their own professional growth.


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a whole different respect for the powerof this art that you love and that youreally want to share and how it canmake a difference for people.”(Teaching Artist 05R)

“The hands-on work—exercises,discussions, written worksheets mademe feel I was putting ideas intopractice and moving towards mygoals—getting work done under goodguidance.” (Teaching Artist EvaluationComment)

One training component that the teachingartists frequently credited as beingworthwhile was the modeling of teacherworkshops done by experienced workshoppresenters and the opportunities to discussthe work with them:

“It was good to watch experiencedworkshop presenters present theirworkshops. The discussions with themabout their process were stimulating,enriching, and helpful.” (Teaching Artist04B)

“Having access to top-level presentersand materials has supported andstimulated my intrinsic motivation tograsp big concepts see how the piecesfit in, and present everything asclearly, succinctly, and enjoyably aspossible.” (Teaching Artist 05S)

Because the nature of their workgenerally means that teaching artists haveattended a multitude of training events andbecause they themselves are presenters andperformers, they tend to have low tolerancefor poor presentations. Conversely, theyhave enormous respect for well-planned andtargeted training, materials, and

demonstrations by skilled practitioners.Harnessing that respect with high-qualityprofessional development experiencesincreases the likelihood that teaching artistswill remain loyal to a program and workhard to implement the training they receive.

3. Emphasize the Need forCareful Planning and ExtensivePreparation for the Delivery ofa Workshop for Teachers

The following comments may resonatewith others who are asked to share withteachers what they do so well inclassrooms:

“I think before I was sort of flying bythe seat of my pants and I was justdoing what I was doing and showingpeople this is what I’m doing, but Iwasn’t really breaking it down to figureout how do I do what I do, what arethe steps to do what I do—becauseI’ve been doing it for a long time. So Ididn’t really break it down and I didn’treally have any idea of really reflectingon how it ties into the academiccurriculum and the content standards.(Teaching Artist 04I)

The OSBCI training stressed theimportance of planning well. Although someartists who come to this work resist thetight planning, goal-setting, simplifying ofcontent, and emphasis on timing, the OSBCIteaching artists came to value the process of“breaking down” what they do:

“My workshop now has goals andspecific outcomes, ways to managetime and input to get that done, a veryspecific structure or composition ofworkshops.” (Teaching Artist 04D)

“Most helpful was the discipline tobreak it all down and very carefullywrite out my workshop plan, toconsider ‘What is it that I want tocommunicate?’ I learned a verycomplete way of putting together whatI wanted to present.” (Teaching Artist04E)

Although the first reaction of someteaching artists may be to cringe atthe prospect of carefullydeconstructing their work topresent it in a thoughtful sequence,most will come to value the processonce they have gone through it.


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4. Include Information About theImportance of Reflection as aComponent of a Workshop for Teachers

Most of the OSBCI teaching artists admitthat they had not thought much aboutincluding reflection periods for teacherswithin their workshops prior to participatingin the training. Reflection, although not anessential part of teaching artists’ work withstudents, is integral to workshops forteachers because “the workshop leaderhelps participants unpack what the activityincludes, but also how it was facilitated andwhy it is important.”2 The followingstatements reflect the teaching artists’commitment to the importance of includingreflection in their work with teachers:

“This training has really gotten methinking in a totally different way. Priorto this, even though I did someworkshops, I would just, in essence,teach the teachers like they were myclass of fifth graders. We would just befifth graders together and they’d playthe games or do the activities. But Ididn’t talk to them like, ‘Okay, did younotice … what I do? … How I getcontrol of the class? … How I leadthem in a direction?’ and that sort ofthing, as well as after doing theworkshop—reflecting on what is thisteaching and how is it integrating thearts in the curriculum?” (TeachingArtist 04I)

“The idea that “reflection” is the placewhere learning will take place.”(Teaching Artist Evaluation Comment)

Inviting teachers to reflect on what theyare doing or learning is one workshopelement that distinguishes work with adultlearners from work with students. Theteachers participate in learning activities inthe ways that their students do, butreflection time allows them to consideraspects of the arts activity like its scaffolding,implications for learning, managementstrategies, and adaptations. Reflection,allowing teachers time to process workshopexperiences, is a crucial workshop feature.

The OSBCI teaching artists repeatedlyattested to the value of creating a writtendocument that supports what they do in aworkshop. The discipline of writing up thesequence of workshop activities—describingthem in understandable terms (makingexplicit what artists do implicitly)—andidentifying resources are training elementsthat the OSBCI teaching artists’ believestrengthened their workshop plan andpresentation:

“The packets [teaching-artist-createdworkshop materials and resources]—just creating and editing the packetshelped me deal with that aspect whichI really hadn’t wanted to deal with verymuch. I was sort of haphazard aboutmy handouts and now I’m much morethoughtful about it … . Now I wantevery component to be carefullythought out and chosen for maximumimpact.” (Teaching Artist 05S)

“Before I taught teacher workshops aspart of my residency projects, I didn’thave any packets. I just had [teachers]do what I was doing with the kids andthere was … some information aboutwhere to get materials or books tofollow-up on. I might give them thatinformation, but I never had itorganized in the form of a packet.”(Teaching Artist 04K)

It is not acceptable for presenters ofworkshops on any topic to approach thesession with a general idea of what theythink they will do, but no firm plan.Although the first reaction of some teachingartists may be to cringe at the prospect ofcarefully deconstructing their work topresent it in a thoughtful sequence, mostwill come to value the process once theyhave gone through it. Stress the importanceof breaking down the steps of arts learningworkshop activities to simplify, compact, andtherefore improve the content of theworkshop. Place importance on the value ofclear and comprehensive written materialsthat supplement workshop activities. A solidworkshop plan increases the likelihood thatteaching artists will deliver a complete andsatisfying arts learning experience toparticipants.


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5. Spend Time on Aspects ofPresentation—The Skills of anEffective Workshop Presenter

It is not enough to have a thoroughlyplanned and packaged workshop. Themessage, materials, and methods may bemarvelous, but it’s the “messenger” whomakes them meaningful. Identifying andpracticing the specific skills of effectivepresenters are valuable components of thistraining, as evidenced by the repeatedremarks of the Ohio teaching artists:

“The whole technique of giving aworkshop—of keeping, of gettingpeople’s attention and all thosedifferent physical kind of lessons, howto present it, how to break it down, thetransitions and all that … was totallynot in my vocabulary before, and hasbeen helpful … . It’s been a good thingto learn, to consider and keep in mindwhen I’m doing workshops.” (TeachingArtist 04K)

“A good emphasis for me was learninga fairly tight way of presenting,keeping people moving, interacting,and involved.” (Teaching Artist 04E)

It is not enough to state the generic traits of good presenters (able to keepparticipants focused, humorous, organized,and clear …). To become effective workshoppresenters, teaching artists need exposureto and demonstrations of practical examplesand techniques: How do presenters keepparticipants involved? What are thecharacteristics of strong introductions andclear directions? How do the ways thatpresenters speak, stand, move, and reactaffect participants?

Teaching artists also need to practicewhat they learn and embrace theimportance of practicing. Assure them that—like the thorough rehearsal of a play, adance, or a piece of music—time spent onall aspects of presenting is time well spent.

6. Address the Issue ofMarketing and ProvideOpportunities to Present theWorkshops Developed

A recurring theme among the Ohioteaching artists was the issue of marketingwhich would lead to employmentopportunities for presenting theirworkshops. The vast majority of teachingartists are independent consultants. In orderto continue doing work in arts education,they have to earn money doing it. With billsto pay, the fact that a teaching artist hasdeveloped a beautifully planned artsintegrated workshop is of little consequence.The repeated delivery of that workshop forpaying sponsors will, in the end, strengthenthe workshop and keep it available.

These concerns were repeatedly voiced bythe Ohio teaching artists:

“No one could have predicted thechanges affecting the schools that noware not using as many outside artistsas they once did. Many of us viewedthe teacher workshops we created asthe vehicle that would offer uscontinued opportunities to work withschools. The directory was nicely done,but often did not reach the rightperson … . So, although I value what

The author at work as a teaching artist in theclassroom: Every art form is rooted in content ofsome sort. Teaching artists who mine thestandards and benchmarks to identify theauthentic connections with their work increase itsvalue in the eyes of educators.


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growth and improvement. Hours and hoursspent attending training sessions, creatingand editing written materials, and revising a workshop delivery plan are not enough to sharpen presenter skills andimprove the delivery of a workshop.Extensive unpaid preparation time isworthwhile only if it leads to practice andemployment.

Arts organizations and school districtsembarking on a training plan shoulddeliberately consider how to provideopportunities for teaching artists to presentthe workshops that they have so carefullyplanned. The “planning” aspect of workshopdevelopment is critical, of course, butwithout opportunities to present what hasbeen planned, teaching artists will be unableto benefit from the spiraling growth processbecause they will remain stalled at the firstcurve.

In addition to the disheartening aspect ofputting enormous amounts of time, energy,and creativity into a workshop that nevergets booked, there is also the practicalreality. Teaching artists may love their workand may bring to it amazing talents andtechniques that teachers can share withstudents and watch them soar, but they stillneed to earn a living.

A thorough and ongoing marketingcomponent—promoting the workshops,advertising, locating and communicatingwith potentially interested sponsors withinschool districts and arts organizations, andso on—therefore, would be welcomed byand beneficial to teaching artistsparticipating in any training. Including thiscomponent also offers the greatest promisefor sustainability of the work that was thefocus of the training, thus providing aworthwhile return on the initial investmentin these teaching artists.

Arts organizations and school districtsthat provide opportunities for workshoppresentations, however, are not obligated tobecome booking agents for the teachingartists. As independent consultants, teachingartists must ultimately assume the ongoingresponsibility for using the training andpromoting their own work. This reality isworth articulating repeatedly.

I learned, it is very disappointing, forright now, that the opportunity toshare the workshop with teachers isnot happening.” (Teaching Artist 05P)

“The big issue there is that I haven’tgotten much work. After I createdthese fabulous workshops, I haven’treally done them. The directory was agreat idea and perhaps it has workedwell for others, but I haven’t … it’s likethere was this grand promise forlearning how to present theseworkshops … . It kind of fell down.”(Teaching Artist 04B)

On one training event evaluationsummary, the majority of concerns underthe heading “Two Questions I Still Have”dealt with marketing, bookings, and gettinghired. Two questions posed by a teachingartist sum the matter up pointedly: “1.) Howto get more work? 2.) How to get morework?” It’s not just a financial issue; it’s alsoan issue of improvement:

“It’s all very good training, but thebiggest problem, in talking to otherartists, is that people don’t get to do itenough … . I’ve been lucky becauseI’ve gotten to do my workshop a lot,but I know some other people haven’t… . Because the more you do it, thebetter you get at it … .” (TeachingArtist 04I)

Actual presentations of workshops offerteaching artists significant opportunities for

Because the nature of their workgenerally means that teachingartists have attended a multitude oftraining events and because theythemselves are presenters andperformers, they tend to have lowtolerance for poor presentations.Conversely, they have enormousrespect for well-planned andtargeted training, materials, anddemonstrations by skilledpractitioners.


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7. Remember That PersonalSatisfaction Leads toProfessional Growth

There was not a single OSBCI teachingartists who failed to praise the overalltraining experience and recognize thedegree of support given to them by thismultiyear training initiative. Included withinthat praise was gratitude for unexpectedbenefits like inspiration, increased self-esteem, and confidence:

“When I began this program, Iexpected to gain knowledge about artsintegration but I did not expect to beso inspired. I have gone back into mycommunity and gained meaningfulemployment, have increased my ownproduction of studio art, providedprofessional training to the teacherswho are teaching in our local schools,and I have discovered fellow artseducators (kindred souls) across thestate of Ohio who like me, believe thatart is essential to our children. I feelthat the leaders of OSBCI arepersonally invested in my success. Ifeel that the many hours of work thathave gone into developing the ongoingtrainings are a testimony of theircommitment to develop teaching artistslike me. This support has enhanced thewhole experience and kept mecommitted to the process.” (TeachingArtist 04G)

“The day someone rose up and said,‘We’re going to train these artists,’ hasbeen like winning the lottery orsomething. Somebody cares aboutwhat we do. You know, we’ve alwaysbeen the maverick or the black sheepworking our way into a school andfinding our way, but then to haveworld-class professional support in thistraining, I’ve been extremely gratefulfor … it’s a great extension of mycareer.” (Teaching Artist 04D)

Because teaching artists work so verymuch as solo presenters—guest artists who

travel to and work in a wide variety of siteseach year—a multitude of the remarks likethe following grouped under the category of“collegiality” come as no surprise:

“This was a very useful ‘shot in the art’to work with other Ohio artists.”(Teaching Artist Evaluation Comment)

“I loved the collaboration, brain-storming, sharing, creating, andparticipating with fellow artists. I thinkthis intermingling is almost as valuableas the ‘training.’ ” (Teaching Artist 04B)

“The opportunity to connect with eachother was fabulous—to create, process,evaluate, and share means so verymuch to those of us who do this somuch alone.” (Teaching ArtistEvaluation Comment)

The intrinsic rewards of effective teachingartist training experiences are many—gratitude for the attention to the work theydo, increased self-esteem and confidence,motivation to grow, validation of belief inthe importance of the arts, and the spirit ofcollegiality augmented by gathering withlike-minded professionals. Clearcommunications, active learningexperiences, skilled leaders, collaborativelearning, attention to participants’ needs,time to network, pleasant meeting spacesand amenities all contribute positively to thegrowth of the teaching artists. Well-designedand delivered training experiences increasethe teaching artists’ commitment toreturning for future training and applyingwhat they learn in between meetings.

8. Provide Continued SupportBetween and FollowingTraining Events

It is not enough to present a series ofexcellent training events; teaching artistsneed ongoing support from sponsors,mentors, and peers between meetings.Long-term training initiatives need plans toprovide individuals who communicate withteaching artists, respond to questions, read


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Consider the addition of several savvyand interested non–arts classroom teachersand school arts educators (e.g., the art andmusic teachers) as an integral component ofall aspects of the training. These educatorscan offer teaching artists valuable insightsabout pedagogy and their own professionaldevelopment needs. Adding teachers—theeventual recipients of the teaching artists’efforts—would allow for an exchange ofinformation, knowledge, and skills leading tostronger, more viable workshops.

Finally, to add to the literature aboutteaching artistry, include a researchcomponent in the design of training. Beginwith specific research questions, collect thecontributing evidence, and disseminate theresults to the larger field. Arts andeducation organizations, teaching artists,teachers, and funders will benefit from theshared information that is essential to thegrowing field of arts education.

and edit written materials, observe andcritique workshop presentations, and serveas resources throughout the process. Build apeer coaching aspect of the work into thetraining from the start. The teaching artistsare a valuable resource to one another—onethat should be tapped into and cultivatedthroughout the training experience. Teachingartists who have an established supportsystem are much more likely to achievetraining goals than are those expected tofunction as sole supporters of their ownprofessional growth.

Closing ThoughtsOther thoughts that occurred during the

examination of the data and the process ofdescribing the OSBCI work in writing mayalso inform others planners of professionaldevelopment workshops for teaching artists.Some training goals, for example, might bemet more effectively by limiting the numberof teaching artists involved in the training,striving for depth instead of breadth. Startwith a number of qualified teaching artistsand then retain only those whose workshows the most potential for growth andwhose dedication to workshop developmentand presentation is strong. “Make cuts” andthen groom the remaining teaching artistsfurther so that although the pool is smaller,the experience and quality are greater.

Notes

1The Kennedy Center Partners in Education Program brings community arts andschool partners together to present professional development opportunities forteachers, administrators, and parents focused on teaching about the arts,teaching other subject areas through the arts, and teaching about culturaldiversity. The Ohio teams who formed the OSBCI in 2003 were (a) OH’92:Franciscan Center at Lourdes College and Sylvania City Schools, Sylvania; (b)OH’95: Wayne Center for the Arts and Tri-County Educational Service Center,Wooster; (c) OH’96: Arts Alive Partnership—Clark State Performing Arts Center,Wittenberg University; (d) Clark County Educational Service Center, andSpringfield City Schools, Springfield; and (e) OH’01: The Arts Partnership ofGreater Hancock County and Findlay City Schools, Findlay.

2From the Artists as Educators: Planning Effective Workshops for Teachers SeminarLeader’s written materials by John C. Carr and Lynne Silverstein.

Teaching artists also need topractice what they learn andembrace the importance ofpracticing. Assure them that—likethe thorough rehearsal of a play, adance, or a piece of music—timespent on all aspects of presenting istime well spent.


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Works Cited

• Burnaford, Gail E. “Moving Toward a Culture of Evidence: Documentation and Action Researchin the Practice of Arts Partnerships.” Arts Education Policy Review 3 (2007): 35–40.

• Duma, Amy L., and Lynne B. Silverstein. “Achieving a Greater Impact: Developing the Skills ofTeaching Artists to Lead Professional Development for Teachers.” Teaching Artist Journal 5(2008): 118–125.

• Gradel, Melissa F. Creating Capacity: A Framework for Providing Professional DevelopmentOpportunities for Teaching Artists. Washington, DC: The John F. Kennedy Center for thePerforming Arts, 2001.

• McCaslin, Greg, and Madeline Cohen. “Professional Development for Teaching Artists: ASampling.” Teaching Artist Journal 2 (2004): 4–11.

• Sharp, Peggy. Sharing Your Good Ideas: A Workshop Facilitator’s Handbook. Portsmouth, NH:Heinemann, 1993.

• Shepherd, Barbara. “The First Teaching Artist Fellowship at Montalvo Arts Center: Identifyingthe Qualities of Master Teaching Artists.” Teaching Artist Journal 5 (2007): 253–259.

Rosalind Flynn is a Kennedy Center teaching artist who provides professional developmentfor teachers and artists nationwide. At The Catholic University of America in Washington, DC,she is the head of the Master of Arts in Theatre Education (MATE) degree program.


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Documents

Teaching Artists Leading Professional Development for Teachers: What Teaching Artists Say They Need