The good news is that amid budget woes, there is support for arts education in the city from taxpayers and administrators. Music programs that have languished from lack of funding resulting from Proposition 13 (1978) recently got a boost through the voter-approved Prop H, or “Public Education Enrichment Fund” — an 11-year, multimillion-dollar earmark for the arts beginning in 2005-2006.
The promise of extra funds allowed the district to look to the future, crafting an ambitious Arts Education Master Plan. Says Susan Stauter, artistic director for high schools in SFUSD’s Visual and Performing Arts Office and one of the plan’s creators, “The master plan provides infrastructure and scaffolding for the arts programs districtwide and ensures them of access and equity for every student. It’s a powerful tool because it was two-and-a-half years in the making and the stakeholders came from all over San Francisco — artists, parents, teachers, community members — all saying what they believe is important for arts education, and it was [school] board approved.” But if the goal of the plan is equity beyond the traditionally strong programs of the School of the Arts and Lowell High School, then the impact of the plan three years on is not immediately obvious.
Factors for Success
Steve Hendee, band director at School of the Arts (SOTA) and president-elect of the California Music Educators Association (CMEA) Bay Section, hopes Prop H money can help address the discrepancy between middle school programs in the city. “Everything hinges on a complete music education, K-12. You can’t have a successful high school program without a consecutive experience beforehand,” he says. SOTA, a shining star, yet an anomaly as the district’s only dedicated performing arts school, is an excellent choice for students who are serious about the arts. According to Hendee, the rigorous audition process brings only the most talented and motivated students to the school. Junior percussionist Chris Cabrera began playing percussion in the third grade at Presidio Middle School, and was encouraged by his teacher, Dianna Gomez, to audition for SOTA. “After high school I plan to major in instrumental performance and then get my master’s,” says Chris. “My ideal goal in my musical career is to join a distinguished symphony orchestra and/or teach percussion at a university.”
In addition to attracting dedicated students such as Chris, Hendee cites the scheduling at SOTA as another of the program’s major advantages. “One of the biggest challenges high school music programs face is the sheer number of requirements to fulfill, both for graduation and for college entrance,” he says. At SOTA the kids dedicate their mornings to academics and have the entire afternoon for such music classes as ensemble, chamber music, music theory, music history, piano, and ear training.
Lowell High School’s orchestra director, Michele Winter, agrees that a modular, flexible schedule is key to keeping their program at a high level. “Because we have a longer day with dedicated staffing to cover it, we’re able to give the kids a lot of individual attention,” she states.
And Winter has her share of dedicated students, as well. Senior oboist Jessica Noss also came to Lowell from Presidio Middle School. “I like music but didn’t want it to be the center of my high school experience. I wanted to be able to change my mind,” says Jessica. She takes Advanced Placement Music Theory, enjoys playing in the pit orchestra for the spring musicals, and plans to continue making music in college, though not as a music major.
Lowell has stringent academic requirements for entrance, and is an alternative school in the SFUSD. The orchestra room is large and spotless, rimmed by four soundproof practice rooms. Eight double basses gleam in their rack — equipment that has been paid for by the PTA, an involved parent group that raises thousands of dollars each year in support of the music program.
The Have-Nots
Photo by Jill Hendricks
Her 10-hour days include drilling her fledgling marching band out on the field (the only marching band in the entire SFUSD), helping the kids try on donated uniforms, and tuning the drums for the following day’s rehearsals. Her husband spends countless, unpaid hours running instruments to the repair shop and back, among other errands. Still, by such “sweat equity,” Hendricks has managed to build a fine program, despite the lack of funding. It’s not difficult to see why she’s called “the best band director, ever” by her drum major, Emily Hernandez. The confident sophomore with cropped, dyed red hair is a bass clarinetist from Hoover Middle School. She was randomly assigned to Washington High but considers it a “blessing” because of her dedicated teacher and peers. “Band is my creative outlet. We learn advanced music and are like a big, happy family,” says Emily, who plans to minor in music and major in psychology in college.
Changing Landscapes
While other high schools in the district certainly have something to offer in the traditional disciplines of band, orchestra, and choir, not many have programs offering four years of progressive instruction across each. Some music classes are offered at Lincoln High School, and Balboa High School boasts a "performing arts track" in band and chorus (including a music production class developed by the Bay Area Video Coalition). Only four middle schools currently have robust programs: Aptos, A.P. Giannini, Hoover, and Presidio. According to Steve Hendee, “Right now we are at a turning point in urban education, especially in San Francisco, and there are a lot of questions. Are we serving all of the kids in a correct manner?”
The district has seen waning interest from students in orchestral and band instruments, compounded by ebbing funding tides, in which music teachers and supplies are the first to go. Consequently, there is a move away from the large ensemble model, toward smaller, single-instrument classes such as guitar or music production. In some cases, students get valuable education from ensembles such as mariachi groups, Latin percussion ensembles, and rock bands. These classes meet the one-year performing arts requirement in SFUSD’s curriculum, as well as the entrance requirements for UC and State University systems.
No one expects any school to provide a complete music experience for serious musicians. Even at SOTA, students are encouraged to take private lessons and play in outside ensembles. Chris Cabrera, for example, plays percussion in the San Francisco Youth Symphony. Kieren Hughes, from Claire Lilienthal (a public K-8 school), had six years of vocal training in the San Francisco Girls Chorus before being placed in Lowell’s Intermediate Choir as a freshman. “I see music as my hobby, but I’m looking forward to advancing to Chamber Choir eventually,” she says. Kieren attends the San Francisco Conservatory of Music’s Prep school on Saturdays, studying piano and musicianship.
The Master Plan for the Arts encourages a number of collaborations between local arts groups and schools, and teachers leverage these connections whenever possible, such as the Del Sol Quartet's and composer Katrina Wreede's recent residency at Washington High School. As an urban school district, SFUSD faces multiple challenges. Yet, at the same time, the city’s demographics nourish the rich, multicultural soil from which so many creative groups have sprung, each with a unique brand of music. The four walls of school only provide one type of inspiration — and savvy students and parents will look around them and explore San Francisco’s diverse, thriving arts scene.
Get all of your questions answered at the SFUSD Enrollment Fair on Saturday, Nov. 7 from 9 a.m. to 2:30 p.m., in the East Hall of the Concourse Exhibition Center.