For a review of Part I of this article, please visit https://paulkfoxusc.wordpress.com/2018/08/20/ethical-conundrums-revisited-part-i/. The entire blog-series can be read (in reverse chronological order) at https://paulkfoxusc.wordpress.com/category/ethics/.
Regardless of whether you are a first-year teacher, recently hired or transferred, or someone who has many years of experience, we know that little training is provided for handling our daily contradictions or controversies in school ethics. This investigation illustrates several additional obstacles in maintaining appropriate professional and ethical behavior and exploring the application of the moral decision-making "compass" for educators. Here we will rehash more modern-day dilemmas using "mock scenarios" in the workplace, encourage you to reflect and respond to "what would you do?" and even re-orient you to the paradoxes in which you may encounter that may not seem to offer an obvious resolution.
It's time to put on your "thinking caps!" What are your initial impressions of a few of these "conundrums" or conflicts?
Privacy protection versus "open door" meetings with students?
Acceptance of congratulatory "musical hugs" versus the practice of avoiding all physical contact from students?
Publicly maligning a colleague's questionable actions (character assassination) vs. protecting your reputation and standing up for your students' rights.
The sharing of anecdotes or details of an incident that occurred during a class or school activity with family members or colleagues?
The exercise of a teacher's "freedom of speech" rights versus the practice of maligning school administrators or their decisions in public?
What possible ethical concerns might this scenario raise?
How could this situation become a violation of state law, the "Code" or school/district policies?
In this situation, what are some potential negative consequences for the teacher, student, parents, school staff, and/or community?
How would this episode affect a teacher's efficacy in his/her classroom, demean the employing school entity, or damage his/her position as a moral exemplar in the community?
REMEMBER – NEVER GOSSIP! Discussing an incident or behavior concern with another teacher in the hallway between classes or sitting down in the teacher's room is never advisable, and it is probably illegal! Educators must, at all costs, avoid inadvertently disclosing personal information about the lives or actions of our students "in public." Even carrying on a conversation with a student in an open or common area that could be construed as a "private matter" may be accidentally overheard, and therefore violate a student's privacy rights.
Other educators or officials within the same school who have legitimate educational interests in the student.
When disclosure of information is necessary to protect the safety and health of the student.
Another school to which a student is transferring.
In order to comply with a judicial order.
Interested parties who are determining a student's financial aid eligibility.
CONUNDRUM: How do you resolve the apparent contradiction of the recommendation of never holding a meeting alone with a student with the need to provide a safe/secure place to share information?
MY SOLUTION: Confer with your student in a place with sight-lines to the hallway (windows) but sound insulated from hearing the voices inside and/or where there is a high probability of someone interrupting and stopping the conversation.
CONUNDRUM: You receive a call from an angry parent who wants to know why her daughter was not awarded the lead in the school play. The mother wants a detailed assessment of her child's skills and advice on how to prepare for future auditions.
Of course, these expectations and targeted assessments should have been shared with everyone before the auditions were held.
Parents want "what is right" for their kids and for them to feel successful. You as the director want the ideal cast for the show, providing the best chance for the entire company's success in performance, but must show that the entire process is impartial, consistent, and fair. As a teacher, it is your responsibility to listen to the students' and parents' concerns, but I feel it is not realistic nor appropriate for you to "adjudicate" each actor's audition. I wrote about this distinction HERE in my last "Fox's Fireside" blog-post. This is an article you can "pass around" prior to your next tryout.
CONUNDRUM: Maintaining professional relationships with your teaching colleagues vs. the mandatory reporting of unethical behavior and inappropriate speech/actions.
A member of the staff is "bad mouthing" you, the principal or other school staff members in public. You are assigned to work side-by-side with him, and yet he does not interact with the staff with civility or respect, nor does he support the academic achievement and related goals that promote the best interests of students.
MY SOLUTION: Thankfully, I have had no personal experience with this scenario, but can recommend that you first try to deal directly with the unethical colleague. According to MCEE, professionals must collaborate and maintain effective and appropriate relationships with the faculty, "resolving conflicts, whenever possible, privately and respectfully and in accordance with district policy." Before you bring up the matter with your supervisor or building administrator (which you have the right and even responsibility to do, especially if the students hear any improper speech first-hand or that the incidents rise to the level of bullying or aggressive behavior), talk to the unhappy team member one-on-one. Be calm and sensitive, but hold your ground: you must assert that his/her behavior/language is unacceptable and will not be tolerated in the future.
Deal directly with the culprit.
As for anything that is a violation of the teachers' code of ethical conduct, you are mandated to report the transgressions of a colleague that threaten the health and safety of the students, especially any observations (or even suspicions) of verbal, physical, or sexual abuse/misconducts.
Do you know the differences among the terms screening, audition and adjudication?
Listed in order of low to high feedback, these evaluation tools furnish staff, students and parents methods for identifying the talent, level of achievement, preparation and potential success for participation in future music and drama productions, festivals or special ensembles, or for rewarding solo parts, seating placement, musical leads, and other student leadership positions.
A screening (sometimes called a pre-audition) is the simplest form of selecting students on a quick "pass" or "fail" basis. One or more judges usually listen for one or two characteristics such as overall preparation or a prerequisite proficiency to determine "thumbs up" or "thumbs down." In many cases, participants who earn a "passing mark" go on to a more detailed audition to determine ranking for a particular ensemble or part.
Example of a screening: Pennsylvania Music Educators Association (PMEA) District One regularly sponsors a pre-audition for sopranos and altos auditioning for District SHS Chorus, as well as flute, clarinet and trumpet players for seating in Honors Band and other instrumental festivals.
In some cases, the application form itself is the initial "screening" for a particular event. For example, to participate in a music education association (MEA) like PMEA Junior High Chorus, you must be a 7th through 9th grade student, member in good standing of your school's choral ensemble, and sponsored by the school music director who is a current MEA member and attending the try-outs. If an applicant does not meet these simple qualifications, then he/she is automatically eliminated from the selection process.
An audition (sometimes called try-out) is the process by which a panel of three or more judges rate a candidate based on a series of specific characteristics or "audition criteria" using a numerical score (usually 1 to 10 or 1 to 5). The sum of these scores from all of the judges reflects an overall ranking, often listed by voice type or instrumental section.
Frequently very competitive, membership in a particular organization or the assignment of solo parts or leadership positions is usually very limited. Auditions are used to select the "very best" from the pool of contestants—a well-defined "cut-off" is made to fulfill the size of the ensemble/group or availability of solo/lead openings. Every year in most schools, hundreds of students audition for competitive festivals, drama/musical leads, scholarships, or leadership positions—less than 5% earn recognition or "win" a position at the conclusion of these auditions.
While auditions may select or "deselect" students for an event, they cannot be used as instruments of individual evaluation or "grading." Judges are not expected to write comments or make "value judgments" about the overall achievement, improvement, strengths or weaknesses of each candidate. There simply is not enough time to provide detailed individual feedback from an audition process or to issue a performance rating (such as "superior," "excellent" or "good"). Therefore, since an audition is only a "snapshot" ranking of people at a specific moment in time and for a specific goal, no references should be made about an individual's aptitude for success.
This is where the adjudication comes in. The most costly and time-consuming process of the three evaluations, adjudication provides specific comments, ratings and (in some) rankings for determining the strengths and weaknesses of an individual or ensemble. Judges in an adjudication (called adjudicators) are charged with evaluating each candidate or group with a "page" of musical criteria (not just a row or line of scores), defining the assets and needs of the performer(s) and making specific comments about focus areas and methods for improvement.
The best example of group adjudication is the international music festival enrolled by school performing arts groups during their spring music trips. The bands, choruses, jazz ensembles, and orchestras typically perform in front of three adjudicators who each record personal observations on a digital recorder during the music, write a one-page (or more) report on the positive and negative aspects of the group's level of achievement (accuracy and mastery of technique, tone—blend and balance, ensemble-playing skills, appropriateness of musical selection and stylistic interpretation, poise, overall appearance, preparation, etc.), score the presentation (usually up to 100 points), and grade each group with "superior" or "excellent" ratings in comparison w ith all groups at all adjudications. When I was teaching at the Upper St. Clair High School, this adjudication process took more than a day for all of our ensembles to participate—thirty minutes per performance, costing as much as $50/student, and involving more than ten professional adjudicators and fifteen festival staff members for a multitude of adjudication sites.
For detailed individual appraisals, your MEA may offer noncompetitive Solo or Small/Large Group Adjudication Festivals (see your school music teacher for details). In addition, the hiring of a qualified private music instructor to evaluate your son's or daughter's abilities is an excellent idea. Pay for a month's worth of music lessons (for theater students: drama and dance lessons, too.) and ask for an analysis of his/her strengths and weaknesses. A list of several local private voice or instrumental teachers may be available from your school music director.
In order to build self-motivation, creativity, leadership, self-confidence, teamwork and self-discipline, and to achieve greater skills in problem solving, personal goal setting and stress/time management, music teachers frequently encourage their students to participate in extra-curricular activities. As a further enrichment to the educational program, many musicians, actors, and dancers enroll in screenings, auditions and/or adjudications. However, the competitors in these activities need to develop (and update) realistic self-appraisals and understand the major differences of each evaluative tool. Most of all, we must all learn how to "lose gracefully" and not allow the diminishing of our self-esteem when positive results and recognition are not immediately forthcoming.
Another point: We cannot all be number one! For example, a musical production "team" needs multi-talented members from all skills and ability levels. Some performers need to be in the chorus, others in the dance ensemble for the production numbers, while still others are suited for solos depending on the roles in the play. We need technical and stage operators (otherwise the curtain will not be raised, and backdrops and props will not appear!) After all, a football team would look silly at a game with only quarterbacks. Experts say explore your hidden talents, don't be afraid to try new things, set "reasonably attainable goals," prepare hard and long, and, most of all, persevere!
Parents: Does all of this make it a little easier to understand? When your child tells you he/she is planning to participate in the school play, or sign-up for drum major, captain, section leader, or other leadership position in marching band, please review the selection procedures carefully and these three definitions of student placement tools: screening, audition, and adjudication. Make sure both of you are aware of the audition criteria, what is expected, music or conducting assignments, and to allow for ample time for preparation and practice. I recommend to my students to video-record "mock tryouts" and playback and self-assess their progress. Listen to professional recordings of the selections. When appropriate, memorize your lines/music. Add expressive elements to your performance, such as an extended range of emotion, phrasing, and dynamics. Repetition counts! Remember: practice does not necessarily make perfect… repeated "perfect practice" makes perfect.
The mission of South Hills Junior Orchestra, which rehearses and performs at the Upper St. Clair High School in Pittsburgh, PA, is to support and nurture local school band and orchestra programs, to develop knowledge, understanding, performance skills, and an appreciation of music, to increase an individual member's self-esteem and self-motivation, and to continue to advance a life-long study of music. Members of the Orchestra learn, grow, and achieve positions of leadership to serve their fellow members. (For more information about SHJO, please visit www.shjo.org.) This blog-post is free and available to share with other music students, parents, and directors.
This article was first released in the Fall 2018 state journal of the Pennsylvania Music Educators Association, PMEA News.
Do you get what you're hoping for?
When you look behind you there's no open door.
What are you hoping for, do you know?
What are the three most important factors to consider before choosing your retirement destination?
Much has already been discussed and archived here at this blog-site about definitions ("the what") and strategies ("the how") for a happy retirement. And deciding to retire ("the when") is a very personal issue, something in which only you and perhaps your closest family members may have a voice at the appropriate time and setting.
Personal preference: stay local or go elsewhere?
However, are there advantages to downsizing and leaving your current abode?
You may want to read "Should You Downsize in Retirement?" by Casey Dowd of Fox Business at https://www.foxbusiness.com/features/should-you-downsize-in-retirement. I also recommend https://www.newretirement.com/retirement/your-complete-guide-to-downsizing-for-retirement-12-tips-for-a-happily-ever-after/.
Posted on The Motley Fool is Christy Bieber's article "Where Should You Retire? These 5 Factors Will Help You Decide" (https://www.fool.com/investing/2017/09/19/where-should-you-retire-these-5-factors-will-help.aspx). She focuses on that scary "e" word – economics.
If you are looking for a book on the subject of "where to live in retirement," there are many. At least, be sure to check out the 2007 revised edition of The New Retirement – The Ultimate Guide to the Rest of Your Life by Jan Cullinane and Cathy Fitzgerald (Rodale) with more than 30 new recommendations for specific communities to consider for retirement, plus updated home prices and cost-of-living figures for existing communities, new niche lifestyles including club living, spa living, communities that are also cities, and moving where there is free land, and an expanded section on second homes.
Finally, this is too important an issue to "pull any punches" without a few more resources (below) for your consideration. Good luck, and happy trails, retirees!
Photo credits from Pixabay.com: "hands" by stokpic, "people" by MabelAmber, "early morning" by werner22brigitte, "polynesia" by Julius_Silver, "portugal" by larahcv, "panorama" by pixexid, and "venice" by kirkandmimi.