Tag: story

  • Art and Design to Share Your Research Story with the Public Health Resonance Project

    Art and Design to Share Your Research Story with the Public Health Resonance Project

    Art and Research Communication

    The Public Health Resonance Project at the University of Hawaiʻi at Mānoa collaborated with a talented artist to create illustrations to better share their research. Have you incorporated art into your research communications?

    The Public Health Resonance Project at the University of Hawai‘i at Mānoa “amplifies unique attributes and deep connections across regionally and culturally relevant physical activities for health promotion and community wellness, locally and globally.”

    Art and illustration can enhance how you share your research. Collaboration between the Public Health Resonance Project and a talented artist included feedback from the whole team to ensure the illustrations were culturally relevant to the research. “It was necessary.”

    This episode features

    • Dr. Tetine Sentell, co-lead of the Project and Chin Sik & Hyun Sook Chung Endowed Chair in Public Health Studies at the University of Hawaiʻi Mānoa
    • Esme Yokooji, a graduate student in Public Health and social media coordinator for the Project
    • Sunnu Rebecca Choi, an award-winning illustrator, printmaker, and artist

    The episode on Art and Design to Share Your Research Story felt so special. It’s the 1st time these collaborators have all come together on video 🎧🎙️✨

    I love that I got to design their website and bring us together for this conversation. We talk about the research, art, and share 3 beautiful new illustrations with you.

    There’s many ways to be more visual with your research such as data visualization, illustration, comics, science art, photography, video. I love that the PH Resonance Project found an artistic partner in Sunnu Rebecca Choi.

    I hope this video inspires you. Save this post for later. You may not have 32m 5s to watch or listen today. But save it even if you just have a hint of ‘I want art for my research’ and you’re unsure how you’ll get there.

    A dream I have is that more research groups, labs, and centers invest in collaborating with talented artists like Rebecca. These partnerships can help people around the world engage with (and share) research that’s meaningful to them. And also I love art.

    Omg if this post (or the video) inspires you to reach out to an artist about working together? Please share it with me, I would love that! 🥹

    Behind-the-scenes

    Before we dive into the interview, I have a quick story to share with you about recording. Or, you can skip right to the interview.

    My computer crashed right in the middle of our recording 💻😱

    I’m freaking out. My desktop computer light is blinking red at me like a danger sign. When I try to cycle the computer on the fan goes crazy.

    The podcast episode going live today? There was a moment there I thought it wasn’t gonna happen. When I finally made it back on, maybe 10 minutes later, I was delighted to find my guest happily chatting away. When I went back to watch the recording, they were so cute. “Oops! Looks like our host has dropped off,” and then right back to their conversation about art and research.

    We were able to complete our recording. But this episode needed a bit more.

    We had high resolution art to share. There was a story in there that needed attention to bring out 🎨✨️

    And thank goodness I sought help. I soon learned my own audio/video? Parts of my solo video were unusable. Super lagged.

    Luckily, I have a talented husband I’ve been teaming up with for his professor dad’s art focused YouTube channel. I love that Matthew can help.

    The video is finally ready for you. Thank you!

    Technical problems may happen 💯

    Have you worried about something going wrong with your computer too? Things may go wrong with tech, but I hope it doesn’t for you! 🫶

    Every time something goes wrong, I get anxious about my own unsurity of what comes next. People are often kind and understanding. When I’m the one experiencing technical issues, it feels like a huge deal and inconvenience to people. I have to remind myself: When I’m on the other side of that? I always understand. It’s super relatable. I can’t envision myself getting mad, angry, or hurt but someone else’s technical glitch. If your computer crashes in the middle of our meeting, I’ll totally get it too.

    I wanted to share this story with you because for a moment there? It felt like this podcast episode may not happen. But it did. We made it happen. I’m so happy / relieved. I’m proud to share it with you 👋😄

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    Interview

    The special 2024 logo was designed by Sunnu Rebecca Choi.

    Tetine: Rebecca, we love you so much. I’m so excited to meet you in real life.

    Rebecca: Thank you. I was really looking forward to meet you guys, all.

    Tetine: You’re like our artistic hero, so it’s so fun to have an opportunity to do this. Thank you, Jennifer for making it happen.

    Jennifer: Wait, Tetine. How did you first find Rebecca? How did you first connect?

    Tetine: Oh yeah, so I have it in my slides.

    Jennifer: Oh, you do? Okay. Show me your slides.

    Yeah, yeah yeah! As a team, this is kind of our first time all meeting live and I’m so excited that we’re all here together. Tetine, why don’t you start us off. Would you please introduce yourself and tell people a little bit about your research?

    Tetine: Sure. Aloha. I’m Tetine Sentell. I’m a Professor here at the University of Hawaiʻi at Mānoa in Public Health. I’m the department chair of public health and I am one of the co-founders of the Public Health Resonance Project, which is a really exciting, interdisciplinary, collaborative synthesis of literature, engagement with literature, dissemination of literature project we’ve been doing now for several years that this team has assembled as part of, and I’m just been so grateful to be part of that. And it’s really about sharing opportunities for strength-based public health promotion, especially around culturally and regionally relevant physical activity and how that’s meaningful to people as individuals, as families, as communities, and as collectives.

    Jennifer: What are some examples of those culturally relevant activities? Just so people have an idea.

    Tetine: So in Hawaiʻi, some examples would be hula, spearfishing, outrigger canoe paddling, for instance. And then of course, in many other places there are resonance and activities from culturally relevant dance, folk dances, regional relevant dances, practices in the water, practices in the land.

    Jennifer: Esme, would you introduce yourself?

    Esme: Sure. My name is Esme Yokooji. I’m a Master’s of Public Health student at UH Mānoa, and I am the graduate research assistant on this project. I’m in the NHIH or Native Hawaiian and Indigenous Health specialty at UH. And, in my free time, I am someone who participates in these activities. I do Okinawan dance. I like to volunteer in ʻĀina doing things like Kalo planting and just conservation and restoration work in our natural habitats here in Hawaiʻi. That’s what initially drew me to this project is just the real life connection and seeing how community engages with these things. So mahalo for having us.

    Jennifer: Rebecca, you are coming here from London. This is fun. London, Hawaiʻi, and I’m in San Diego. Rebecca, tell me a little about your journey as an artist.

    Rebecca: Hi, my name is Sunnu Rebecca Choi. I’m an illustrator and printmaker based in London, but I’m originally from South Korea, lived in Canada and United States and now ended up in London somehow. And then I used to be a fashion designer in New York and Toronto, but then I decided to change my career, become an illustrator. Right now I’m specializing in editorial illustration as well as children’s book illustration, mostly focusing editorial illustration wise, mostly focusing on medical scientific as well as psychologies. And I work with a lot of different university magazines as well.

    Jennifer: Thank you. So everyone listening knows, I did design the website [for the Public Health Resonance Project]. I had so much fun doing this project because there are so many visual elements to all of those activities and to the people who are engaging with them. This is about people.

    Tetine: I am so happy to be here because we’ve been working on this international, collaborative project for so many years, and one of the things we really wanted to do was make it so beautiful and really make it so it could be disseminated and shared in ways that inspire and engage and delight people. And so I developed this logo as we began consolidating and thinking about disseminating in collaboration with some partners, and in particular with my husband and all who helped build it. So thank you, Craig. It was a meaningful logo. We felt it was really important. I have this slide here to really show we were inspired by the Hawaiian colors and the deep ocean from the shore to the sunset, and really thinking about the levels of influence and the social ecological model, which is our theoretical influence in the background from a public health perspective and thinking about the ripple effects and the waves that grow and build and move across. And really thinking about the place to connect the project and the connections and the links, the ripples, the reflections.

    We had this endowed chair and this opportunity, and so I was really reflecting and thinking about this and this absolutely beautiful art came in my alumni magazine. Can you see how beautiful that is? It’s so pretty. I even have the one I pulled out of my alumni magazine and it was Rebecca’s artwork and it was so beautiful and it really had the feeling of what we were thinking about of these reflections, of these perspectives. You can see it has a lot of depth and story to the artwork as well as just being so peaceful and beautiful and meaningful. And so that’s how I found the artwork and had no idea how to engage with artwork or what to do in this particular way if it was contractable through a university through our funds. But anyway, just cold emailed through the link in the website and she has a beautiful website if you’ve seen it. And through that started a conversation that has just been really so fruitful and so exciting and just I’m so honored to be part of this. And in collaboration also with Esme and others who’ve really helped support and build the artwork into spaces that we can use it for all the things we wanted to do.

    Jennifer: That is amazing. I’m so happy that we had a chance to hear that kind of origin story because I feel like there’s so many possibilities that we just don’t know exist as researchers, as academics, even as artists. What can we do to better connect and help shape our ideas together? Rebecca, how did you feel when Tetine first reached out? Is this a kind of project that you’ve done in the past?

    Rebecca: No, actually it was really interesting because I haven’t really worked with other universities before. So was it, what university?

    Tetine: Middlebury.

    Rebecca: Yeah, Middlebury Magazine. That was my first alumni magazine that I worked with, university. And then when Tetine emailed me I was like, “Oh, I actually didn’t know it was released already.” That’s how I knew that magazine has been issued. Yeah, so that was really interesting. And then since then I’ve been working with a lot of universities in United States, so that opened a new opportunity for me as well.

    Jennifer: And so I’m curious Tetine, what about art helps bring the community together? Why invest in this kind of visual element?

    Tetine: Of course, art inspires us, engages us, pulls us in, makes us think, is important to us as humans, as people in the world. But I also think in academia we do a lot of intricate, thoughtful, engaged practices and activities that often are not accessible because they’re deep inside words and publications, sometimes even behind paywalls. And I think there is a lot of intricacy and story in even peer-reviewed academic journal papers, much less the smaller summaries of them. View open access resources from the PH Resonance Project.

    And so it just felt like this was such an opportunity relative to the work, work now, to disseminate and to share it, to think about how it’s helpful, how it’s good for mental health, how it’s engaging, how it’s good for physical health, how it’s good for strength. All that was sort of built in the background of how to share out, this was so important to disseminate in communities and to people. And then with that joy, right. This is a strength-based activity. It’s a thing that brings people together, makes them happy, makes them joyful, connect with each other. And I think that’s one of the things art can do. It felt like such a nice synergy and such an amazing opportunity to really tie all those things together.

    Jennifer: You brought up joy, and that’s something that I really get not just from the beautiful illustrations that have been customized to represent different activities that the project is researching, but also in the new version of the logo, in the thoughtfulness of how it all comes together through, you have created brochures, event flyers, like physical things and materials to help people engage in person. And that artwork also creates that same warmth and feeling online. Rebecca, I’m curious about your process working on what feels like something really representative of community. What was that process like for creating the artwork for this project?

    Rebecca: The process-wise, whenever I receive a brief, I start with the research. Understanding how each activity is carried out, what equipment is used, and learning about the cultural context, from coding to landscapes. And that process helped me make the imagery as accurate and respectful as possible. Also, every time I create the illustration, my goal was to highlight public health at the community level, showcasing people coming together, whether it’s a mother and a child, a family, or a wider community group. I wanted the artwork to capture the moment and that sense of connection and shared care. I believe illustration has the power to bring people closer and help them resonate more deeply with the subject matter. And I think that was my main goal in creating those illustrations. Usually, when I’m working on the brief, I come up with three different concepts or ideas for each illustration.

    Whenever, if I’m working on the canoe activity, I come up with three different composition or concept or focusing on something different for each illustration for the client to choose from. And that’s how I start creating the art. And then once we decide which concept we are going to go with and then I go render the illustration, my rendering process is quite interesting because I’m a printmaker as well. I create all the textures using printmaking techniques, either monoprinting, etching, or any kind of things that I can get hands on and I scan them in. And then in terms of the final illustration, I use Procreate on iPad and then bring all the textures together on iPad. So it’s a mix of digital and analog process.

    Tetine: That’s why it’s so tactile. It’s like you can really feel it even through the internet. It’s really beautiful that way.

    Esme: I felt the same way though. When I first saw the illustrations, I was like, “Oh, it’s almost like it’s painted on washi paper.” Like watercolor on washi. It’s so beautiful.

    Rebecca: I will sometimes use the watercolor and washi or, accurate. So in my studio I have bunch of papers with all different kinds of textures and colors, which I can just use on any kind of illustration.

    Esme: That’s so cool.

    Tetine: It is. It’s so beautiful. I just love how it all works together and it really has such a feeling about it. Your work is so specifically you, but then you’re also using it so collaboratively to share other people’s vision, which is not an easy thing to do, I think as an artist, and I really appreciate the collaborativeness with which you’ve approached this, these. The first one as the initial one, as thinking about how to share and showcase what we were trying to do. And then very specifically in a regional context and an actual, it’s a specific way, it’s a specific bay you’re coming into and the landscape like you mentioned, and the practice and the movement and the arms, and then really thinking about who is in the canoe and what they’re wearing. And then as we have thought about it for the other resonating activities, to be willing and offer the opportunity for us to really be in collaborative conversation, even as the artwork is pretty far along to be like, “Oh no, we’ve gotten comments from our community members that this isn’t correct or we need to fix this.” I’m just so grateful for that.

    Rebecca: Yeah, it was really, really interesting learning process for me as well because I knew about, briefly know about samba or Tongan, but I didn’t really specifically know about their clothing or how it works and how the body moves, things like that. So for me, it was a really, really good opportunity to learn about different activities as well.

    Tetine: And I think that’s actually, exactly the project. In the sense that each one has not only resonance across, but these unique, very specific pieces of engagement, the land with the ocean with movements particular, with stories and songs and clothing from the community and care. And so the opportunity to showcase that and to showcase that very specifically about, in place for people doing it with each other as families and as communities, not specifically as, not as a show, but as a practice in community. And that has been really important. And as we share and tell the story of the artwork, that’s a really important piece of the, of our sharing of what you’ve been doing as well. Aloha.

    Esme: I also want to say, Rebecca. I used to work in Heʻeia at the fish pond that kind of portrays that bay. And it was so funny because when we had the first kind of in-person activity, it actually took place in Heʻeia, but in the back of the valley. And it was so wonderful because when we showed the work to the people that are participating, they’re like, “Oh, that’s, Heʻeia, that’s here. They were able to instantly recognize from the art. And I think that, even people that weren’t affiliated with the project, were interested and curious. And I think the art was a big draw, seeing a place, recognizing it, feeling properly represented. So I just wanted to say thank you for that. That was so wonderful.

    Rebecca: Yeah, also thank you for all the feedback that Tetine gives. Also, all our illustrations were reviewed by experts and that’s how we can actually get a correct imagery and then representative of the place as well.

    Tetine: Yeah, and I’ll just say the funders of this, the endowed chair that I hold that has allowed this opportunity, it’s from a family enterprise and it’s all been in the background. I mentioned my husband helping with this. There’s a lot of family connections because Mele [Look], my beloved colleague who has done this project with me, certainly has helped connect to some of the cultural and regional experts, but in particular on the Heʻeia ridgeline, her husband Scott is a geologist, and he was like, “This ridge line is not correct. You have to go down. It happens like this, not like that.” And he drew a line for the ridge line so it was proper. That’s the level of detail and actually cultural consultation and regional consultation that’s been possible through this collaborative project.

    Art by Sunnu Rebecca Choi

    Jennifer: It sounds like a lot of people were involved in the art making, and that’s something that’s probably really unexpected for folks who are listening to this. So it was the two of you as well as it sounds like experts?

    Tetine: Yeah, yeah yeah. As Rebecca mentioned, we had the brief, we have a conversation, and then she would send three sort of options of things. And then those three options we would run by people who practice those activities, who work in the region, who engage in the practice. That certainly included my colleague Mele, who’s been part of this all along in every way, but also, exactly, people who paddle for the paddling one, people who participate in wild skating for the ones you’ll see in a minute we’ll talk about, and people who do samba, people who do Tongan dance. And so exactly this. So out of the three that we’ve chosen one to go with, and that one is really prioritized. Community, that it’s about being with family or being with others to do practices that bring people joy together, collaboratively in their real lives. That this is about, sometimes they are ceremonies at a wedding or at a party with a community, but they’re not about a show. They’re about a practice together in community.

    And so that’s always been the background of the activities we’ve been showcasing. But then from those and from the one we’ve chosen, then she does a more developed artwork. And then from that more developed artwork, that’s where we really are like, okay, well this color or this clothes or this line or this is not how the arm would be, or this is not the exact proper direction of the canoe relative to the shoreline. That level of detail has been really important and part of the iterative conversation. And then we go back to consult and come back. So it’s a very iterative process.

    Jennifer: When you started the project, did you know how long it would take to produce art using all of this feedback?

    Tetine: For me, that is kind of how the process of most of the work that I do works, where there’s a lot of, we work a lot with community and in practice and public health is about that. I would say for me, not a surprise, but I did feel really bad for Rebecca. I felt it was a lot to ask the artist to engage in sort of the academic consultation process at that level of detail. But she was a really good sport about it.

    Rebecca: It was very interesting because I also, I do longer projects or shorter projects. Usually the book projects are very long. Sometimes it lasts from three months minimum to one year or more than one year. But then editorial projects usually ends within two weeks. I think this project was in between, I guess.

    Jennifer: I appreciate that. And for folks who are listening, if you’re considering working with an artist asking about their timeline, but also considering who you need to bring into the conversation for that art is helpful upfront so that you can talk about it together.

    Tetine: Could I just add to that exact thing, which is that because of this project being so specific about culture and place and about those practices, it was vital and we couldn’t have done it otherwise. Because if the artwork for the practice doesn’t make sense to the people participating, we shouldn’t do that artwork at all, right? And so that was built into this. I could imagine other scenarios where you wouldn’t need quite such level of detail because maybe you’d be talking about just a feeling or something to connect with this, but this was so vital that we have that level of detail

    Jennifer: Esme, as someone who is using the art to create flyers and other kinds of, I would say marketing materials, but is it marketing materials?

    Esme: Well, I would say my background is also in organizing, and that was where I had most of my social media, video editing experiences actually in making, for lack of a better word, propaganda. But kind of trying to inculcate people and inform them, somewhat a combination of educational materials. And I think the goal of this project is, Tetine spoke on, is just to shine a light and a spotlight on these different activities, on these different researchers, on the work that they’re doing and its value. I think for me, what I’ve really enjoyed about being a part of this team is how much Tetine specifically stresses the importance of cultural competence and humility. And I think that understanding how specific everything is, understanding how tailored it is, really conceptualizing who our audience is, who’s going to be benefited by our materials, is something that’s really important to me, specifically being in Native Hawaiian and Indigenous Health. Because I think having more culturally tailored interventions or even having more culturally tailored messaging, having artwork that is accurate that people can recognize, that immediately draws them in I think is really valuable and important. It’s been truly really fun, honestly, to make materials and just experiment with the different kinds of things, whether it’s making a video intro or editing a logo for a flyer or collaborating on a poster or any manner of things. It’s been a joy.

    Jennifer: Tetine, what would you like folks to know about, okay, there’s so many people out there who are like, “I do want a website. I do want to have beautiful artwork for my events. I do want these things, but I don’t know if it’s worth my time as the PI [Principal Investigator].” You are the decision maker here. And so I’m curious, what made you know that this was worth it for you in terms of your energy?

    Tetine: Yeah, I mean, I think it is a conundrum of academic practice these days actually. This how we engage in the PR of the work we do in a sort of dissemination campaign. Generally, people do so much valuable work that they don’t [promote] because of their own demands of academia. They don’t have the time, capacity, support system to help be sharing that out. I guess I would advocate not for this to be something that individuals need to do only because it isn’t something an individual can do only. I was able to pull this together by the amazing collaboration, by being fortunate to have, hold this endowed chair and being senior enough in my own career that the publication process or grant making process was not the only thing I really needed to prioritize relative to my own goals of my academic, what I wanted to do with my career.

    And so it has been actually a joy and an honor to be part of this collaboration, to keep building it, to keep growing it, to engage in sharing it out. Like as Esme is saying and dissemination materials might be one of the terms I might want to use for some of the things we’re doing to think about how we’re sharing out and why. What we want to do is think about how to build in the opportunity for innovative ways in which we showcase the work we do in academia and in art being one of the fundamental ways in which we can share out. And then the art being collateral, like Esme is mentioning and we’ve talked about. And that, Jennifer, is one of the great skills that you hold is how we share out the beautiful work that an artist achieves in collaboration with us, like Rebecca is doing. Then in YouTube and LinkedIn, or in community, and handouts and flyers. How do we do that? That’s certainly not something we learn in graduate school, but in the background is all this important work that deserves to be showcased.

    Jennifer: Ah, wonderful. Are there slides that you did not share that you want to be sure to get into the video? Is there anything else that we should be sure to talk about today?

    Esme: Only that I think from what I’ve experienced, because a lot of what I do specifically focuses on Indigenous Health and what did this Project was specifically trying to reach and elevate and focus on communities that have historically been marginalized, experienced disparity. But coming from the perspective of how is culture a source of strength, how is connectivity to land and to heritage a source of strength? And I think that using art is something that reinforces that message because a lot of times Indigenous Arts and Traditions, whether it’s storytelling or even hula, is considered an art form as well as a physical activity has been marginalized. So using art as a means to tell these stories and amplify these messages feels so right and is a source of resonance for me anyway. And engaging in this work.

    Rebecca: So much of this project, the process was about discovery for me as well. Through this collaboration, I learned so much about the diverse cultural backgrounds behind each brief. And also me as a Korean Canadian based in London, I have so much different cultural diversity within me as well. So it was really valuable experience for me to work on those illustrations and artistically it also encouraged me to explore new colors and compositions that I never used before as well. So finding ways to express not just the activities itself, but the joy and vitality that shines through them while highlighting the connection between people, community and nature, was really, really enjoyable working on this brief.

    PHResonance.com

    Jennifer: Well, I’m very excited for the art to come. I’ve never had such beautiful art packaged, ready for me to consider for a website design. I felt really honored to be able to work with the thoughtfulness that I could tell everyone who was involved with this project put into the creation of these art pieces. And there’s new ones that I guess they’re maybe going to be premiered on this video if they’re not on the website first, and I’m very excited to share them with all of you. So Tetine, let’s do your slides.

    Tetine: This was the beautiful artwork we talked about before that I was inspired by. And then this is exactly like, to showcase both the artwork itself and then the artwork, the initial one we’ve been talking about so much, the one, the paddling, the outrigger canoe paddling one, you can see the family, you can see Heʻeia in the background. And then you can also see how we used the artwork as a piece of the story we were telling, which was that we were doing various gatherings over the world, essentially, last year. And that we were thinking about, this was something, we had note cards, we had a poster, we had small business card size handouts to really share and tell the story about what we were doing. So the new artwork includes resonances specifically with this one. This is based in Hawaiʻi and our community here. And then we wanted to really think about how this resonated in other places.

    So this is wild skating in Scandinavian lands. And we had feedback, for instance, specifically here in this one about the trees that actually from our Swedish colleagues said no one would ever go out without a helmet. And so we put a helmet on the child because we were like, that makes sense. That’s the cultural practice. Same with the backpack and the way she’s holding her poles. That the backpack, they were like, we’d never go out into the wilderness without some sort of backpack or something to be safe. So again, really thinking about how communities engage in these practices in real life versus what you might see on a tourist brochure. That was really important to us. Again, you can see the mom and her child. And then really, dance is a really important culturally and regionally relevant community, relevant practice, again, all over the world.

    And so dance, a lot of the research is in dance specifically for so many different pieces of staving off dementia, Parkinson’s, community wellness, mental health. And so here we have our Tongan dance example we talked about earlier, and the samba dance example with input, in collaboration from colleagues from Tonga and Brazil, specifically talking about what this might look like in practice and what this might be like. And so for instance, in the samba one, at first we had these very elaborate headdresses and activities and our colleagues said, well, certainly we do that in Carnival and something, but that’s not what you would see in a community. That’s a special event for a different type of piece. And so if you want to think about how people would do these practices in real life, in community, it would be more casual like this. And same, we talked a lot about in the Tongan example about the clothes, what that might look like, how people would be engaged, what would be respectful, what would be expected, that this is a bit of a dressy event, but also a family event and what that might look like and how the arms are, the stories being told with the hands and the arms and the motions and what music would be relevant.

    You can see in the background a lot of those conversations. The last thing I just wanted to highlight is, as we talked about earlier, we have different logos to go with each one. Because the resonance is across, and the first one really started with the Hawaiian sunset and colors. And then you can see these colors in the background are from some of these other places as well. So highlighting that resonance across that, we really want to think about the colors and the schemes, in terms of people’s communities and specific places. Which is to share, we really talked about this, and I know I think Jennifer, you have an example, but just how we’ve been able to engage in our own activities and practices using this artwork because of Esme’s skillset as well. And because of the capacities and the conversations, including with you, Jennifer, and the website. How to share out and showcase the conversations we’ve had with so many wonderful experts across the globe. And this really is just such a tremendously collaborative project. And so that’s really been a great joy of this project as well, is how to all the strengths and experiences and skillsets that people bring to the table together, really thinking about where we showcase that and how to do that in the most beautiful, respectful, exciting, engaging way possible.

    Jennifer: Yay. Thank you so much for recording this with me. I feel like you were all so excited to talk that it really is going to make for an engaging episode for people, and I really hope that it inspires other folks to consider collaborating with an artist or even reaching out to Rebecca because you’re such a valuable resource for people. I love how much attention that you give to not just what needs to be communicated, but who it’s communicating with and who needs to be involved in the process. It’s just beautiful. Thank you all for being here today. Yeah. Anything else before we wrap up?

    Tetine: No, but thank you, Jennifer. You’re a great visual communicator also, and I’m just really grateful for all the expertise you’ve brought to the story of the Public Health Resonance Project and the capacity to share it out as well. Those are skillsets I didn’t have and didn’t have access to either, and really have been grateful for that as well. Just thank you and again, for bringing us all together for this great opportunity. This is a great joy. It’s been a great joy to meet and a great joy to meet Rebecca, to have Esme here, who’s just been a joy as well. And Jennifer, thank you for all that you do for us as well. You also are a great joy!

    Esme: Thank you so much.

    Jennifer: Yay!

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  • Rosa Parks’ Story Didn’t End in Montgomery. These Students Are Proof of That. – The 74

    Rosa Parks’ Story Didn’t End in Montgomery. These Students Are Proof of That. – The 74


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    This story was originally reported by Ebony JJ Curry of The 19th. Meet Ebony and read more of their reporting on gender, politics and policy.

    Seventy years have passed since Rosa Parks refused to surrender her seat on a Montgomery bus, and yet the country still tries to shrink her into that single moment — a tired seamstress who’d simply had enough.

    Detroit, the city where she chose to continue her life, insists on remembering her differently. Not as an icon frozen in time, but as a Black woman whose lifelong organizing stretched from sexual violence cases in rural Alabama to open housing fights on Detroit’s west side.

    That fuller story  — truth beyond the myth — is exactly what the Rosa Parks Scholarship Foundation has fought to tell for 45 years.

    The Rosa Parks Scholarship Foundation (RPSF) has awarded more than $3 million in scholarships to more than 2,250 high school seniors since its founding by The Detroit News and the Detroit Public Schools (DPS) in 1980.

    “Most people actually don’t know the story of Rosa Parks,” said Dr. Danielle McGuire, RPSF board member, historian and author of “At the Dark End of the Street”, whose research permanently shifted how historians write about Parks and the civil rights movement. “She’s so much more interesting, so much more radical, and so much more involved in all kinds of things that we forget about. We keep her stuck on the bus in Montgomery in 1955.”

    According to Kim Trent, a  Detroit civic leader and former board president, the foundation, created through a racial discrimination lawsuit settlement involving Stroh’s Brewing Company, became one of the rare instances where federal accountability for racism produced long-term investment in Black futures.

    A judge, DPS and The Detroit News agreed the money should honor Parks — who was living in Detroit and working for Rep. John Conyers at the time — by funding scholarships for Michigan students devoted to service and social change.

    It is a statewide program, reaching students from Detroit to Grand Rapids to rural school districts where scholarship dollars often determine whether higher education is possible at all.

    That framing makes her legacy active, not ceremonial.

    “As part of her family, I feel grateful to be able to work together with my fellow board members to keep fighting for more opportunities to continue to provide scholarships,” said Erica Thedford, Parks’ great-niece and a foundation trustee. “I think Auntie Rosa would be extremely proud of what the Foundation has been able to achieve.”

    The numbers tell one story — more than 1,000 scholars, millions awarded, forty $2,500 scholarships each year — and the essays tell another. Applicants must identify a modern social issue and explain how they would confront it using principles Parks embodied: discipline, non-negotiable dignity, community before self.

    “Reading the essays of the students who apply is a great reminder that each person doing one act, no matter how small, creates a stronger network of love and kindness,” Thedford said. “Some of these students come from extreme hardship and still find the time and resources to volunteer at food banks, shelters… Some even take it upon themselves to be the organizer of ways to help the less fortunate at their schools.”

    The award is one-time, not renewable, yet its impact stretches across decades.

    “Once you become a Rosa Parks Scholarship Foundation recipient, you are a Rosa Parks Scholar for life,” Thedford said. “These students are now part of a network of people who root for each other, and that kind of support system is important.”

    Trent knows that firsthand: She was a Parks Scholar herself when she graduated from Cass Tech High School.

    “I received the scholarship in 1987,” she said. “Ironically, not only did I get it, but my best friend… also received the same scholarship. And then her son got the scholarship like 30 years later.”

    Trent said the scholarship’s origin mirrors Parks’ life — created in response to injustice and sustained through community action.

    “It’s one of those rare occasions where something beautiful grew out of an instance of racism and oppression,” Trent said.

    Over the years, some Parks Scholars attended community college. Others enrolled at flagship universities. All had to articulate how their education would serve a community beyond themselves.

    Some, like Emmy-winning actor Courtney B. Vance, who’s from Highland Park, Michigan, went on to shape national culture. Others are now attorneys, educators and nonprofit leaders across the state.

    “What gets lost in what she did is the reason she did it,” Trent added. “It wasn’t just so she could sit on a bus. It was because she was trying to open up opportunity for people who had been denied opportunity.”

    That is the heartbeat of the foundation’s lineage.

    Parks was not simply resisting segregation. She was rejecting the entire machinery that kept Black women from safety, education and economic autonomy.

    McGuire’s research highlights how Rosa Parks was investigating sexual violence cases long before #MeToo, defending Black girls like Recy Taylor, whose voices were dismissed in courtrooms and newspapers. She worked alongside the NAACP on equity cases. When she left Alabama under threat of death and moved to Detroit, she became the neighbor who knew everyone’s children, the church member who attended every meeting, the woman who collected information and names and needs.

    “She was the person in the neighborhood who knew all the kids, who worked in almost every community organization you can imagine, to make life better for her people,” McGuire said. “The scholarship foundation is an example of that — just one of many.”

    Every year, nearly 400 applicants encounter that fuller history — the Parks who fought for open housing in Detroit, who believed in Black self-determination, who, as McGuire notes, “never stopped fighting for equality and justice for people who didn’t have a voice that was being heard.”

    That is not accidental. It is by design.

    “We ask our applicants to become familiar with Rosa Parks and the tactics and strategies she used to make changes in her community and how they will do the same,” McGuire said. “I think it gives them hope. It links them to a tradition and a history of hope and change.”

    This anniversary of Parks’ arrest arrives as school boards strip Black history from K-12 classrooms and as scholarship programs for marginalized students come under attack. Thedford sees the foundation’s work as a refusal.

    “During this time, when we are hearing of funding being pulled from schools and programs that are needed to serve our youth, the Foundation is able to continue its provision of funds,” she said.

    McGuire is blunt about what that represents:

    “No matter how hard people try to cancel the past, the past is very much alive,” she said. “Rosa Parks’ history gives us so much honesty about America… and studying her is paramount to getting through any difficult time.”

    Seventy years later, the lesson remains unchanged: Rosa Parks did not fight for a place to sit, she fought for the generations who would rise. Today, those students are still applying, still studying her strategies, still refusing to yield.

    This story was originally published on The 19th.


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  • Cook up a news story

    Cook up a news story

    Writing is the easy part; everything that comes before that is what’s hard. 

    That’s what News Decoder founder Nelson Graves told us back in 2020. Five years later, with the prevalence of artificial intelligence, this seems more true, doesn’t it? After all, you can just tell AI to write you a story and it will comply. 

    But what’s the point of that? It is one thing if your grade depends on the completion of a paper, and your graduation depends on that grade. Or maybe you can make some money churning out AI-written copy for some website. We won’t argue ethics here. 

    The point of this article, which I am thinking up and typing up word by word with no AI involvement, is to explain why the process of writing is the point. Apple founder Steve Jobs is often quoted as saying the journey is the reward. 

    Graves told us that the best stories emerge from a process that involves doing things that many people find difficult: Introspection, questioning your assumptions and interviewing people. All that seems even more of a challenge these days when it is so easy to tune out your feelings and avoid human interactions by listening to loud music, playing video games or bingeing TV shows.

    Again, why do that when AI could spit it out for you?

    Gather your ingredients.

    Graves, who spent his career writing for the news service Reuters, reminded us that writing is easy once you have the raw goods. That made me think about cooking. 

    Why do people take cooking classes and watch cooking videos when you can buy ready-made meals at Aldi? I often spend an entire afternoon in the kitchen making soup or a stew only to have my family gobble it up in 10 minutes. 

    It is hard to put together a fancy meal at the last minute. But if you have gathered your ingredients — the chopped vegetables, marinated chicken, diced onions and minced garlic — it is easy to toss them into a frying pan where the magic happens. 

    The same goes for a news story. If you have done your research — gathered some data, a timeline of events and information and quotes from interviews — then you are all set to toss them onto a page where the magic happens. 

    Follow a recipe.

    Ask yourself: Why do people become journalists when typically they don’t make much money and often get trolled and harassed — or worse — for what they publish? Many believe in the idea of public service, but really, there is nothing that matches the feeling of having published a great story. 

    It is like the satisfaction you get when the forkful of food goes into your mouth and tastes exquisite and you know you made it. You don’t get that feeling if you bought it ready-made from Aldi.

    People who don’t cook think cooking is hard or painful or not worth the effort. The funny thing is that once someone follows a recipe and makes something really tasty, that often changes the way they think about cooking and they try another recipe another day.

    The writing process is like a recipe. There are common steps journalists often follow. They don’t just open a blank page and start writing. So here is a basic recipe you can follow for just about any news story.

    1. Decide what to cook: This is your story idea. You can start broad: I’m going to make pasta. Then narrow it down to: Maybe a lasagna? Narrow it further, maybe based on the ingredients you already have. I’m going to make a spinach lasagna. So with a story you might start with this: I’m going to do a story about climate change. Then you narrow it: Maybe a story about pollution. Then you narrow it further: How about the factories around me that pollute the air?

    2. Find your ingredients. There are statistics you can get. A law has been proposed. A community group is planning a protest. The industry is coming out with new emissions guidelines. Interviews with advocates and proponents and lawmakers. 

    3. Decide in what order the ingredients go into the pan. For a news story there’s the lead that entices the reader (when you sauté garlic in butter people come into the kitchen salivating). Then there is the meat (we actually call it that in journalism), layered with the other ingredients: quotes, data, relevant events.

    With food, the order things go in is the recipe. In journalism it is an outline. It is an important part of the process. Without a good outline you have a mess of information and you don’t know what to do with it. An outline gives you a clear path to follow. The recipe for your story. 

    4. Put the final touch on the dish. It might be parmesan cheese on top, or garlicky bread crumbs or a drizzle of olive oil or soy sauce. For an article you want to end with a “kicker”: a good quote that sums everything up, maybe. 

    Finesse the flavors.

    What if you get to the end and it isn’t as tasty as you hoped? With cooking you tinker. A little more garlic? More salt or pepper? Yikes! I forgot the mushrooms! 

    In journalism, when the story seems flat you might reach out to one more source or call back one you already interviewed to get a better quote. You might look for a better example to use by doing another news search. 

    This is the revision process. And unlike in cooking, when you revise a story you can move your ingredients around and reorganize your story. Often that makes all the difference. 

    In the end you will have created something good, from scratch. It is a great feeling, even if your family takes 10 minutes to eat that lasagna it took you an hour to make. Even if a reader spends 30 seconds reading that story it took you days to craft. 

    The satisfaction you will feel won’t go away. 

    Questions to consider:

    1. If writing is the easy part, what is the hard part of creating a news story?

    2. What does it mean that the journey is the reward?

    3. Can you think of something you have done from scratch that you could have bought ready-made?

     

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  • Can you picture your story on a big screen?

    Can you picture your story on a big screen?

    Some people would rather watch movies than read news articles.

    The thing is, an awful lot of movies came out of news articles. Consider the entire Fast & Furious movie franchise, starring Vin Diesel and my personal movie favorite Michelle Rodriguez (shout out!). It revolves around people who race souped up cars on city streets.

    The idea of the first movie started with an article by journalist Ken Li, after he saw someone steal a car in New York and that spurred him to investigate the underground world of street racing. Someone at Universal Studios saw the article and bought the rights to it. 

    Or consider the Tom Cruise movie Top Gun, about a cocky U.S. Navy pilot. The idea for that came from a story in California magazine about Navy pilots.

    How can all this help an aspiring journalist? Well, thinking about your news story as the movie that might be commissioned from it is a way of seeing the story. So how do you go about doing that?

    Visualize your story

    First, think of the characters in your story. Who are the central actors involved? Who is the Vin Diesel or Tom Cruise in your story? 

    Who does the problem you are exploring affect? Who is causing it or standing in the way of solutions? Who are the people trying to solve or mitigate the problem? In journalism, the basic story structure is Who, What, Where, When and Why. The characters are the Who of the story. 

    The most compelling movies (and news stories) revolve around conflict: What are the stakes? In Fast & Furious, one of the main conflicts is the role of Brian O’Connor, who starts out as an FBI agent investigating the car racers and then becomes loyal to them. 

    Movie scripts revolve around turning points: What could change the course? What steps are being taken to solve or mitigate the problem you are exploring? What are people or corporations or governments or organizations doing that could worsen the situation? This is the What of the story. 

    Then think about the setting: Where is the crisis playing out? The original Fast & Furious took place in Los Angeles. Top Gun took place at a naval base in San Diego, California. This is the Where of the story. 

    Finally, what drives your story is the motivation of the characters: Why do they take the actions they do? 

    In Top Gun, Tom Cruise’s character is motivated by the death of his friend Goose to be the best pilot he can be. In Fast & Furious, Vin Diesel is motivated by the death of Michelle Rodriguez’s character to seek justice. 

    Actions and motivations

    Death is a common motivation in movies — the killing of John Wick’s dog triggered one of the most successful movie franchises out there. But for non-fiction news stories, there can be all kinds of motivations: parents wanting to get their kids into good schools, communities wanting to fight crime in their neighborhoods, governments wanting to end homelessness. 

    In news stories this is the Why of the story. Why does some corporation build a plant in your community? Why does some NGO oppose a development proposal? What’s their reason and motivation?

    So now try this: Think of a problem around you that you want to explore. It could be about anything from climate change, to mental health or inequities in sports or education. Start by noting down the Who (actors), What (what’s at stake), When, Where (setting) and Why (the motivations of the characters). Then turn this into a few paragraphs as if you’re writing for a news site. 

    Start with a hook: It should be something interesting or important. Why is this a big story? Why should people care? Then summarize in one paragraph the whole story. What’s the overall problem? Where is it happening and when, how did it start, what is causing it and who is it affecting? 

    Next, slowly work through each of those elements — the who, what, where, when, how and why. There is the meat of your story. Finally, talk about what’s next. What are the solutions or mitigations happening or proposed?

    Who knows? You might get your story published and down the line a Hollywood or Bollywood producer calls you up. Now, isn’t that motivation to write a news story? Just make sure you have a good agent.

    Questions to consider:

    1. How can seeing your story as a movie help you report and write it?

    2. If your life played out as a movie, what would be the central theme?

    3. Think about the most important thing you are doing these days. What motivates you to do it?

     

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  • Plenty of schools have no-zeroes policies. And most teachers hate it, a new survey finds

    Plenty of schools have no-zeroes policies. And most teachers hate it, a new survey finds

    This story was originally published by Chalkbeat. Sign up for their newsletters at ckbe.at/newsletters.

    About one in four teachers say their schools don’t give students zeroes. And nearly all of them hate it.

    The collection of practices known as equitable grading, which includes not giving students zeroes, not taking off points for lateness, and letting students retake tests, has spread in the aftermath of the pandemic. But it wasn’t known how widespread the practices were.

    A new nationally representative survey released Wednesday finds equitable grading practices are fairly common, though nowhere near universal. More than half of K-12 teachers said their school or district used at least one equitable grading practice.

    The most common practice — and the one that drew the most heated opposition in the fall 2024 survey — is not giving students zeroes for missing assignments or failed tests. Just over a quarter of teachers said their school or district has a no-zeroes policy.

    Around 3 in 10 teachers said their school or district allowed students to retake tests without penalty, and a similar share said they did not deduct points when students turned in work late. About 1 in 10 teachers said they were not permitted to factor class participation or homework into students’ final grades.

    Only 6% of teachers said their school used four or more equitable grading practices.

    That was surprising to Adam Tyner, who co-authored the new report for the Thomas B. Fordham Institute, a conservative think tank, in partnership with the RAND Corporation, a nonprofit research organization. He expected more schools would be following a “whole package” of grading reforms supported by advocates like former teacher and education consultant Joe Feldman, who wrote the influential book “Grading for Equity.”

    “It’s not like this has swept the country,” said Tyner, who has studied grading practices. He argues that some policies meant to create equity lead to grade inflation and don’t benefit students.

    The findings come as many schools are rethinking what students should have to do to get a high school diploma, and how much emphasis should be put on grades. At the same time, many schools continue to struggle with student disengagement and historically high rates of absenteeism following the pandemic. As a result, they’re trying to hold students accountable for their work without making it impossible to catch up on missed assignments.

    Though ideas about how to grade students more fairly predate the pandemic, several large districts started rethinking their grading practices following that disruption, as more students struggled to meet strict deadlines or do their homework.

    Proponents of equitable grading say it’s important for students to be able to show what they know over time, and that just a few zeroes averaged into a grade can make it difficult for students to ever catch up. When students don’t see a path to passing a class, it can make them less motivated or stop trying altogether.

    Still, some teachers have pushed back, arguing that no-zeroes policies can hurt student motivation, too.

    That showed up in the recent survey.

    Eight in 10 teachers said giving students partial credit for assignments they didn’t turn in was harmful to student engagement. Opposition to no-zeroes policies came from teachers of various racial backgrounds, experience levels, and who worked with different demographics of students.

    No-zeroes policies can take various forms but often mean that the lowest possible grade is a 50 on a 100-point scale. Some schools use software that will automatically convert lower grades to a 50, one teacher wrote on the survey.

    Schools that enrolled mostly students of color were more likely to have no-zeroes policies, the survey found. And middle schools were more likely than high schools and elementary schools to have no-zeroes policies, no-late-penalty policies, and retake policies.

    Researchers weren’t sure why those policies popped up more in middle schools.

    But Katherine Holden, a former middle school principal in Oregon’s Ashland School District who trains school districts on equitable grading practices, has some guesses.

    High schools may be more worried that changing their grading practices will make it harder for students to get into college, Holden said — a misconception in her eyes. And districts may see middle schoolers as especially likely to benefit from things like clear grading rubrics and multiple chances to show what they know, as they are still developing their organization and time-management skills.

    In the open-ended section of the survey, several teachers expressed concerns that no-zeroes policies were unfair and contributed to low student motivation.

    “Students are now doing below-average work or no work at all and are walking out with a C or B,” one teacher told researchers.

    “Most teachers can’t stand the ‘gifty fifty,’” said another.

    More than half of teachers said letting students turn in work late without any penalty was harmful to student engagement.

    “[The policy] removes the incentive for students to ever turn work in on time, and then it becomes difficult to pass back graded work because of cheating,” one teacher said.

    But teachers were more evenly divided on whether allowing students to retake tests was harmful or not.

    “Allowing retakes without penalty encourages a growth mindset, but it also promotes avoidance and procrastination,” one teacher said.

    Another said teachers end up grading almost every assignment more than once because students have no reason to give their best effort the first time.

    The report’s authors recommend getting rid of blanket policies in favor of letting individual teachers make those calls. Research has shown that other grading reforms, such as grading written assignments anonymously or using grading rubrics, can reduce bias.

    Still, teachers don’t agree on the best approach to grading. In the survey, 58% of teachers said it was more important to have clear schoolwide policies to ensure fair student grading — though the question didn’t indicate what that policy should look like — while the rest preferred using their professional judgment.

    “There are ways to combat bias, there are ways to make grading more fair, and we’re not against any of that,” Tyner said. “What we’re really concerned about is when we’re lowering standards, or lowering expectations. … Accountability is always a balancing act.”

    Nicole Paxton, the principal of Mountain Vista Community School, a K-8 school in Colorado’s Harrison School District 2, has seen that balancing act in action.

    Her district adopted a policy a few years ago that requires teachers to grade students on a 50-100 scale. Students get at least a 50% if they turn in work, but they get a “missing” grade if they don’t do the assignment. Middle and high schoolers are allowed to make up missing or incomplete assignments. But it has to be done within the same quarter, and teachers can deduct up to 10% for late assignments.

    Paxton thinks the policy was the right move for her district. She says she’s seen it motivate kids who are struggling to keep trying, when before they stopped doing their work because they didn’t think they could ever bounce back from a few zeroes.

    “As adults, in the real world, we get to show what we know and learn in our careers,” Paxton said. “And I think that kids are able to do that in our building, too.”

    Chalkbeat is a nonprofit news site covering educational change in public schools.

    For more news on classroom trends, visit eSN’s Innovative Teaching hub.

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  • The people you interview will bring your story to life

    The people you interview will bring your story to life

    They can be a useful sources when you’re trying to find out what needs to happen or why something is happening. When your story relates to solutions to development or climate change in a specific country or region, find experts from that country or region, as they have a better understanding of the situation on the ground. 

    Don’t grab just anyone.

    Journalists often find themselves short on time and under tight deadlines. They can easily fall into the trap of grabbing sources who will get back to them quickly, or turning to sources eager for the publicity or the attention that being quoted in a news story will get them. 

    The result is that journalists often ignore the many people with important stories to tell or information to impart: groundbreaking scientists, people experiencing the damaging effects of climate change every day, individuals and groups working on systemic and just solutions. 

    The perspectives that we find in the media are therefore limited. The problem here is that the sources can then shape the story and that many perspectives go unheard. Bear that in mind that when you go looking for your sources. 

    And remember: there is a big difference between a stakeholder and an expert. While an expert can help you identify a problem and explain its causes and effects, a stakeholder gives you the first person accounts and the emotions — anger, fear, pain, frustration — that make a story compelling and urgent. The first person accounts are what will connect with readers or listeners.

    If you only have stakeholders, you won’t give your readers a sense of scale or the context needed to understand the problem and figure out how to solve it. But if you only have experts, the story will feel cold and readers won’t connect to it. When you’re telling a story about the  climate crisis, for example, you need experts to tell your audience what is happening and what we can do and you need humans on the ground to tell your audience why it matters. 

    Where to start looking for people

    It can be tricky to find stakeholders. People who are victims of some problem might not advertise themselves as such. Here are some ways to find them: 

    Start with people you already know. They might have relatives, friends and colleagues who you can ask. Those people have relatives, friends and colleagues. Through your own personal network you have access to many, many different people. Let everyone know the story you are working on and the types of people you are looking for. 

    You will find people in surprising places: Cafes, markets, doctors offices and schools. But they won’t come to you if they don’t know you want to speak to them. And don’t forget the power of social media. Just one person you know who has 2,000 social media friends can reach a lot of people you might not know. 

    The leaders in your local church, mosque or community center know a lot of people. School organizations are great networking places. So are trade groups, environmental and social advocacy groups and labor unions. 

    Visit places where people live and gather. There is nothing as good as face to face interactions. 

    Search out the comments sections of news articles. People often post about their own experiences at the end of articles. Sometimes you might be able to contact them through those comment chats. 

    The best stories reflect multiple perspectives and include both people’s emotions and opinions and information from experts. The ability to find and talk to these people is the best part of being a journalist. 

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  • We know the detail. But what’s the story?

    We know the detail. But what’s the story?

    If you’ve heard Jacqui Smith interviewed since she became minister, you’ll know that she’s been saying that the Skills and Post-16 White Paper has been nearly ready for quite some time.

    It may well be the case that most of the contents of the paper have been pretty much locked in for a good while, with others added to the work in progress as the need became apparent.

    And it isn’t just a Department for Education thing. Every part of government will have had an input, both during the formal “write round” that has just concluded and earlier in policy development. The launch will be in the government’s grid – lines will be agreed across Number 10 and the Cabinet Office.

    And there will be a story to tell. Which is where we find our problem.

    Big P

    The most common criticism leveled against Keir Starmer, by his own party more than anyone, is his inability to sell a big picture. Starmer, like many attracted to public policy and public service, is into details, implementation, and delivery. If five to ten years ago our politics was dominated by grand narratives (Brexit, the whole Boris Johnson thing, Liz Truss’ persecution complex), Sunak and Starmer both came to power with more than a whiff of “the grown ups are back in the room”. Delivery rules, ideology drools.

    There’s any amount of polling that suggests much of the frustration among voters is due to things just not working as well or as smoothly as they should. From getting an appointment with a GP, to getting support for a child struggling at school, to getting a dangerous pothole fixed it can feel like the UK is riven with structures and processes on the point of collapsing.

    A part of this is underinvestment – since 2010 funding for local government (which is responsible for the potholes and the pupil support) has collapsed, while growing funding for the NHS (which is responsible for the GP) has not covered increases in demand and has been blunted by numerous top-down reorganisations.

    But a part of this is an inability to do the hard yards on delivery, something which Starmer and Labour are keen to fix. Admirable intentions, but it is much harder to explain to people that we are at the start of a long, complex, and difficult process of renewal than to make absurd promises, stir up xenophobia, and have people believe that these days you can get arrested and put in jail just for saying you are English.

    Even delivery needs a story. Tony Blair, for all his myriad faults as a human being, was your archetypal get-you-one-that-does-both. But that is a rare skillset. The rest of us flounder making dull but important stuff sound interesting and inspiring.

    And so the story begins

    The opportunity mission in the Labour election manifesto highlighted a focus on improving the life chances of children, right the way through from pre-school to entering the workforce. In government, the formal measure of the success for this area of work is the proportion of young people in education or employment-with-training, and the number achieving higher level qualifications.

    Sounds like a set of indicators in need of a target? It doesn’t take a huge strategic leap to read across from this to the Prime Minister’s announcement at conference: a target of around 60 per cent (or two thirds, it all depends which announcement you read) of young people in higher education or a “gold standard” apprenticeship.

    That’s not a target that, if read strictly by the numbers, has much to do with “widening access” as traditionally described: there’s no sub-targets for young people from disadvantaged backgrounds. For that we look at Bridget Phillipson’s preview of the decision to reintroduce targeted grants (ignoring for the moment the plan to fund them via an international student fee levy).

    But this is unlikely to be the only intervention that is aimed directly at widening access. We know now that V levels – a BTEC-esque option that will sit between very academic A levels and apprenticeship-like T levels – will add another option to the choices offered aged 16, hopefully keeping more people in education for longer.

    Even though the opportunity mission focuses on young people, we also know that the government is concerned with what we might call “adult skills”. Over in the economic growth mission is where find all the stuff about Skills England and training providers. What we don’t find – even though it by rights should be there – is the Lifelong Learning Entitlement, a Boris Johnson policy of letting adult learners access student loan style finance which ended up accidentally re-writing the entire basis of student loan finance.

    Another Johnson-era policy that plays in here are the Local Skills Improvement Plans (LSIPs), which help local employers ensure that their prospective employees are given the opportunity to develop the skills they need. Supposedly Skills England adds the national perspective on these local plans, helping to design identified skills needs into wider initiatives like apprenticeship standards and qualification design.

    Universities and higher education don’t exactly jump off the page of either of these missions. Accordingly, policy interventions in the sector have been minimal. The inflationary fee increase was a simple matter of letting existing information work in the way it was originally intended. The changes to implementation of the Higher Education (Freedom of Speech) Act was simply a matter of removing the actually insane components of an otherwise largely pointless piece of legislation.

    Vote reform

    But there was another early intervention – a letter from Secretary of State Bridget Phillipson that has become known as the “HE reform” agenda (not to be confused with the “HE reform” consultation from 2022, that almost established student number controls based on minimum eligibility requirements). It was a series of asks for the sector, perceived as a quid pro quo for the return of the inflationary fee increase.

    In essence this had five components. Let’s use the minister’s exact words:

    • Play a stronger role in expanding access and improving outcomes for disadvantaged students
    • Make a stronger contribution to economic growth
    • Play a greater civic role in their communities
    • Raise the bar further on teaching standards, to maintain and improve our world-leading reputation and drive out poor practice
    • Underpinning all of this needs to sit a sustained efficiency and reform programme

    What’s interesting here is the absence of targets. Phillipson wants a stronger role, a stronger contribution, a greater role, a raising of the bar – but how far and how high, and how will she know when she has what she wants? It is a fair guess that we are due some numbers on these aspirations.

    The other thing to pull out here is the relationship between the regulator and the government. In England, most of these HE reform requests involves work that sits under the Office for Students (I’m happy to accept written submissions suggesting that Research England has oversight on elements of economic growth and the civic role).

    A pattern that I’ve recently been noticing is that OfS and DfE to not appear to be moving in sync at the moment – a DfE consultation on franchise arrangements appeared shortly before a largely unconnected OfS consultation on the same topic, OfS appeared to be startled by the appearance of its own guidance letter, and the biggest thing OfS has done recently – the mega-consultation on quality – appears to have blindsided DfE.

    So achieving the HE reform objectives (however loosely specified) also involves regulatory reform. And that regulatory reform appears to be closely tied to the Behan review.

    Quality Behan-cement

    Towards the end of the last government it was open season on reviewing the Office for Students. The Department for Education conducted a (largely unhelpful) legislative review of the way HERA was working in 2022, which spurred the House of Lords Industry and Regulators committee to foreground some of the more egregious failings of the OfS. The Behan review, which built on the findings of both, was one of the periodic reviews of regulators that usually pass without notice – what was notable was that the review author proceeded to take over as interim chair after the sad loss of James Wharton from public life.

    Behan’s review was focused on making regulation work better – focusing on efficacy, accountability, governance, and efficiency. It is the source – for example – of the plans to bring together the Teaching Excellence Framework and the B3 conditions of registration into a single quality assurance system. This modified and expanded TEF will, in future, feed into the eligibility of providers to access certain funds and opportunities – in particular the ability to offer Lifelong Learning Entitlement modules.

    Much of Behan was predicated on changes to primary legislation – the contradictions and confusion within HERA was getting in the way of a streamlined regulatory approach. We’ve been over some of the possibilities of tidying up legislation on the site before – it’s niche stuff unlikely to raise pulses outside of Wonkhe’s most devoted readership. And it would be a brave government that promoted a glossy higher education and skills bill devoid entirely of policy – imagine, given the mess the sector is in, trying to front out legislative proposals that basically amount to letting the OfS board choose the chief executive rather than the secretary of state?

    The question of regulation has also hit the headlines with an onslaught of problems with franchising. Currently students can be registered at one provider and taught elsewhere, with the quality of that teaching (and the outcomes experienced by those students) falling outside of the OfS’ ambit. There are both OfS and DfE proposals designed to address this issue – a DfE consultation required that teaching partners over a certain size needing to be registered with OfS, and an OfS consultation called for new conditions of registration for registering partners.

    The frustration is palpable – with DfE recently called out by the courts for riding roughshod over due process in order to censure Oxford Business College, and the National Audit Office calling on OfS, DfE, and the Student Loans Company to get their act together in addressing instances of student loan fraud. The regulatory toolkit is simply not up to the job.

    Fun with funding

    OfS, meanwhile, has very much been thinking about funding – a quietly radical change to the collection rules for HESES (the means by which we get the student number information that underpins most of the remaining direct OfS grants), adding in some very detailed information on subjects, prefigures a forthcoming consultation on how it uses the money (just under £2bn) it still allocates for high-cost subjects and student premiums.

    Any subject based approach, when it appears, will surely be informed by the government’s own list of priority subjects – found (again) within the eligibility rules for the LLE, and ported across to the eligibility of some students from deprived backgrounds for new maintenance grants. For all the talk of a data-driven Skills England, and detailed information on precise employer demands, the list is broad. We’re broadly in STEM world, plus architecture (but not landscape gardening), nursing and allied health, and economics. And not medicine.

    Meanwhile, university finances have reached the stage where the only reliable source of income is via recruiting international students. This approach took a knock with changes to dependent visas for most students, but now the government has decided that it wants a slice via a levy – which will be used (in part) to support these new maintenance grants.

    With both provider and student finances at breaking point (genuine financial hardship, attrition, job losses, course cuts), there doesn’t appear to be any appetite for a meaningful rethink of funding in either case. Despite everyone yelling about nothing else since the pandemic, it appears to be the one thing that is definitely off the table in the short to medium term.

    Pieces of paper

    A white paper is a consultation – it is a selection box of policies and plans pulled together to present the next chapter of the government’s narratives on opportunities, skills, and the economy. It will certainly contain measures designed to address the knotty technical and implementation issues described above, but it also requires an element of vision.

    On one level, there is clearly a – very broad – skills vision. The language of opportunity, and of parity of respect for academic and vocational routes, is a rich and resonant one. It is no coincidence that every UK government for the past decade as used a version of this narrative, and it has been duplicated (with a few tweaks) across the ideological spectrum precisely because it is so powerful. However, an increasingly prominent component of this story has been positioned as a critique of the current state of affairs, and the plight of our universities and wider higher education sector. Despite the diversity of the sector, it is specifically universities – and a particular, largely inaccurate popular perception of universities – that are being seen as a problem on the way to a skills-led solution rather than an underfunded and struggling keystone.

    While the policies over every party have elements of this counter-narrative too – the Labour variant is perhaps kinder than the alternatives (see, for example, Badenoch). But it is not a full-throated defence of the sector. It is not simple or straightforward to draw together the various things Labour has done in the higher education space and tell a convincing story that includes a theory of change and a desired end state.

    So, while it is fairly straightforward to parse the hints and directions of travel that the past 18 months have brought into a series of likely next steps, the fact that none of these steps do much to inspire suggests that this can’t be the whole story. If it was, we’d be looking at a series of uncontroversial pieces of secondary legislation and some changes to the regulatory framework.

    The format of a white paper demands a little more.

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  • You have a story idea. Now what?

    You have a story idea. Now what?

    If you have already eaten a lot of cake another piece will make you sick. Maybe you are trying to stay healthy and sugary foods aren’t healthy. But maybe you have eaten healthy all week and deserve a treat. Or it is a new cake recipe your friend came up with. Or it’s your birthday. All those are great reasons to have that piece of cake now.

    Identify a “news angle”

    The achievement of your healthy diet, or the new recipe or your birthday are like news angles. They are the reason you will eat cake now. They also answer the question: What’s so special about this piece of cake?

    If you think of a story topic like this cake, the angle will define which direction the topic will take.

    You could tell your editor that your angle is that the carbon tax is new and experts think it might not be as effective in cutting emissions as politicians promise. Or the carbon tax is the latest in a series of taxes imposed by the government and people are so sick of taxes, they might vote in an anti-tax political party in the next election. Or maybe next week is a big anniversary for the environmental group that pushed for the tax in the first place — it’s kind of like their birthday.

    If your pitch was basically, “I think the carbon tax would make a great story,” your editors would likely pass on it. But maybe these pitches would catch their attention: 

    • A carbon tax just passed in Denmark marks a new way of lowering carbon emissions and other governments and political parties are watching to see if it works. If it doesn’t, it could set back the push for clean energy not only in Denmark, but across Europe.
    • The carbon tax in Denmark is a gamble on the part of the country’s environmental advocates. Increasing numbers of voters believe they are already overtaxed. If it isn’t as effective as promised it could push people to vote for conservative, anti-tax politicians.
    • Next month is the twentieth anniversary of Denmark’s Green Party. But amid the celebrations is some real concern. The environmental movement has placed a big bet on the new carbon tax — which has garnered significant opposition. 

    If it’s difficult to find an angle for your topic, start telling people around you about your topic and about what you’ve discovered through your research. What kinds of questions do they ask about it? What do they seem to be interested in? Do they ask you something that makes you think, hmm, that’s a good question! If so, then you’ve found your angle. 

    Narrow your focus

    There might be so many angles you end up all over the place. Editors won’t okay a story that they think will come in as a confusing mess. So it is also important to narrow your focus. In telling stories we are often tempted to tell people everything, but listeners and readers have short attention spans and limited appetites. How much cake can you eat in one sitting? 

    So think about what you want the focus of your story to be. It’s about a carbon tax. But is your focus on the effectiveness of it in lowering emissions? In that case you want to interview climate scientists. Is the focus about the politics of the tax? Then you want to talk to political experts. Maybe the story is about the cost of the tax on the economy. Then you will want to talk to economists and everyday taxpayers. 

    Before pitching the story, consider the one thing the story will be about, how you will focus on it and why that is important or interesting or relevant to the audience of the publication or show.

    Don’t worry that your focus is too narrow. You can use something small happening in a small place to tell a big story.

    What happens in Denmark could be emblematic of what is happening elsewhere or will likely happen elsewhere. The effects of one tax in one place could help explain the challenges of funding climate solutions in general. 

    Identify the problem and who it affects.

    The smaller the story, the easier it is for people to consume it and understand it and that is what your editors will look for in a pitch. 

    It is important to identify what is at stake and who will be affected by the problem at the heart of your story – the “stakeholders”. In a story about a carbon tax, are the people most affect the companies who pollute? Is it the taxpayers? Is it the environmentalists frustrated by the lack of action on climate change? Is it the politicians who risk losing the next election or the opposition candidates who might win office?

    Finally, do some initial research so you can present to the editors some information that shows the importance of the story and come up with a plan for how you will report it. Before an editor okays a story they want to be confident you can actually do it. 

    Here is how to construct a strong pitch:

    1. State what the problem is and why this is an important story now.: Remember to narrow your focus. Editors won’t likely okay pitches that are too vague or broad. 
    2. State how you plan to find a possible solution
    3. State the main data and the important context – What it is that makes this story important or particularly interesting or relevant to the audience.
    4. Who the problem affects.
    5. The news angle: Why is it relevant now
    6. How you plan to go about reporting the story– the data or reports you will seek the people you plan to interview.
    7. The big question your story will answer.

    Be concise

    Here is the real challenge: You have to keep it all short. Your pitch needs to show your editor that you don’t waste words and that you won’t turn in a story that’s a long, tedious, confusing read. Try to keep it to less than 300 words. 

    Be clear. Say only what you need to say. Don’t make your pitch flowery or use exclamation points. Keep to facts and keep out assumptions or biases. Don’t try too hard to convince. If the story idea is a good one it should convince on its own. 

    Finally, let’s give you an example. Imagine you are my editor and I am pitching a story about how to pitch a story. Here is my pitch. It is 194 words. 

    Young people around the world are itching to tell stories about the problems they see around them. But they find the pitching process intimidating. They’ve got big ideas but don’t know how to come up with an idea out of those big ideas that would grab the attention of an editor. Their story pitches end up too broad, vague and with too many angles.

    The result is that important stories don’t get told. I plan to talk to editors about the pitching process and identify the elements that make a strong pitch and the common problems they see in weak pitches. I will also rely on information put together by News Decoder’s Engaging Youth in Environmental Storytelling (EYES) project. 

    The story is timely because 19 October is World Mental Health Day and reporting and telling non-fiction stories is a great way for young people to think through the big problems they face and that they see in the world around them and to talk to experts who can help them put it all into context. 

    Ultimately, my story will answer this question: Why do some stories get published but other, equally important stories don’t?

     

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  • I asked students why they go to school–this answer changed how I design campuses

    I asked students why they go to school–this answer changed how I design campuses

    This story was originally published by Chalkbeat. Sign up for their newsletters at ckbe.at/newsletters.

    At first, the question seemed simple: “Why do we go to school?”

    I had asked it many times before, in many different districts. I’m a planner and designer specializing in K-12 school projects, and as part of a community-driven design process, we invite students to dream with us and help shape the spaces where they’ll learn, grow, and make sense of the world.

    In February of 2023, I was leading a visioning workshop with a group of middle schoolers in Southern California. Their energy was vibrant, their curiosity sharp. We began with a simple activity: Students answered a series of prompts, each one building on the last.

    “We go to school because …”

    “We need to learn because …”

    “We want to be successful because …”

    As the conversation deepened, so did their responses. One student wrote, “We want to get further in life.” Another added, “We need to help our families.” And then came the line that stopped me in my tracks: “We go to school because we want future generations to look up to us.”

    I’ve worked with a lot of middle schoolers. They’re funny, unfiltered, and often far more insightful than adults give them credit for. But this answer felt different. It wasn’t about homework, or college, or even a dream job. It was about legacy. At that moment, I realized I wasn’t just asking kids to talk about school. I was asking them to articulate their hopes for the world and their role in shaping it.

    As a designer, I came prepared to talk about flexible furniture, natural light, and outdoor learning spaces. The students approached the conversation through the lens of purpose, identity, and intergenerational impact. They reminded me that school isn’t just a place to pass through — it’s a place to imagine who you might become and how you might leave the world better than you found it.

    I’ve now led dozens of school visioning sessions, no two being alike. In most cases, adults are the ones at the table: district leaders, architects, engineers, and community members. Their perspectives are important, of course. But when we exclude students from shaping the environments they spend most days in, we send an implicit message that this place is not really theirs to shape.

    However, when we do invite them in, the difference is immediate. Students are not only willing participants, they’re often the most honest and imaginative contributors in the room. They see past the buzzwords like 21st-century learning, flexible furniture, student-centered design, and collaborative zones, and talk about what actually matters: where they feel safe, where they feel seen, where they can be themselves.

    During that workshop when the student spoke about legacy, other young participants asked for more flexible learning spaces, places to move around and collaborate, better food, outdoor classrooms, and quiet areas for mental health breaks. One asked for sign language classes to better communicate with her hard-of-hearing best friend. Another asked for furniture that can move from inside to outside. These aren’t requests that tend to show up on state-issued planning checklists, which are more likely to focus on square footage, capacity, and code compliance, but they reflect an extraordinary level of thought about access, well-being, and inclusion.

    The lesson: When we take students seriously, we get more than better design. We get better schools.

    There’s a popular saying in architecture: Form follows function. But in school design, I’d argue that form should follow voice. If we want to build learning environments that support joy, connection, and growth, we need to start by asking students what those things look and feel like to them — and then believe them.

    Listening isn’t a checkbox. It’s a practice. And it has to start early, not once construction drawings are finalized, but when goals and priorities are still being devised. That’s when student input can shift the direction of a plan, not just decorate it.

    It’s also not just about asking the right questions, but being open to answers we didn’t expect. When a student says, “Why do the adults always get the rooms with windows?” — as one did in another workshop I led — that’s not a complaint. That’s a lesson in power dynamics, spatial equity, and the unspoken messages our buildings send.

    Since that day, about a year and a half ago, when I heard, “We want future generations to look up to us,” I’ve carried that line with me into every planning session. It’s a reminder that students aren’t just users of school space. They’re stewards of something bigger than themselves.

    So if you’re a school leader, a planner, a teacher, or a policymaker, invite students in early. Make space for their voices, not just as a formality but as a source of wisdom. Ask questions that go beyond what color the walls should be. And don’t be surprised when the answers you get are deeper than you imagined. Be willing to let their vision shift yours.

    Because when we design with students, not just for them, we create schools that don’t just house learning. We create schools that help define what learning is for. And if we do it right, maybe one day, future generations will look up to today’s students not just because of what they learned, but because of the spaces they helped shape.

    Chalkbeat is a nonprofit news site covering educational change in public schools.

    For more news on district and school management, visit eSN’s Educational Leadership hub.

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  • NAEP scores for class of 2024 show major declines, with fewer students college ready

    NAEP scores for class of 2024 show major declines, with fewer students college ready

    This story was originally published by Chalkbeat. Sign up for their newsletters at ckbe.at/newsletters.

    Students from the class of 2024 had historically low scores on a major national test administered just months before they graduated.

    Results from the National Assessment of Educational Progress, or NAEP, released September 9, show scores for 12th graders declined in math and reading for all but the highest performing students, as well as widening gaps between high and low performers in math. More than half of these students reported being accepted into a four-year college, but the test results indicate that many of them are not academically prepared for college, officials said.

    “This means these students are taking their next steps in life with fewer skills and less knowledge in core academics than their predecessors a decade ago, and this is happening at a time when rapid advancements in technology and society demand more of future workers and citizens, not less,” said Lesley Muldoon, executive director of the National Assessment Governing Board. “We have seen progress before on NAEP, including greater percentages of students meeting the NAEP proficient level. We cannot lose sight of what is possible when we use valuable data like NAEP to drive change and improve learning in U.S. schools.”

    These results reflect similar trends seen in fourth and eighth grade NAEP results released in January, as well as eighth grade science results also released Tuesday.

    In a statement, Education Secretary Linda McMahon said the results show that federal involvement has not improved education, and that states should take more control.

    “If America is going to remain globally competitive, students must be able to read proficiently, think critically, and graduate equipped to solve complex problems,” she said. “We owe it to them to do better.”

    The students who took this test were in eighth grade in March of 2020 and experienced a highly disrupted freshman year of high school because of the pandemic. Those who went to college would now be entering their sophomore year.

    Roughly 19,300 students took the math test and 24,300 students took the reading test between January and March of 2024.

    The math test measures students’ knowledge in four areas: number properties and operations; measurement and geometry; data analysis, statistics, and probability; and algebra. The average score was the lowest it has been since 2005, and 45% of students scored below the NAEP Basic level, even as fewer students scored at NAEP Proficient or above.

    NAEP Proficient typically represents a higher bar than grade-level proficiency as measured on state- and district-level standardized tests. A student scoring in the proficient range might be able to pick the correct algebraic formula for a particular scenario or solve a two-dimensional geometric problem. A student scoring at the basic level likely would be able to determine probability from a simple table or find the population of an area when given the population density.

    Only students in the 90th percentile — the highest achieving students — didn’t see a decline, and the gap between high- and low-performing students in math was higher than on all previous assessments.

    This gap between high and low performers appeared before the pandemic, but has widened in most grade levels and subject areas since. The causes are not entirely clear but might reflect changes in how schools approach teaching as well as challenges outside the classroom.

    Testing officials estimate that 33% of students from the class of 2024 were ready for college-level math, down from 37% in 2019, even as more students said they intended to go to college.

    In reading, students similarly posted lower average scores than on any previous assessment, with only the highest performing students not seeing a decline.

    The reading test measures students’ comprehension of both literary and informational texts and requires students to interpret texts and demonstrate critical thinking skills, as well as understand the plain meaning of the words.

    A student scoring at the basic level likely would understand the purpose of a persuasive essay, for example, or the reaction of a potential audience, while a students scoring at the proficient level would be able to describe why the author made certain rhetorical choices.

    Roughly 32% of students scored below NAEP Basic, 12 percentage points higher than students in 1992, while fewer students scored above NAEP Proficient. An estimated 35% of students were ready for college-level work, down from 37% in 2019.

    In a survey attached to the test, students in 2024 were more likely to report having missed three or more days of school in the previous month than their counterparts in 2019. Students who miss more school typically score lower on NAEP and other tests. Higher performing students were more likely to say they missed no days of school in the previous month.

    Students in 2024 were less likely to report taking pre-calculus, though the rates of students taking both calculus and algebra II were similar in 2019 and 2024. Students reported less confidence in their math abilities than their 2019 counterparts, though students in 2024 were actually less likely to say they didn’t enjoy math.

    Students also reported lower confidence in their reading abilities. At the same time, higher percentages of students than in 2024 reported that their teachers asked them to do more sophisticated tasks, such as identifying evidence in a piece of persuasive writing, and fewer students reported a low interest in reading.

    Chalkbeat is a nonprofit news site covering educational change in public schools.

    For more news on national assessments, visit eSN’s Innovative Teaching hub.

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