









































A New Framework for  
Understanding the Field of Artists 
Who Work in Community and  
Education Settings 

B O O T H  |  F R A M E W O R K

7 VO L .  4 ,  I S S U E  1

Author
ERIC BOOTH Independent Teaching Artist and International Arts Learning Consultant

keywords 
Teaching artist, activism, digital media, community 
engagement, arts integration, capacity building 

 
abstract
This paper presents a framework for 
understanding the field of teaching artists (also 
known by other terms such as community 
artist, participatory artist, social practice 
artist, civic practice artist, artist-in-residence, 
and more) in the U.S. and around the world. 
This paper describes the current state of this 
disparate and disorganized field and suggests 
that previous ways of describing it have proved 
unhelpful.  This pioneering framework was 
developed in partnership with practitioners in 
many communities over years and was vetted 
by practitioners in communities around the 
world to affirm its validity. This framework was 
introduced by the author in 2010, categorizing 
the field according to the purposes for which 
these teaching artists are hired; vetting by many 
practitioners affirms that this framework holds 
almost all employment in the U.S. and other 
countries. An informal report suggests that this 

framework has proven useful in clarifying and 
advancing the field in a variety of communities, 
for administrators, practitioners, funders, and for 
those discovering, entering, and advancing in the 
field. This paper introduces the Purpose Threads 
and describes each one, giving community-based 
examples of organizations that employ teaching 
artists to achieve their goals, and suggesting 
ways in which one might evaluate whether each 
purpose is achieved. This paper acknowledges 
that the seven purposes do not play out discretely 
in practice, but naturally overlap, and the author 
identifies a series of basic teaching artist tools that 
apply across all threads. The author also discusses 
teaching artists to work in digital media, a reality 
that has burst into prominence during the Covid 
pandemic. The author proposes next steps for 
further development of this framework and invites 
readers to apply this material in whatever ways 
are useful.  
 
[Note: This material was used as a foundation in 
the now-closed Lincoln Center Education Teaching 
Artist Development Labs (2014-2019). This 
framework is now used in various teaching artist 
training programs, but it has not been published.]



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Let’s start with a few agreements:  

1.  Let’s recognize that all people have an innate 
capacity for artistry. Many of those who develop 
their innate capacities in a particular discipline 
aspire to become artists of that discipline. Some 
of those artists wish to expand the range of their 
artistry; they aspire to open their artmaking 
to reach beyond the studio and performance/
exhibition halls into participatory engagement with 
many different people, in many settings, for many 
purposes. These artists seek to activate the artistry 
of others. This community of artists—sometimes 
called teaching artists, community artists, social 
practice artists, participatory artists, and other 
titles too—comprise a workforce in the U.S. and 
many other countries—crucial to the future of the 
arts and the achievement of many social, cultural 
and political goals. These artists know that once 
the universal, birthright, skillset of artistry is active 
in anyone, it can be guided to accomplish many 
things.

2. Let’s recognize that this practitioner field of 
artists with the skills and passion to activate the 
artistry of others is disorganized, lacks a public 
voice, identity, and clear pathways for entry 
and advancement. (See footnote 1 below, which 
suggests the handful of organizations, all modest 
in size, that are dedicated to networking and 
advancing the field of teaching artistry.) This is true 
at the local, national, and global levels.  Even so, 
this workforce is deeply embedded in institutions 
and communities, and many individuals work on 
their own without intermediary institutions.  The 
work of these many thousands of artists is relied 
upon in many sectors; it leads most pioneering 
efforts to expand and diversify arts audiences, and 
yet is far less visible than its current contribution 

warrants, and that its potential impact requires. 
Mainstream funders have rarely attended to 
cultivating and developing this vital workforce, 
even though the programs they fund completely 
rely on these skilled workers. 

3. Let’s also acknowledge that like some amoeboid 
masses, the field of artists who choose to expand 
their art-making to include participatory 
involvement and service is hard to define.  It 
includes various job titles, each with its own history 
and tradition and uncertain relationship with being 
part of a larger whole. Some networks manage to 
connect parts of this field, but the infrastructure to 
support a larger field is absent. Organizations are 
arising to address this need, at all levels, but they 
are still adolescent.

To help define this larger field, let me offer a 
working definition—not perfect, not catchy, not 
even very specific, but not rejected by any sector 
either (an accomplishment!); so let’s accept this as 
a working definition as most of the field has come 
embrace it. I will use the term "teaching artist" 
to signify the larger field, both because it is the 
primary tool I have used throughout my career and 
because it is the most widely used term within the 
larger field. 

Teaching Artists (TAs) who work in communities 
and schools are practicing artists who develop the 
skills, curiosities, and habits of mind of an educator 
needed to achieve a wide variety of social and 
learning goals in, through, and about the arts, with 
a wide variety of participants. 

Notice the key points about teaching artistry that 
are suggested by this definition: 

• They are active artists; 

1 Examples of such organizations include the Teaching Artist Guild (national in the U.S.), the New York City Arts in Education Roundtable, 
Teaching Artists of the Mid-Atlantic, the TAT Lab (regional in the U.S.), and the largest of all, the International Teaching Artist Collabora-
tive (global).



VO L .  4 ,  I S S U E  19

• their work is more than a kitbag of educational 
activities; it is a broad suite of internalized 
approaches and understandings, developed 
by working closely with specific community 
audiences;

• their expertise can be deployed to achieve many 
kinds of goals, from enhanced quality of life to 
increased engagement in schools to reduced prison 
recidivism and prescription drug intake for seniors, 
etc.;

• they can work with the widest array of audiences, 
basically anyone, including, for example, arts-
disinterested people, young children, people with 
special needs or psychological disorders, and those 
with dementia—note that this ability to engage 
so broadly, so far beyond already-arts-interested 
audiences, is rare and valuable in the field;

• and they often achieve “instrumental” outcomes 
that institutions and communities want (such 
goals are frequently the rationale for a project 
and are sometimes disdained by arts purists), but 
they recognize that the only way to achieve those 
outcomes is by activating the universal “intrinsic 
artistry” in participants.  

reframing the field

Traditionally, the national field of these artists 
(including practitioners and those who train and 
employ them) is described by the type of employer, 
location of work, or type of project.  

For over a decade, I have proposed a different 
framework for understanding this as one field 
rather than a collection of similar subgroups 
that do not affiliate with one another. This re-
categorization has proven to be both helpful and 
also true to the way the field actually functions; I 
organize this field around the different purposes 
for which these artists are employed.  The key 
question behind this framework is: What is the 

primary purpose of the project?  Analyzing this 
field’s range of employment, I find the breadth 
of work can be distilled to seven main purposes, 
plus one additional one that is a little different 
but helpful to name. This categorization scheme 
has been presented to colleagues in over 20 
countries to determine if it satisfactorily contains 
the employment for participatory artists in their 
country, and their agreement leads me to assert 
that this organizational scheme works to include 
almost all professional practice.  
 
My methodology in developing and testing this 
framework has been with and for practitioners 
and program administrators, with an eye out for 
funders. My freelance practitioner and consulting 
careers have brought me into direct experience 

of all these employment threads. As an advocate 
and active organizer, I have long been frustrated 
that few inside or outside the field seem to grasp 
its scope or the ways the wider field has a coherent 
core and different channels of employment. 
Iterations of this framework evolved through 
conversation, opportunities with funders and 
supporters, and many challenges to introduce 
the field to a variety of stakeholders. This current 
framework has settled over years, giving me 
enough confidence in its accuracy to share it 
widely. It will and should continue to evolve, and I 
invite others to contribute to that evolution. 

B O O T H  |  F R A M E W O R K

This current framework 
has settled over years, giving 

me enough confidence in its accura-
cy to share it widely. It will and should 

continue to evolve, and I invite others to 
contribute to that evolution.



Such employment purposes are never entirely 
singular nor conveniently discrete in practice, of 
course; they naturally overlap.  In prioritizing one 
purpose, we know that others will be incidentally 
(and valuably) accomplished—for example, in 
engaging people to enrich an aspect of their 
community life, any artist working in that setting 
is likely to create artworks that enhance the 
appreciation of artworks made by other artists.  
The value of focusing on purpose threads is that 
they prompt the questions: “What is the most 
important goal or outcome for me to aim for in 
this work?” and “Of the many kinds of impact this 
work is likely to have, which are most important 
to assess?” After introducing the purpose threads 
below, I will mention some teaching artist tools 
that apply across all of them.  
Using these Purpose Threads has proven useful to 
many, as a way to: enrich and refine teaching  
artist training, sharpen the effectiveness of practice  
(clarifying goals), help artists understand and  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

advance their careers, help with the assessment 
of impact, illuminate inchoate partnerships that 
have never been fully tapped, and clarify for those 
outside this field how widespread, effective, and 
relied upon these artists are.  This Purpose Thread 
framework that I introduced was used to structure 
the national/international Teaching Artist 
Development Labs at Lincoln Center Education, 
active from 2014 to 2019.

The Seven (plus one) Purpose Threads of Artists 
Who Work in Schools and Communities 
 
Before a brief discussion of each thread, which 
includes examples of programs that use teaching  
artists to achieve each purpose, here is a reminder 
of some basic teaching artist practices that apply 
across all-purpose threads. The first four derive 
from the “Four Core Concepts” that was used in the 
Lincoln Center Education Teaching Artist Lesson 
Design.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Name of thread  

  

Work of art   

Community  

Art skills development  

Arts integration   

Activism  

Social/personal  development  

Partnering for non-art goals  

+ Digital

Primary purpose of the work 

 

To enhance the encounter with art works. 

To enhance the life of communities. 

To deepen the development of art-making skills.  

To catalyze the learning of non-arts content.  

To impact a political or social movement. 

To develop personal or social capacities.  

To achieve goals important to other institutions. 

To activate personal artistry in digital media. 

Table 1. The Seven (plus one) Purpose Threads of Artists Who Work in Schools and Communities



VO L .  4 ,  I S S U E  111

Art-making: In every thread, teaching artists 
guide participants to make things they care about, 
balancing their attention toward creative process 
and product (rather than the predominant priority  
of product-mindedness). Creating conditions and 
invitations for people to make things of personal 
meaning in artistic media is an effective way to 
awaken personal artistry and activate its power. 
Intrinsically-engaged participants seek ever-higher 
quality and artistic satisfaction in the self-assessed 
quality of their final result, as professional artists 
do, regardless of whether those products achieve 
high quality by the traditional standards of the 
arts discipline or not. The multiple dimensions 
of excellence identified in the report Aesthetic 
Perspectives [http://www.animatingdemocracy.
org/aesthetic-perspectives] have been useful in 
expanding traditional judgments of quality in 
community and youth artmaking. 

Inquiring: Questioning is used throughout 
all teaching artist practice, for many specific 
purposes. Indeed, teaching artistry is an inquiry 
process that uses production as one of its 
tools; this is, of course, inherently true of artist 
practice. Leading group reflection requires the 
teaching artist’s skills of facilitation, offering and 
discovering great questions and guiding 
participants’ answering processes. Consistent 
and curious questioning establishes the teaching 
artist environment and builds habits of mind for 
participants to develop and to pursue their own 
inquiries.

Reflecting: John Dewey wrote extensively on 
reflection and learning. The essence of his 
thinking comes down to this: If we do not 
reflect on our experiences, we do not learn from 
them.  I maintain that reflection is the most 
stinted component of arts learning.  Teaching 
artists regularly guide participants to “bend 
back” (the etymological meaning of “reflect”) their 

experiences toward themselves in order to grab 
essential elements that give them ownership and 
advance the particular purpose of the work. 

Contextualizing:  Artistic experiences do not live 
in a vacuum; they must connect to lived life to 
gain relevance and power.  The teaching artist 
finds organic ways to stimulate those connections 
and share relevant information at teachable 
moments.  The contextual information that is 
shared situates the artistic experiences within the 
particular purpose thread.  

Other basic tools of teaching artistry appear in 
all the purpose threads too; explication of these 
practices live in other writing—for example: 
engagement before information, entry points, 
high priority on personal relevance, observation 
before interpretation, warm-ups, culminating 
events, scaffolding, use of fun, enabling constraints, 
focus on choice making, tapping competence, pre- 
and post-self-assessment, and many more.

the purpose threads

The Work of Art Thread— The purpose of this 
thread is to enhance the audience member’s 
encounter with art works.  This is the goal 
of "outreach" in many arts organizations: to 
introduce, excite, and interest people in their art 
offerings. Teaching artists accomplish this goal in 
many ways, in many settings.  It was the central 
work of “aesthetic education” at Lincoln Center 
Education (where the term “teaching artist” was 
born in the early 1970s, and where I worked for 
41 years), and it has been the mainstay of Young 
Audiences, the largest and oldest network using 
teaching artists in the U.S.  It was the instinct of 
Leonard Bernstein in his Young People’s Concerts, 
and is the goal of learner-centered, inquiry-based 
teaching that is widely adopted in the museum 
world.  Teaching artists often guide participants to 
create works of art as a tool in this process, and to 

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carefully study works of art made by others, often 
masterworks.  What unifies all the practices of 
this thread is that they seek to deepen personally 
relevant connections with works of art.  If you 
were to assess the Teaching artist’s work in this 
thread, you would seek to assess the quality of 
engagement with the artworks and the impact of 
such encounters on the viewer. 

The Community Thread— The purpose of this 
thread is to activate and empower the artistic assets 
within a community in order to enrich its quality 
of life.  This has been the domain of “community 
artists” and “civic artistic practice”; it has deep and 
proud traditions around the world. In this thread, 
the artist serves the community’s aspirations and 
needs, often helping to surface, identify, and build 
consensus around those hopes and needs.  From 
community choruses, public dance classes, and 
participatory mural projects in major cities around 
the world to creative placemaking projects in the 
U.S., a broad definition of art is used to engage 
a broad inclusion of participants.  There are 
programs with especially deep traditions in the 
U.S., like Appalshop and the Philadelphia Mural 
Project.  If you were to assess the teaching artist’s 
work in this thread, you would seek to assess the 
change in community members’ attitudes and how 
the functioning of the community has changed.

The Skills Development Thread—The purpose of 
this thread is to deepen the development of art-
making skills.  Along with the essential technical, 
mechanical, and imitative learning of artist 
training, working within arts-training programs, 
teaching artistry aspires to produce artistically 
alive people. This is a “new kid on the teaching 
artist block,” and the kid is still a little controversial 
in the professional arts pipeline.  There is no clear 
line separating an arts teacher from a teaching 
artist; let's not argue whether the ballet mistress 
who focuses exclusively on technique should be 

considered a teaching artist or not.  Let's accept 
some gray areas to acknowledge that many 
experienced arts teachers are teaching artists, 
and teaching artists do teach the skills of their 
discipline, but they add something more than the 
tools of the art form—they teach the artistry in the 
art form that carries beyond it.   
We are only now embracing the fact that teaching 
artistry has something powerful to bring to the 

development of artists.  Teaching artists at Say 
Sí in San Antonio develop young artists in many 
disciplines, but those young artists are not just 
professional-track actors and filmmakers. They 
are community-minded contributors through 
their art. The TAs at Marwen, in Chicago, nurture 
professional-level accomplishment in their 
young visual artists, in such a way that dramatic 
life change is a consistent side-effect of the art 
learning.  I led the teaching artist program at 
Juilliard for more than a decade, and students 
consistently reported to me, and to their studio 
faculty, that learning teaching artist skills enhanced 
their musical skills. Many school-of-the-arts/
university/conservatory teachers should be 
considered teaching artists when they prioritize 
opening wide the artistic lives of their students 
and not merely teaching for skill mastery and 
career advancement.  If you were to assess the TA's 
work in this thread, you would seek to assess the 
intrinsic motivation of the learner, the student's 
ownership of arts skills (an understanding of how 

We are only now embrac-
ing the fact that teaching artist-

ry has something powerful to bring to 
the development of artists.



VO L .  4 ,  I S S U E  113

it may be used for one's own expressive purposes 
and the ability to apply it in varying contexts), the 
development of individual voice, and the strength 
of connections the learner makes inside and 
outside of the discipline, as well as the ways the TA 
goes about nurturing those four goals.

The Arts Integration Thread—The purpose of 
this thread is to catalyze the learning of non-arts 
content. This is a large experiment happening in 
U.S. arts education, and it is spreading to other 
countries. Finland has the largest commitment to 
this in their national schooling, and is, probably 
not incidentally, always rated among the top few 
academically-achieving nations in the world.  The 
gamble of arts integration is that by bringing arts 
learning together with learning other subject 
matter both will advance further and deeper than 
they would on their own.  This can be a tricky 
balancing act in partnership so that the arts 
component does not become a handmaiden to the 
more institutionally-urgent and formally-tested 
material of the other subject (the arts used to pep 
up a boring curriculum); conversely, so that the 
subject matter is not a legitimizing excuse to do 
a cool art project.  Usually the TA leads in this 
partnership and must show discipline to ensure the 
balance, in a school setting that usually prioritizes 
academics over the arts. There are hundreds of 
programs across the U.S., and they go by many 
names including arts project-based learning, arts-
rich, and arts-infused curriculum and schools. 
National programs include STEAM, Leonard 
Bernstein Center’s Artful Learning schools, 
Symphony Space Education, Ford’s Theatre Civics 
Education, as well as programs offered through 
Young Audiences and the Kennedy Center.  If 
you were to assess the TA’s work in this thread, 
you would seek to assess the learning in both the 
art and the other subject area.  For example, in a 
theater and history project, you might assess what 
students have learned about writing strong scenes, 

as well as their grasp of the historical material they 
were dramatizing.  

The Activism Thread—The purpose of this thread 
is to impact a political or social movement. This 
thread is connected to the community life thread 
and has a long public history, sometimes including 
artworks labeled “propaganda,” and often intends 
to be controversial or provocative.  This thread 
includes street theater, group singing (including 
“Complaint Choirs”), political artworks, graffiti, 
and public artworks with the purpose to change 
minds, challenge ideas, and build solidarity.  
Specific examples include Theater for Social 
Development, Cornerstone Theater Company, the 
actions of the U.S. Department of Arts and Culture, 
and the work of graffiti artists such as Banksy. The 
International Teaching Artist Collaborative has a 
climate initiative in which teaching artists around 
the world lead projects that seek to change local 
understandings, actions, and policies regarding 
climate issues. Many artists naturally apply their 
artistic skills to causes they care about by making 
artworks that carry their messages, and some 
develop additional activist skills that intensify their 
impact in community and political organizing.  

Whole genres of art have been born out of an 
activist movement, such as the Nigerian rock 
music movement of the 1960s, and "krumping" (a 
dance form born in Los Angeles) in the 1990s. If 
you were to assess the artist-activist's work in this 
thread, you would try to determine the impact and 
the lingering effect on people's hearts and minds.  
Certainly, imitation is a measure of impact, as 
Shepard Fairey’s “Hope” image for Barack Obama 
has shown.    

The Social/Personal Development Thread—The 
purpose of this thread is to develop personal or 
social capacities through the arts.  This is the 
fastest-growing thread.  Teaching artists, or “social 
practice artists” work with social service or other 

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organization partners to achieve social goals.  This 
is the thread of El Sistema and music for social 
change programs around the world, which seek to 
redirect the lives of young people in poverty and 
other stressful conditions like migration through 
intensive, long-term youth orchestra engagement.  
This thread contains the work of creative aging, 
the fastest-growing employment sector of the 
teaching artist field in the U.S., and many prison 
and juvenile detention arts programs. It includes 
the Lullaby Project (Carnegie Hall, launched in 
2011) that strengthens bonds and health outcomes 
of young mothers and their babies, in ways that 
careful research confirms.  If you were to assess 
the teaching artist’s work in this thread, you would 
seek to assess the development of the desired social 
outcomes, from reduced medications, improved 
morale, and health outcomes in senior centers, 
to reduced recidivism rates, to reduced gang and 
crime involvement, and high school graduation 
for music for social change programs (including 
Venezuela’s 46-year-old El Sistema and over 200 
similar programs around the world).

The Partnering for Non-Art Goals Thread—
The purpose of this thread is to achieve non-
arts outcomes that are important to partner 
institutions.  This is a dull title for a thread, but 
the range of experimentation is broad, vibrant, 
and entrepreneurial.  In this thread, artists work 
with businesses to boost innovative capacity (for 
example, the Second City corporate division), build 
teamwork, boost creativity, and develop leadership.  
They work with doctors in training to sharpen 
diagnostic acuity and build patient empathy.  
They work with planning commissions to bring 
creative vitality to urban planning.  They work with 
environmentalists to change local regulations.  This 
thread is growing unpredictably, as organizations 
discover ways that creative engagement can help 
them achieve their objectives.  The teaching artist 
field has not investigated this thread much yet, 

and because the employment opportunities are so 
scattered, it does not communicate well about the 
promising practices or the learning.  If you were to 
assess the artist’s work in this thread, you would 
focus on the goals of the project and find out if they 
are being attained.  

+ Digital—Here we seek to activate personal 
artistry in digital media.  This isn't a thread; 
it is a domain, and it uses various media, but 
its importance for the profession of teaching 
artistry, an importance which was amplified 
during the Covid pandemic, demands that it be 
considered in relation to the other threads. After 
decades of disinterest in virtual engagement, the 
field of teaching artistry was blasted into digital 
engagement in 2020 by the Covid-19 pandemic. 
Even with all the activity in the electronic/digital 
realm in the lives of young people, the distinctive 
quality of engagement TAs can bring to internet 
connections had been largely absent prior to 
the pandemic. Artists who work in communities 
and schools had used digital media in some 
ways—in electronic portfolios, in searches and 
communications, in workshops—but the teaching 
artists’ distinctive power to activate artistry had 
not yet found its footing through the internet. The 
sudden start in delivering their work online had 
teaching artists scrambling at first just to complete 
contracts, to keep online participants engaged and 
interested. I must say the early experimentation 
was disorganized and more earnest than effective. 
After the first flurry of several months, the field 
began to recognize the insufficiency of the initial 
ideas and settled into experimentation and deeper 
kinds of engagement. As the field has come to 
recognize that there would be no full return to 
“the way it was before the pandemic,” programs 
and practitioners began exploring deeper work to 
master hybrid programs—taking advantage of the 
benefits of what can be effectively accomplished 
online to set up more potent investment in 

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VO L .  4 ,  I S S U E  1

the precious opportunity of in-person creative 
engagement. 

There is the new framework—seven threads 
plus one.  I invite you to use the framework in 
whatever way makes sense for you.  In practice 
it has been applied to various purposes. It has 
enabled previously disconnected organizations to 
have conversations as colleagues. For example, 
Carnegie Hall is committed to the power of 
music in people’s lives, Jacobi Medical Center 
has a clinic committed to helping young mothers 
living in stressful circumstances bond well with 
their babies; in the shared purpose of the Social/
Personal Development Thread, the Lullaby 
Project was born and has spread around the 
world. The recognition of shared purpose has 
enabled school arts specialists and teaching 
artists to set aside the historic uncertainty of their 
relationship to accomplish their goals in better 
coordination.  Working within this framework 
obviates old separations when “teaching artists” 
and “community artists” work together on a 
project—“we share the same goal, that’s what 
matters.”  Focus on purpose has prompted fresh 
interest in teaching artist accountability, focusing 
on the degrees to which an intended purpose is 
accomplished—impact assessment has become a 
common practice in teaching artist programs. 

I can imagine the next steps in developing the 
utility of this framework. It would be valuable to 
introduce the Purpose Threads to those beginning 
teaching artist training so that it could inform 
their choices in building careers—individuals 
inclined toward some purposes more than others, 
and to know the range of possibilities early could 
empower new field entrants with more agency. In 
the Lincoln Center Teaching Artist Development 
Labs (before they were discontinued during 
the Covid pandemic), we were planning special 
training tracks in different Purpose Threads; the 

developmental sequence of four lab stages focused 
on the common core set of skills, and we aspired to 
add specializing threads that emphasized the skill 
sets that were distinctive to these purposes.  

The Purpose Threads framework makes clearer 
to those outside the arts what artists who work 
in participatory settings can accomplish.  It helps 
artists to clarify career choices and to become more 
intentional in having their intended impact on the 
world.  It makes clear to teaching artists themselves 
that they are part of a big field, with many kinds of 
expertise, and that any particular area of expertise 
is just one among many.  And perhaps, it can finally 
help funders envision ways to build infrastructure 
to grow this field—a painful blind spot in the 
funding field that has limited the benefits teaching 
artists are ready to deliver. The flexible, adaptable, 
muscular skills of teaching artistry are ready to 
accomplish the many important results they are 
distinctively capable of bringing into the world.

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