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Type your name at the top and number your answers 1-4.
Read: Eric Booth – Guidelines for Teaching Artists and Neal Ambrose-Smith – The Practice of an Artist Who is Also an Arts Worker. (On Canvas)
Prof. Murphy says...
1.       After reading Eric Booth's Guidelines for Teaching Artists and then reflecting on your personal experience at your preschool placement, explain which 3 of Booth’s guidelines you find the most important. Explain why.

2.       Neal Ambrose-Smith describes himself as an artist and arts worker.  He describes several of his arts-related jobs. Which scenario do you find the most interesting? Explain how Ambrose-Smith either formally or informally taught something about his beliefs through art.

3.       Though these two articles are very different in approach, describe an idea or related concept that is found in both.

4.       What are some of the advantages to being a teaching artist versus a traditional art teacher? What are some of the disadvantages? Explain fully.

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1. The three guidelines that I found most important were "turn the responsibility for the learning to the learner", "don't forget fun", and "be who you are". I feel like giving the learner the opportunity to learn for themselves allows them to find their own motivation to learn rather than just for an assignment or grade, and can open up genuine interest. Having fun is something I find important, because I believe that there should be fun in most aspects in life, and having fun while learning helps motivation and engagement. While cliche, being yourself is important because it helps the student be able to better connect with the teacher, and gives them understanding of what to expect out of them.

2. The story that stuck out most to me was Ambrose's kite piece. The kite is made out of a Tyvek, a strong, durable material. This conveys a he has strong pride of his heritage.

3. Something I found in both these articles is that there is a theme of engagement within both. Ambrose's article references his stories relating to his art that engages with a community in a public space. The Booth article speaks of how a teaching artist can better engage students in art.

4. An advantage of being a teaching artist over a tradition art teacher is that they're typically more actively connected to contemporary art, and what is new within the arts. However, a teaching artist may have to work a lot as an intermediary between a teacher and students.

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1. The three guidelines that I found most important were "Know the students", "Don't forget fun", and "Turn the responsibility for learning over to the learner". I find it really important for a teacher to know their students because a teacher needs to be able to know the students' capabilities in order to be able to teach them new things and give them new challenges. "Don't forget fun" is also really important to me because I believe that if a student finds their art project or the process fun, it will further deepen their love for art or encourage them to continue to take art classes. And lastly, turning the responsibility for learning over to the learner is important because it gives the student the chance to find the aspects that interest them the most.

2. The scenario that I found most interesting was Ambrose's corn maze. He was able to teach people about the local ecosystem and his Native American culture in an interactive art installation and performance.

3. A concept that is found in both articles is interaction with the audience and students, and having fun. For example, Ambrose interacts with the viewers in his corn maze scenario and makes art fun with his performance. In the Booth article, he discusses the importance of getting to know your students and making art fun.

4. An advantage of being a teaching artist is that I think a teaching artist can create more art involving the community because they might have more resources available to them, whereas a traditional art educator might only have what is available to them at school or their budget. Another advantage I think a teaching artist has is that they are able to teach broader lessons through their art to different audiences, and a traditional art teacher might only be able to use a certain curriculum or teach a lesson specific to the grade they teach. However, a disadvantage that a teaching artist might have is that they don't have a chance to get as close to the viewers as a traditional teacher can with their students. A traditional art educator has the opportunity to get to know each student individually and have student-centered lessons.

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1.) Considering my personal experience with the pre-k All-stars, the three most important guidelines to me are to “know the students”, “emphasize their accomplishments”, and “don't forget fun.” These guidelines center around encouragement in the classroom and leading fun and successful activities. This is approach is appropriate for younger children when introducing the passion of art. (This can also apply to the “engagement before information” guideline; 4 year olds shouldn’t be expected to retain abstract information about art.)

2.) The scenario in which Neal taught a printmaking course in New Orleans while having to deal with the absence of a printing press (taken out by Hurricane Katrina) was the most interesting because he used a difficult situation to teach students the importance of versatility. By being resourceful and using different printmaking techniques, Neal taught the university class how one can still create art without the formal techniques and equipment. This is an important skill to have in an ever changing world where old art making techniques may begin to lose popularity.

3.) One idea found in both articles is the value of reflection and shifting the learning over to the learner. Both articles seem to acknowledge the importance of art as a facilitator of information (using art to learn about other subjects) and taking time to think about those impacts on one’s self and their surroundings. Booth lists this as making connections to other curriculums and reflecting on the meaning of the student’s art and Neil relates to this by teaching students to be resourceful and independent thinking.

4.) One advantage of being a teaching artist versus a traditional art teacher is raw experience in the field. An important chunk of knowledge that teaching artists can impart includes what current careers in art look like, and this can prepare students who are serious about art. One disadvantage of this, however, may be their lack of ability to transmit this information to students efficiently. Grade level, district policies, the school’s socio-economic status, size of the art program and many other factors go into considering how to best inspire a classroom to engage. A teaching artist may grapple with this aspect of teaching more than a traditional art teacher.

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1.  I find after reading Eric Booth’s Guidelines for Teaching Artist and from my experience working at my preschool the 3 most important guidelines are, “engagement before information”, “plan thoroughly”, and “don’t forget fun”. I believe that students should be in the right mindset to start learning. Students need to be engaged and ready to learn to get the information to stick with them. For example, the students I worked with would turn their listening ears on, hold a bubble in their mouth and put their thinking hats on before starting the lesson. It allowed the kids to know they are about to learn and listen. Another important guide to follow is planning ahead. If you have a lesson ready you should always try to over-plan slightly and make sure to think about any problems that may arise. This allows for you to always be ready for any situation that may come up during a lesson. It’s better to plan too much than not enough. Lastly, students should always have fun. Art is about experimentation, making mistakes, curiosity and enjoying your time creating. I make sure that my students are letting lose and having fun when making art and remembering to not always be super serious.

2.  After reading about some of Neal Ambrose-Smith’s arts-related jobs I found the Maize Maze the most interesting. I thought Neal did an amazing job teaching his audience about the native plants, animals and insects that live in his village of Corrales. He was able to teach them about the local tribe stories and the history behind them. It’s incredible how he created a work that was educational and fun at the same time. It brought together the interaction between an environmental art installation and a performance piece. Which can be challenging to create but he was able to formally teach his visitors about his heritage and beliefs.

3.  Although these two articles are very different in their approach, I found that they both had the similar concept of having fun. In Neal Ambrose-Smith’s article it was clear that he wanted this work to be interacted with and to allow visitors to have fun. Also, in Booth’s article he talked about the importance of having fun and how play is extremely significate when making work.

4.  An advantage a teaching artist has over a traditional art teacher is the amount of hands-on experience they have gained from creating their own work. Teaching artist are able to work with students by showing them their own techniques and challenge students to try new things. I feel teaching artist are able to connect with students in a different way than a traditional art teacher. They can give advice from the hands-on experiences they have faced in the field and better prepare them for the real art world out of school. One disadvantage is that teaching artist sometimes have a hard time expressing their knowledge to students in a classroom manor. Artist are extremely intelligent but at times they can lack the traditional classroom and education training needed to be a successful art teacher.

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1. The three most important guidelines from Booth's reading is the knowing the students, setting the work environment, and step by step. Knowing the students is the key point if you want to make activity at their level and interest. If you have a group of children that are advanced for their average age then you must adjust the activities to interest them which without knowing and studying the student you could not do this adjustment. Without having the visits with the children from the CDC, I would not know their were a mixture of levels of advancement so that the activities had to be flexible to keep engagement with all students. Setting the work environment is one of my strengths which I find very important in teaching, having a enthusiastic mood and build a place where the students feel safe without judgment is necessary for classroom. Making art is a emotional thing which student must feel comfortable to express themselves and learn from the activity. From CDC, if i did not make a safe environment for the student in which they would have not ask for help in different parts of the activity. Step by step is making sure you have challenging step within your activities so students are engaged. Also have steps which encourages the students which I found useful with the children at the CDC in having small goal with completed the step as encouragement to learn.
2. I found all of Smith's scenario very interesting but the Maize Maze peaked my attention the most. He involved different parts of the community like local farmers and help educate adults and children about the ecosystem in their village. Integrating art and learning is something more art work should focus on so that art can been seen as a learning experience and creative expression. This one art performance is somewhat inform in teaching his art beliefs by dressing up as a Coyote who sings and dances to help inform people of their environment and ecosystem of the village.
3. Although these two articles are different, I feel as if both Smith and Booth have shown us their are different ways which someone can engage a person in a formal or informal setting. As Booth formally taught children and Smith informally taught children and adults very different ways but the underline themes was to make the viewer or student interested in art.
4. Some of the advantage of being a teaching artist is that you could reach a wider audience as in some cases in art teacher can out reach out too like adults. Teaching artist can go out in their community and teach, it does not alway have to have the person sit down and make artwork but a viewer can learn from just looking at the artwork. But because of this, teaching artist are at a disadvantage by not having people have to sit down and listen,in which people might not give the time to learn. Some people might not even know they like art until their are force to make some artwork. Some students from CDC did not want to do the project but once they did it, they loved it.

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1). After reading “Guidelines for Teaching Artists” by Eric Booth I felt that there were three main aspects of his personal ideas that greatly relate to my experience of observing and teaching a lesson in the kindergarten classroom. The first one that was a no brainer was “Know the Students”. Through the observation hours prior to giving my lesson I was truly able to develop a deeper understanding of that the children were able to do and how their attention is directed. I learned so much about those 4-5 year olds in a classroom setting that I felt so much more adept to teach them a lesson come my fourth visit. Next, but no less important, the “Don’t Forget Fun” idea took a big part in the on goings of the kindergarten classroom. Play is an interregnal aspect of learning, especially for such youngster. The more enjoyment there is in activities the more the students became engaged. I may be bias on the last idea I picked, however I felt that “Step by Step” was another important part of my experience. Through me creating examples I was able to work through different challenges that could possible arise as well as have a deeper understanding of what exactly I wanted the students to get out of the activity. It was also a very useful tool to have step by step examples to show the class to give them an idea of what guidelines to follow.

2). I found Neal Ambrose-Smith’s “Big Medicine Kite” to be the most interesting of all that he explained. What made this one interesting to me was his concept of “off the walls” art. The kite he collaborated on was meant to be flown in the sky, very much so an unusual location to display a work. It left me wonder if it makes it any less a work of art or maybe more so? All of Neal Ambrose-Smith’s arts-related jobs came off as very informally taught. He feels to me as very much an individual that teaches via example, rather than explanation.

3). Whether it is the formal teaching ideas of Eric Booth or the informal experience based teachings of Neal Ambrose-Smith I feel that both have a commonality of engagement. Engaging the student or engaging viewers out in the public, both have a way of reaching individuals on a deeper level.

4).  Being a teaching artist can most definitely keep you fresh on your toes and relatable to those you are trying to teach. Having an understanding of the commitment and efforts needed to be a practicing artist allows for more of a connect. However, being a teaching artist presents the challenge of finding balance in your two words and not allowing one to overshadow the other.

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1.       The three guidelines that I found most important were, “Don’t forget fun”, and “Turn the responsibility for the learning over to the learner”, and “Clear instructions”. I chose don’t forget fun because at the end of the day it was a preschool class and they want their art making experience to be exciting and engaging. I got a tremendous amount of satisfaction when I found out that the students enjoyed the lesson. I chose the second guideline because I believe the best way to learn is through exploration. You want students to be encouraged when it comes to learning. By allowing them to pursue the topic they are attracted to you are giving them freedom and independence. Lastly, I chose Clear instructions, because that was my weakest point during the lesson. I should’ve given a firmer set of instructions for the kids to use as a jumping point and then allowed the loose creative flow to come later.

2.       I thought that Nontoxic Art Making was the most interesting. It was great that he could go to New Orleans and turn a bad situation in to an opportunity to teach. He passionate about the nontoxic materials and utilized his opportunity.

3.       Although the two articles are very different, I found that they were similar in the sense that they enforced the idea of engagement. They both talked about different ways to keep students engaged. The Smith article focused on the community.

4.       Another example of being a teaching artist is that you have experience in art making and you are continually learning through your work. I feel like because a teaching artist is more connected to the art scene that they would be able to find more relevant topics to discuss and use as prompts. One thing that comes to mind would be art influenced by the current political climate. I could see a teaching artist, inspired by contemporary artists, creating a lesson for students that conveys a political message. An issue that I would find with being a teaching artist would be not getting so in to your own work that you can’t devote time to teach.

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1. Booth points out very useful guidelines for Teaching Artists for educating a classroom. To me, the three most important guidelines are to plan thoroughly, know the students, and to have clear instructions.  It is important to plan for what you’re wanting the students to learn so you can prioritize your lessons. Typically, teachers have less than one year’s worth of knowledge to dispense so be sure to know what is most important.  I’ve had times where teachers had to skip over parts of their lesson plans because projects took longer than anticipated. It is also important to know your students and what they can handle. Don’t give projects that are too hard for young students and something too easy for older kids.  Either way, they’ll become frustrated. Lastly, having clear instructions is important for both the teacher and the student.  Know the benefits of what your lesson is and be able to summarize in a few words what it is your student needs to know.  Don’t overcomplicate the lesson or else your student will become lost and confused.

2.  After hurricane Katrina and the printmaking machines were no longer available, I thought it was really great that Neal Ambrose-Smith created a workshop for non-toxic methods and inks. Through this formal training, he and other artists are able to help the environment with less usage of water and chemicals, save money, and health.

3. Both artists are very interested in engagement and fun.  Two of Booth’s points in the guidelines deal with these subjects as he believes engagement might be even more important than the knowledge itself, and that also learning new skills should be enjoyable.  Ambrose-Smith works heavily in collaboration with other artists and makes a majority of his work accessible to other people like his workshop, DIA floor design, and maize maze.  In the article, he emphasizes the joy he feels when others interact with his work like the flash mob.

4. If you’re a teaching artist, you still have a lot of current experience and knowledge of the field and can bring current information to your students. However, there will be less time to focus on either your students or your work if you are a teaching artist. A traditional art teacher will have more time for planning and focusing on lesson plans and building relationships with their students, but since they’re mostly in one place, it’s harder to have time for themselves to expand in their own art.

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1. I find that Know The Students, Engagement Before information, and Don't Forget Fun are the three most important guidelines for me personally. Based on my experiences from the CDC Project, I found that getting to know the kids and talking to them helped them better understand what I wanted out of their work. Additionally, it helped me know how to engage them and what they were like before I tried to teach them anything.

2. I really liked the part where he talked about his research into nontoxic methods of printmaking, as well as the application of them into the college campus in Louisiana. Not only did he formally share techniques and processes, as well as explain the importance of materials, he also taught students that art doesn't always have to use super toxic materials, which I feel like I personally forget sometimes.

3. I personally feel like a common idea I found in both the articles was adaptability. The first one talked about the importance of planning ahead- overplanning, even- which means that you're prepared for scenarios that would maybe be a little off the wall or otherwise unexpected. In the second one, adapting printmaking processes into being way safer and sustainable helped both Neal Ambrose-Smith as well as the students from Louisiana.

4. To me, the biggest advantage to being a teaching artist is the ability to focus on your own art and studio. There's a bigger emphasis on you and your own stuff, as opposed to curriculum and lesson plans and having to adhere to the strictness and formality of an educational institution. However, the lack of a formal educational structure is a hindrance for me, personally. I feel there's also room to err without lesson plans and a set curriculum, so you would have to be very sure in yourself and your teaching ability.

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1. The three most important guidelines from Booth's reading that I think are most important are know the students, reflection and setting the work environment. I thinking knowing the students is very important because when I look back at my art education, the best art classes I had were the ones where the teacher actually cared about what you were interested in and really worked with you to achieve what you wanted and were capable of achieving. Reflection because there is always something to say after you finish or turn in a art piece and the information and learning experience you gather from the first piece in a reflection will really help you grow as a artist in the end and now where your mistakes were made and how to fix it or do things differently. Setting the work environment because if the student doesn't feel comfortable with the material and asking questions he or she will then become afraid and won't be able to fully embrace their efforts as a aspiring artist.

2. I really enjoyed reading about the Denver Airport floor installation. I've always been curious about the art at the airport as well as the weird conspiracy theories that go along with it. I think in this one in particular he informally taught something about his art beliefs. He expressed emotion and thought through design.

3. Although these two types of articles are very different I feel as if the one thing that kind of stuck out to me that made them similar (unless I completely missed it) was the fact that you can get caught up and distracted in the midst of teaching that you might stop creating your own art or become less enthused too. I think both clearly state that no matter what you need to still be enthused and excited about creating art and not losing your touch.

4. I think some of the advantages of being a teaching artist are that you are always creating art that you want to create, you are learning to work with new people on every project and you are inspiring and teaching all at the same time. Personally I feel as if there are no disadvantages in being a teaching artist. You are always on the move creating new projects with new people as well as teaching new skills.

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1. In my opinion, I think that the three most important guidelines were to 'know the students', 'don't forget reflection', and to 'stay fresh'. In my public school education, I was definitely affected by teachers who did not know their students, and would implement ways of teaching that were totally incompatible with how children learn and understand things. The lack of opportunity to reflect also has a negative impact, as students are too pressed for time to consider what they learned and what they didn't understand, and what any of it really means. Staying fresh is also a given. When some teachers teach for long enough, they really become jaded to the reality of their job and its impacts on students, resulting in students who don't learn much and end up just as bored as the teacher.
2. As for Ambrose-Smiths work, I really loved the Maize Maze, because I adore pieces that incorporate the natural environment of the area. Native plants and preservation of native cultures and species are often ignored in the changing world, in favor of new developments that steamroll anything old or natural in favor of something new and artificial. This, and the concept of nontoxic art-making, were both interesting educational moments for me that will translate into my art in the future, as well as my career in teaching.
3.  Something that links the articles is that both stress the importance of new techniques, with ‘staying fresh’ and the emergence of ‘nontoxic art making’. The same ideas also emerge in ‘knowing the students’ and not forgetting fun. Both of these writings bring up very important points about engaging the students and the community in making important art, art that changes those students or community members in meaningful ways. Ambrose-Smith educates communities on the native environments and cultures in the area through his works, and Booth educates incoming teachers in how to really engage and connect with their students.
4.  I believe that, on one hand, a teaching artist has the advantage of real tangible working experience in the field that art students are generally trying to enter. On the other hand, art instructors that I have had who were 'teaching artists' are often less in touch with how to handle students and how to command the classroom than traditional art teachers. For a traditional art teacher, they may not be able to really give students a firsthand perspective on what it is like to be a practicing artist, but their main focus is teaching art and they are generally, in my experience, better at it. I have had similar experiences with science professors, some were absolutely brilliant with the subject they taught, but their knowledge did not translate very well into teaching.

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1. The guideline that stood out to me the most was that of knowing the student, getting to know a student, and hopefully all of your students should be next to ensuring they receive the education they deserve. I feel like after this is accomplished the rest falls in place better than if you're trying to get your students to engage but you don't take your time to get to know and therefore know very little of what sparks their enthusiasm to learn and create art. In my experience with the CDC it was difficult to plan every aspect of the activity as I did not know the students individually. Reflecting is another guideline I wish I would have time for as I think a lot of learning can come from that because it's a time where students can take a step back and reflect on their creations, I feel like it's more appropriate for higher grade levels. Turn the responsibility over to the learner was something that I think can be applied fairly well for the art subjects.

2. The maize maze was a scenario that I thought was the most interesting. He was able to engage the viewers and have them interact while at the same time teach them about culture and other facts that they might not have had the opportunity to learn and maybe not in this unique way.
3. Both articles touch base on the importance of enthusiasm and engagement. I feel like this is so because of the fact that in the art subject students/individuals need to actually create something, where as maybe other subjects it can be more about memorization and doing things that don't require a lot of creativity. Art can also be viewed as problem solving and in order for people to problem solve they need to be engaged and think of the problem ahead.
4. I think the biggest disadvantage of being a teaching artist instead of an art teacher can be that many teaching artist do not have the background necessary to be able to fully assist students and be able to understand their development and have clear expectations that someone who completed an art education program could have. The biggest advantages in the freedom that artist have when working with organizations that hire teaching artist. For example a teaching artist that may work at a non-profit may have more freedom in what they want to teach and there may be more resources if the organization is focused on art education.

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1. I don't really remember much  about anything before second grade especially how my education or school was structured.  Some of the guidelines I found to be most important were engagement, practicing the activity and reflection. I think that trying to get students engaged in art is very important because if they are not engaged then they wont enjoy what is trying to be taught and they will lose interest. Especially as the teacher, it is important to show your own enthusiasm in the work otherwise the students will pick up on those vibes. Practicing the activity is important because from the teachers point of view, it is very difficult to try to explain something that I have never done. If I were coming up with a curriculum I would want to make sure that I actually do the activity and be able to revise my lesson plan if needed to make things easier to understand for the students.

2. I really enjoyed Neal Ambrose-Smith's Big Medicine kite, it was very interesting in that it was based in the sky, very different than a traditional museum or gallery. I also really appreciated how Smith rooted it back to his own culture and honored his tribe and their symbol of the white buffalo.

3. An idea that I found in both articles was this idea of process and engagement being very important in the process of art making and teaching. Both articles sort of show that these two, among many techniques are important but one lists it and describes it while the other put it into context with Smith talking about some personal projects he worked on and how engagement and process play into it.

4. An advantage of being a teaching artist is being actively envolved in the community. Teaching artists can have ideas and perspectives on more contemporary and modern issues whereas a traditional art teacher has this grand knowledge of past artists and art styles but might be teaching what is current. A teaching artist might find ways to connect with students in different ways that might have not been thought of before.

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1.Based on my experience at the Child Development Center, I found that the most important guideline explained in Eric Booth’s article are Knowing the Students, Engagement before Information, and Don’t Forget Fun. I believe that all of these are interrelated yet so crucial to distinguish. As part of the first guideline listed, respecting the students as people seems to be key in engaging them and building a relationship with them of mutual respect, along with getting to know them a bit more personally, not restricted to formal rigidity of most classrooms. Not only is it better for their learning, but also their self-confidence in endeavors they take in all aspects of life, including the classroom. In addition to this, being yourself as an instructor teaches the students a concrete notion of authenticity that they can strive for. In my art activity I had the children do, I wanted to ensure that it would be fun for them, which takes us to the third guideline I listed. Without the ‘fun’ aspect of this project, especially for the students at such a young age, it would likely have been much harder to get them enthusiastic about pursuing this learning experience. Generally I wish this guideline was followed further in education, instead of slowly dying out as I feel it has recently, especially in middle school and high school.

2) I think the most interesting scenario that Neal Ambrose-Smith incorporated into his art teaching career as a self-employed artist is definitely the use of non-toxic art media such as teaching non-toxic printmaking workshops in universities around the country. I deeply appreciate how he not only practices what he preaches about sustainability, but that he also helps others become accustomed to new and more efficient means of art-making that do less harm to our planet.

3) Both articles seem to focus a lot on guiding the next blooming generation of artists and art educators toward a more progressive direction as authentic and autonomous individuals sharing empowering knowledge and content with the world around them as they too, create and develop themselves as artists.

4) The advantage to being a teaching artist as opposed to a traditional art teacher is the increased sense of authorship over the content that you teach, where you teach, and how you teach it. Traditional art teachers must follow state and national guidelines in the confines of a classroom daily. They have to work with specific age groups and deal with behavior issues especially of students that are simply in the class to get the credit. On the other hand, traditional art teachers don’t have to worry about not having a gig at any specific point, or creating purely original content, which could get exhausting. They get their own classroom and don’t have to do much traveling, as I’d imagine a teaching artist would.

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1. The 3 of Booth’s guidelines that I found the most important were "clear instructions", "engagement before information", and "don’t forget play". When I was trying to teach the pre-schoolers how to do the activity that I was asking of them, I realized that my instructions were not simple or short enough for a 4-year-old to grasp right away: I was asking them to do an activity with several steps that they might be foreign to. The other two guidelines, "engagement before information" and "don’t forget play", go hand-in-hand with the first guideline and the age of pre-school; reading this guide makes me wish that I had concocted a simpler and more engaging activity for the 4-year-olds. A more tactile material with less steps and more play might have been much more fun and informative for them.

2. The most interesting arts-related job that Neal Ambrose-Smith took on was the “Maize Maze”, I think. Even though corn mazes aren’t that rare, I really appreciated his and Juane’s more scientific and educational take on the classic autumn activity. Being a teaching artist, in part, means leading by example. By incorporating what he finds important, protecting the environments and artists, reverence for his culture and people, and his multifaceted approaches to art-making, he shows us how much more impactful a work of art can be when there’s thought, research and passion behind it.

3. Do research prior to your art/teaching: both articles discuss the importances of knowing the ins-and-outs of an environment and/or a group of students. The knowledge you gain from your research should inform your treatment of the subject, or the class you are able to pass knowledge on to. This is the first step before you can engage with an artwork or a class.

4. As a teaching artist, you have the opportunity to teach without the restrictions of state standards and you get to reach more students; however you’re not able to get to know/spend very much time with the students you’re teaching and you have to comply to the pre-established rules of a classroom instead of facilitating your own.