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YE A R 11 Arts C orps

findyourvoice Impact: 2010/2011 1

dear everybody

by Elizabeth Whitford I sit here on a crisp fall arts corps executive director afternoon, with my heart full and my mind inspired, having just read through the stories that fill the following pages of this magazine. I am overwhelmingly grateful for the many voices that continue to shape Arts Corps; voices that also grow clearer and louder because of Arts Corps.

In these pages, many voices come together to tell a singular story of inspiration. It’s a story of the creative power of youth and a reflection of a transformative year at Arts Corps. Amidst a struggling economy and major challenges facing our schools and partners, Arts Corps went leaner, but became stronger by being flexible, courageous and determined.

We scaled back on workshops and one-time engagements with students to prioritize longer classes with greater impact on individual student learning. As a result, we served slightly fewer students this year at fewer sites, but we increased our total hours of instruction—meaning more time for each student to develop their creative capacities and unique voice.

This past year was both reflective and forward thinking as we embarked on a process to develop a new vision and strategic plan for Arts Corps that drew from the wisdom of students, teaching artists, partners and supporters. Our new vision – our guiding star – shines clearly, as do the steps we need to take in the coming years to get there.

Arts Corps’ vision: all youth have the courage to imagine and the freedom to create a just and vibrant future.

A vision this ambitious requires forward thinking. Arts Corps is poised to take on this challenge with generous investments of $100,000 each from the Paul G. Allen Family Foundation, JPMorgan Chase Foundation and musician Dave Matthews to grow the role of teaching artists in public education. In 2012, Arts Corps will launch a whole school arts learning model that will include arts integrated into classroom curriculum and after school classes in two high need Seattle middle schools, demonstrating the positive impact of arts learning on students’ creative capacities, motivation, academic achievement and behavior, as well as on teacher practice and school climate. We will work to inspire others to invest in this program, which will further the systemic change that is integral to our vision.

Shaping new frames for understanding what is valuable about arts learning

Hip Hop Music Production with Laura “Piece” Kelley, and its impact on long-term success in school and life is another area of Rainier Community Center 2 Impact: 2010/2011 contents 3

in this issue

advocacy for Arts Corps in the coming year. As a key component of Seattle consistent, engaging creative edu- pg. 4 Public Schools’ planning grant from the Wallace Foundation to enhance arts cation for all youth in our region. Art and self-discovery at the instruction, the district has asked Arts Corps to help define and develop as- Low Income Housing Institute. sessments around the district’s desired outcomes of a quality arts education The power and beauty of Arts in terms of critical thinking and creative habits, which will add to current Corps’ work grows and carries on pg. 6 assessments of artistic skills development. in the classrooms and community Youth Speaks Seattle’s Henry Luke rooms of our partners. Arts Corps’ Arts Corps Staff: shares a personal and changing We are also sharing our experience and knowledge with another reform programs change individual lives Leslie Collins, deputy director view of poetry. initiative, the Roadmap for Educational Results, focused on closing the in powerful ways, which will al- Lara Davis, program director achievement gap in South Seattle and South King County. We are now ways be our greatest achievement. Estrella P. de Leon, partnerships coordinator pg. 9 collaborating with a set of leading youth development organizations to de- The following pages tell these Andrea Fullerton, Three generations of Arts Corps velop a common assessment framework around 21st Century Skills for use stories. Enjoy. development director teaching artists talk about their by schools and youth development organizations throughout the region. Tina LaPadula, education director Henry Luke, Youth Speaks coordinator cycle of inspiration. Eduardo Medonça, faculty Arts Corps’ history of effectively evaluating creative habits of mind places development manager Sean O’Neill, community outreach pg. 12 us in strong stead to inform these significant initiatives. We will continue coordinator Arts education and social justice. to deliver and demonstrate high quality, powerful arts learning, while Bernadette Scheller, finance & Elizabeth Whitford events manager collaborating with schools and communities to create new avenues for Executive Director Elizabeth Whitford, executive director pg. 13 Partner site map. For a list of our teaching artists, visit www.artscorps.org/roster. pg. 14 Arts Corps Board: The healing power of art Our Impact in 2010/2011 Rita Alcantara at Spruce Street Secure Crisis Read our newest program evaluation report at www.artscorps.org/evaluation. John Boylan, secretary Residential Center. Shavondelia Brown, vice president Rebecca Dale Jeff Davis, treasurer pg. 17 Della Kostelnik Juarez Az’Jion, 8th grade student, explains 1,905 youth in 26,176 hours 88% of program Sara Lawson grades K-12 learned powerfully of high quality arts instruction parents strongly agree that their Vivian Phillips, co-president the art of drumming. through the arts in Arts Corps’ were delivered by 30 professional Arts Corps teaching artist chal- Welling Savo Justin Liza Sheehan, co-president pg. 18 in-school residencies, after-school teaching artists in myriad art lenged students to learn and Bryan Syrdal classes and workshops. forms, including dance, music, fostered an environment that Jeff Young Shaping the future of arts visual arts, spoken word and supports creative learning. education in our schools. theatre. Contributors this issue: of middle and 12% Susie Fitzhugh, photographer pg. 20 high school youth reported that of Arts Corps www.susiefitzhugh.com 77% Susie Fitzhugh on capturing truth their Arts Corps class was their classes, workshops students were children of color. Patrick Mullins, graphic designer 154 www.m-made.com through a camera lens. first arts class ever. and special projects were brought to 32 schools, after-school sites, of youth said pg. 22 community centers and residen- 85% of partner sites their teaching artist inspired Year 11 donor list. 68% tial treatment centers. served a population in which the them to take creative risks. majority of students qualify for pg. 24 free and reduced price lunch. Annual finacial statement. 4 student profile

Na’una Low Income Housing Institute Explorations

in Art Na’una’s parents also see a change since she has been taking Arts Corps classes. Her mother says the classes have given her chances to try new things and she sees her daughter opening up.

Lauren, as the teaching artist, has the front row view of the transfor- mation students go through. She says she can see how Na’una has become more confident in herself and the way she expresses her creativity. She has become a leader in the class as well, mentoring children younger than herself.

This kind of self-discovery is what Lauren aims to bring to her teaching artistry; it’s how key teachers from her own childhood influenced her.

Nine-year-old Na’una loves art. “I remember the teachers who This is her second year taking Arts Corps classes at the Low Income Hous- inspired curiosity, who questioned ing Institute’s Denny Park apartments where she lives with her parents, the norm and encouraged me to brother and sister – both Arts Corps students as well. She eagerly awaits do the same. They pushed me the two times a week when teaching artist Lauren Atkinson brings a world out of my comfort zones to see of art making to the youth at LIHI, guiding them on a creative journey and to seek a better understand- where they discover new ways to see and move through the world. ing of what life holds from many perspectives and encouraged me “Arts Corps has a significant impact providing the children an opportunity to discover solutions that would to be creative, have fun learning and make new things. It gives them an benefit the whole.” opportunity to feel connected with one another in an environment that wasn’t designed with that in mind,” says Lauren. “When a child finds their voice, they become confident in express- The group at LIHI is vivacious, ready to explore, get their hands messy and ing how they experience the world let their imaginations free. Na’una is no exception. She jumps into every ac- they participate in. I find them to tivity from making a peace mandala to learning how to draw a self-portrait. be powerful communicators and She says that there is always a lot of fun things to do, like painting. She community participants. They possesses wisdom that belies her age as she explains the importance of discover how important their way

VOICE FIND YOUR young people making art, “it makes me learn more things about art and of seeing and being is when shared myself. You can come up with great ideas.” within community.”

Photo on right: Agreements and poster by Stephany Koch Hazelrigg with the Aki Kurose RISE UP! Program studentyouth speaks profile seattle 7

namejoins artshere corps school or class stepping

I felt a kind of reverence for the unjust systems that disconnect and In 2008, I power of their words. The audi- silence people I know and love. At into walked into ence clapped and snapped their the same time, I came to see myself fingers, gasped and shouted, even as a fragment of something even my first cried. I was moved by the power larger, an interconnected universe poetry slam. of a poem to pull me into a story, filled with meaning and mystery. my I had never been to any event fea- make me feel so many emotions Poetry became the piece that tied turing spoken word. When I heard in a few minutes. I had never seen everything together: when writing, the word poetry, I thought of dead anyone declare themselves like white men like Shakespeare and that, to get onstage with nothing power Robert Frost. I never expected to but their story and say “This is who enjoy poetry, let alone perform it. I am! This is what I believe in!” I by Henry Luke saw nothing ironic or self-con- Arts Corps alumni and Youth Speaks Seattle coordinator When I arrived, people were scious in their celebration of life laughing, dancing and freestyling. and love. Each word was a piece Photography by Kari Champoux I wanted to know them! It was an of their truth. atmosphere of spontaneous energy and emotion that I had never My introduction to Youth Speaks experienced before. At the time, Seattle coincided with a massive very little felt sacred in my life, but change in my worldview: I realized when the poets began performing I was a part of many massive and

Since 2003, Youth Speaks Seattle has been the city’s premier nonprofit for youth poetry and spoken word, creating avenues for youth voices through creative writing instruction and performance opportunities. Youth Speaks Seattle’s program includes school residencies, writing circles, a monthly open mic event and the hallmark Slam Series, an all-city poetry slam competition that culmi- nates with the top five poets performing and competing at the Brave New Voices International Youth Poetry Slam.

Moni Tep, Youth Speaks Seattle Grand Slam Final Competition 2011 8 youth speaks seattle teaching artists 9

joins arts corps from student to teacher each

Fever: Jeromeskee was one of my first students who I took under my wing. one, He was one of the only kids who sought out individual instruction and he autumn would soak up information like a sponge. He would go home and work on is not made of maple leaves it and then flip it with the way you were actually supposed to. cut from orange teach construction Jerome: I read an article about DVS crew – which was Fever’s crew – telling paper about how great they were as individuals and as a crew. I memorized their with safety scissors names, trying to figure out who was who. When I went to Jefferson Com- one munity Center (in 1994), I was like “That’s Fever One! That’s Sneke!” They autumn is sharp were like rock stars. it’s a violent breath A Story of autumn is second-hand-school-bus-fumes The first time I met Fever he was with an entourage of kids and I was and counting my fingers Reciprocity the new guy trying to get his attention. But I remember the first move just to make sure Fever One has been breaking since he taught me. Everyone was outside at a barbeque and I stayed inside to 1982 and is a world famous dj and practice. It was just me and Fever and he taught me the first step going -Henry Luke bboy with Rock Steady Crew. He into this power move. It was the NY way of going into a power move. has been an Arts Corps teaching I was so fortunate to be under his wing. From then on, I wanted to be artist for two years. disciplined to show and prove I was worth his teaching. Henry Luke, Youth Speaks Seattle Grand Slam Final Competition 2011 Jerome Aparis is an international It’s just been amazing. I went from there, to co-founding Massive Monkees I never had to compartmentalize the personal and the political. Performance In 2011, Youth Speaks Seattle breakdancing champion with the and being part of Rock Steady Crew due to Fever One connecting me to gave a sensation of release, speaking my stories into existence made them came under the umbrella of crew Massive Monkees. He is a that. It’s just been an ongoing, beautiful process. Now I am passionate about that much more real. Arts Corps. This partnership veteran master teaching artist for teaching this legacy. I was so fortunate to have good mentor and model to strengthens the impact of Youth Arts Corps and has been teaching show that it’s not about glorifying yourself. It’s really about having a talent At Brave New Voices International Poetry Slam (the national Youth Speaks Speaks Seattle’s unique approach since 2003. and how can I give back. And for me that all started with Fever One. gathering), I met poets from Philadelphia, Honolulu, San Francisco, New to addressing social justice and York and Guam. I sat twenty feet from Bobby Seale as he spoke about empowering marginalized voices. Robert Eyerman studied the founding of the Black Panthers and compared it to the work Youth breakdance with Arts Corps for Speaks does today. I have realized spoken word is not just an art form. “Youth Speaks Seattle in seven years. He is teaching his It is a movement. There are young people across the world speaking their partnership with Arts Corps is first Arts Corps class this fall truth and creating spaces where that is safe to do. We are storytellers of destined to achieve its full and is a member of the Vicious our generation. potential as a transformative Puppies Crew. arts organization.” Today when I hear the word poetry, I think of my friends, I think of myself. –Matt Gano, former Youth Speaks Sammy Tekle took breakdancing And my journey continues in my new position at Arts Corps as the Youth Seattle Arts in Education Director classes for over six years and is Speaks Seattle Coordinator. and Writing Mentor now the dance cohort’s intern, preparing to be a teaching artist. I am honored to hold space for other young people across Seattle to express He is also a member of the Vicious themselves and step into their power, whatever form that takes. Puppies Crew. VOICE FIND YOUR

Jerome Aparis, Break Dance, Youngstown Cultural Arts Center 10 teaching artists teaching artists 11

from student to teacher from student to teacher

into dancing it because it’s the best That’s why I’m here at Arts Corps, way to express myself. It’s not just because Jerome introduced me to an art, it’s my life. Thank you for this great organization that really teaching me, Jerome. cares about art. And the mentor- ship keeps going with Sammy and Jerome: “Each one, teach one.” If it Robert. They’re going to do the wasn’t for Fever, I wouldn’t be do- same thing. It’s an ongoing cycle. ing what I am doing. I’m aware that The proof is right here where we someone gave back to me and put are sitting. hours and hours of their time into me. That’s part of my responsibility Jerome: Fever and I taught hun- – to make sure I continue Fever’s dreds and hundreds of students. legacy and teach other students. But there are only a handful who Robert Eyerman, center, Festa Del Arte 2011. Photo courtesy Scott Wellsdant I’ve gone through so many rich are willing to take it to the next moments with my dance; if I don’t level, willing to be mentored. It Robert: I got to breaking after moving up here from Sacramento. I share that it’s selfish. Period. takes courage and character and thought I couldn’t do it but my dad convinced me to just try it. I would an ongoing discipline. Every time work on stuff in my own little corner. The other kids had all been dancing Fever: It’s a full cycle, it’s a circle. I see VPC I am very proud. It’s an for a year. There were two really dope dancers. Looking at them I thought, The dance becomes a part of you. honor to be Fever’s protégé and “Wow, that’s going to take a long time to get to that level.” And [teaching] gives back to the to mentor and coach VPC. dance, back to the culture where it I stuck with it and eventually I started seeing people fall off. I ended up maintains its identity. Fever: It takes a particular type being the only experienced one in the class. And I think Jerome started of person to seek out the truth. To noticing that. I would start helping lead groups and then more seek out the history and to humble people came in. Sammy came in. All the guys that would become themselves enough to always Fever One, Break Dance, Hamiliton Middle School VPC (Vicious Puppies Crew) came in. We just all stuck with it. learn something. Jerome and I are That’s my story. students to this very day. It’s been myself. I just did it and now I am floor. You can see it from head almost 30 years for me and I’m the Sammy you know today. to toe, from their faces to their Sammy: Back in the day, 7th grade at Denny Middle School, I learning things every day. I learn mouths how they’re breathing. had no originality, no style. I was just a plain kid in musical band. from Vicious Puppies. Fever: I would never know you They won’t stop. Then you see the And one day I saw a group of people dancing on stage in the com- were shy. Now, when I look at teachers and the principals and mons. The instructor – that was Jerome – turns around and asks Jerome: Discipline outweighs Sammy and Robert, they are turn- the families. And they can finally me if I’d like to join the class. talent, period. Being humble is the ing into grown men before my own see why the kids are so passion- next key. Fever has taught me to eyes. For a young man, to be able ate about this dance. You know Jerome: Sammy was the shy guy. I remember him saying every- always be humble and be hungry. to take an art and discover what it that them dancing for that one one was getting better than him. We told him – no matter what, That’s the reason VPC is VPC. can do for you, it’s a great outlet to minute is going to change their just practice hard, just keep moving forward. He was the shyest They’ll win a competition but express yourself. life forever. We went through that kid of them all. And now he’s leading! He has a strong voice and is they’ll still be humble. process. We’re still going through an outstanding leader. And people are following him. Jerome: In its simplest form, with that process. We continue to be Sammy: I was the shy kid. I felt the Massive Break Challenge, with students of life and do our best to Sammy: Through dancing I get to experiment with all my feel- like I said all the wrong things. It kids who have only been dancing inspire people.

ings, whether anger or sadness or happiness, and put that out wasn’t a good feeling. Now I dance. for a month, putting their hearts VOICE FIND YOUR there and people would be amazed at what you could do. I got And I feel free. I’m not shy to show on the line, putting it all on the

Sammy Tekle, Break Dance, Youngstown Cultural Arts Center 12 social justice locations 13

Building Program Broadview Lake City 4 22 creative Partners 2 Northgate 19 were not individuawl conflicts, in our work. This includes the 1. Aki Kurose Academy* power but rather were deeply connected development of personal and orga- 2. Aki Kurose Village ** 31 to large and complex patterns of nizational competencies necessary 3. BF Day Elementary School Greenwood by Sean O’Neill 8 inequity. to address both structural and 4. Broadview Thompson K-8 Wedgewood Arts Corps community outreach interpersonal inequity at all levels 5. Cedarhurst Elementary School Green Lake Sand Point coordinator, MLK VISTA • In a language arts class, a of the organization. 6. Chief Sealth High School* Ravenna student of Filipino decent is sent 7. Delridge Community Center Ballard to the principal’s office for “acting This work has included: racial jus- 8. Denice Hunt Townhomes ** Naming the Problem out” after a white teaching artist tice and anti-oppression trainings 9. Denny Park Apartments ** Patterns of racial and economic 13 Laurelhurst repeatedly called him by the with our faculty, staff and board of 10. Denny International Middle School* Fremont U District inequity are widespread across name of fellow-student, who is directors; prioritizing community 11. Franklin High School* Magnolia 3 Seattle Public Schools. This is most of Japanese descent. representation in hiring practices; 12. Garfield High School significantly shown in discipline new avenues for youth leadership; 13. Hamilton Middle School* and graduation rates, the racial • At a historically black school, and growing collaborations that 14. Hilltop Elementary School Madison Park representation of teachers and a new cohort of predominantly position Arts Corps in a broader 15. Interagency Academy Queen Anne tracking into advanced placement white parents has become one of movement for education justice. 16. John Muir Elementary School Capital Hill courses. Creative learning is not an the primary funding streams for By tapping into our collective cour- 17. Kimball Elementary School exception: young people of color arts programs. As these parents age and creativity, we are taking 18. Madrona K-8 have dramatically reduced access deepen their involvement with steps to challenge oppression and 19. Meadowbrook View Apartments ** Downtown Central to arts education relative to their the education of their children, build community. 20. Mercer Middle School* District 18 1 9 white peers. there is an undercurrent of tension 21. Orca K-8 12 27 24 as budgetary cuts threaten the As a result of this work, our 22. Pinehurst K-8 29 Across the nation, arts education already underfunded, black-led teaching artists report increased 23. Rainier Community Center 15 Leschi programs are increasingly focus- afterschool program with which personal awareness and capacity 24. Seattle Girls School SoDo ing on low income youth of color Arts Corps historically partnered. to address racial conflicts in their 25. South Park Community Center to address this opportunity gap. classrooms, as well as a stronger 26. Southwest Community Center 30 11 Beacon Although this work is inspiring, • In one of the most racially and West Seattle sense of belonging and shared 27. Spruce Street Secure Crisis Residential Center Hill 17 16 the staff, faculty and leadership of economically diverse high schools values with Arts Corps. Staff 28. Van Asselt Elementary School* these organizations are predomi- in the area, theater teaching artists and board members also report 29. Washington Middle School* 32 20 23 2 7 nantly white adults. Arts Corps witness each year that, relative increased organizational pride and 30. West Seattle High School* Columbia City reflects this pattern, requiring us to to their peers of color, white commitment to racial and social 31. Whitman Middle School 21 critically reflect on strategy, leader- students are often the only ones justice. This work has involved a 32. Youngstown Cultural Arts Center 6 Seward Park ship and accountability as we push who can afford private theater great deal of courage and humil- 26 1 Georgetown forward on our mission. coaches and disproportionately ity, and has not been without its Delridge receive awards and scholarships missteps and lessons learned. ** Low Income Housing Institute 10 * YMCA Community Learning Center Holding Our Stories for higher education. Nonetheless, our confidence and 25 28 In winter 2011, Arts Corps’ teach- capacities have grown, and Arts ing artist faculty were asked the A commitment to Corps is increasingly stepping into question: “What are the barriers to learning and growing leadership on this critical issue building trust and community in Through a lens of creativity and within the arts education field both your classrooms?” As we listened community building, Arts Corps locally and nationally. to the stories, it became apparent 5 VOICE FIND YOUR has made an intentional effort to that barriers our faculty witnessed embrace a racial justice framework 14

1 The National Endowment for the Arts: Survey of Public Participation in the Arts (2011) 2 The National Guild for Community Arts Education: Benchmark Survey (2011) 14 partner profile partner profile 15

spruce street spruce street secure crisis residential center secure crisis residential center

Finding Creative Don’t Just Do Something, Spirit in Crisis Stand There by Lara Davis poem but it was real. Later, we were sitting at a family meeting and all A counter intuitive approach The youth at Spruce Street Secure to students demonstrating Arts Corps program director Crisis Residential Center all have these adults were talking at him and about him. He referenced that poem to express how angry he was. Before, his anger was expressed with foul oppositional behavior one thing in common—they are in language and behavioral issues. He said writing that poem helped him get I am what I am crisis. Youth are brought to the center by police when they are to how angry he really was. That was so powerful; he was finally able to By Geoffrey Garza, Arts Corps I am what I’ve been through found as a runaway or are in dangerous circumstances. Some are fleeing articulate something that had been plaguing him for a long time.” teaching artist at Spruce Street I have accepted life a home of domestic violence. Some are in gangs. Some are bouncing Secure Crisis Residential Center The lies around the foster care system. Some are battling mental illness. “I think about this a lot – this is a place where people go in crisis. How The beatings can art address that? We can explore the commonality of crisis. In that •Be well rested – this environment In the end everything They are all in crisis. hour [of art] is a whole new world they become part of. They see other calls for full engagement. Is what it seems to be opportunities for their lives,” says Jim. •Be flexible with your curriculum. I am who I’ve become Their stay at Spruce Street ranges from 1-2 weeks. To keep everyone •Avoid anything that looks like So numb safe, the youth – ages 12-17 – are given facility clothing upon arrival Arts Corps Teaching Artist Geoffrey Garza teaches visual art at Spruce “a therapy session.” But play dumb and are required to hand over all of their belongings. Aside from special Street. He is adept at reading the emotional vibe of the students, and Jim And scream silently trips, they are kept in a sort of lock down. Except instead of locks on the says Geoffrey has taught youth and staff alike that there are no mistakes. •Be funny. Smile widely yet outside of their bedroom doors to keep them in, they have locks on the It’s all learning. •Read the room. I am pretending inside to keep people out and keep themselves safe (staff all have keys). So who am I? In a blog, Geoffrey tells the story about a particularly oppositional student •Find the leaders and let them lead. When I am what I’m feeling Services are intensive – counseling, behavior modification, coping skills, at Spruce Street. He antagonized Geoffrey, threateningly circling around •Find the shy kids and let them When reality turns to dreams self-awareness, group therapy, substance abuse screening. The hope is the art table. Geoffrey set out a piece of paper and the youth stood over it. slowly engage. And nothing is as it seems that once they return to the outside world, they are better equipped to “I want to throw paint on it,” he said. Geoffrey found tubes of paint and •Be foolish. But I am real begin creating their own stability and imagine different possibilities. told him to go for it. For 45 intense minutes, the youth intensely sprayed, So ask me anything smeared and splattered paint across the paper, hands and body covered in •Be outrageous – it shows them Arts Corps has been a part of Spruce Street’s program since 2006. It’s paint, guttural noises accompanying every move. Geoffrey then showed that you are not here to tell on -Angelina unlike any of our other sites. Instead of building relationships with him pictures of Dale Chilhuly using a broom to push color around, his feet them or discipline them. students over a 16-week quarter, teaching artists at Spruce Street see covered in paint splatters. The youth studied it, said, “cool” and asked for •Partner closely with the each youth once or twice at the most. During that short and intensive another piece of paper. facility staff. time, they have to act fast, read the youth •Listen, I mean really listen. and determine how to help them reach into A life-changing moment? We can never really know. But in that moment, themselves and express something meaningful. that youth saw a totally different possibility. And he made it happen •Know their names, even if it is just Often they are confronted with hostility, himself. what they want to be called. indifference or verbal attacks. But the teaching •Assess success by participation artists we send in are compassionate and highly This year, Arts Corps will be taking the partnership with Spruce Street then by duration of activity. skilled in creating safe spaces for youth in crisis to one step further, helping develop a framework to evaluate and measure •Ask about their world, gangs, learn a different way, even if just for one moment. the success of their programs. This work is part of Carnegie Hall’s drugs, family, licks, fears, other Sometimes that moment carries with them. Musical Connections program, of which Arts Corps is a national network foster homes, youth services. member. It was the strength of Arts Corps’ programming in high- Spruce Street Youth Supervisor Jim Marsh tells a need community settings like Spruce Street that drew the attention of •Get them talking – about anything. story about one young man who came through Carnegie Hall for this program. •Redirect the conversation when the facility. “He was hostile, very angry at his it becomes too drug focused; talk family. Vicky [Edmonds, Arts Corps teaching With this national resource, Arts Corps’ goal and hope is to provide the about the future. artist] came in and we did poetry and he wrote Spruce Street staff with an assessment tool to measure the impact of arts a poem about his family. It wasn’t the nicest programs in their facility. •Don’t wait for buy-in, just do it. 16 partner profile student profile 17

spruce street Az’Jion secure crisis residential center washington middle school Minute by minute

As I walk down the empty Az’Jion is an 8th grade student at way I play. I mean, I play in Sr. Jazz is teaching others how to play in hallway in doubt Washington Middle School. He has Band, Sr. Concert Band, Washing- our drum line. somehow, somewhere there’s been in Arts Corps’ music classes ton Middle School Drum Line and always faith. with teaching artist Aaron Walker- a drum line out of school. Drums are also very cool because When I turn, I end up not knowing Loud for three years. you get to meet very nice people. which roads to take. Being in Washington Middle Me personally, I’ve met some of But that’s when you come along School’s Drum Line has showed the Massive Monkees, Vicious and help me see. I have been me that everyone can play drums. Puppies Crew, Big World Breaks There’s so much in this world playing drums I have a friend Kaiji who one year and tap dancers. that is waiting for me. for three ago was playing a tenor drum and People to talk to, people to trust, he wasn’t too good yet because So in all essence I’ve learned people to walk by, people to hug. years now, and what he was just starting, but he hated self-discipline, not to be cocky, You are like an empire. I have learned over the years is it. Over the summer he practiced you have to be extra committed, Everywhere I run you always that a good drummer must be able really hard and made the A-Line everyone can play drums and find me. to not only play good, but read, playing like a lead snare. Now he drums are very cool.

youth artwork from Spruce Street You are like love, you never listen, have self control, and most fade away, of all not be cocky. Mr. Walker- Lana Crawford, executive director of Spruce Street, says she knows there and that’s what I believe is the Loud has taught me all of that. He is an impact, but it’s often hard to know how much. “We can’t put the main reason taught me that there is more than whole fire out, but we can start,” says Lana. “Art is key. Art is huge in I’m standing here today, just one type of drumming; there is helping them express themselves.” because of your love and faith, Latin, African, Hip-Hop, etc. I have because of your doubt and hate. had the chance to play on some An assessment tool will help them – and Arts Corps – understand what Because we argue and yell, very nice stages and do things that they intuitively already know: somehow, in some way, they are making an because we both live in hell. I’ve never done before, such as impact. But for some odd reason playing for B-Boys, playing at the you always help me see. Triple Door, Paramount, Moore “We’re trying to create a safe space for these kids. A space where no one There’s light in you, Theatre and even winning first is hurting them, no one is threatening them, no one is putting them but there’s also light in me. place in a drum line competition at down. A lot of them have never had that. That’s a big deal. It’s to get them Garfield High School. stabilized and thinking about what’s going on in their life and what they -Alicia are going to do,” says Jim. In order to play drums you have to be extra committed. “You put Jim says watching Arts Corps teaching artists at Spruce Street has taught in one minute of drumming, you him about how to connect to the youth and help them see their own get one minute better. You put in strengths and talents. an hour, you get one hour better. But if you stop for a while then “I love it when the kids find their voices. Some days I tell the kids, you can’t get better.” (quotes of ‘Anything you want to say to me, you have to do in a poem.’ And then Mr. Walker-Loud) I have been so they find their creative spirit.” committed to my drumming that I have done things such as parades, play in Portland and Las Vegas. I’m

VOICE FIND YOUR even about to go play in Reno and San Francisco. I barely get sleep the Washington Middle School’s YMCA H.O.S.T. Drum Line at Arts Corps’ La Festa del Arte photobooth. Az’Jion stands far left. Photo courtesy of Joshua Trujillo. 18 arts education arts education 19

impact and access impact and access Creativity and Equity

By Elizabeth Whitford, An Education System in Crisis school, college and career including their impact on students’ creative Arts Corps’ own evalua- Arts Corps executive director If you haven’t heard, there is a crisis critical thinking, perseverance, col- capacities. tion and common sense in our education system. laboration and creativity. all tell us that arts Breaking Through Tradition learning has profound • Dropout rates have hovered Nonetheless, arts education Arts Corps is one of a small hand- benefits for all learners at 25-30 percent nationally for a remains underfunded and frag- ful of arts education organizations in terms of engagement decade, and are considerably worse mented nationally and across our nationally to evaluate its impact and creativity. for African American, Hispanic and region. Parents seeking to address on the creative capacities of its Native American youth. this problem often supplement the students. Arts Corps has focused Encouragingly, this arts education in their children’s on cultivating five creative habits view is gaining ground. • Only 27 percent of all students schools, which has unintention- of mind in our students—imagina- A national effort has in South Seattle and South King ally led to greater inequity in tion, critical thinking, persistence, emerged to rewrite the County complete a college degree access to arts education by income risk-taking and reflection. We have national arts standards to include career readiness, thus justifying or career credential.1 and race. A recent survey by the documented statistically significant 21st Century Skills. And our local the resources needed to make arts National Endowment for the Arts increases in our students’ practice district, Seattle Public Schools, learning a part of every student’s • Colleges are reporting that too underscored this problem: African of these creative habits of mind. has contracted with Arts Corps K-12 education. At the same time, many students arrive without suf- American and Latino youth are to work with its arts specialists this project will serve as a model ficient capacity for critical thinking half as likely as their white peers to Historically, schools assess arts to develop goals and assessments for arts educators and school and personal discipline needed to have any arts education.6 learning in terms of artistic skill de- around several key habits of mind. districts nationwide as they move succeed in post-secondary study.2 velopment This focus has its roots in to cultivate students’ critical and Arts education has an important the tradition of elite arts and music This work is a part of a $1 million creative thinking skills, so that our • Creativity scores in American role to play in the education conservatories, which maintained a Wallace Foundation-funded proj- young people are better prepared children have been on a steady and we want for all children. To strict focus on the advanced techni- ect for Seattle Public Schools to for college, career and life. significant decline since 1990.3 achieve this, arts educators must cal skill development of an elite develop a plan to provide enhanced better demonstrate their impact group of gifted artists and musicians and equitable arts instruction It’s what all young people deserve This is happening at a time when on student learning, especially for the future production of art and across the district. This assessment and need in their education. And we 67 percent of jobs in Washington around the higher order thinking music for an elite.7 project will serve as a key under- are helping to make it happen. Rock Out!, West Seattle High School state will require a college degree by skills intrinsically cultivated pinning to the district’s ability to 2018 4 and in the home of creative through art making. While this approach can produce link learning in the arts to district-

“Education in the arts is more industries that depend on imagina- technically outstanding artists, its wide goals around college and 1 The BERC Group, www.collegetracking.com, 2011.

important than ever. In the global tion and critical thinking. This set of characteristics – persis- primary downside is that it is not 2 David T. Conley, “The Challenge of College Readiness,” economy, creativity is essential. tence, critical thinking, imagina- aimed at providing arts education Educational Leadership, April 2007. Today’s workers need more than Arts Education: A Needed Part tion and collaboration – are often for all kids. Today, select intensive 3 Po Bronson and Ashley Merriman, “The Creativity Crisis,” Newsweek, July 10, 2010. just skills and knowledge to be of The Solution referred to as habits of mind or 21st school programs provide power- 4 Georgetown University Center for Education and the productive and innovative partici- Arts education plays a critical role Century Skills, capacities needed ful opportunities for students to Workforce, http://cew.georgetown.edu, 2011.

pants in the workforce ... The best in addressing this crisis. Studies to thrive in today’s rapidly chang- excel artistically. But these pro- 5 James S. Catterall, Doing Well and Doing Good show that arts learning increases ing economy and technology. grams reach only a fraction of their by Doing Art: The Effects of Education in the Visual way to foster that creativity is and Performing Arts on the Achievements and Values through arts education.” attendance, motivation and rates students. of Young Adults (Los Angeles/London: Imagination Group/I-Group Books, 2009). of graduation; this is especially true Despite clear evidence that arts 6 -Secretary of Education Arne 5 Nick Rabkin and E. C. Hedberg, “Arts education in for low-income students. Finally, learning can cultivate these think- The limitations of the traditional America: What the declines mean for arts participation,” Duncan, 2011 (President’s arts learning can cultivate the per- ing skills, the majority of school approach to arts education are National Endowment for the Arts, February 2011. 7 Committee on the Arts and sonal characteristic and capacities and community arts education particularly significant when we Nick Rabkin et al., Teaching Artists and the VOICE FIND YOUR Future of Education (NORC, University of Chicago, Humanities, 2011) that help young people thrive in programs currently do not assess consider that national research, September 2011). 20 contributor profile contributor profile 21

Susie Fitzhugh, photographer Susie Fitzhugh, photographer

Capturing

Truth in Tina: Your pictures help show what it’s really like in our classrooms; they help tell our story. Do you remember the little Showcases we had in the beginning, when we started showing Photographs your work? They were – and still are – so special. Tina: When did you discover photography? Susie: The first time I hung my pictures for Arts Corps was at the Rep. After putting them up I stood back and really Susie: I got a Brownie camera when I was 10. I’ve always loved photography, saw them for the first time. I thought “Oh my god, this is but it never occurred to me that it was an art until I was in college, in an art wonderful.” history class. The professor asked us to make a collection of illustrations of photo © 2011 Stefanie Felix something - anything - with our own drawings or paintings or even photo- At first, I had just made the pictures as a favor to Lisa. When graphs. So with my old Brownie, I took pictures of the trees around campus. I saw how thrilling it was to see the excitement and the intensity in the Susie Fitzhugh is a documentary My teacher loved them, which surprised and delighted me. photographs, I realized these images could really help Arts Corps to do its photographer and the mother of work, and to grow. Arts Corps founder, Lisa Fitzhugh. Tina: Was there anyone in your family who was an artist? Susie has been donating her Tina: What are your thoughts about arts education and the role Arts Corps services as a photographer to Arts Susie: My grandfather was an artist. Not for a living, but he was always plays for so many people? Corps for over a decade. making art. My grandfather and my mother took a lot of pictures. She knew what went into a good story and that carried over into what photo- Susie: I think there are two areas of study that are important for children Tina LaPadula is Arts Corps’ edu- graphs she took. They were wonderful. As a child, I would study her box to explore but which may not always be accessible to them. One is arts cation director, a founding member of pictures over and over. education, and the other is education about the natural world. and a theater teaching artist. Tina: What made her photographs so special to you? I think it’s valuable that Arts Corps has real, practicing artists as their teachers, artists who can transmit the joy and excitement of their craft. Susie: The aesthetic was very honest. My mother felt it was important not The students pick up on it, and it helps them to look at life differently, to be hokey when making pictures or telling a story. “Too contrived” - her with a wider and, at the same time, more focused lens. Looking at things way of describing it - was a profound criticism. in this way helps you appreciate all kinds of things in your daily life; you begin to see art everywhere. Tina: You do that with your photos. I feel like you are capturing the moment in its honesty and truth. Tina: What do you think is the lasting impact of Arts Corps on youth in our programs? Susie: That’s what’s so thrilling about taking pictures in classrooms where everyone is interested and involved. Really important things are Susie: I think many of your students will remember this experience as happening. long as they live. I think your students love you because your teachers appreciate the uniqueness of each child, each person. Arts Corps gives Tina: More than anyone perhaps, you have seen the impact of Arts Corps’ them a unique opportunity to be experimental, and at the same time they classes over the last 11 years. With your camera, you somehow blend into the are learning to channel these wild and creative energies into a form that background while capturing individual moments of magic for each student. speaks to others. What has that been like? It’s been a unique opportunity to follow one story over such a long period Susie: The classes of Arts Corps are wonderful. The children are so focused. of time – to see the breadth and diversity of the work Arts Corps is doing.

The teachers are involved in what the students are doing. You get a lot of The way I work, my pictures can only be good as what is before me. I’m VOICE FIND YOUR delight. And I always learn something when I’m in an Arts Corps class. only the reporter. Arts Corps is the story.

July 1, 2010 - June 30, 2011 July 1, 2010 - June 30, 2011

Winifred Hussey Robert & Jan Whitsitt Theresa Malmanger Nakul Bhaetat Sandi Fukumoto Scott Lung Jazmyn Scott Ian Jones & Deb Peat Walter Winius, Jr Cat McCadden Jayant Bhopatkar Amy Fuller Lyman James Lyle Craig Seasholes Brad & Erin Kahn Kevin & Teresa McDonald Kelsey & Andy Birnbaum Allison Gallant Nick Malagub Sheel Shah Brad & Annika Karr PATRONS Carson Moore Aleks Borbour Susan Galloway Richard Marshall Candirka Shanlar thank you Margot Kenly & Bill ($100 & above) Elizabeth Musick Owen Bran George Gao Tamra Martin Emily Sharp Please accept our LEADERS Bernadette Scheller Cumming Anonymous Paul & Melissa Newell Anne Braudis Ryan Gao Shea Mason Ellen & Elliot Shell apologies for any ($2,500 & above) Spark Charitable Jason Kettler The 5 Spot Rourke O’Brien & Sayoko Jason Brewer Alexander Garnett Daniela Mauner Jing Shiau omissions, misspellings Barefoot Wine & Bubbly Foundation Sarah Kimberly Sara Ainsworth Kuwahara David Brotherton Christine & David Geyde Steven McClure Pushpraj Shukla or other inaccuracies. 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Marilyn Esguerra & John Mohamed Koualbu Charlie Wickham Susie Fitzhugh (in-kind) Lauren Heyne & Leon Jim & Kim Fitzhugh Edward J. & Letha R. Ron Quist & Carolyn Thomas & Rebecca Tipping Johanne Krogness Robert Wilkens Gigantic Planet (in-kind) Lagmay Soukakos Hudek Reham Abdelshahid Reynaud Susie Fitzhugh Walker Evans Jane Wingfield Doris Goulet (in-kind) John Hoyt Wendy Johnson Heidi Adams Deepak Kumar Naraendra Rana Susan Ford & Geoff Ogle Mary Speckart Heather Evert & Andrew Kate Janeway & Howard Tyler Adams Wayne Kuo Ben Randall Jon Wisucell Jodi Green & Mike Curtis & Laura Fowler Starbucks Partner Kamly Jubran & Shallue Halperin Wright III Giving Program James Phillips Rob Agee Evan Kutter Chitra Ranganthon Jonathan Wiswall Nancy Fullman & Will Erlie & Antonio Farin Cynthia Harrison Marilyn Jarrell Noelle Kappert Elizabeth Kuzmovich Kristine Wittenberger Strong Jill Stutzman & Scott Rita Alcantara Jeffrey Ferman Madelyn Rawlinson Hasbro Children’s Fund Nicole Klein Berkun Thomas Kaupe Irene Lee Lola Wolf Rachel Gardner Omer Amin Pete Ferredra Kenneth Ray Lucky Seven Foundation Tom & Jeannie Kundig Jennifer Teschke King County Kerry & Damian Lee Sing Hon Wu Bill & Lindy Gaylord Melitta Andersen Joe & Kim Ferry Barbara Renfrow-Baker Luke 12:48 Foundation Betsey & Scott Thomson Council Staff Michael Lehenbauer Amenda Yen-Wen Chou Dave Matthews & Ashley John Graham & John Araya Noah Richards Harper Genessa Krasnow Paul Fischburg & Barbara Kelley & Hughes Andrea Fullerton Anne Traver & Henry Alex Arminasy Erwin Elliot Lewis Cynthia Roberts Justin Yorke OneFamily Foundation McLaughlin Aronson Korey Krauskupf Mary & Nicholas Graves Lauren Atkinson & Don Kevin Fischer Luping Liang & Yueli Yang Josephine & Samuel Roskin Jeffrey Young Mary & Chris McNeil Dr. James B. & Mrs. Judith Mary Pigott & Roger Tony Grob & Kirsten Atik Heather Leach Green Andy Lim Mateo Zachai Giesecke B. Wagonfeld Kristen Flatness Elizabeth Ross Clay & Anne Nielsen Sandy Lew-Hailer Tina Baker Sarah Lofgren Ellen Ziegler Seattle Weekly (in-kind) Deborah Gunn Andrea Weatherhead Thomas & Diane Flood David & Kathleen Repertory Dance Group, Sylvia Lidell Avi Bardack Steve Lombaude Rothenberger Brooke Zimmer Liza Sheehan & Dave University of Puget Sound Molly Hanlon Nancy Weintraub Michael Ford & Malaika David Loud & Thu Van Shibani Basara Robinson Steve Long Eugene Rozenfeld Ahlers Jill Rullkoetter & Bill Matt Harris Tania Westby & Owen Bryan Syrdal & Kristen Hurley Chuck & Suzanne Richards Lesley Low Tera Beach Kathryn Foreman Christine Longe Marcia Rutan Cosselman Welling Savo Justin & Hathaway Elizabeth Whitford & Greg Maass & Mary Simkin Tricia Bencich Craig Fox David Lowe Teri Schboeppel VOICE FIND YOUR U.S. Bancorp Foundation Adam Justin Wendy & Steve Hathaway Cristina Acevedo Jasmine Mahmoud Paul Berruti Autumn Francesca Laurie Lukas Kelsey Schlarman 24 annual report

year 11 financials Financials

July 2010 - June 2011 Change in net assets Increase of $13,074 Statement of Financial Position Net assets at end of year $166,514 Current assets (cash) $104,435 Accounts receivable $69,053 Fixed assets (equipment) $21,506 Depreciation ($17,994) Total Assets $177,000

Less liabilities $10,486 Net assets $166,514 Net assets at beginning of year $153,440

Income by percentage Expenditures by percentage Total $697,113 Total $684,039

Fundraising

corporations 21% 10% Foundations General 37% Admin 7 %

Individuals Programming 31% 72% Earned Revenue 22%

Rock Out!, West Seattle High School Arts Corps 4408 Delridge Way SW, Suite 110 Seattle, WA 98106

206.722.5440 www.artscorps.org

I am like a book finding it’s pages piecing them together to find my story, my life.

I am the universe, finding my planets and my stars piecing them together to find who I am as a person, the black holes are my obstacles.

I am like a hiker, trying to find my trail while trees and rocks are blocking me.

-Zoe, age 11

Creativity is like a seed it grows and grows over time. But if you are not creative then the plant will shrivel and die.

-Holden, age 8