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Creative\ AJternatives \ /\ \

/ / \ / \ \ \ // \ \ ,\ \ \ \ \ \ \ \ \ \ \" \ \ \- \ Edite~d by Laura Costello \ ~°~ :~ \ \ \ Pu~b~;shedb~ ~ theN,a" tmnalAsse mbly of State Ar ~t!:''''(Age~cies...... in coeperation with the X National En~owmentfor the Arts and the Unite~ States Department ofJustice

\ \ \ \ The National Assembly of State Arts Agencies (NASAA) is the Editor: Laura Costello, NASAA membership organization of the nation's state and jurisdictional arts Associate Editor: Andi Mathis, NEA agencies. The members, through NASAA, participate in the estab- Assistant Editors: Lauren Benson, NASAA lishment of national arts policy and advocate the importance of the Jill Hauser-Field, NASAA diverse arts and cultures of the United States. NASAA's mission is to provide its member agencies with the information, resources, and Cover Design: Rondell Crier, YA/YA representation they require to engage issues proactively and serve the Interior Design: Laura Costello, in collaboration with public effectively. RondeU Crier and Lauren Benson

The National Endowment for the Arts (NEA), an independent Concept and agency of the federal government, was created in 1965 to encourage Guidance: Edward Dickey, NEA and assist the nation's cultural resources. The NEA is advised by the National Council on the Arts, a presidentially appointed body com- Editorial Advisory posed of the chairman of the endowment and twenty-six distin- Committee: Josd Colchado, Dean, College of Creative guished private citizens who are widely recognized for their expertise and Communications Arts, Northern Arizona or interest in the arts. The council advises the endowment on poli- University cies, programs, and procedures, in addition to making recommenda- Craig Dreeszen, Executive Director, Arts tions on grant applications. Extension Service, Division of Continuing Education, University of Massachusetts The Office of Juvenile Justice and Delinquency Prevention and the Wayne Lawson, Executive Director, Ohio Bureau of Justice Assistance are components of the Office of Justice Arts Council Programs, which also includes the Bureau of Justice Statistics, the Barbara Neal, former Executive National Institute of Justice, and the Office for Victims of Crime. Director, Colorado Council on the Arts Points of view or opinions expressed in this document are those of Patrice Powell, Director, Expansion Arts the authors and do not necessarily represent the official position or Program, NEA policies of the U.S. Department of Justice.

© 1995 by the National Assembly of State Arts For further information about this publication contact the National Agencies. All rights reserved. Assembly of State Arts Agencies, 1010 Vermont Avenue, Suite 920, Washington, DC 20005, 202-347-6352. This publication was produced under a cooperative agreement be- tween the National Endowment for the Arts (NEA) and the National Assembly of State Arts Agencies, with support from the Printed on recycled paper with soybean ink. Bureau of Justice Assistance and the Office of Juvenile Justice and Delinquency Prevention through an Interagency Agreement be- tween the National Endowment for the Arts and the Bureau of Justice Assistance. Acknowledgements

e would like to take this opportunity Credit is due Edward Dickey, director of the to acknowledge the many individuals State & Regional Program at the Arts Endowment, who who have contributed their time, en- provided the concept, general direction, and much valu- ergy, and expertise to this publication. able editorial advice. Many other Arts Endowment staff Our editorial advisory group members listed members also assisted, and were generous with their on the previous page helped focus and shape the content time and efforts: Josh Dare and Keith Donohue of the of the various chapters from initial concept through ev- Public Affairs Office; Claire Colliander and Rudy ery draft. Guglielmo, fellows in the State & Regional Program; Support and cooperation from the Depart- and Aimee Eden, who worked with the State & Re- ment of Justice is making it possible for this book to gional Program. reach a large network of juvenile justice professionals. At the National Assembly of State Arts Agen- We particularly want to thank Laurie O. Robinson, cies, Jill Hauser-Field provided editorial expertise for the deputy assistant attorney general, Office of Justice Pro- book, especially in fashioning the final chapter, and grams; Shay Bilchik, administrator, Office of Juvenile Lauren Benson hit the ground running as she assumed Justice and Delinquency Prevention; Nancy E. Gist, di- layout and production responsibilities. We also want to rector, Bureau of Justice Assistance; Patty Reilly, special thank Dennis• Deweyl for his invaluable support in pro- assistant to the director, Bureau of Justice Assistance; viding overall management of this project. and Jack A. Nadol, special counsel to the deputy assis- Finally, we want to acknowledge Rondell tant attorney general, Office of Justice Programs. We Crier, a student pursuing a career in computer graphics also want to thank Karen Christensen, general counsel, and an Alumni of YA/YA in New Orleans (featured in National Endowment for the Arts, for seeing the oppor- chapter 5), who designed our cover and much of the tunity and taking the initiative to work with the Depart- book's interior. His work is a tribute to the vitality and ment of Justice on this project, creativity of America's youth and a positive reflection of State and regional arts agency staff around the power of the arts to help shape young lives. the country assisted significantly as well, offering advice and guidance as the stories developed. We would like to Laura L. Costello Andi Mathis recognize Tim Toothman of the Maryland State Arts Editor Program Administrator Council, Rita Starpattern of the Texas Arts Commis- National Assembly of State & Regional Program sion, and Jayne Darke and Ken May of the South Caro- State Arts Agencies National Endowment for the Arts lina Arts Commission for their help. Table of Contents

Acknowledgements Foreword Introduction

Dancing into the Future Maryland -- learning self-expression and gaining self-confidence through dance by Jean Marbella 2 A.P.P.L.E. Corps: A Unique Partnership 14 Arizona- a partnership of artists, private enterprise professionals, prosecutors, law enforcement officials, and educators helps youth reject drugs with after-school arts programs by Rose McBride 3 Voices of Youth: The Arts and Prevention in Vermont 22 Vermont -- helping children and teens find their artistic voices by Elizabeth Lawrence 4 Soothing the Aching Heart of Young Los Angeles 28 California -- mending rifts in the community fabric caused by social and economic unrest by Max Benavidez and Kate Vozoff 5 Creative Entrepreneurs: The YA/YAs of New Orleans 34 Louisiana -- developing creative and business skills through an arts guild for teens by Claudia Barker 6 South Carolina's ABC Project: Making a Difference in Education 42 South Carolina -- making the arts a part of every child's basic education by Jan Stucker 7 Denver's Neighborhood Cultures 48 Colorado -- celebrating common history and environment through neighborhood arts projects by Tom Auer 8 Working Their Way into the Arts 54 Rhode Island -- awakening an interest and introducing career opportunities in the arts by John Pantalone 9 The Family Arts Agenda: A Lighthouse for Rough Waters 60 Oregon -- developing arts programs that strengthen troubled families by Romalyn Tilghman 10 Project BRIDGE: An Artist in Their Midst 66 Texas -- providing opportunities for creative expression and development to residents of housing projects by Saundra Goldman 11 Hugs and Kisses, A Big Kid's Play 72 Virginia -- providing vital information about serious issues to kids and teens through drama by Rebecca Neale 12 Additional State and Regional Arts Agency Projects 80 Fifty-two state and regional arts agencies share examples of projects that provide creative alternatives for youth edited by fill Hauser-Field Foreword

he arts are part of the solution to problems that the arts in rural areas. This series of publications is in- =• endanger America's youth -- problems of teen- tended to share successful strategies and show how the age pregnancy, violence, drug abuse, and drop- arts address public priorities, delivering remarkable ben- ping out of school. This assertion is supported by an efits to a great variety of people and communities. ever growing number of success stories from communi- The arts have great attraction. Like nothing ties of all sizes and economic circumstances. The pur- else they engage the hearts and minds of children. And pose of this publication is to share some of these stories once engaged with the arts, children are more likely to that illustrate the positive difference made in the lives of develop the discipline, self-confidence, and creative children and their families by artists, arts organizations, thinking that can help them succeed in other endeavors and community groups with assistance from and contribute to the economic and social health of their the National Endowment for the Arts, the fifty-six communities. Of course, the arts cannot by themselves state and jurisdictional arts agencies, and the seven re- address all of the problems that affect the lives of chil- gional arts organizations. dren. But the chapters that follow demonstrate just how The arts have always been, and always should much we can accomplish with a small investment in be, valued and Supported for their inherent worth. But projects that offer creative alternatives for youth. we should not overlook their other public benefits; the arts enrich, transform, and even save lives. And in so do- Jonathan Katz Edward Dickey ing they help to address some of society's greatest chal- Executive Director Director lenges, especially those involving youth. This is recog- National Assembly of State & Regional Program nized by leaders of federal, state, and local agencies State Arts Agencies National Endowment for the Arts concerned with education, law enforcement, drug pre- vention, and other social services. The assistance of the Department of Justice in the production and distribu- tion of this publication reflects the growing interest in the arts as a resource for addressing these public purposes. Part of the Solution follows Celebrating America's Cultural Diversity and A Rural Arts Sampler, which document some of the ways the Arts Endowment and its state and regional partners are working together to foster America's diverse cultural heritage and promote Introduction

f all people," Thomas Macaulay wrote, to pick up a needle or a gun. They've got better things to do. "children are the most imaginative." That In my visits to communities in every state, ! certainly has been my experience. When I have witnessed over and over again the almost magical ask a classroom of elementary school kids how many can power that the arts have to instill pride, wonder, and cre- draw or sing or dance, the hands go up in unanimity. ative purpose in youth. The stories that follow describe Our great challenge as adults is to tap that creativity, to just a few of the projects that are successfully drawing on channel that positive energy so that it's their imagina- this power. tions that are running wild, not the kids themselves. While support from the National Endow- It is not enough to love, feed, and house our ment for the Arts and its state partners helped to make children. Teaching them values and giving them good these projects possible, none could have happened with- schools and an environment safe from crime are impor- out the dedicated commitment of individual artists, of- tant, and yet they need more. To help our future genera- ten working with parents, teachers, arts institutions, and tions reach their full potential, they require opportunities local agencies. These 15rojects draw their energy from the for creative expression, oppomanities the arts can provide. local level, and the people who make them happen are Sadly, many children today are "at risk" of grass-roots heroes. Such success requires hard work and care- dropping out of school, of dropping out of society at ful planning with concerned professionals and volunteers large, not only in impoverished inner cities, but in rural who understand their communities and young people. areas and middle class communities. The incidence of This book was developed and supported drug use and violence, of pregnancy and suicide among through the cooperative efforts of the National Assembly our young people is tragic. To save our children, to open of State Arts Agencies (NASAA), the Department of Jus- their lives to new possibilities, we as parents and family tice, and the National Endowment for the Arts. I would members, teachers and volunteers, civic and religious like to thank our partners for helping us share so vividly leaders must marshal all our resources, public and private. the powerful evidence that the arts are truly part of the The arts are one such resource, rich and inex- solution. And I trust the stories in this book will inspire haustible. Disciplined and creative work -- in music, others to reach, to teach, to give of themselves for the dance, and theater; in visual arts and folk arts, in film good of our children. and video, in literature and design -- can help instill values, create pride in our cultural heritage, and engen- Jane Alexander der a sense of self-worth. Children who pick up a paint- Chairman brush or a pen, a clarinet or a fistful of clay are less likely National Endowment for the Arts /

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\ \ ~-J ~'~,\ ~ Samue 1 LeSane, a fiormer dancer wi thth e All" ey R epe\rt ory E nsem\bl e, t eac h es a J/x\ \ jazz class to kids at the AileyCamp in Baltimore, M 'aryland. \ % \\ \ Photo by Barbara Haddock, TheBaltimore Sun V \ ~ ~~r3~,JeanMarbella hey make their way onto the stage of the cool, "Alvin envisioned dance as a sort of tool, a dark auditorium, some slouching, some snap- camouflage of what the real purpose of the camp is T ping gum, most with that arms-folded, don't- about," says Mr. LeSane, a former dancer with the Ailey Q mess-with-me attitude of the preteen set. Repertory Ensemble who now teaches jazz at the camp, ~8 But Samuel LeSane will have none of it. The as well as at the Alvin Ailey American Dance Center. 5" trim and finely muscled dancer strides to center stage, is- "He wanted to create something specifically for what F- sues some crisp commands, and rearranges the clumps of middle-schoolers need at their age -- to help them de- students into neat, staggered rows. He signals a pianist velop their self-esteem and learn to bond with one an- and drummer in the corner, the music begins, the chat- other. That was his mission, and I do believe in it. Just tering and horseplay stop, and, almost imperceptibly, being physical, you feel better about yourself, you're heads are held a little higher and backs a little straighter. more energized, you're much more alert. That's all part Class is underway. of personal development." Such is the transformative power of dance. While their friends were sleeping late and laz- ~ GrowingEvery Year ing away the summer, some one hundred Baltimore Now in its fourth year in Maryland, AileyCamp middle school students, many from the city's most dis- began in 1991 as a small pilot program for twenty-five advantaged neighborhoods, spent their Mondays students in Baltimore. It has grown to the point that in through Fridays, 9 a.m. to 4 p.m., at AileyCamp, an in- 1994, more than eighty-five students attended a six- tensive, six-week program of dance taught by faculty of week camp at Morgan State University in Baltimore, the renowned Alvin Ailey American Dance Center and and about thirty participated in a two-week minicamp at local professionals from the Baltimore city schools. Frosthurg State University in western Maryland. The With little if any prior dance training, the program in Maryland is modeled on the Alley com- students initially struggled to master the formal art of pany's first camp in Kansas City, which began in 1989. ballet, the explosive energy of jazz, the intense and Funded by both public and private grants grounded movements of modern, and the Afro-Carib- (about a 60-40 split), AileyCamp has won plaudits from bean-based technique of Katherine Dunham. Yet after the community for bringing world class dance to chil- six weeks, the campers put on a performance for their dren who ordinarily would not be exposed to such riches. parents, friends, and other supporters, taking proudly to the "It is so extraordinary, to the point that it's al- stage to show the happy results of all their hard work. most unique, that dancers the caliber of the Alvin Ailey But beyond the sweat and the sore muscles, the company would settle in here and do something like pas de baurree steps and the port de bras arm movements, this," marvels Jim Backas, executive director of the larger and perhaps more important lessons were learned as Maryland State Arts Council, which along with the Na- well: the rewards of discipline, new modes of self-expres- tional Endowment for the Arts has supported sion, and new avenuestoward self-esteem.And they'velearned AileyCamp since its inception. And the contribution of to trust and workwith their peerswho, just sixweeks ago, were the Ailey staff goes beyond artistic excellence, Mr. strangers from other neighborhoods and backgrounds. Backas adds. The Ailey staffalso brings a genuine dedication to serving its communities. "They're such Camp administrators realize six weeks can't wonderful teachers. They relate so well to the commu- begin to make a dent in these problems, and so they fol- nity," he says. "Alvin [Alley] himself was like that. He re- low up with the campers. They invite the kids to regular ally cared. They're such positive people; they don't dwell monthly activities run in partnership with community on the underprivileged aspect. They instead dwell on the organizations like the YMCA and Camp Fire Boys and richness of the American experience." Girls and keep tabs on their progress. In 1990 the arts council also helped to estab- "We stay in touch with [the kids'] guidance lish the Alvin Alley Dance Theater Foundation of Mary- counselors and principals through periodic communica- land, which is a separate organization dedicated to pro- tions. We see how their grades are progressing," says Ms. moting the work of the Alvin Alley Company and to Ashley. "And we get letters from families. Sometimes we sponsoring the AileyCamps in Maryland. The camp is don't realize the impact the camp has had until we hear one part of the foundation's ongoing community out- from them, how they feel the camp has changed their reach program. During company tours, the dancers often children's lives." She takes pride in the success stories: visit local schools, conducting One of the white campers went master classes and workshops. on to win a Black History The second company, the "Middle school children are at risk, Month competition run by a Repertory Ensemble, tours the period, no rnatter what. This iswhen television station. Others have state as well, often performing they're at risk for pregnancy, sexually returned to camp a second year in small-town venues. The as "ambassadors" who help the performances and the out- transmitted diseases, alcohol, drug abuse." new campers. reach programs have devel- oped a symbiotic relationship -- one creates an interest in ~ BringingTogether a DiverseGroup o the other. The performances attract children who want to Potential campers are recruited through school o participate in the camps or workshops, and those pro- G~ systems and community organizations. The kids apply • O grams in turn create audiences for the performers. c for the program and are interviewed by staff members. O While Maryland's AileyCamp is designed "That's the hardest thing," Ms. Ashley says. "We look for "at-risk" children, Community Outreach and for a mix -- some of them may exhibit leadership skills, AileyCamp Director Phadelma Ashley dislikes the label, and some don't -- so we think they can help each other. saying, "Middle school children are at risk, period, no We look for students who seem on the edge -- some, matter what. This is when they're at risk for pregnancy, for example, come from single-parent homes or have sexually transmitted diseases, alcohol, drug abuse." had a death in the family or a sister who has become Many of the campers come from single-par- pregnant. Others who have not been functioning well in ent, economically disadvantaged families. Some have lost school, or have sought counseling, or do not necessarily family members to crime, divorce, or AIDS, and lack the get to experience cultural activities." role models and support systems they need during this For Aaron Ellis, a divorced father who has critical time in their development. custody of his two young daughters, the camp seemed' like a godsend. "She was going through changes in her Baltimore middle school, who teaches the personal de- life, and she needed a little help," Mr. Ellis says of his velopment dasses; and Tony Tsendeas, a teacher at the eleven-year-old daughter Helena. "I've noticed that she Baltimore School for the Arts, who has taught creative Q really seems to have matured through this program. She writing to the campers for four years. As another form of g, enjoyed meeting and making a lot of new friends. She creative expression, the students' writing is used in the ¢.O liked the teachers; they would talk to her and suggest performance that concludes the camp: some perform books she could read." monologues they've written, others act in scenes written ¢D

Helena was one of six girls placed in the by their classmates. c camp through a community group, the Coalition of 100 Black Women, which pairs the young women with ' An Emphasis on Discipline mentors. "I'm impressed with the total experience," says ~ Whatever the class, the teachers demand both ef- Dr. Ann Emery, president of the coalition and a retired fort and compliance. Goofing off, talking in the back of assistant superintendent for Baltimore public schools. the room, or showing disrespect for the teachers or fel- "You develop the whole self." low students simply isn't tolerated. Yet within the struc- Indeed, in addition to four dance classes, the ture, there is room for individual attention and caring -- campers take classes in creative writing and personal de- if there is one thing that this diverse group of children velopment. Between those six classes, the children gener- share, it's a tangible need for someone to just listen and ally can find at least one if not more places in which to take their concerns seriously. shine. "They push you a lot. They push for your effort, "I like my teachers. They have more time for like, your willpower," one camper, twelve-year-old Mar- you than teachers at school," says Crystal Jones, age garet Wilson, says of her teachers. "But I like it. I like twelve. "They listen to you. When I first came here, I creative writing. We have to make up stories -- and I didn't know anybody. I was, like, shy. But now I've have a lot of ideas." made friends. Your friends, you can tell them things." In creative writing, the students work on sto- "You like me, you enjoy having me in dass, ries, monologues, and scenes. Reading their composition don't you? Can I stay for your next class?" one girl ca- books can be a surprising, sobering glimpse into what joles, throwing an arm around Doris DeMendez, who these youngsters confront on a daily basis: there are sto- teaches the Dunham technique. "Oh, I don't even want ries about pregnant girls and scenes of shootings outside you in this class," the teacher jokes, even as she returns their windows and homeless people living in the filth of the hug. "We don't realize sometimes how much atten- the streets. It's no wonder that for some students, the tion some of these kids need," Ms. DeMendez says later. camp is a refuge of sorts. "I have to wake up early to "It's amazing how much they crave it." catch the bus to get here, but I like it," says LaDeia Ms. DeMendez, who has danced on Broad- Lashley, age eleven. "It's better to be in camp and stay way and appeared in movies such as The Wiz, has been offthe streets and get away from the violence." with the AileyCamp for five years, joining the Baltimore Teaching the non-dance classes are Shella staffafter serving as both a teacher and the artistic Davis, the chairman of the guidance department at a director of the Kansas City camp for two years. "The hardest part, I would say, is getting the kids used to the stage, and diagonally across. As the exercises become discipline of dance, whatever technique is being taught," more strenuous, the class is divided into smaller groups she says. "It's hard getting them to just stand still; they so that some can do the sequences while the rest take keep asking, 'Why can't we just move around?' " quick breathers. It's a popular class among the students. That, of course, is what makes dance an art: The showy, Broadway-style moves are a perfect outlet It is controlled rather than random movement, purpose- for their energies. Students immediately line up to do ful rather than meaningless. And it is what makes dance the exercises a second and even third time. the perfect vehicle for what the teachers want to impart "What I try to do is capitalize on all this en- to their students. ergy," Mr. LeSane says. He teaches the students how, The lessons begin with the dress code. Camp- once they've completed their exercise, to circle around ers are issued tights, leotards, shorts, AileyCamp T- the perimeter of the stage, rather than straight across the shirts, and ballet shoes. Hair must be off the face. The center where their classmates are dancing. "It's not only uniforms serve a dual function: They're necessary for the dangerous," Mr. LeSane says of the collision factor, "but stretching, bending, and jumping of dancing, of course. it's disrespectful to the performer." But more subtly, they make clothing less important and As the camp progresses, the children seem less of a means for getting attention and feeling good more of a unit. They've come from all over the city, as about yourself. Rather, performing well in class is the well as some surrounding counties, and most knew no way to succeed. more than one or two of the other campers from their And the dress code is enforced. "This is not schools or neighborhoods. acceptable," Tom Stevens declares after halfa dozen of • The majority of those attending the camp at F] his ballet students show up without their slippers and he Morgan State are African-American, reflecting the racial takes down names to call their parents. "All of the rules makeup of Baltimore. The minicamp at Frostburg draws o should be very clear by now." The students have to sit more white students, given western Maryland's popula- 2I- ¢D out the class -- which initially may seem like a treat, but tion base. The organizers continually strive for more di-

DO there's no socializing allowed, just silent auditing from a versity, and have reached out to Jewish, Asian, Hispanic, C O corner of the airy dance studio. and Native American communities in an effort to draw more applicants. In addition to their dance and writing ~ Buildingon the Basics classes, the campers have once-a-week cultural celebra- The classes are run in the time-honored progres- tion activities, where, for example, they've watched per- sion of warm-ups, simple exercises, larger movements, formances by African, Israeli, and Korean dancers. and, finally, combinations that link steps, turns, and/or While the camp is not designed to turn out jumps in a memory-challenging way. professional dancers, the students work towards a perfor- In Mr. LeSane's jazz class, for example, class mance that they give at the end of their six-week stint. begins with head rolls, then shoulder rolls, moving incre- This year the performance was held at Morgan State's mentally to arm extensions, torso isolations, hip swivels, Murphy Auditorium on the night before the final day of and on to patterns that take the students upstage, down- camp. The performance drew parents, friends, and sup- porters of the camp. The occasion marked an achieve- tonight." And indeed for AileyCamp's teachers, parents, ment for them, too. For parents, it's a chance to see for and audience members the spirit was there. r.D themselves what their children talked about all sum- Once on stage, they turn into pros. They Q mer -- the new dance steps, the new friendships, the stride confidently on stage to perform the choreography new experiences. The performance is like a graduation of their teachers, who are the real pros and have created .ff ceremony, one of those rites of passage where parents dances that are imaginative yet appropriate for the stu- D'- stop and marvel at how their children are growing up so dents' abilities. Dances are mixed with monologues and g, fast. For supporters, it's a chance to see their fund-raising scenes that the students wrote. c efforts pay off. There is an extended dance that starts with two groups of gangs, warily circling one another like A Triumphant Finale For All West Side Storfis Jets and Sharks or real life's Crips and ~ "I think our accomplishments are two-fold," says Bloods, until two begin a fatal fight and they all disap- Richard C. Hackney, an investment counselor who pear. A group of girls dressed in long black skirts begins serves as chairman of the board of the Alvin Alley Dance another seemingly unrelated number, but then, as gasps Theater Foundation of Maryland. "First are the wonder- of realization flicker through the audience, it turns into a ful audiences that we've been able to attract for the per- funeral for the dead gang member. Some of the dancers formances in Maryland by the Ailey dance companies, pick him up and carry him high above their heads and and second is what you're going to see tonight: the ac- offthe stage, followed by a group of swaying, mournful complishment of the kids and their pride." girls who link arms and slowly disappear as well. Before the performance, the children are The recital ends on a high note as all one practically bouncing offwalls. One girl needs ballet slip- hundred campers return to the stage to the applause and pers, one boy needs a bobby pin for his yarmulke, a cheers of the audience. The restraint required to get group practices their part of a dance. They're all bundles through the demanding performance gives way to the of barely containable emotions, ranging from nervous- students' natural energy, and they bask in the limelight ness to excitement to a rather poignant sadness that the of this one special night. But they know they didn't get experience is almost over. Hugs and photos abound. "I there alone. Soon they're sharing the stage with their can't handle this, I'm going to miss everyone," one girl teachers, who each take a well-deserved bow and get whispers to another. pelted with handfuls of glitter from their students. The The teachers, beaming with pride and joy applause goes on and on for an experience that no one themselves, work to settle and focus their students. The wants to end. [] now familiar signal to quiet down -- arm raised, two Jean Marbella is a feature writer for The Baltimore Sun. fingers up -- circulates from teacher to teacher to stu- dent to student until everyone is silent and the group Forfurther information on AileyCamp, please contact the Mary- takes on a remarkable calm. land State Arts Council at 601 North Howard Street, 1st Floor, Just before going on stage Ms. Ashley tells the Baltimore, MD 21201; phone 410-333-8232. students softly, "All our spirit will radiate through dance • IA.p.p.L.E. Cgrps~ ~ A Unique Partnership ' ~, jl j~

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~men~ool m~aO~de ~ia met~r~owee~ (~--~ \ w~thartist Keith Johnson during an after-schoolresidency in tra~litionalAfri- ~ ~ Phot:~yiBC,::OarytD\!~hll~eeg,and maskmaking. \ \ 22 t's three o'clock on a Wednesday afternoon, and ~ DevelopingNew Partners the final school bell has rung. Do you know The origin of this unique partnership dates to where your children are? 1989. At that time, lobbying efforts of the statewide arts If your children are students at Cottonwood advocacy organization, Arizonans for Cultural Develop- .e-- .m Hementary School in Casa Grande, Arizona, they're in ment, and the Arizona Commission on the Arts resulted the school cafeteria, listening to African folk tales and in the establishment of an increased fee for profit-mak- o learning about African music and dance. "These guys ing corporations filing annually with the Arizona Corpo- have never played an African drum before," says guest ration Commission. The fees created the Arizona Arts c artist Keith Johnson, referring to two boys who are Trust Fund, a fund of approximately one million dollars ..O busily teaching the drumbeats they've learned to their annually, which in addition to the state appropriation to classmates, "but they've practiced enough in the last the arts commission was dedicated solely to the Arizona couple of days that they can teach the others a simple arts community. beat. And that makes them leaders in this group of Immediately after the fund was established, a kids." As participants in an after-school program run by strong movement began in the Arizona State Legislature the town's Parks and Recreation Department, the kids to divert the arts money for non-arts programs that ad- are spending two weeks with Johnson in an A.P.P.LE. dressed crime prevention. Although not previously allied Corps residency. with the arts community nor responsible for the admin- As a special program of the Arizona Commis- istration of the fund, Maricopa County Attorney sion on the Arts, the A.P.P.L.E. Corps provides grants to Richard M. Romley spontaneously stepped forward to after-school programs in schools, community centers, speak out against shifting the money away from arts- and parks and recreation programs across the state to based programs to crime prevention programs. fund guest artist residencies. Its purpose is to facilitate "After studying the issue I decided not to and support programs that help Arizona's children, support the transfer of these monies to law enforce- families, and communities reject drugs. The A.P.P.L.E. ment," said Romley, in his recent testimony before the Corps is a partnership of Artists, Private enterprise pro- United States House of Representatives Interior Appro- fessionals, Prosecutors, Law enforcement officials, and priations Subcommittee with oversight for the National Educators. These partners are unified by the belief that Endowment for the Arts. "In view of my position as a experiences in the arts are opportunities to build confi- prosecutor, my opposition to transferring more money dence, self-esteem, and pride, providing children and to law enforcement surprised some. However, I believed adults with productive activities that strengthen their re- then, as I do today, that if we abandon the positive con- solve to turn away from substance abuse. tributions of art to our society in order to fight the drug During its five-yearhistoty, theA~P.P.L.E.Corps war, then the drug dealers have won again. They should program has reached approximately 33,000 educators,after- not be permitted to take from our community that school program staff,students, and parents acrossthe state of which is good." Arizona. It is currently funded by the National Endowment Romley initiated a lobbying effort and even- for the Arts and the Maricopa CountyAttomey'sOffice. tually persuaded state legislators not to divert the Arizona Arts Trust Fund to non-arts programs. His lead- exceed the availability of such offerings. In his role as ership also opened the door for two diverse groups -- county attorney, Romley administers the Maricopa the arts community and law enforcement -- to come to- County Anti-Racketeering Revolving Fund (or RICO gether and explore solutions to the extraordinarily com- fund), created by state statute and consisting of assets plex problem of drug abuse. During early brainstorming seized from drug dealers. Demonstrating his commit- sessions, several mutual beliefs surfaced: that unusual, ment to the A.P.P.L.E. Corps, Romley awarded creative partnerships were required to address issues of $20,000 from the RICO fund to the Arizona Commis- drug abuse, and that the arts had special qualities that sion on the Arts to regrant to arts organizations for the could be applied to such partnerships. Resolving to seek development of programs with antidrug themes. Imme- additional community input, representatives from the diately afterward, Romley further strengthened the parmer- Maricopa County Attorney's Office, Arizonans for Cul- ship between the arts and law enforcement by successfully tural Development, and the Arizona Commission on the advocating that the legislativelanguage on the uses of RICO Arts approached the Phoenix Police Department, the funds be broadened m include prevention programs. Arizona Department of While research- Education, local artists, arts " ... if we abandon the positive ing new outlets for serving organizations, and arts agen- Arizona's youth through the cies. This varied cross-sec- contributions of art to our society in A.P.P.L.E. Corps, the arts tion nonetheless shared order to fight the drug war, then the commission became aware common ground. With the of the increasing number of gathering of these propo- drug dealers have won again. They quality after-school pro- nents, the A.P.P.L.E. Corps should not be permitted to take from grams across the state, which was formed -- a partnership our community that which is good." often lacked both arts pro- o based on the premise that gramming and the opportu- drug problems pose a serious nity to receive arts funding. O threat to the community and that creative solutions Further, after-school programs were operating in a vari- c 5" from all parts of the community would be necessary to ety of community-based settings, such as YMCAs, Boys create change. and Girls Clubs, and parks and recreation centers, but were not participating in any of the commission's fund- ~ Recognizing a New Constituency ing programs. Since they operate during hours when Initially, the A.P.P.L.E. Corps functioned as a re- children are often not supervised, the connection with source listing of arts groups across the state offering pro- potentially at-risk youth was dear. grams with an antidrug message for school-age audi- "Today, all kids are at risk, some to a higher ences. When the Arizona Department of Education degree than others because of environmental factors such announced that schools would be permitted to use drug as poverty, crime, and abuse," says Linda Siciliano, child prevention funds for arts events, it soon became clear care director at Phoenix's South Mountain YMCA, "But that the demand for antidrug arts programming would the kids who are most at risk are those who are,alone after school. Teen sex, drug use, gang activity -- these access to arts programming, sites with youth populations things are most prevalent when the school day ends and at a high risk for drug abuse and gang involvement, or F< there's nothing else to do." According to Pam Willier, sites located in rural communities. Applicants also had to recreation coordinator for the Phoenix Parks, Recre- demonstrate their administrative capability to complete .r-- ation, and Library Department, "One of the problems the project, prove their projects focused primarily on .rn C1 facing kids is the abundance of free time, especially after working with children and increasing staff skills in the O school. One of the things we try to do is fill that time arts, and show they had worked collaboratively with the with positive activities -- and that doesn't mean just guest artist in planning the project. C 2. volleyball and basketball. The arts should be a part of it, g too, because they can really hook a kid and steer him or ~ The ResidencyDesign her in a positive direction." With these considerations in To date, seventy-eight A.P.P.L.E. Corps grants g mind, the arts commission identified after-school pro- have been awarded. Since some grantees choose to use grams as ideal candidates for a new funding program. their funds at more than one site, a total of 174 separate Subsequently, grants were sought and received from the after-school programs will have participated in residen- National Endowment for the Arts and the Maricopa cies by the end of the 1994-95 school year. Projects County RICO fund to develop a program that would feature diverse artists and disciplines within a wide vari- connect after-school programs statewide with artists and ety of structures. In each of the projects, after-school arts organizations. program directors select artists from the commission's artist roster. After-school program directors and artists ~ GettingStarted collaborate to develop short-term residencies featuring After-school program directors immediately re- three types of activities: staff training, workshops for sponded with excitement. Recalls Gwen Worthington, children, and professional presentations of the artists' community education director of Phoenix's Creighton work to the community. School District, "My first thought was that finally we In training sessions with staffmembers, artists would have an opportunity -- and the means -- to en- concentrate on increasing skills in a specific arts disci- rich our after-school program through the arts, in a way pline, using videotapes, slide shows, lesson plans, and the that addressed our specific needs. Other grant programs same hands-on activities that will be presented during were not as accessible to us, because they were limited to workshops with children. The benefits of the arts in a regular school day schedule. But learning continues building communication skills, promoting creativity, throughout the day." and encouraging self-expression -- all tools in drug pre- Eligible applicants, who were defined as es- vention -- are also emphasized. tablished after-school programs affiliated with parks and "I particularly liked the hands-on experiences recreation programs, neighborhood centers, boys and the staff received as they made their own puppets and girls dubs, or school districts, were encouraged to apply experienced success at creating something of their own to the arts commission through a competitive process. design," said Nancy Kiser, after-school program director Funding priority would be given to sites with limited of Phoenix's Alhambra School District. "I believe that they have found a creativity and resourcefulness that Lopez, an eighth-grader who volunteered his skills to they did not realize they possessed." help the grade-schoolers who participated in the resi- Helping after-school program staff develop dency. "This was the only chance I'd ever have." skills and ideas for using the arts to work with kids dur- A.P.P.L.E. Corps projects must also include a ing -- and more importantly, after --the project is the professional presentation of the artist's work, and project primary goal. "The beauty of this program is in the staff directors have been very creative in showcasing their training," says Gwen Worthington, "After-school pro- guest artists. Residents of Page, a rural community on grams have a very high student turnover during the year, the edge of Navajo Indian Reservation, had the opportu- so a project that includes exciting, lively experiences spe- nity to visit the town's only art gallery during a two- cifically for staff really has an impact. Maybe it's not seen week exhibition of Navajo rugs and jewelry crafted by immediately, but the artist's influence is long-lasting and artist Nanaba Aragon, who presented a residency at Page pervasive. We could never have trained our staff in the Middle School. In preparation for a project with mural- way that the artists have." ist Martin Moreno, the Scottsdale Recreation Division Artists also work held a public meeting for directly with the children in residents living adjacent to workshops that don't neces- "...the kids who are most at risk are those the site where a large out- sarily focus on antidrug who are alone after school. Teen sex, door mural was to be themes, but which do use the painted. Moreno discussed drug use, gang activity - these things are experience of making art as a the history of mural art, vehide for practicing coopera- most prevalentwhen the school day ends presented a slide lecture of tion, finding alternate solu- and there's nothing else to do." his work, and described tions to conflicts, and increas- the process through which o ing pride, self-esteem, and the mural would be devel- 21- confidence. "We wanted the kids to realize they have tal- oped. Once a magnet for spray-paint "taggers," the wall O C ents and abilities and have a valuable contribution to on which the mural was painted remains free of gang O make," said Downtown Phoenix YMCA Executive Di- graffiti more than a year after its completion. rector Lisa Druin on her project with muralist Martin Moreno. "It's a strategy to build their self-confidence so ~ A Challenge With Rewards they won't feel like there's nothing better for them to do Artists have found that working in after-school than get involved in drugs and other forms of antisocial programs is a challenging endeavor with many rewards. behavior." The resulting mural from the YMCA project "It was a totally new experience, working with the South is on permanent display in the cafeteria of Phoenix's Tucson Youth Center and the children involved in the Wilson Elementary School. It is painted on three four- after-school program," said Leon Myron, a Native by-eight-foot panels, and depicts shadowy figures of chil- American artist whose residency, sponsored by the Tuc- dren rising above images of pollution, crime, and pov- son Parks and Recreation Department, taught grade- erty. "I've always wanted to paint a mural," said Josd schoolers about traditional Hopi Kachina doll carving. / / ,t / / 8

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A grapiic tesmment~\to the impact of art, / these two photographs depict the same wall in P~ute Park m\Scottsdale, Ari- zona. Ontthe left, the graffiti-covered wall before the Sco ~t~sdaleRecreauon x" Department's A.P.P.L.E. Corps Project. On the right, studems work diligently on the\ mural, whose\ theme and content they decided• during\ . a residency.~ with, Phoenix artist Martin ioreno. "They really got me thinking about how we as artists can ideas and adapting their methods of bringing art to children. challenge ourselves to give more of ourselves and help Although A.P.P.L.E. Corps is still a pilot change kids' attitudes about themselves -- and about project, participating after-school directors attest to the other cultures." Since many of the projects focus on art impact of arts programming on the kids served by their forms that have specific cultural origins, participating programs. As Pam Willier says, "The arts have a very students have the chance to learn about another culture therapeutic value that can help kids communicate their firsthand -- a valuable experience in developing respect state of mind. It gives them a chance to express things going for others. on in their lives in a powerful and unusual way." Tucson musician Chuck Koesters, who Project directors have also found that kids are worked with his wife, dancer Anne Bunker, in a resi- attracted to after-school programs in larger numbers dency with the Boys and Girls Clubs of Tucson, adds: when an arts project is included. Reports Laura "Most of the students we worked with were fairly young, Fredericks, project director at Page Middle School, "It and most expressed a real fear of gangs and drugs. In a was so great to see the number of kids who wanted to be community ravaged by gangs and drugs, children have here instead of on the streets. Half of our kids were reser- to 'grow up' or 'harden' to survive. I feel our project gave vation kids, who may never have had this opportunity our students a chance at self-expressioil that could free otherwise." Noreen Wernick, community education di- them, if only for a moment, of the pressure from their rector of Sunnyslope Extended Day Program in Phoe- environment and show them that opportunities do result nix, recognized this benefit as well: "We had many more from choosing a different way of acting and reacting." children in our program during the residency. There- After-school programs have evolved over the fore, more were with us rather than home alone. This last ten years to meet the changing needs of the family, unique opportunity provided new exposure and opened 8~ according to Renee Chambers, community education new doors for our Extended Day Program." o director of Madison School District in Phoenix. That means accommodating a wider age range of kids, allow- ¢/1 ~ FutureDirections O ing for flexible scheduling and attendance, and under- After-school programs, whether offered through 5 standing that the kids have already had a full day of school districts, parks and recreation departments, or structured classroom work by the time they get to work other community organizations, are here to stay. As with the artist. Still, says mask maker Maria Luisa Ruiz, professionals in a growing and developing industry, "These are wonderful kids. They need after-school ac- after-school program directors are continuously fine-tun- tivities to keep them busy, where they can share ideas ing their offerings to reflect the changing needs of and interact with each other in a safe setting. You have the families they're trying to serve. In spite of this, to be able to relate to them and become their friend and money continues to be tight. "After-school programs do respect their traditions." Adds Chambers, "The love that not typically have funding," says Renee Chambers, "and the artist has for his or her work is absolutely contagious, that means we have to be very creative in finding new and the kids pick up on that when they work together." partnerships, like the one with the Arizona Commission Partidpating artists have responded by reevaluating their on the Arts, in order to offer better programs each year." The dedication of after-school program direc- tors to present quality arts opportunities to the kids whom they serve cannot be ignored, nor can the anec- )> 7 ~ 7~ dotal evidence that the arts do have an impact on partici- .r-- pating youth. "The Arizona Commission on the Arts is .m (B committed to this program. We have reached new con- 0 stituents: both students and after-school staffs. This pro- 3> gram has challenged artists to adapt their presentations C to nontraditional settings. Based on the response from ..0 the first three years of activity in after-school programs, == we will find the resources for the A.P.P.L.E. Corps to ¢D continue," says Shelley Cohn, the arts commission's ex- ecutive director. nO "Gangs and drugs are examples of the at- tempts people make to plug the holes in society and to reduce the pain of poverty and low self-esteem," Chuck Koesters adds, "It will be a long process to fill the holes with art instead. But I think one big advantage of art is it's ability to improve self-confidence and self-worth, through the students' realization that they can produce something of beauty." Gwen Worthington agrees: "Any- thing that enriches a child's life has value, and the arts, in particular, get through to the soul of a child." []

Rose McBride is the Anti-Drug A.P.P.L.E. Corps Coordinator for the Arizona Commission on the Arts.

Forfurther information on A.P.P.L.E. Corps, please contact the Arizona Commission on the Arts at 417 West RooseveltAvenue, Phoenix, AZ 85003; phone 602-255-5882. / / Voices of Youth\ ~~ The Arts and r reve nrlon in vermc

b Lawrence ~ ~x/-/ ou break it, you die," may not sound like a Henry Tanaka's desire to work with this personal and artistic breakthrough, but for group of young people at risk of dropping out of school, < fifteen-year-old Corey from Vermont's ru- O due to drug abuse or the stress of teen parenthood, came V," ral Addison County, it was a strong expression of success from his own experience. As a young adult, he discov- and pride in his art. For over three months he had o ered that by working in ceramics he was able to work ..< o worked in the ceramic studio of the Frog Hollow State through problems and put the issues he was facing into E Craft Center and destroyed almost everything he cre- 21- perspective. He was hoping for the same results with his g----4 ated. In uttering these words while presenting his tile for students. "Corey came to the first dasses exhibiting a lot a mural project, he indicated his personal investment of anger and violent tendencies. He never seemed able to Q and pride in his work. From then on Corey achieved re- complete a piece and he was a very reluctant participant. g_ markable success. He created a mask, a biographical to- But he was the first student to master throwing on the < tem pole, and a mythical creature that embodied fantasy wheel, and he developed remarkable textural skills. As (I) and reality in a sophisticated three-dimensional work. much as I'd hoped for this to work, I was quite surprised O This opportunity for Corey and nine other by the dramatic change in his behavior compared with < high-risk teens was the result of one of the Vermont his initial attitude. It was quite amazing how the stu- Council on the Arts' (VCA) Voices of Youth projects. dents' newly discovered skills seemed to relate directly to o Entitled Metamorphosis, this project was a collaborative their self-confidence." effort between Middlebury High School's Alternative Metamorphosis was one of twelve VCA Education Program, Addison County Counseling Ser- Voices of Youth projects funded in 1992 to create part- vice, and Frog Hollow. For ten months in 1992-93, stu- nerships between the arts and human services for at-risk dents met twice a week in the Frog Hollow Studio with youth. The concept emerged from a series of meetings Henry Tanaka, the resident ceramic artist, who shared held around the state in which the VCA gathered ideas his experiences and expertise. Ann Russell, a counsdor for an application to the National Endowment for the from the high school, attended the sessions and observed Arts (NEA). Artists and individuals representing arts or- the behavior and personal development of the youth in- ganizations, state and local human service agencies, drug volved. Metamorphosis was an appropriate name for this abuse prevention programs, people with disabilities, and project, as the youth were transformed both by their the Native American Abenaki community discussed the work in clay and their experience with Henry. problems and needs of a number of populations. At ev- Corey would say, "It will come out in the ery meeting concerns about the isolation and alienation clay." He was right. Out of his work in clay came re- of youth, and the lack of after-school programs for the markable creations, a sense of pride, improved self-es- teenage population were raised. teem, and the mastery of new skills. The project con- duded in May of 1993 with an exhibition at the craft ~ It DoesHappen Here center. That fall, Corey was among four former students A 1990 study by the National Rural Development who went to Frog Hollow asking for another workshop, Institute found that rural youth are more likely than and so the project continues. their city or suburban counterparts to face failure due to involvement with crime, substance abuse, and parental developed a grants program to provide rural youth with neglect. Rufus Chaffee, from the Vermont Office of Al- opportunities to develop their own artistic voices. cohol and Drug Abuse Programs, elaborated on this: Funding from the NEA, the VCA, the "Vermont's economic and social problems certainly Vermont Office of Alcohol and Drug Abuse Prevention threaten the health and well-being of youth. But in rural Programs, National Life, NYNEX, the Windham Foun- areas, perhaps the greatest contributing factor to the pos- dation, and the Josephine Bay Paul and C. Michael Paul sibility of failure for youth is isolation." Foundation, as well as from local businesses and indi- Most of Vermont's residents live on farms or viduals has helped support Voices of Youth. Twelve dif- in small communities set far apart from one another. ferent projects around Vermont have reached incarcer- Mountainous terrain, poverty, extreme weather condi- ated young men; youth in foster care; homeless children; tions, limited services, and lack of transportation con- youth with disabilities; emotionally, sexually and physi- tribute significantly to a real and perceived sense of isola- cally abused adolescents; teen parents; and youth in al- tion. Outside of school, rural youth lack alternatives to ternative education programs. the television culture. Few, if ~ Through Their any, music, dance, or visual "You have to have some kind of passion arts programs exist and there Eyes is little opportunity for the in life. There is an excitement with drugs In an effort to document the youth to explore a sense of and crime, but art provides an excite- feelings and experiences of place and identity. ment and passion that is positive." adolescent participants, and Hearing what create a vehicle for listening to Vermont's citizens were say- the Voices of Youth, the VCA ing, and recognizing that art and creativity are significant conducted a video evaluation of several projects, among o resources for preventing failure and increasing opportu- them Metamorphosis and Voices of Woodside. In each nities for at-risk youth, the VCA began to explore ways the youth received training and guidance from mO c to bring the arts and human services communities to- videographer Stu McGowan and playwright Dana O gether. The idea of developing partnerships with human Yeaton on how to use a video camera, conduct inter- service organizations and encouraging the use of artists views, develop scenarios, write scripts, and edit. With and quality arts programming seemed to be an ideal way cameras in hand, the youth created videos that show to use existing resources to help Vermont's youth. their uni~jue view of the projects. In 1991 the VCA received funding from the In Metamorphosis, the students each took NEA to support the Voices of Youth program, to de- turns with the camera and combined many personal in- velop local arts and human services partnerships and terviews to show how their initial reluctance was re- projects, and to foster long-term cooperation between placed by enthusiasm and pride. Two residents of the Vermont's arts community and the Agency of Human Woodside Juvenile Rehabilitation Center, Vermont's fa- Services. Working closely with the agency's Office of Al- cility for juveniles who commit adult crimes, created a cohol and Drug Abuse Prevention Programs, the VCA rap video. Both of these videos give a youth-focused /

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\-~ ires cerarmc mask was create(/Dy a smoent m me\~vletamor- /~.3/(j ' resulted from collaborauoni~een ! i! f--Y/ ~ )ol education program, a co~ ,:~ ,,!~j~ \~'\.... + ,~\acratt center. \;ti I, : • i evaluation of the Voices experience. Because of the arts provide alternatives to destructive patterns and be- popularity of music videos, adolescents are familiar with haviors. "You have to have some kind of passion in life. the medium of video and the Metamorphosis teens were There is an excitement with drugs and crime, but art no exception. They were very eager to use the camera provides an excitement and passion that is positive." and gain technical skills, but that wasn't necessarily the Creating Maximum Security gave CoCo a case with other art forms. whole new avenue for success. Having never written a line of poetry, composed music, or performed, he cre- ~ CoCo'sVoice ated the storyboard, wrote the rap lyrics, directed, per- Visual artist Sally Linder, who developed and co- formed, and edited Maximum Security. ordinated the Voices of Woodside, says, "most at-risk "My time's too hard, the windows is barred, youth find it very difficult to do art. They have almost mind is scarred... You don't want to join me, you want no knowledge of art and the doors of creativity are to be flee, don't get lost in maximum security." dosed to them. The first step is to expose them to a vari- Maximum Security had its world premiere ety of art forms, but even then they remain frozen on the screening at the 1994 Vermont International Film Festi- outside because they are afraid of being judged, afraid to val and received critical acclaim. CoCo's success is evi- fail. They have to be coaxed, nurtured, and loved so they dent in the eloquent letter he wrote to Sally after he left can gain trust in the artist and discover the creativity in Woodside. "I've gained positive recognition for my cre- themselves." ativity and artistic talent through this video. Talent, art, Sally and other area artists introduced the and beauty lie within everyone, but [creativity] can go residents to many art forms: music, photography, paint- unnoticed.., if it is not given a chance to show itself. So, ing, poetry, video, and movement. Woodside residents again, I thank you for helping me find mine." created individual and collaborative works, including a o mural on the basketball court, masks, musical tapes, and ~ SeekingA CommonLanguage co videos. Two residents, Sean and CoCo, created Maxi- The first year of Voices provided valuable lessons O c mum Security, a rap video depicting both a realistic and in combining the arts and human services. Voices of fictitious view of what it's like "inside" Woodside. While Woodside, Metamorphosis, and other projects proved Sean's sophisticated camera work shows the negative as- the value of the arts in programs for at-risk youth, but pects of being incarcerated, the lyrics and the tape as a demonstrated some of the challenges as well. whole are a creative vision of CoCo's experience and the It is important to recognize that creating and consequences of a young life given over to criminal activity. sustaining partnerships between the arts and human ser- "I started dealing when I was 13," says CoCo. vices are a process. It takes time, coordination, flexibility, "Money can buy you success, recognition, and respect. and attention to the needs of the various organizations, You can't always get those things in your family, in artists, and youth involved. Both partners need to know school, or on the job." that their organizations and staffhave the capacity to Steve Coulman, director of Woodside, create and sustain programs, to work cooperatively thought the Voices project was successful because the throughout the life of the project, to insure communica- tion, and to deal with problems, if and when they arise. voices of youth through the art they have created, they Through Voices of Woodside the partners understand. Voices is better than magic, it works!" [] < learned that artists need to be trained to understand the 0 population they are working with and the goals and ob- Elizabeth W. Lawrence is the Voices of Youth program consult- P~ ant for the Vermont Council on the Arts and Prevention Unlim- o jectives of the human service program, and to be aware ..< ited. She is an artist and cofounder of Green Mountain Preven- 0 of how arts activities fit into the overall scope of the pro- c tion Projects. 2I- gram. In the Metamorphosis project the partners learned ..-q :g that human service providers need to differentiate the For further information on Voices of Youth, please contact the 3> creative environment from the "therapeutic environ- Vermont Council on the Arts at 133 State Street, Drawer 33, Q ment," and to understand the nature and value of the Mon~pelier, VT 05633-6001; phone 802-828-3291. g_ arts and creative self-expression. < The value of fostering collaborations between the arts and human services and providing youth with o tools to develop their artistic voices is gaining broader ac- < ceptance in Vermont. Youth involved in Voices projects o have presented workshops, and even gave a keynote perfor- o mance at the annual Governor's Prevention Conference. Committed to the idea that the arts and cre- ative expression are essential to human growth and de- velopment, the VCA, with support from the NEA, is continuing Voices by expanding the program to include young children and families. The second evolution of Voices will strengthen existing partnerships, and initiate a training program to improve communication and understanding between the arts and human services in an effort to promote the use of the arts as a resource for prevention. "A program like Voices is not something that you establish and then expect to run by itself," says Nicolette Clarke, executive director of the VCA. "You have to take every opportunity to explain the process, pay attention to the needs of the artists and human ser- vice providers, and support the needs of the youth. It's not a concept that is readily understood by funders, leg- islators, or even the human services world, but when you show them the results and they actually listen to the f' , •

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} \ hen three Los Angeles youths dragged artists committed to quality work. Within a matter of truck driver Reginald Denny from his weeks, she had placed seventy artists for up to six weeks F<

big rig in the aftermath of the 1992 in workshops geared at kids ages twelve to eighteen. O o Rodney King trial and beat him almost to death, their From barrios and ghettos all over the city, teenagers 2I- ~g brutality shocked the nation. Nevertheless the crime ex- who'd experienced a lot of gang warfare and crack deals posed all too clearly the way many residents feel here in took part in workshops on theater, dance, visual arts, the City of Angels -- that no act of violence is too harsh comedy, music, video production, and creative writing. a pay-back for what are perceived as society's inequities. At an improvisational theater workshop, -I- As the city cast about for ways to curb or control the vio- project participants were asked to act out and later dis- Q lent urges that lay just below the surface of its ethnic ur- cuss emotionally charged scenarios about family life and o -< banites, the California Arts Council (CAC) took action street dangers. African drumming, mural painting, cho- O c to rebuild L.A. rd music -- these only begin to reflect the rich variety of ¢.Q classes and workshops that Wilkinson has conceived and 8- A Pivotal Role for Government Funding made happen. => ~ "The project's goal is really pretty straightfor- "There was a real concern among everyone in the c/, council that we respond to the riots," explains Carol ward," she argues. "We want to offer high-risk kids a va- Shiffman, director of CAC's Artists-in-Residence Pro- riety of creative outlets." But Wilkinson resents the sug- gram, which with the National Endowment for the Arts gestion that the program is just entertainment for a (NEA) funded the Summer Recovery Project. "We bunch of street-smart troublemakers. "This has never know the incredible power that artists can have in help- been arts and crafts," she maintains. "It's about skill ing to build self-esteem, and we believe in the difference building." So, participating artists are selected not only that self-esteem can make in kids' lives. So we thought for the quality of their art but also for their ability to de- arts programming.would be a wonderful and realistic velop concrete lesson plans. way to help." One morning, for example, percussionist The details of the CAC plan were unclear Ramon Ramos led a predominantly African-American in the beginning. The arts council did know that what- group of third and fourth graders through a musical per- ever they did would require a director with genuine vi- formance of Cocinando. The youngsters learned the sion. The CAC found that leadership in actress Sheila simple Spanish words and were shown how to use vari- Scott-Wilkinson, who had been involved in other artist ous percussion instruments. Then they took a short writ- residencies funded by the council. An acting teacher who ten test in which they identified those instruments. "So had run arts workshops for prisons and correctional the basic focus is education," Wilkinson stresses, "and youth facilities, Wilkinson saw the developing program the end result is that kids improve their self-image, gain as a unique opportunity to use the arts to reach out to new confidence, develop learning skills, and wind up do- children in troubled neighborhoods. ing better in school." What she did was create a grass-roots series of "These may sound like small improvements," arts workshops for inner-city youths that employed local reflects Wilkinson, "but for many of these kids, this is a major shift in life. This program is the first time that Based on the Summer Recovery Project's im- some of them have seen anything positive about life or pressive first year in 1992, it received funding for the themselves. Gang violence and fear have made the world two subsequent summers, and there's hope that re- very, very small for these kids. Literally, five blocks -- sources will remain available for the ever expanding un- that's the radius of their whole world. By taking them to dertaking. To date, the program has served more than exhibitions and performances outside their tiny home 12,000 L.A. youngsters, employed more than 170 art- turf, this program gives them a much broader idea of ists, and involved 33 community sites in the workshop what the world can be. We hope that by showing them project. "Everyone's been impressed with what the artists something bigger and better, we can give them the im- have done in an intense post-riot environment," says the age of a world worth working for and living in." CAC's Chief of Grant Programs, Juan Carrillo. "For the council, the project shows what artists can do. We know ~ reativeExchange For Artists the power of artists in communities because the council And Participants has funded artist residencies for over eighteen years." From the beginning, Wilkinson also wanted the "All [kids] see is the street life, and that can ~:~ Nothing Succeeds project to offer a unique op- Like Success portunity to the participating only teach them to be ashamed of what Eager to replicate Wilkinson's artists. "I wanted the program they are. This program is teaching them success, the CAC (again in to make artists more complete about a heritage they can be proud of." partnership with the NEA) by bringing them into the has elected to support three community and having them other youth programs: Cre- deal directly with cultures other than their own," she ative After-School Alternative Program, Long Beach o says. That meant sending them to projects in parts of the Latchkey Project, and Summer Arts Recovery Program. city that they didn't know, to work with people they These programs offer after-school and/or summer arts O c fundamentally didn't understand. classes as a wholesome alternative to the violent and For example, the African-American storyteller self-destructive allure of the streets. The Creative After- Marilyn McConnie and actress Darline Harris taught School Alternative Program (CASA) operates in South Latino students in the public schools. Similarly, Latino Central Los Angeles, the heart of the city's African- drummer Ernesto Salcedo taught the universal language American community. of rhythm to African-American teens in the heart of CASA's executive director is Dr. Maisha South Central Los Angeles. "What's interesting to me," Hazzard, and she gives credit for her program's very ex- Salcedo remarks, "is that here I am, a Latino musician, istence to Assemblywoman Gwen Moore who, back in and I'm introducing these kids to an African heritage, 1991, brought leaders from education and the arts to- their own heritage, that they don't really know." The hope, gether with the CAC to develop a creative way of keep- Salcedo concludes, is that this creative exchange will instill ing good kids out of trouble. "The bottom line is that -- more cultural tolerance and respect in everyone involved. months before the riots -- she knew these kids needed help and she believed it was possible to engage them with the arts," explains Hazzard.

Initially, CASA offered its classes at various O o art centers scattered throughout the general area. But, al- -='7. ~8 most immediately, the issue of transportation surfaced as 2Y- a major program obstacle. "Remember that 85 percent ¢D of these kids are latchkey kids," Hazzard points out. g "They don't have a parent available to pick them up at T ¢D three p.m. and drive them to even the most wonderful el

after-school program. Their parents are busy trying to O -< hold down a job." So in 1993, CASA moved its semi- O nars and workshops right into the schools. With support g from the L.A. Unified School District, 520 youngsters F are enrolled in thirty-nine classes offered by twenty-four ~8 different community artists. ¢Dm Dixie Swift, director for another of the CAC- NEA efforts, the Long Beach Latchkey Project, agrees that the programs are there to support kids who don't get all they need at home. "Ifa kid's family isn't working out," she explains, "then we become a kind of family. If that kid needs someone to go to school with him, I go. If he needs someone to go with him to the doctor, I go." The latchkey project is an interesting testing ground for the art-as-intervention concept because it serves a community newly in need of such program- ming. A good-sized beach city just south of Los Ange- les, Long Beach has in recent years become a more di- ~ Working with artist Ernesto de la verse community. Suddenly confronted with a signifi- Loza, residents of a housing cant percentage of African-American, Latino, and Asian project in East Los Angeles paint a residents, it must struggle with all the social challenges mural they designed during the Summer that can go along with ethnic diversity. Still, the com- Arts Recovery Program, created by the munity does not have a long-standing history of gang rivalries or drive-by shootings. If Dixie Swift's program California Arts Council. can truly attract kids at a time in their lives when they might otherwise be drawn into serious trouble, then it will say something very promising about the power of art among youngsters not yet cynical about their the youngsters to performances, lectures, and demon- life options. strations in Korean, Indian, African, Aztec, flamenco, Ultimately, the project has to be judged by andfolkh4rico dance, as well as in gospel music and taiko the effect it has on its target group. One participant, fif- (Japanese drumming). teen-year-old Tony Flores, says, "I never learned about Along with nurturing creative self-expression, my culture until now. Through the program I gained an Guevara's program has taught kids to work through interest in my culture through art and films about some major community problems. "For instance, the Chicano history. I also learned about the Mexican holi- gangs in Aliso Village and Pico Gardens -- housing day, ElDia de los Muertos (Day of the Dead). That's a projects in East Los Angeles -- had to hammer out a tradition I did not know about. I hope that in the future truce in order for the classes to take place," Guevara ex- we have more of these activities so more people can learn plains. "And they did it." Even more impressive is that about their culture." the truce has held since the summer of 1993. Eddie Martinez is an artist working in the Still, Guevara hesitates to call the program so- Long Beach program. He dal service. In fact, he argues, feels that cultural identity it's art in the most classic must remain a major focus in "The gangs in Aliso Village and Pico sense of the word: the means all these arts projects. "I try to Gardens - housing projects in East Los toward self-expression. "My teach them about their cul- Angeles - had to hammer out a truce in philosophy has been to let the ture," he says with a tone of kids interpret their world in both sadness and hope. "All order for the classes to take place. words and images," he con- they see is the street life, and And they did it." tinues. As a result, Guevara 3~ that can only teach them to encourages instructors to see o be ashamed of what they are. themselves more as low-key This program is teaching them about a heritage they can guides than as strict directors. "I believe that the pro- O be proud of." gram has to happen on their terms," he argues. "It's up to them to say to us,' This is how we see the world.' If Taking Art Beyond Social Welfare you give a kid responsibility for that -- for saying what Performance artist/writer Ruben Guevara is he or she feels -- then that kid will have a vested interest program director of the Summer Arts Recovery Pro- in the quality of their work." gram, which serves a predominantly Latino population In their small collection of poetry and prose in East Los Angeles, Downtown, and Pico-Union. En- entitled Empowering Raza Youth Through the Arts, young rolling 300 kids its first year (1993), Guevara reports project participants offer a rendition of a world both ter- that in its following year 400 youngsters participated in rifying and tender: workshops on mural making, creative writing, rap mu- The neighborhood I live in is very hard sic, video production, and photography. Over the course to live in if you haven't been around long of eight summer weeks, various guest artists introduced enough to get the hang of it. Once you do, you come to realize that it going. One of our program centers even has a newsletter, is not only about hard timing it, but and the kids write movie reviews and book reviews. "

about love floating around as well. The point, she maintains, is to prepare 0 o young people for the challenges of the twenty-first cen- ZlT. Love from our own mothers who teach g~ tury. "That's what this program really offers: a vision of us right from wrong. Love from the the future that includes these kids all grown up into cre- ¢D people who care about what goes on in our ative, productive men and women." neighborhood. That's a tall order given the complex and "7- I wouldn't want to live anywhere else competitive future that awaits them. The twenty-first Q but in this run down Ghetto place, but century is not likely to pose easy challenges for anyone. o ..< hey, I love this Ghetto, 'cause this is And the inescapable disadvantages that plague poor mi- 0 c where my Raza Lives. nority kids make their chances for success that much slimmer. Still, it is worthwhile to remember that the fu- ~> Dixie Swift agrees with Guevara that the ture does not happen in large leaps and bounds. It hap- ,g 0 point of an art program should not be social outreach. pens one step at a time, one small decision after another o But she doesn't seem overly concerned with producing until a life direction begins to emerge for a child as he or aesthetically beautiful artwork either. Instead, she sees she becomes first an adolescent and later an adult. These her program as primarily a means to teach culture. "Art four arts programs certainly cannot turn life around for a here is about what you are able to learn about yourself whole community. They have, however, proved to be and your heritage. We do that through the art process." life-changing for the thousands of youngsters who have been a part of them. In a simple but very real way, that's ~ FinalThoughts quite an accomplishment. [] Many good programs ultimately do more good than they set out to do, and are a bit different from the Max Benavidez, an essayist and art critic, is a Contributing Writerfor the Los Angeles Times. way they were originally conceived. That seems true of these four CAC-NEA projects. "I think we're just at the Kate Vozoff is a ~ee-lance writer based in Los Angeles who fre- beginning of what this program is going to be," says quently covers the arts, culture, and health. Hazzard about CASA. Forfurther information on the California Arts Council's arts pro- "Obviously, we want to develop emerging gramming in South Central Los Angeles, please contact the coun- artists, but we're also eager to encourage supporters of cil at 2411 Alhambra Boulevard, Sacramento, CA 95817," the arts. Let's face it: there are children who are not per- phone 916-227-2550. formers. So we've built a programming component that allows them to work on the support and promotion of the arts." She pauses to think of an easy explanation, "Art as a business, you might say. We teach the kids how to do that -- show how administrators keep art centers / ...... /CreativeE__ e The YA/YAso LN~ew orleans \~i~ ~/ ....~.

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Ron Ratliff~and Chris Paratore, Jr., working on a mural they designed with other \ . YA/YA mem~bers for their high school, L.E. Rabouin Career Magnet High School in New Orlea~s. The YA/YAs chose the theme, "Respect \ for Teenagers,~ " for the \ mural, which de~picts the face of a teen in multiple colors\ reflecting\ the world, s \ many races and c~ulmres. \ ~0 byJana Napoli ~\ ~ ~~\ClaudiaBarkerf 7 ou are standing on a steamy sidewalk in ~ Environment downtown New Orleans, next to a wildly New Orleans, 1987. A sultry, sexy, Southern city painted nineteenth-century townhouse build- with a great deal of charm, a balmy climate, wonderful o Q ing, with your shopping bag in hand and your camera --t food, beautiful music, and one of the worst public < CD poised to shoot. In the doorway are eight legs in various school systems in the country. The lack of quality educa- shades of rich brown, flexing, bending, ~ind struggling tion tells on us: every couple of months the Times-Pica- under the weight of a large cedar wardrobe. They pause yune informs us that we're "first" again -- in the num- for a second, gasp for breath, and consider their options. ber of murders per capita, in the number of high school c The eight corresponding arms and hands grasp the dropouts, in the percentage of children living in poverty. armoire, whimsically painted with black and white jok- YA/YA, a six-year-old arts and social service ..< > ers and diamonds, red hearts, and blue dubs, balancing organization that trains inner-city youth in the visual it precariously on one end. Heavy breathing, sweat. "I'm arts, was founded by New Orleans painter Jana Napoli. telling you, it ain't gonna fit through that door. No "I never intended to start an organization," she says and 0 Z way." "Turn it this way, man!" admits to knowing nothing about how to run one. But Peeking in the big plate glass window of the for a long time she had noticed the throng of high-en- © same building, you see three teenage boys and two teen- ergy kids that emerged every afternoon from L.E. Q age girls, all wearing aprons spattered with paint, bend- Rabouin Career Magnet High School around the corner ing over a vast expanse of cloth laid out on a thirty-foot from her building, and she wanted to find a way to put table. They are talking excitedly about the design one them to work. In addition, she wanted to bring the pri- of them has made; a long, black, curved ribbon on a marily African-American students together with the white field that undulates like a smooth snake down mostly white property owners in her neighborhood. the length of the table, happily embracing white and These teenagers -- like most teenagers -- are grey ribbons on its way back up. A beautiful piece of incredibly energetic, very quick-minded, perceptive, and yardage, you find yourself imagining how it would look resourceful. But the fact is that in New Orleans, like in on your sofa. most major American cities, these very talented, capable Where are you? You are gallery-hopping in individuals are almost all unemployed. New Orleans and you have just stumbled on YA/YA. Students attending L.E. Rabouin Career Part design studio, part print workshop, part gallery, Magnet High School, the only school in New Orleans's and part office, Young Aspirations/Young Artists is central business district, were, like most people their age, home to twenty-five student artists who come here every perceived by adults as having limited skills and little to day to learn how to make a living through creativity. So offer employers -- at best. At worst, these teenagers were your own kid is sixteen and talented? Wouldn't it be seen as potential troublemakers by the property owners great if there was something like this in your city for him who flank the school, especially when they emerged en or her! Well, come in and see what YA/YA does right. masse at three p.m. and pushed their way like a storm front to Canal Street and the video game room. Their sheer numbers and volume caused most people to cross the street to avoid them, without even thinking about the National Endowment for the Arts' (NEA) National how doing this made the students feel. And they did Council on the Arts in August 1994: "Our first show, feel: YA/YA student Rondell Crier says, "I'd get mad at we sold $1,800 worth of fifteen- and twenty-dollar them and I'd think... I'm not going to do them noth- drawings in little glass frames, which meant we sold a lot ing, but they just don't know." of them three or four times. [The students] learned how It is three o'clock in the afternoon. School is hard it is to reproduce a drawing a third or fourth time." ending and the students who attend Rabouin, a voca- At Napoli's urging, the students began paint- tional-technical high school, are like wound-up springs. ing images on secondhand furniture. "I wanted some- They blast out of the school building, pent-up energy thing that they couldn't fail with," she says. "It's hard to exploding in all directions. Ready... set... WAIT A sell a painting on a canvas." What Napoli envisioned as a MINUTE! Where to go?What to do? Shopping? No small exhibition in the front hallway quickly became a money. Game room? Maybe. Home? Nah. I asked full-scale training operation that occupies about a third Carlos Neville, one of the original eight YA/YA Guild of her building. Students began coming to YA/YA every members, what made him day after school and on week- come to YA/YA. "There was ends to receive one-on-one in- These teenagers - like most teenagers - nothing else to do," he said. tensive instruction from Real simple. Nothing else to do. are incredibly energetic, very quick- Napoli, Neske, and later on, And at first there minded, perceptive, and resourceful. three to four other profes- wasn't much at YMYA. There sional artists who teach wood- was no organized program at But the fact is that in New Orleans, like working, design, painting, the time, no paid staff to wel- in most major American cities, these and fabric printing. come and shepherd teenagers, very talented, capable individuals are All students who o no particular bond of trust to attend Rabouin High count on. There was just this almost all unemployed. School's commercial art

Om one lady and her building dasses are eligible to partici- c O around the corner from school. She simply offered a pate in YMYA. Neske recruits students, who initially are place to go, where they could do something interesting given the chance to paint small items, such as YA/YA and maybe make a little money. And they came. desk ornaments, until they develop the skills to move onto larger pieces like furniture or fabric. At any one ~ PuttingTalent to Work moment in the YA/YA building there are students sitting Jana Napoli found an ally in Madeleine Neske, at a big table working on designs for upcoming commis- Rabouin's commercial art instructor, and invited forty sions, someone cutting sculptural "add-ons" (a distinc- students to draw pictures of all the downtown buildings tive feature of YA/YA furniture) out of wood, several stu- and show them in her gallery. The students came and dents painting furniture in the studio, and four or five sketched, they had a show in which most of the draw- more screen-printing fabric in Print YA/YA, the ings sold, and YAUYAwas launched. Napoli explained to organization's newest enterprise. Once a week YA/YA's high school students school or college in order to participate in YA/YA, earn attend group counseling sessions, and all students receive money by selling painted furniture, by creating designs rigorous training in the entrepreneurial aspects of run- for manufacturers and individual clients, by serving as ning an art-related business: sending out press packages, art directors on commission jobs, and by being em- e~ < talking to clients, pricing commissions, writing artistic ployed as YA/YA interns. Guild members, the senior statements about their work. The key element in making students who are most committed to the organization, "O YA/YA work is the driving force of its founder, Jana receive a higher percentage of their sales and higher

Napoli, and several other adult staff members who push, wages than the younger apprentices. In all cases, how- c P,, prod, and cajole the busy students into producing pro- ever, YA/YA holds on to a percentage of a student's sales g- fessional quality work on a consistent basis. until he or she enrolls in college. Most YA/YA high ..< A chair turns into a yellow cab. Cutout sculp- school students graduate and go to college either locally ..< tural flames leap from the seat of another chair that or in some cases to out-of-state schools, such as the ~> Carlos has made into a burning building. A little girl School of Visual Arts in New York. This year YA/YA o rides on a magic carpet, touring the universe, full of will see its first guild member graduate from college. Z peace and happiness as guild member Darlene Francis That student plans to attend graduate school in the field o makes her dream world come alive on a chair. Dexter of design. Q Stewart, the photographer and filmmaker, paints an ur- YA/YA's aim is to prepare the students to ban landscape on the round, flat back of a chair, a lone make a living on their own. "There are no jobs out dog in the foreground -- his vision of stark solitude in a there," Jana Napoli says. What she means is that busy, big world. YA/YA artwork is successful because it there are very few jobs that allow people to make mirrors the students' thoughts and feelings. It is full of good money using their creativity. But most people "hot spots," personal imagery that is often intensely dra- consider such work a luxury. So why does YA/YA in- matic. Jana Napoli sits on the floor with the students sist on training students to be entrepreneurs? Because and pulls the images out of them, looking for what is the skills needed to be in business for yourself are real, what is hot, what will sell. Finding these hot spots and skills that can get you far in life, whether you are expressing them through art is what it means "to YA/YA~" working for somebody else or not. Those skills in- clude talking to a customer and finding out what he ~ e Making Good or she wants, setting a price on your work, making YMYA is an experiment whose goal is to prove sure you get it done on time, and collecting the that if given the right tools and a fertile environment, money. YA/YA tries to develop those skills in the stu- motivated students can do extraordinary things. But the dents with every job that it does. Gerri Hobdy, assis- aspect of the program that makes YA/YA different from tant secretary of the Office of Cultural Development most programs that benefit youth is that students make for the State of Louisiana, applauds the organization: money doing something they enjoy -- making a prod- "YA/YA is an exemplary program that demonstrates uct they can sell. the usefulness of the arts in developing job training Students, who must be enrolled in high programs for youth. It expands our potential work force for the arts industry while addressing some of understand, in some cases the community has to be per- the problems that plague our urban areas." suaded to buy into the idea that its youth can be valu- able contributors to society. The project's product must ~ Continuingt.he Training Cycle also have mass appeal. In YA/YA's case that product was At YA/YA, college students help train high school painted furniture, and, most recently, printed fabric. students, sharing the knowledge they acquire in school and through internships that YA/YA helps them to land ~ From Seed Money to Self-Sufficiency at places like Black Entertainment Television in Wash- Initially all of YA/YA's expenses were paid out of ington, D.C., Gallery 37 in Chicago, and Swatch, Ltd. the pocket of its founder. But within a year and a half of in Atlanta. In addition to perpetuating the training cycle its opening YA/YA began to attract both public and cor- within the organization, YA/YA tries to spread its mis- porate support. Grants from the National Endowment sion outside as well. for the Arts have supported YA/YA's training operation, Working with people in other communities to outreach efforts in other communities, the production of help them develop youth-centeredarts enterprises is so a documentary, and, most recently, the creation of a important that for the past four years Philip Morris Com- book about YA/YA. In addition to helping ¥A/YA panies Inc. has supported YA/YA's Traveling Exhibition spread its mission around the nation and the world, the and Outreach Program. Jana Napoli envisions YA/YA NEA has also teamed up with state and local arts agen- students helping to develop arts enterprises based on the cies to help YA/YA become more economically self-suffl- YAWA model in other cities. Napoli told the National cient. Funds from the NEA, the Louisiana Division of Council on theArts: "So nowAmerica calls every day, al- the Arts, and the Arts Council of New Orleans enabled most every day. It's wonderful, and it's incredibly sad. All YA/YA to create a business plan and build the small, fab- of those kids who see us on television say, 'Can I. come? ric-printing workshop called Print YA/YA, which o Mama said she'd give me a ticket. Can I come? Can I be a opened in September 1993. Its purpose is to generate o YA/YA?' And of course we can't have them." additional earned revenue for the organization, making O So instead of inviting everyone in America to it less dependent on grants and contributions. O "become a YA/YA," YA/YA teaches people "how to Other major sponsors of the workshop in- YA/YA." Most recently YA/YA provided assistance to clude the Charles Stewart Mott Foundation, the Mary the Sacramento Metropolitan Arts Commission, one of Reynolds Babcock Foundation, and the Downtown De- several entities that are considering trying to replicate the velopment District (DDD), a nonprofit taxing district YA/YA model. Napoli tells them selling it to the com- created to help revitalize downtown New Orleans and to munity will be the hard part. help promote its growth. DDD Executive Director Don Community, in this case, includes everyone Shea says, "The fantastic work of these young people at that the project touches: the youth, their parents, the the YA/YA studio is definitely one of the factors behind buying public, and the people who live in the surround- the growth and success of downtown's arts district. ing neighborhoods where the students might be painting Therefore a donation towards expansion and new devel- a mural or having a show. As difficult as it may be to opment at the YA/YA studio is not only an investment / J \ / / J \ \ \ / J \ \ / \ / / /

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YMYA student\ Shazell Johnson shown with chairs and p~ows she: Fainted with her own designs.., 11~ '!, Photo byJanaNapoli \ "/~ ?~ ~ - \ \ \ \ \ \

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\\ ...... , a \ \ in our downtown, it is an investment in our future." An How does all this opportunity'come YA/YA's enterprise that has as its goal to become economically way? Early on, Napoli recognized the value of press and self-supporting is very appealing to both private and pursued it with a vengeance. One news story leads to an- public sponsors. The fact that YMYA has sold more other, which leads to jobs and contracts to produce art- than a quarter of a million dollars in art during its first work. six years of operation is impressive. And involving youth YAJYA's first show of painted furniture, in an economic development program teaches them how "Storytelling Chifforobes from New Orleans," attracted to run a business, how to deal with clients, and how to the attention of the local and national press and traveled be professionals. The more contact students have with to Lincoln Center in New York, becoming the first of paying customers, the more savvy they become about many traveling exhibitions of work by the YA/YAs. The satisfying those customers, and the better prepared they exhibition featured the YA/YA students painting their are to go out and make their living as commercial and hopes and dreams on the outside of a wardrobe and their fine artists. "I wouldn't let anybody get their check till they fears on the inside. Napoli describes the first encounter wrote a thank-you note to the with the press, "The first person who bought their piece," show in New York, we sent says Napoli about paying stu- YA/YA is an experiment whose goal is out one thousand press pack- dents for artwork sold. to prove that if given the right tools and ages. We got three responses. YA/YA's ultimate a fertile environment, motivated students One of them was Metropolis goal is for the students to be- Magazine, which gave a fif- come part of the organiza- can do extraordinary things. teen-year-old from the South tion's board and staff. To this his first review. The second end YA/YA has created the YA/YA Committee, com- was New York Magazine which gave us a half a page, and o posed of both high school and college students and staff. the third was the school that would later give two of the :21- O Participation on the committee gives students the experi- YA/YAs scholarships in New York City."

O C ence they will need to manage the organization in the fu- Publicity is also extremely important in estab- ture. Napoli believes that YMYA belongs to the stu- lishing credibility. Jana Napoli remembers the reaction dents. "I don't expect to be the head of YAJYA. It's of Carlos Neville when he first saw his picture in the theirs," she says. newspaper. He said, "Wow, Miss Naps, how many people read the newspaper?" When he heard that over a ~ The Importance of Press quarter of a million people get the local paper he The talent of the YA/YAs has garnered them con- thought about it for a minute, then he said, "How can tracts to produce artwork for such notable clients as the we keep on getting in the newspaper? This is cool!" Italian design firm Alessi, the BRAVO Cable Network, "Cool" translates into motivation for the stu- MTV Networks, and Swatch Ltd., and earned them the dents to work hard and produce great artwork. Positive opportunity to exhibit their work in New York, Paris, press attention means more customers, an easier sell to Tokyo, San Francisco, and many places in between. funders, and good will from everyone who walks in the door. Since 1988 YA/YA has been featured in more than sixty publications and twenty television programs. (..)

Q ~ YouthEmpowered Through Art < YMYA's success is a powerful example of what can

happen when art is used as an instrument of social "O change. Jane Alexander, chairman of the National En-

c dowment for the Arts, mentioned YMYA in her speech y, to congressional freshmen in Washington, D.C., on .-.4

March 16, 1994: "In New Orleans I visited Young Aspi- ...< 3> rations/Young Artists, YMYA -- a truly remarkable pro- ...< gram that empowers youth to change their lives... o They don't all become artists... But they all learn the Z skills needed in life through the arts to go out into the o world and succeed: discipline, self-esteem, collaboration, o and problem solving." Q Endorsements like this give all of us working in creative endeavors effective ammunition to combat the notion that the arts are a luxury, a frill to be afforded only if there is money to spare. The nurturing of our young people's creativity is an urgent, vital part of their education. This effort nets the real product that will take America into the twenty-first century: an intelligent and resourceful nation of energetic young people with fresh ideas and the skills to carry them out. []

Claudia Barker is the director of Young Aspirations/Young Art- ists, Inc. This chapter is excerpted in part~om herforthcoming book about the organization.

Forfurther information on YA/YA, please contact YA/YA at 628 Baronne Street, New Orleans, LA 70113; phone 504-529- 3306. o South Caro A ~ ro Making a Diffi )n

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\ I \ \ \ \ \ \ \ \ t Redcliffe Elementary School in Aiken, Elementary, one of eight model sites funded by the ABC South Carolina, Melinda Gulick's third Project. Since the arts infusion program was introduced

graders are building a "plant machine." several years ago, this rural school's standardized test O Through imaginative sounds and movements supervised scores have risen dramatically: between 1990 and 1994, N by drama teacher Katharine Doss, the children act out the percentage of fourth graders scoring in the highest Q 8 the functions of a plant's root system, stem, and leaves. quartile on the nationally recognized Stanford 8 achieve- g Science class has never been so interesting. ment test zoomed from 19 percent to 33 percent. Con- Nearby, a troupe of fifth graders does ener- versely, the percentage placing in the lowest quartile getic versions of "jumping quickly," "skating slowly," plummeted from 33 percent to 9 percent. The most dra- -7 O and several other combinations of action verbs and ad- matic changes occurred with the African-American .--!'. verbs as dance teacher Beverlee Powell directs. Then the males. The fifth grade scores were similar. "This is a sig- O youngsters sprawl on the floor to write about "My Fa- nificant shift," says Slay. "There must be something in _roT. g vorite Day" in their language arts journals, using the our school curriculum that's causing this difference, and Q now-familiar action words. we believe it's our arts program." Students and teachers Down the hall, Jennifer Hamada's bright- love going to school at Redcliffe; an extraordinary energy O eyed students in the gifted and talented class mold clay g permeates the place. o objects and record musical compositions that they will m, later bury at a selected site. The art and music artifacts The Indispensable Arts g are part of an archaeology class assignment on examining ~ Q The goal of the ABC Project is to provide quality, O history and culture. comprehensive arts education -- comparable to instruc- Welcome to South Carolina's Arts in the Ba- tion offered in other basic subjects -- for every child in sic Curriculum (ABC) Project and Target 2000 Arts in every school in the state. The plan's premise is simple: Education Grant Program, an innovative infusion of arts the arts are an indispensable part of a complete education. activities in the curriculum. The programs have become The centerpiece of the ABC initiative is the national models for demonstrating that strong arts edu- use of curriculum frameworks developed by the South cation can spark broader education reform, improve aca- Carolina Department of Education. The frameworks -- demic achievement, reach at-risk children who are not curriculum guidelines in dance, drama, music, and vi- responding to the old style of education, and generate sual arts -- are a statewide consensus of what children unprecedented excitement about learning among stu- are expected to know and be able to do in the arts. dents, teachers, administrators, and parents. "The arts are an important resource that can Funded by the National Endowment for the lead toward greater creativity, critical thinking, and Arts (NEA), the South Carolina Arts Commission, and problem-solving skills -- all skills our students will need the South Carolina Department of Education, the ABC as successful adults in the twenty-first century," says Project is now in its seventh successful year. State Senator Nikki G. Setzler. Proponents such as "It's working, and it's working well," says Setzler also point out that the arts can be a valuable tool Jane V. Slay, the award-winning principal of Redcliffe in keeping disadvantaged and at-risk youth -- a growing cadre in many communities across the country -- in in the schools. Indeed, despite frugal state budgets, the school and away from risky pursuits. "The arts offer for legislature has remained steadfast about arts-in-education disadvantaged children the one area in which they are funding. For the past five years, the South Carolina leg- not disadvantaged," Setzler says. "The arts can provide islature has allocated more than $1 million annually for these children with ways of achieving success, giving this purpose. them a feeling of pride. The arts are one area in which background is not a large determinant of success." ~ Arts Education in Action These considerations led Setzler to spearhead To date, sixty-five of the state's ninety-one school passage of legislation that has provided nearly $6.2 mil- districts have received Target 2000 arts funding. Each lion in state funding for arts in education since 1989. year, more than 100 sites continue to develop arts educa- The ABC story, however, really begins back in 1984, tion programs and to implement proven processes in arts when then-Governor (now U.S. Secretary of Education) education. For example: Richard W. Riley engineered passage of South Carolina's Ashley River Creative Arts Hementary omnibus Education Improvement Act (EIA), now rec- School in Charleston is a magnet school for students ognized as one of the most far-reaching reform efforts in from varied ethnic and socioeconomic backgrounds (40 all the fifty states. The EIA concentrated on the basics of percent are minorities). At-risk children, particularly, school improvement, and it was enormously successful. have made large academic gains because of the creative, But it addressed the arts only in relation to programs for hands-on approach used here, says Jayne Ellicott, assis- gifted and talented students. tant principal. "They learn by doing," she says, "by par- By 1987, the South Carolina Arts Commis- ticipating. The creative approach is entertaining, and sion realized that the state was ready to advance beyond that grabs the attention of at-risk children." It grabs their a' the basics. Under the direction of Scott Sanders, former attention so well that last year, Ashley River had an in- o executive director of the South Carolina Arts Commis- credible 99 percent attendance rate. "They want to come sion and now deputy chairman for partnership at the to school even when they're sick," Ellicott says. "At-risk O NEA, South Carolina became one of the first sixteen c kids learn to do things in front of their peers, and they states to receive a planning grant from the NEA to de- learn that they're OK. They are able to compete with velop a "blueprint" to make the arts basic to the curricu- more advantaged kids because, in the arts, they are no lum for all students. A statewide steering committee -- longer behind. The creative approach puts them on a composed of educators, artists, civic and legislative par with the others." At Ashley River, this creative ap- leaders, cultural and educational institutions, and educa- proach permeates all courses. tional and arts associations -- developed the plan. Pine Street Elementary School in In 1989 this collaboration resulted in passage Spartanburg has the popular "Artsploration" program, of Target 2000, a school reform package that empha- now in its fifth year. Two portable dassrooms house the sizes, among other things, the role of arts education pro- drama and dance programs, and parent and student at- grams in achieving higher order thinking skills and cre- tendance at arts programs put on by the youngsters is ativity. Target 2000 provides generous funding for arts consistently high. "We're making great strides in putting the arts on a par with other subject areas," says Anne the eleventh grader is doing much better in all his aca- Predmore, visual arts teacher. The arts curriculum is demic classes. "Now when he doesn't get 100 percent on GO popular with all the children, but especially so with at- a test, he wants to know why. He always wants to do 0 risk youngsters and youngsters with disabilities. "They're more, and better," Lucas says. on equal footing with the other kids in the arts, and And there is Redcliffe Elementary School in Q 8 that's nice," Predmore says. "There are no auditions. Aiken, where the ABC Program has been integrated Entrance into the classes in not based on scores. Kids fully into the curriculum. Drawing on actual case studies t~ 3> feel at home in the arts where they might not feel at compiled recently as part of a grant application, Princi- home in other subject areas, and that's wonderful for pal Jane Slay can give numerous examples of students -- 0 their self-esteem." Pine Street parents are so supportive especially high-risk students -- whose lives have been o of Artsploration that they and the PTA supply 60 per- transformed by the arts. Clayton,*for instance, was a Q cent of the matching grant funds for the artist-in-resi- fifth grader who came to Redcliffe three years earlier as a

dency component. street-wise kid from New York City, brimming with Q The Wil Lou Gray hostility and anger that ~7 Opportunity School in West 0 "The arts are an important resource that erupted often and led to re- Columbia is a residential peated suspensions. But at g school for at-risk youth aged can lead toward greater creativity, Redcliffe, Clayton discovered m O.- fifteen and older. Using Tar- that he loved drama and vi- critical thinking, and problem-solving Q get 2000 grants specifically sual arts; what's more, he was skills - all skills our students will need as 0 designed for at-risk young- extremely good at both. He sters, teachers at the school successful adults in the twenty-first century." became an honor roll student created an interdisciplinary who "felt good about him- arts curriculum called "Arts self," says Slay. Adds a fifth- Afire"; it is credited with helping nearly all the students grade teacher: "I think the arts program made a real dif- enrolled in the arts duster pass the state's exit examina- ference in Clayton's life. I think it saved him." tion in reading and writing. "Their scores are a big im- There was also Russell,* a second grader who provement from previous years" says Carole Lucas, arts had been removed from his abusive parents and put with coordinator. She talks about Todd,* a youth with emo- his five siblings in a foster home. Russell was "filled with tional problems who last year disliked school and par- rage and anger and hostility," says Slay. But Russell ticularly hated library research. Arts Afire classes, such as learned that he loved music; he eventually rescheduled one that used a drama component, seem to have turned his weekly psychiatric appointment so that he wouldn't miss Todd around. "He loved researching the life of music class. Russell also discovered dance. "He likesdance," Sophocles, the Greek dramatist," says Lucas. "He said a counselor. "He's a good dancer. That's the way he can learned that he was very good at memorizing lines, at be- shine." Russell continued to have behavioral problems, but ing dramatic, at interpreting and analyzing. His oral and teachers said he threw fewer tantrums and began demanding written communication skills improved a lot." This year, positive attention. His overall school work also improved.

* These are realstudents, but their names have been changed to protect theirforivacy. ~ Broad Impacts sor of music and director of the ABC Project Office. The arts curriculum framework, adopted by the "The American way has always been that the arts are South Carolina State Board of Education in December only for the gifted and talented. The arts have always been 1993, has served as a catalyst for broader school change. the 'F' word: it's a frill." The ABC Project and Target 2000 programs have also Doughty knows that's not true; he fields two helped South Carolinians understand the vital role or three inquiries a week from other school districts and played by arts education. A 1991 survey conducted by states wanting to start their own ABC-type programs. the University of South Carolina Institute of Public Af- The teachers and principals at the South Carolina fairs indicated that 94.5 percent of South Carolinians schools lucky enough to have received special arts fund- viewed the arts as an important part of basic education, ing since 1987 also know the impact the arts infusion and 76.6 percent favored increased funding to has had on their schools. "I'm here to tell you that we're strengthen arts education in the public schools. on the map," says Reddiffe's Jane Slay. "Parents want An award-winning statewide public relations their kids to come here now." campaign is helping commu- But to come up nities increase support for the "The arts can provide [disadvantaged] with hard data, several special promotion of arts education efforts to assess effectiveness and the arts in South Caro- children with ways of achieving success, of programs are planned for lina. Fashioned by Jayne giving them a feeling of pride. The arts 1995 and 1996. These efforts will include: (1) documenting Darke, public information di- are one area in which background is rector for the South Carolina annually the eight ABC Arts Commission, the "In not a large determinant of success." model sites programs, to in- South Carolina, Arts Educa- dude qualitative and quanti- o tative information on pro- F- tion Means Business" cam- paign began in October 1993. It encourages business gram developments; (2) reviewing the results of research O and corporate support of arts education. The campaign grants that were awarded in 1993 to study the effects of includes video public service announcements for televi- enhanced arts curriculum on general student perfor- sion, brochures for South Carolina's business commu- mance at two ABC model sites and to conduct a state- nity, and informational posters and bumper stickers for wide arts education survey for South Carolina; (3) creat- South Carolina educators and schools. ing an ABC Steering Committee special subcommittee for program evaluation; (4) forming a special Arts As- ~ Future Plans sessment Task Force; (5) hiring an outside evaluator to Over the next two years, educators and adminis- assess the role of artists in residence and to recommendhow trators will focus on documenting and quantifying the to enhance the ways such artists can be used in the schools. impact of the ABC Project and Target 2000 grants on A study currently under way in Beaufort South Carolina students. "It's difficult to prove to County is looking at test scores and dropout rates, and people that the arts work," says Ray Doughty, a profes- whether arts education makes a provable difference in these areas. Teachers and principals are convinced it does; leveling the playing field through the arts increases self-esteem and reduces the stresses and risks for 0 children who might otherwise get discouraged and ('B drop out of school. ¢'1 8 "Legislators understand the importance of the g arts as a basic part of education," says Len Marini, direc- ¢.1,~ tor of research for South Carolina's Joint Legislative Committee on Cultural Affairs. "They also understand 0 the importance of the arts to their constituents." But funding is the key. "Everything comes Q down to money," says Rep. Mike Jaskwhich, a South _roT.

Carolina legislator who is a staunch supporter of the Q arts and chairman of the ABC Steering Committee. C~ And arts education is a fragile item, especially when bud- g, gets are tight. Still, South Carolina's arts education pro- w. grams have demonstrated graphically the value of the arts in helping all children -- at-risk, handicapped, aver- Q 0 age, and gifted -- thrive. The power of arts in education is especially notable with at-risk youth: the arts are help- ing many of these children transcend the limits of their environment, feel good about themselves, and stay in school. South Carolina's success in motivating all types of children through the arts -- but especially in reclaim- ing many of its troubled young people -- is an emphatic reason for other states to do likewise. []

Jan Collins Stucker is a ~ee-lance writer and editor based in Co- lumbia, South Carolina. She is a former education reporter and has written extensively about the arts.

Forfurther information on South Carolina's ABC Project, please contact the South Carolina Arts Commission at 1800 Gervais Street, Columbia, SC 29201; phone 803-734-8696. Denver's CuJfures

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Youth Coor~dinatorRicardo Vega and somemen~Der~ \'~ Ol~ i!~'~iz\ the Fathers a~d Sons Group, an ongoing pro~ oO~fthe ~: \ 4o - Denver Inner City Parish, stand before a mural li~ted ~i~ \\ by the group with\~e: help of artist Carlos Fresqu~il -byl ~ \ Auer

\ \ • \ ike many large cities, Denver is a mosaic of ~ Timing,Planning, Cooperating, ~ neighborhoods and cultures. Neighborhood And Collaborating boundaries are not always clear, and some com- IZ7 The roots of the Neighborhood Cultures of Denver pro- munities seem almost invisible, forgotten by city admin- gram go back to a cultural planning document called istrators and adjoining communities. Many of these in- "Cultural Denver," which was adopted by the Denver Z visible communities are straining under the pressures of Planning Board as a part of Denver's Comprehensive ¢.O poverty, unemployment, high dropout rates, and a lack 2I- Plan. The Cultural Denver document was adopted just O of health resources. Crime, drug use, and street gangs as the National Endowment for the Arts made funds O operate in these shadows and force children to live in O available to state arts agencies for projects in underserved (-~ unhealthy and dangerous environments. ¢__ areas. At the same time, the Colorado Council on the c New Identih/forDenver's Arts (CCA) made a long-term commitment to work ~ more closely with urban neighborhoods. Support from ForgottenNeighborhoods the Colorado Council on the Arts, the National Endow- In Denver, a pilot grant program called Neighborhood ment for the Arts, and the Denver Mayor's Office of Cultures of Denver (NCD) is combating some of these Art, Culture and Film were combined to make Cultural ills by using arts projects to promote cultural awareness Denver a reality. A project steering committee, chaired and improve neighborhood identity. Developed by Tim Sandos, included representatives of the Denver collaboratively by the Colorado Council on the Arts Planning Office, artists, and neighborhood activists. with city and federal support and the advice and guid- In 1991, eight Denver neighborhood out- ance of citizens, politicians, artists, and arts organiza- reach meetings took place throughout the city -- in tions, NCD has demonstrated that the arts can churches, schools, and community centers. In 1992, the strengthen the fabric of a community and make it a bet- first year of grant making, forty-four applications were ter place in which to grow up. received and grants were distributed to thirteen neigh- Maryo Ewell, the director of Community borhood groups. Over the next two years, approximately Programs for the Colorado Council on the Arts, points twenty more neighborhood organizations received grants out, "sharing a common place bonds people in a special for their communities. Successful proposals were those way. Neighborhood Cultures of Denver acknowledges that made a powerful case for the project's importance to this bond." "Much of Denver's energy comes from the the neighborhood, showed that residents designed the vitality of its neighborhoods," continues Tim Sandos, program with artists as facilitators, and projected both Denver's city councilman-at-large and the original chair- artistically exciting and socially important outcomes. man of Neighborhood Cultures of Denver. "NCD is a unique collaboration that brings arts to neighborhoods ~ ProgramsReFlect Neighborhood Cultures as a tool to celebrate strengths and diversity while find- On the west side of Denver, the Mulroy commu- ing solutions to community issues." nity is considered a high-risk area because of poverty and a high dropout rate among school children. Its population is primarily Hispanic, with sizeable Native to play Native American flute, meeting twice a week American and African-American groups. with twenty-six students. The program stimulated so The Mulroy Neighborhood Center, across much interest that Standing Bear is now offering the the street from a large public housing project, provides children Native American drum lessons. services for all age groups, with an emphasis on pro- The next section of the folk arts program was grams for children and youth. With a grant from NCD a thirteen-week course on colonial New Mexican folk and assistance from Catholic Community Services, dancing taught by Marie O. Trujillo, who had learned neighbors designed a yearlong folk arts program to pro- the dances from her parents and grandparents. The mote cultural awareness and education. dances are simple ones, Trujillo explains, that depict the Anna Totta, program director of the Mulroy everyday lives of the conquistadors and the colonists Neighborhood Center, explains that the folk arts pro- who lived in northern New Mexico many years ago -- gram tries to broaden the children's experience, and to the La Curia or cradle dance; the vaquero, which means cow- build confidence in their ability to function in different boy; and the European "waltz of the scarf,," a wedding surroundings and to relate march. "Music and dancing are better to people of all cultures. good therapy for everyone," "There are a couple of pre- "Neighborhood Cultures of Denver is a says Tmjillo. "Dancing is a so- mises that the program is built unique collaboration that brings arts to dal activity that can help chil- on," she says. "First, children neighborhoods as a tool to celebrate &en get along. The children must have a positive self-im- hdp each other in class." age about who they are and strengths and diversity while finding The final section where they come from. They solutions to community issues." of the folk arts program fo- 3' should also learn to appreciate cused on African-American o other cultures. Second, chil- culture. Like the first two seg- dren who are of school age should be able to learn to fo- ments, it included lessons in history, culture, art, and

Om cus on a skill and master that skill as much as possible. music (African-American drumming). Each of these c O We're trying to both improve their self-esteem and de- three sections culminated in a public presentation for the velop their abilities to focus and learn." entire community. The Mulroy Neighborhood Center The Mulroy folk arts program included three estimates that more than 1,200 people, induding students, separate sets of activities for children ages five to twelve teachers, parents, neighbors, and audience members, partici- that took place over the course of a year. The first was a pated in some way in the neighborhood folk arts program. sixteen-week program devoted to Native American cul- ture in which the children created artwork based on Na- ~:~A Welcome Arch, Personal Icons, and a tive American designs, including beaded work, drawings, Memorial Garden and totem poles. Creative writing exercises helped to ex- Elyria, northwest of downtown Denver in a primarily pand their knowledge of the culture. And Calvin Stand- industrial area, is mostly Hispanic with some older ing Bear, a Lakota Rosebud Sioux, taught the kids how residents of Eastern European ancestry. The Hyria come to the library and say, 'That's my tile, that's my Neighborhood Association decided to create a large symbol, that's important to me.' And yet, it all works to- [7 work of art honoring the cultures in their neighborhood, gether as a piece of art because there was uniformity in o which they described as "invisible" to the rest of the city. the way it was executed." The mural is now a permanent A major highway -- interstate 70 -- literally passes over, fixture outside the library. z and thus avoids, the Elyria community. The group de- "Community-building is the soul of the NCD (I21 signed and constructed a giant, colorful Welcome Arch program," says Rose. "The heart of it is seen when people O'- O 23- for visitors to their neighborhood. More than seventy- in a community work together -- choosing a design, O five Elyria residents, young and old, built the sixteen- picking a theme, and then executing it. NCD has al- O foot arch made from eighteen four-by-four-foot panels lowed that to occur. But most important, the people who mc C that depict the history and culture of the area. did [this mural] have a permanent tie to their neighbor- "This project profoundly touched my life," hood library and a sense of ownership." said the Reverend Kathy Mitchell, an Elyria neighbor- Gloria Leyba, now the chair of the NCD hood leader. "To see our steering committee, recalls an older residents working with "And now, each person can come to the NCD program designed for teenagers and preschoolers teenage fathers. "We know was nothing short of a library and say, 'That's my tile, that's my that there's quite avacuum as miracle. The focus was no symbol, that's important to me.' " far as programs that work longer age, ethnicity, lan- with young men. So a pro- guage, or gender. The focus gram was put together by the was neighborhood." Denver Inner-City Parish, and it resulted in several The Barnum/Westwood neighborhood is a projects. One was a historical mural that allowed the low-income neighborhood, primarily Hispanic, but with young men, primarily Hispanic boys, to get into their a relatively new population of Viemamese and other personal histories, their roots, to gain a sense of self. In Asian cultures. This influx of new immigrants has caused another project they wrote poetry about parenting. Some some friction. The Ross/Barnum Library, with the help wrote about being single fathers. of artist and community organizer Barry Rose, decided "The significance of the program, as I see it, is to construct a bronze tile mural at the library. The artist the impact it had on their lives and surroundings," Leyba sought out people from all of the neighbothood's cul- continues. "They had interviews and discussions with se- tural groups to create it. nior citizens. They were able to look to the elders of the The theme of the mural was personal icons. community to get more of a sense of parenting and fam- Neighbors designed and constructed thirty-six individual ily. Sometimes these young people don't have that kind six-inch-square bronze tiles. They chose symbols of some of relationship with their own parents. personal significance, drawing on books, education, fam- "The project is finished now, but it has prob- ily, and art. "Individuals were free to express themselves ably had some impact on how these young people look at within the whole," said Rose, "and now, each person can families and how they see the role of the father in the family. They were also able m share that knowledge with hopes to expand the program into other parts of the their own children, as well as other elementary school kids." metropolitan area and eventually across the entire state. Just getting underway at the end of 1994 is "What makes our organization unique," she the development of Memorial Garden, which will trans- says, "is that we're not just providing funds for a sculp- form a vacant lot in northwest Denver into a commu- ture or a painting. We're providing funds for a creative nity park. The idea came from Parents for Peace, a neighborhood planning process. It's not only the mural neighborhood organization whose primary purpose is to that people will remember. They will remember the fight gang violence. The Memorial Garden will indude bonding that occurred over the three or four months a community vegetable garden, seating areas, flower gar- when people came together with their special talents to dens, an Aztec dance and game court, a neighborhood make a project happen." As a result of that bonding, the plaza, and a basketball court. Neighborhood artists, local NCD steering committee hopes that the neighborhoods' activists, gardeners, mentors, and other leaders will assist residents can continue to move forward in a spirit of in the planning and implementation of the project, a unity, self-confidence, and creativity to address commu- memorial to peace in a neighborhood literally under the nity problems. gun of gang violence and street crime. In addition, the NCD program now allows individual artists to apply for funding, provided they The Power of Art and Communication have a community partner. "Traditionally," Medeiros ~ Fabby Hillyard, of the Mayor's Office of Arts, says, "the neighborhood organization would come up Culture and Film, likes the way NCD has developed by with the idea and then would have to find an artist. learning from the communities. "Neighborhoods have Now artists can say, 'I have something I can give to the the ability to define and describe themselves artistically community,' and find a neighborhood organization to from the inside out, not the outside in. We keep learn- work with them." o ing more about what communities need, and we put it The greatest benefits of the program, she says, 2i- back into the program. are "the relationships that are built as a result of the O projects. Residents get more involved with their own c "NCD [gives] neighborhoods and communi- 5" ties.., the opportunity, using the arts, to celebrate, to neighborhood organizations, they learn more about their address issues, to go for more overt neighborhood identi- communities and meet neighbors they've never met be- fication," Hillyard says. "It's their project. They design fore. They become empowered by the process. Because it, plan it, implement it, use artists as technical resource this funding process is similar to many others, they also people, but they [work as] a team." learn what it takes to obtain financial support to im- Cyndy M-A Medeiros, the NCD program prove their neighborhood." director who works under the auspices of the Colorado Medeiros also notes that, "it's great to see Center for Community Development (a program of the people discover the artist within themselves. In some University of Colorado at Denver), continues to refine programs we have parents doing projects with their chil- the program and streamline the process, making the pro- dren. To see that growth in imagination and to observe cess clearer for neighborhoods to access funding. She the reinforcement of family ties is a great benefit." ~ The Future oF NCD The initial funding for this program ended in De-

cember of 1994, but it is expected to continue. The o Colorado Council on the Arts and the Denver Mayor's Office of Art, Culture and Film are working together Z and with other neighborhood groups to ensure that o

NCD can carry on. They have seen how underserved D- O communities have enriched themselves with the help of 0 0 artists and neighborhood organizations. The Mayor's o_ Office of Arts, Culture and Film plans to maintain its commitment to NCD. "We would love to find a partner c who would raise the pool," says Hillyard, "but even if we don't, we'll do it anyway." What strikes CCA Executive Director Bar- bara Neal most about the program is how different funding partners pulled together to make it happen. "The cooperation between the NEA, the state arts coun- cil, and the Mayor's Office on Art, Culture and Film," she notes, "is a unique partnership. And it is something that we need to look at more closely in the future. Each one of these entities has the same degree of commitment to arts development on one of the smallest local levels, which is the neighborhood." []

Tom Auer is the publisher of The Bloomsbury Review, a "book magazine" distributed nationallyj%m Denver. He was also the Colorado coordinatorfor the Tumblewords: WritersRolling the Westprogram, which sponsored literarypresentations in under- served areas of eight western states.

Forfurther information on Neighborhood Cultures of Denver, please contact the Colorado Council on the Arts at 750 Pennsyl- vania Street, Denver, CO 80203-3699; phone 303-894-2617. rkin Thei Into the

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~ ~!~ix~i:~n Pantalone =~ hink back to your high school encounter with underserved populations -- with our programming," Shakespeare. Sitting in a classroom reading Brown explains. "All our education efforts were being from a book wasn't what the Bard had in tied to the state's literacy initiative. We began to con- O mind. If you were lucky you had a chance to see a live ceive of the arts as languages and communication, and we thought it made sense to do this with vocational/ ¢.o production, but even then you couldn't understand the g- language or summon enough excitement to see more on technical students." your own, could you? Davies is a state-run school in the Blackstone Q Now consider the experience of the students Valley region of Rhode Island, considered the birthplace -.< from Rhode Island's William Davies Career and Techni- of the Industrial Revolution in America. Once a leader cal High School who, through the Rhode Island State in manufacturing, the area has struggled since the 1950s Council on the Arts' Arts Talk Program, had the good to recover from a dwindling economic base. Of Davies's fortune of getting under Macbeth's skin at Providence's 700 students, 88 percent have been identified as aca- Trinity Repertory Company, a Tony Award-winning re- demically disadvantaged. In addition, 35 percent are gional theatre. Before they were done with Shakespeare's considered economically disadvantaged, and 53 percent classic tragedy about ambition, intrigue, and murder, have special needs of some kind. A growing number of students in the program had visited backstage with set students from immigrant families -- Hispanic, Asian, designers, carpenters, costume makers, and lighting ex- and Portuguese -- enter the school with limited profi- perts. They met the actors and the director, and their ciency in English, and demographic data suggests the special visit with Macbeth inspired them to design and number will continue to rise. silkscreen T-shirts for the play. Arts Talk gives technical and career students, The chance to see the language of who rarely interact with the arts in school, opportunities Shakespeare come alive made all the difference for the to interact with professional actors, musicians, dancers, Davies students, and the opportunity to spend time with designers, curators, and others from some of their state's technical staffat the theatre opened their eyes to the pos- most prestigious cultural institutions. William Foley and sibility of careers in live theatre, something none of them Beverly Lembo, the Davies teachers who have guided the had considered before. program since its inception, work in close consultation with Rhode Island's regionally and nationally recognized ~ Reachinga New Group of Students cultural institutions -- the centerpiece of Arts Talk. Arts Talk, developed under the auspices of the They integrate the arts with the subject matter being studied Rhode Island State Council on the Arts (RISCA), is now at the time in the English and social studies dasses. in its fifth year at Davies High School. The basic con- For instance, in their sophomore year, the cept, says RISCA's Arts in Education Coordinator Arts Talk students studied the period of American his- Sherilyn Brown, is to give technical students a broader tory from 1865 to 1900, and in their English dass read learning base and, more fundamentally, to help them Dances With Wolves. During the same period they visited improve their communication skills. "In the late 1980s the Museum of Art at the Rhode Island School of De- we were looking at ways to reach school populations -- sign (RISD) to view Native American artifacts. A medicine woman from the Narragansett Indian tribe vis- Fahrenheit451 for English class, creating their own illus- ited them at the school and a Native American dance trations for the story, and producing a half-hour radio troupe performed for them, so they learned about an- program. Electronics students will develop devices that other culture in several different ways. will be used in the radio show. The students will also at- When the class was studying immigration in tend a play with a science fiction theme, study mummies social studies class and reading British literature in En- in the RISD Museum of Art, work on sound effects glish class, Trinity Rep was staging a production of with folk musicians, and hear the Rhode Island Philhar- Twelfth Nightwith the story set in the early twentieth monic perform a program called "Salute to Flying Objects." century. The students read the play and did background research on it before visiting the theatre, and the techni- ~ Opening Up New Worlds cal students each hooked up with specialists in their areas "Without question the biggest impact of this pro- of vocational study, from electronics to costuming to gram has been in the self-esteem of these students," says graphic arts. Foley. "They have responded because the program has The coordinators introduced them to a whole at the various cultural institu- "The dropout rate at our school was new world.., and the pro- tions make every effort to de- gram has related that new velop interesting experiences about 12 percent overall when we world to the technical fields for the students that relate to started this program. After two years the they are studying... The the subjects they're studying. dropout rate among the Arts Talk kids studying graphic arts According to David Stark, the have worked with designers at education coordinator at the students was zero." Trinity Rep and graphics ex- RISD Museum of Art, "We perts at RISD. Kids who are o have tried hard to connect our interested in electrical work o exhibits and items from our collection to the general c¢'1 have seen what it takes to set up lighting and special ef- O subjects the students are studying. For instance, we re- c fects on a stage." 5" lated a Picasso exhibit and cubism to African art when "Most of these kids had never attended a play they were studying Africa. They toured our African Gal- or visited a museum [before this program]," says lery and were able to study the masks, objects, and arti- RISCA's Brown. "The program has taught them how to facts first-hand." Following their visit, a RISD arts in- be an audience, how to behave at the theatre or in a mu- structor taught them how to create collages. seum. And in the process they've discovered that art Stark introduced a graphic arts and design forms they might have thought were elitist or difficult component into Arts Talk in the fourth year of the pro- are quite accessible." gram, and this year the students are going to embark on 'Tm not surprised at the positive effect this a major project that will incorporate graphic arts with has had on the students," says David Gasper, education many other elements. As Foley explains it, the students director at the Rhode Island Philharmonic. "They are will be working on a science fiction theme by reading like any other potential audience. If they are given the i \ / / q"J \\ \ \, \ \ / \ \ /

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"\~ragansett artist• Ella\\ Sekatau demonstrating r egal'a1 m alongt to Arts \~\ Tal~ Students" \ \ \ Photo by W'mnie Lambrecht ~ \i

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\ \ attention they need and the material is presented in a leaving school. "She was living in a group home and she way that involves them.., they'll respond." didn't care about school or anything, really," says Gasper continues, "For them to appreciate Lembo. "Then at one of the Arts Talk programs on Na- classical music, they have to understand some of its lan- tive American culture she seemed to perk up. Her father guage just like anyone else. We gave them the opportu- had a Native American background, and she seemed nity and the environment to appreciate it, and they re- very interested in learning more. Pretty soon she was sponded. It's an accomplishment to get any high school studying it on her own and doing a lot of related art- student to appreciate an abstract art like music, especially work. She began to write poetry, her whole attitude im- when you consider that they are weaned on popular cul- proved and her attentiveness in school got so much better." ture and the superfidal, short-term rewards it provides." The folk arts elements of the program had a Peg Melozzi, Trinity Rep's education direc- special influence on many of the students, says Winnie tor, spoke of a telling moment that occurred during a Lambrecht, folk arts coordinator for RISCA. "Many of performance of Twelfth Night, where there were 500 them are from immigrant backgrounds or are immi- high school students in the audience. "I noticed this grants themselves, so it touches them personally to know pocket of beautifully behaved, in-tune, perceptive kids. that their cultural background is valued in an educa- They were the kids from Davies. They were focused. tional setting, because they seldom see it valued in the They knew the play. They behaved the way you hope an mainstream." audience will behave." Another special attraction of Arts Talk is the Melozzi continues, "The difference with the opportunity for students to meet and get to know pro- Davies kids, I'm sure, was that they knew the actors, and fessionals in the arts. Last spring, for instance, students they knew how the set was built and how the lighting sat on the 1940s nightdub set of Trinity Rep's produc- was done. They were in tune with the whole production, tion of Lady Day at the Emerson Bar and Grille listening o and they were intensely interested in it." to Rose Weaver, the show's star and a veteran of over two decades of stage, film, and television acting and mO c ~ PositiveEffects singing. The students sat rapt as Weaver talked to them O "After the first year of the program you couldn't not just about Billie Holiday and her tragic life and artis- tell the difference between the special needs students and tic genius, but also shared with them her own life as an the regular dassroom students by behavior or by test actor and mother of two children. Just as Billie Holiday scores," according to Lembo. "The dropout rate at our came alive for them on stage, Rose Weaver became a real school was about 12 percent overall when we started this person for them too. program. After two years the dropout rate among the Arts Talk students was zero." ~ From Arts Talk to Arts Workers Lembo tells of a student who graduated last Through Arts Talk students became interested in spring and joined the Marine Corps, barely a year after careers in the arts that fit the technical fields they were she had been having terrible trouble in school. The studying. Recognizing the students' new career interests, teacher believes that Arts Talk prevented her from RISCA's Brown and the Davies teachers realized that no follow-up opportunities for apprenticeships or intern- reform nationwide. As someone who knew nothing ships were available. So they created a companion pro- about arts education before these programs began, I can gram called Arts Workers, which was implemented in tell you I am convinced this is the way to go in the future." 0 the 1993-94 school year with the help of a grant from the National Endowment for the Arts (NEA). Arts ~ FuturePlans For Arts Talk So Workers places high school seniors in internships with Foley and Lembo have written an arts education arts organizations, where they gain a unique inside per- curriculum for high school sophomores, which they ....<0 spective on the arts while practicing their vocational hope will be adopted at the school. Their goal is to inte- skills. The NEA grant helps provide salaries for the students, grate Arts Talk with the English classes in grades ten and and fees to arts organizations for training and supervision. ¢D eleven, and to coordinate the Arts Talk experiences with 3> For one student, Jesse Mercer, it has already English and social studies in the senior year. paid off. After he and another electronics student, Chris RISCA's Brown, who plans to do more Lebrecque, did a summer apprenticeship with the evaluation of Arts Talk to see how it can be improved Everett Dance Theatre, Jesse was offered a part-time job and expanded, says she also wants to track graduates operating the dance company's lights at its new theatre. who have gone through the program to see what impact "I really wasn't interested in [working in] theatre or it has had on them and their careers. She's hopeful that dance before I did the internship," Jesse said. "[But] Goals 2000 educational reform initiatives will encourage working there got my attention. I realize it's a serious re- more funding for arts education, and she thinks that sponsibility, and I look forward to going there to work." Arts Talk "can be a model for other schools. We'd love Jesse and Chris provided considerable help in to see it in every high school in Rhode Island." [] converting a 1910 carriage house into an intimate dance theatre for Everett, says one of the dance company's John Pantalone is the editor-in-chief of Newport This Week, a principals, Aaron Jungels. "They helped pull all the elec- community news and arts weekly in Newport, Rhode Island. He trical service, bent electrical pipe, and ran and hooked up has written extensively on the arts in Rhode Island. conduits throughout the building... They came pre- pared to work and they knew what they were doing. Forfurther information on Arts Talk and Arts Workers, please They have good attitudes and sufficient skills, so we contact the Rhode Island State Council on the Arts at 95 Cedar Street, Suite 103, Providence, R102903-1034; phone 401- could leave them on their own to complete the job." 277-3880. Jesse says he'd like to work as. a lighting de- signer and operator full-time someday, and that's exactly what Foley, Lembo, and Brown were hoping would happen when they started Arts Workers. "It's been a ter- rific outgrowth," says Foley. "All of it helps the kids with creative thinking, analysis, problem-solving, and com- munication, which are stressed in Arts Talk as well. These are the major goals being identified in education I~, • IThe FamilyA.rts~A da~~ A Lighthouse for Roug~ h Waters

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~~//~:~ aL)h~nun~aanMT~,n~~,°rfks Wiwil/ot~w.Alex Laws°n at Famil~Arts Festi~val' building

by Nan Romalyn

Tilghman s you drive up to the Performing Arts Cen- Sometimes it's a bit difficult to pin down exactly what ter in Newport, Oregon, the home of the the Family Arts Agenda is because it's a whole collection Family Arts Agenda, you know you're in an of arts activities that aim to strengthen families in Lin- idyllic place. The crashing Pacific Ocean waves fill your coln County through the arts. 8~ 3 ears, and, if you look past the building, you can see for- The programs of the Family Arts Agenda are ..< ever. There may be a whale spouting or a fishing boat on truly collaborative, teaming the Oregon Coast Council the water, but chances are you are looking at as much for the Arts with community members and a variety of cO horizon as you'll ever see. The Oregon Coast is the kind social service agencies. The council learned early on not if) 8_ of place that attracts artists, writers, naturalists, and tour- to create programs to take out into the community, but Q ists. It's the kind of place where you want to stay because rather to meet with constituents to identify their prob- r"T you feel as if there could be no troubles here. lems and priorities and then to provide a set of options O What is less apparent at first glance is that the for them. In the process of working with constituents to c Performing Arts Center sits in a county that is distressed design programs for the community, OCCA provides 8" in a number of different ways. Newport is a town of first-rate, talented, compassionate, and creative artists, 8' 9,000 people, and is in Lincoln County, population and enlists people in social service and education fields c 36,000. Newport has counted on tourism, fishing, and for their special skills and insight. Other agencies help timber for its economic survival. Tourism is still thriving provide sophisticated methods of program planning, but its jobs don't pay very well. Fishing and timber are skills assessment, and evaluation. threatened by environmental concerns and diminishing "The Oregon Coast Council for the Arts' resources. These economic challenges have contributed Family Arts Agenda is a prime example of the way the to the highest per capita rate of teenage pregnancy, arts councils integrate the arts within a community," single-parent families, suicide, divorce, drug and alcohol says Christine D'Arcy, the executive director of the abuse, and adolescent AIDS in the state of Oregon. The Oregon Arts Commission. OCCA is one of nine re- situation is such that social workers alone can't solve the gional arts councils in the state, developed largely multitude of problems; there is a real need for the through the efforts of the Oregon Arts Commission. Family Arts Agenda. D'Arcy continues, "The Family Arts Agenda builds pro- grams around agencies and issues important to positive ~ StrengtheningFamilies and Community change in the area. The programs involve the young and Throughthe Arts the old, workers and the unemployed, residents and visi- The Family Arts Agenda was conceived by Sharon Mor- tors, the well and the stressed." gan, executive director of the Oregon Coast Council for In undertaking programs, the Oregon Coast the Arts (OCCA), as a way to bring the healing power of Council for the Arts takes into account that family dys- the arts to a number of people whose lives have been di- function is identified as one of Oregon's five most press- minished by abuse or neglect. As the program has devel- ing problems. While almost any state would identify oped, it has become evident that stress and dysfunction family dysfunction as a critical social problem, Oregon invade almost every life at some time or another. has adopted a system of progress measurements called Benchmarks, which are standards for measuring state- negative message about the arts for the child, and a wide progress and government performance. All state missed opportunity for them to share the arts. Not only agencies must reflect the Benchmarks in their budgets to had the mother never seen a ballerina, we had set her up justify investments of public monies. By using the lan- with one more thing she could not provide for her child." guage and measures of Benchmarks in its program plan- As a result of that moment of insight, the ning, the Oregon Coast Council for the Arts has enabled Family Arts Agenda's arts latchkey program was agencies to incorporate the Family Arts Agenda into changed. Now, parents don't just pick up their kids after their agency plans and grant applications. Benchmarks the program; instead, the program schedule accommo- was recently awarded an Innovations in State and Local dates the real needs of the whole family. On event Governments award from the Kennedy School of Gov- nights, an early supper is served to families who then see ernment and the Ford Foundation. a performance together. This "one-stop arts" meets many needs, including bringing families together within ~ FamiliesDiscover the ArtsTogether a positive community setting. The family is given a tre- The Oregon Coast mendous treat in the form of a meal they don't have to Council for the Arts does "For some kids who have been beaten more than respond to a cook, a shared experience, community's articulated and the many others used to receiving and an evening of the arts. needs. Sharon Morgan has an only criticism, the clown developing The kids are home before bedtime, fed and full in their impressive ability to "hear" sessions are a miracle in human between the lines. Some have stomachs, hearts, and minds. even accused her of mind- resilience, trust, and hope." The parents are satisfied by reading. Her special intelli- the wonderful, communal O gence is evident as she tells of time, and are invigorated and ¢D a major moment of enlightenment in her own thinking. nourished as well.

Om The Family Arts Agenda attempts to include c A dance workshop for elementary school stu- O dents had just broken up and parents were picking up the parents -- or foster parents, or both sets of parents, their offspring. The kids' faces were smiling, happy, and or any other person identified as a family member -- eager, in contrast to the parents' faces, many of which in every project it does that involves children. Some- were tired from putting in long hours at minimum wage. times, it is as simple as sending home a glossary of new Sharon explains: "One little girl ran up to her mother, words that a youngster learned from an artist or a sug- threw her arms around her, and exclaimed 'Oh Morn, it gestion of books and videos available from the public li- was so neat! I saw a ballerina. Can I take dance lessons?' brary that will continue the arts experience. Other times, In one instant, the mother's face turned from exhaustion, it may include sending the kids home with popping corn to love, to exhaustion again. And then I came back to my (after teaching them a safe way to pop it) and a poster office and cried, because I realized what we had done. they created inviting the family to gather in the living We had created an additional stress for the parent, a room, kitchen, or yard for a snack and a show. The kids then demonstrate a new skill, which might be juggling, sorts of personalities and peculiarities to be shown in singing, or putting on a puppet play. a positive way." Lead artist Don Fogle, a movement artist, g- ~ MakingCircus Skills Life Skills says, "Our clowning is built from the inside out. You 3 The Kid Konnection Circus Project is another ex- just wouldn't believe the earnest, concentrated analysis -.< ample of the kind of integrated and collaborative pro- that these kids lend each other as they analyze one 3> gram that is part of the Family Arts Agenda. It was de- another's walks, their signature gestures, a special facial cO expression. For some kids who have been beaten and the ¢D signed by social workers and arts council staff to provide el learning experiences for youth, in the often overlooked many others used to receiving only criticism, the down O seven- to eleven-year-old group, and their families by developing sessions are a mirade in human resilience, ¢O teaching them downing, juggling, and balancing skills. trust, and hope." By the time the kids graduate from this g- o The kids are selected because they have been dients of program, they have had lessons from mimes, dancers, c protective services, they are being served by at-risk ser- and children's theater experts. 8~ vices in the schools, their parents are being served by a A family contract is required for a child to participate in Kid Konnection. Training, equipment, substance abuse program, or their families have elected 2I- to work with social service agencies and this program. dothing, and transportation from school sites are pro- z~ Q Kid Konnection includes an after-school program of in- vided by the program. Parents agree to provide transpor- struction; a monthly performance and celebration called tation home and to notify the staffif they cannot. They Super Saturday, which includes the families; and a com- also agree to attend the Super Saturday Family Programs munity-based summer program, which includes a week where children perform and teach their parents. Parents of overnight camp at the state's 4-H site. Every year, 120 and children work together on developing a portfolio to 140 kids take part. that documents skills, events, and personal reflections. Kid Konnection came about largely through The portfolio is both a Kid Konnection memento and the efforts of Evelyn Brookhyser, the Lincoln County an evaluation tool. To understand further what the par- Extension 4-H agent. The 4-H has long been recognized ticipant is learning, each child has a mentor, either a as offering exemplary training programs for rural young family member or an older student, who also takes classes. people and is reorganizing to offer programs beyond ag- riculture and homemaking that will be relevant to ~ EvaluatingImpact today's youth. Brookhyser explains "We already had Kid Konnection is evaluated not on vague hopes, theater programs for kids and felt that one thing that dreams, and promises but rather on goals that are mea- many at-risk kids need is something special and uniquely sured at the end of each year. Project evaluation exam- their own. It was just one of those crazy brainstorms ines both process and outcome. A trained evaluator that led to identifying a circus theme with all its ele- gathers information on the program's process by observ- ments that helped us hit upon Kid Konnection. Jug- ing and interviewing the project coordinator and lead gling improves hand-eye coordination, tumbling aids artists, meeting with coalition team members, and inter- physical coordination, and clowning allows for all acting with parents. Information regarding the degree to which objectives are met in terms of outcome is gathered and in working with the artist. In a therapy group for from evaluation forms completed by the parents; initial victims of sexual abuse, the writer introduced a letter- and year-end assessments made by teachers of participat- writing exercise, asking the girls to write letters that ing youth; and observations of skill development as could be sent, kept private, or destroyed. To the amaze- documented by the project coordinator, the lead artists, ment of the artist, many of the girls wrote letters to their and the evaluator. former abusers. Another program, a mentoring program for high school girls, involves journal writing. Each girl is :~ Revealing the Potential of assigned an artist/mentor who reads her journal and dis- Troubled Teen Girls cusses it with her. Each month the group also attends a special program designed especially for them in which a Improving self-esteem and encouraging consideration of speaker talks on careers or a number of other topics. options -- as to careers, health issues, choice of part- In addition, the FamilyArts Agenda responds ners -- are threads that run through most of the pro- to very specific problems grams of the Family Arts that are often overlooked. Agenda. Those threads are For example, many of the particularly strong in pro- "But under the guidance of the artist he teenage mothers did not grams relating to high school know any lullabies or count- students who are unable to began to explore his creativity. I think ing rhymes, because they visualize many options for we were both surprised to find he had had never been sung to as their futures. Sharon Mor- real talent. It was wonderful to see the children themselves. After gan points out, "In one of learning action songs such as our county high schools, the pride he felt in his work." a' the hokey pokey and mark of achievement for the o folksongs like "Hear the girls is who can get pregnant F- Wind Blow," the young women learned with Carol GO first by the boy with the highest truck and most gun O Groobman, a singer/songwriter, to write songs about racks. Much of our work is directed to 125 high school themselves or to highlight a happy event or a favorite girls who need to see their potential -- as hairdressers food. Not only did the mothers learn the joys of singing and homemakers as well as lawyers and teachers." These to their children, they also learned to communicate and high school girls are identified by their schools and social treat very young children with dignity, respect, and kindness. service agencies as young women whose lives can be changed by positive influences. In one of the programs a poet taught creative ~ Money Comes from a Variety of Sources writing as a new form of expression to a group of girls Funding for the Family Arts Agenda comes from a and women, ages fifteen through twenty-six, who have a number of public and private sources. Ongoing support high potential for dropping out of school, becoming comes from the Oregon Arts Commission, which initi- teenage mothers, or committing suicide. By the fourth ated the development of regional arts councils through- of six sessions, the girls were very interested in writing out the state. The City of Newport maintains the Per- forming Arts Center, home of the Oregon Coast Coun- later, she has graduated from college and plans to at- cil for the Arts, and provides programming support an- tend graduate school. All her kids are doing fine -- nually. The National Endowment for the Arts provided and making art. [] g---4 a three-year grant that supported the basic operations of 3 the Performing Arts Center in its first years and the de- Romalyn Tilghman is a fkee-lance writer, a consultant, and the ...< velopment of the Family Arts Agenda. The Kid publisher ofArts Rag. Her book, Audience Development: A 3> Konnection Circus Project has been funded in part by Planning Toolbox for Partners, was recentlypublished by the ca)> the U.S. Department of Agriculture Extension Service. Association of Pe~forming Arts Presenters. o 0..... The Meyer Memorial Trust has led the way in funding ¢"1 new programs. Forfurther information on the Family Arts Agent, please con- 3> tact the Oregon Coast Councilfor the Arts at P. O. Box 1315, In addition, "other agencies [in the state] are 2T" Newport, OR 97365;phone 503-265-9231. g- writing grant applications that include the Family Arts c Agenda, and agencies are contracting directly for our ser- 8" vices," Sharon Morgan says. "We're also finding that as the Oregon Coast Council for the Arts is strengthened c 21- by its involvement in these programs and collaborations, it is easier for us to raise money when we do ask." -go p_., ~ SuccessMeasured Person by Person The success of the Family Arts Agenda is possibly best measured person by person. One newly single mother of five wrote about her experiences: "We were fortunate enough to have an artist come to our weekly meetings. After a couple of weeks, I noticed my eight- year-old son had a particular interest in the art segment of the program. He was a troubled boy, having taken the separation hard. He had low self-esteem and was prone to aggressive behavior. But under the guidance of the artist he began to explore his creativity. I think we were both surprised to find he had real talent. It was wonder- ful to see the pride he felt in his work. I also noticed what a calming effect the art had on him... You could almost see his self-esteem grow." That same mother took her first airplane trip when the Family Arts Agenda was honored as a finalist in Harvard's Innovation Program. Now, three years j ..... / Project BRI~GE~,;;~ An Artist in T~,ir~Midst

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~e~ byKarenSandeIi\Saundra GoMman n the heat of a Texas summer afternoon, a group When asked what they like best about Project of children escape to the air-conditioned shelter BRIDGE, the kids at Thurmond Heights respond en-

provided by the recreation center in their hous- thusiastically. "Everything!" says Ronald Boston. "I want O ing complex. They trickle in one at a time as the word it to go on forever." Veronica Serrato agrees, "RAM spreads that BRIDGE artist Raul Valdez has arrived. spends time with us and he sings good!" A few of the m Valdez greets his young friends and inquires about their children respond more selectively, mentioning specific © brothers, sisters, and other companions who live at the classes or projects. Princess Green says, "I enjoy Raul Thurmond Heights housing development. When the coming here and helping us. He's teaching us the steps entire group is finally assembled, they go to work pre- of painting and now ! paint whenever I can." paring for the upcoming dedication of their latest project, a permanent outdoor sculpture that will be installed on the ~ New Connections and Transitions grounds of their North Austin housing development. Bridges are built to make connections and transi- On this particular afternoon the children are tions. Through Project BRIDGE, connections are made rehearsing the song they will perform at the opening cer- between the Texas Commission on the Arts (TCA) and emony. As Valdez accompanies them on the guitar, they public housing authorities, between artists and children, belt out the words to the popular song Tick To& writ- and between children and their parents. Transitions are ten by the late Stevie Ray Vaughan -- a legendary musi- achieved by the individuals who gain in self-confidence cian in the town of Austin where the children reside. as they develop their artistic skills and who gain in pride Their faces beam, demonstrating their delight with the and self-respect as they broaden their appreciation of melody they are creating with their voices. The lyrics are their own and others' cultural heritages. Transitions are like a prophecy and a prayer: also made by the BRIDGE communities as they become One night while I was sleeping in my bed, I active producers of arts programming by nurturing artis- had a beautiful dream tic talent and developing local audiences. Substantial That all the people of the world got together support to the TCA from the National Endowment for on the same wavelength. the Arts is helping to make these connections and transi- Now in the street, universal love was the tions possible. theme of the day. In identifying public housing developments Peace and understanding, and it happened for the program, the TCA works cooperatively with city this way: housing authorities and/or community-based arts The sick, the hungry had smiles on their faces. organizations. Sites are chosen largely on the basis of The tired and the homeless had family all around. need, indicated by the number of families with children People of the world, all had it together. under eighteen and with an annual income below the Had it together for the boys and the girls. poverty line. BRIDGE neighborhoods are typically And the children of the world look forward to characterized by high crime rates and children with low the future. school performance. A variety of factors that may (Tick Tack, by Stevie Ray Vaughan, 1990.) contribute to the program's success, such as resident interest and the availability of facilities, are also consid- dous success of the residency, the Carver now employs ered in selecting a site. three instructors in Afro-Brazilian dance and music. At Rhodes Terrace, for example, the Dallas Plus, San Antonio is now the new U.S. site for Parks and Recreation Department manages a facility lo- DanceBrazil. cated adjacent to the housing development, providing a For another project, developed in coopera- gathering place for events and classes, as well as the assis- tion with the Hertzberg Museum, Garza brought in fel- tance of parks and recreation staff. In San Antonio, the low artists to work with young people in creating altars. housing authority dedicated a five-bedroom apartment "I try to do art that deals with something they're familiar at the Cassiano housing complex for exclusive use as an with or that relates to their own cultural background," arts center for the young residents of housing develop- Garza says. Altars are an ancient part of Latin American ments throughout the city. Currently there are six culture, and are a natural part of this community's BRIDGE locations throughout Texas: Austin, Dallas, El physical environment -- in homes, yards, and churches. Paso, Houston, Laredo, and San Antonio. While a child may recognize an altar, he or she may not understand its purpose. For these reasons, the altar Art FormsReflect Needs of Community seemed like an ideal subject for an arts project. ~ Mary Jesse Garza, BRIDGE artist in San Anto- As the children became caught up in the dif- nio, is a trailblazer in cooperative ventures between the ferent ideas introduced by the artists, they created three San Antonio Housing Authority and local arts pro- altars with the help of the artists: a main altar, a grams. Her relationship with the Carver Community children's altar, and an altar for people with AIDS. For Cultural Center, which presents multidisciplinary, inter- the second year the finished altars were presented in an national arts programming, has led to a very special op- exhibit at the museum. Both years the exhibits opened 8' portunity for kids all over San Antonio to learn and per- with public receptions where visiting theatre groups, o F- form with the world-renowned DanceBrazil. Cultural Warriors and Grupo Animo, provided music DanceBrazil brings capaeira, an Afro-Brazilian and poetry, and teenagers of the community recited po- O movement form combining martial arts, dance, and mu- etry that included references to the traditions of the altar. sic, to the stage. The children learn discipline as they practice the capoeira movements and study the combat ~ BuildingCommunity metaphors, which also provide exercises in nonviolent When a BRIDGE site is established, great care is approaches to resolving disputes. These are powerful taken to insure that the program meets the needs and tools for kids who are challenged daily by strife and vio- desires of the residents. During its pilot period, Project lence. Responding to the company's desire to work with BRIDGE developed an effective model that is still being community groups, the Carver Center and Project used for building rapport and establishing trust with BRIDGE arranged a series of workshops and perfor- communities. Artists undertake door-to-door surveys mances throughout San Antonio at the Point East with the assistance of VISTA volunteers, organize "Meet Apartments, Alazan-Apache Courts, Urban-15 studio, and Greet" performances, engage in casual conversations the DanS.A. studio, and the Carver. Due to the tremen- in public spaces, and, perhaps most significantly, begin to develop a Community Arts Advisory Committee BRIDGE artist Jesus "Toro" Martinez describes the (CAAC). Through the CAAC, tenants, parents, and rep- process as one of healing: "During the rehearsals, old resentatives from community arts organizations, public -'u feuds would surface in the form of bickering or snide O housing administrations, and human service programs comments. But gradually the group came together and work together to develop and schedule appropriate projects. the entire community was rewarded by the tremendous x~

When Raul Valdez began his work at gift [of song that] they gave." 63 Thurmond Heights in Austin, the neighborhood was Sponsored by the community development r'n suffering from escalating drug crimes and violence, and agency Corporate Fund for Children in partnership with the residents expressed a strong desire for peace. In re- the Laredo Center for the Arts, Project BRIDGE has sponse, Valdez organized the production of a mural en- also been providing music, dance, and visual arts work- g- titled, "Peace and Harmony in the Neighborhood." Af- shops for the children and parents of several of Laredo's ter photographing residents waving the peace sign, he other low-income neighborhoods. A local accordionist, fi2 projected their images onto a freestanding mural board, Flavio Tortes, has given lessons on the basics of accor- and the children traced and painted them. On the back dion playing and conjunto music. Ana Laura Bozell, a side they scribbled positive "graffiti," slogans like peace, modern dance instructor, has taught modern dance to harmony, and unity. Now when the children pass by the young and old alike. And in the visual arts, Jesus "Toro" mural they see images of friends and family and know Martinez, Gerald Salazar, Luis Guerra, Zelma Zapico, that they have made a positive contribution to their and others have taught a number of hands-on classes community. They are also proud of the Public Housing that include the fundamentals of painting, drawing, and Performance Award they received for the mural. art history. Along with the traditional visual arts instruc- George Lee, an active participant in the tion, the program also provides such activities as puppet CAAC at Thurmond Heights, expresses his satisfaction and hat making. with the project and the accomplishments of his com- munity: "It's really made a difference. The kids are busy ~ RebuildingFamily daily and their attitudes have really changed. I've been in In the Texas-Mexico border town of El Paso, on this from the beginning and I'm so proud." BRIDGE artist Victoria Salazar is busy offering bilingual In Laredo, Project BRIDGE is not only help- workshops in dance and the visual arts to the residents of ing rebuild a sense of community, but also has begun to the Truman Complex. But her creativity in meeting the heal the wounds created by conflict between rival neigh- needs of the single parent families is especially notewor- borhoods. Rio Bravo and H Cenizo are both impover- thy. When Salazar began working at the public housing ished colonias outside Laredo, lacking water and electric- development, she discovered that 90 percent of the adult ity. With the assistance of a BRIDGE artist and an residents were single mothers who are busy and often active CAAC, the two colonias are working together to have little time and energy to spare at home. become a single, more productive community. Recognizing the limited budget of her stu- The first cooperative project of Rio Bravo dents and the pressures of holidays, Salazar created an and El Cenizo was a night of song and serenade. "edible" arts project where the common contents of the grocery bag become the artist's palette and the artistic tion-based festivals, will both generate community pride product is always something good to eat. Together, the and offer economic development opportunities, with the mothers and children make festive food creations for the festivals becoming tourist attractions and providing em- home and to share at community pageants. For ployment for artists. Valentine's Day the mothers and their children attended "Chopin and Chocolate" with concert pianist Dr. Lucy ~ TeensBehind the Camera Scarborough performing Chopin's work and discussing Project BRIDGE builds self-confidence in his fame and life as a composer. Accompanying the per- countless ways, the most obvious being the confidence formance was a display of one of the student's elaborate, one gains in acquiring new skills. Karen Sanders, sculptural chocolates, which were presented to the BRIDGE artist at Irvinton Village in Houston, does mothers with poems and cards created by the children. even more to try to build self-confidence by helping "What is great about this kind of art," Salazar explains, African-American teenagers reclaim responsibility for "is that the family can do it together at home, and these the way they are perceived. kids need to be with their parents." By bringing parent Sanders teaches video and photography, and and child together, Project BRIDGE helps rebuild runs her program with two goals in mind: the develop- family ties. ment of professional skills and media literacy. For Sand- In addition, Salazar has helped one resident ers, media literacy begins with understanding the process pursue an interest in cake decorating, which has become of creating the image, including the subject choices a source of financial support. Salazar enthusiastically ex- made by the photographer and the technical manipula- plains that the principles of art -- proportion, design, tion in the dark room. For the teens oflrvinton Village, and color -- can be applied to any creative pursuit. access to this process provides a better understanding of "You can compare her first cakes with her later ones. the way images are presented in mainstream media. By O When she began, the shapes were bulky and had little producing positive images of themselves through videos ¢D sense of proportion. Now she has a better sense of line and photographs, the students are examining and articu- O and composition. The cakes are more elegant, more c lating their views of their cultural identity. pleasing to the eye." Her student has become a virtual Sanders has concentrated on the most vulner- sculptor of baked goods. She has also made the transi- able age groups at Irvinton Village -- the teens and pre- tion to a wage-earning citizen. teens who are at the highest risk for drug problems and Salazar's arts projects reflect her belief that the AIDS. The prevalence of the photographic media in arts can contribute to all areas of life. With the support contemporary society makes this program especially at- of the E1 Paso Community College's Institute of tractive to them. Among their accomplishments are a Workforce and Economic Development, she has ex- photo exhibition that took place at Irvinton Village; the panded the program at the Truman Complex to explore production of their first video; and participation in a and develop the Mexican festival traditions in E1 Paso. group exhibition at Diverse Works, a nationally recog- Salazar and the college believe that rekindling the nized art space in Houston. Most recently, the group community's interest in producing the pasadas, tradi- participated in a city-wide photography event, Fotofest, with an exhibition in a Houston gallery. Sanders has trips to arts events and arts institutions, providing inspi- been successful in acquiring a video camera and tripod ration for the work the children do in their dasses and for Irvinton Village. It is the first step in her plan to in- models for those children interested in careers in the arts. 0 stall a permanent video production studio at the housing Field trips have the added benefit of teaching development. She is also trying to obtain a computer for children the appropriate behavior in public settings. Irvinton, which will not only aid in video production, Victoria Salazar describes the transitions she has wit- © .m. but will help the children write their own scripts. Sand- nessed: "When we first started going out, these kids ~> ers explains, "I want to encourage the children to sit and could not sit still for more than a few minutes, much less )> think and express themselves in writing as well as for a one-hour performance. Now they're courteous and through images. These kids have stories to tell." well-behaved. And because they're performing them- g- selves, they show appreciation and respect for the accom- ~ ArtistsNurture Artists plishments of others." "Project BRIDGE is primarily fueled by the en- Because of its many successes, the Texas ergy and commitment of the artists who run the indi- Commission on the Arts has now made Project vidual programs," says Rita Starpattern, Project BRIDGE part of its long-range plan. In 1992, its first BRIDGE coordinator at the Texas Commission on the year, BRIDGE artists provided over 4,400 hours in di- Arts. Each site is directed by a lead artist who establishes rect service to over 350 students, and over 4,600 resi- goals for the particular site. Like candidates for any other dents participated in community events. The following job, lead artists are selected according to their skills and year, BRIDGE tripled the number of youth and adults it experience. What distinguishes this program in terms of reached through classes, workshops, and field trips to its hiring practices is that the general goals of Project 15,407. But the numbers hardly tell the story. In the BRIDGE are personal goals of the artists. They are al- words ofRuden Rodriguez, resident services officer at ready committed to serving economically depressed the San Antonio Housing Authority, "The process of a populations. Selected artists are also members of the pre- youngster getting involved, [attending] classes, setting dominant cultural group of the participating housing de- some goals, feeling good about himself or herself, [expe- velopments and express a personal stake in seeing their riencing] discipline, developing learning skills -- those program succeed. are the benefits." [] In addition to a background in community- based work, the artists' professional achievements are an Saundra Goldman is a Ph.D. candidate in twentieth-century art important consideration. The artists not only provide history and criticism at the University of Texas at Austin. She is the necessary expertise for teaching, they act as models of also a ~ee-lance writer and the art critic for the Austin Ameri- can Statesman. commitment and professional excellence. According to Pamela Johnson, who is a dancer with the Junior Players Forfurther information on Project BRIDGE, please contact the and a Project BRIDGE artist in Dallas, "When the kids Texas Commission on the Arts at P. O. Box 13406, Capitol Sta- come and see me perform, they see what it is that I'm so tion, Austin, TX 78711; phone 512-463-5535. excited about." Project BRIDGE also organizes field ......

/---I/-~ / • Hugs and Kisses A Big Kid's PI9/~- ~\

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• //• • \ \ ~(,~ i, with fdrty-three Virginia runaways in emergency shelters tllrough- \ . \ \ \"~ ~ out the state. Runners was written to dissuade teenagers from runmng. aw~y\ from problems at home and in to \~e ovastly more\ dangerous life in the streets. \. \ Photo by Eric l~obhs \ \ heatre IV, a Richmond-based, nonprofit theatre the arms around and hold closely; An act of love for the company for children, makes it their business to young and old." present serious subjects to kids in captivating for- But the action soon hones in on the point of mats. Since 1980, when the company launched a the play -- that sometimes hugging and kissing and af- Q ground-breaking production of The Shoemaker and the fectionate touching are used in the wrong way. The ac- o._ Elves using specially designed technology for hearing-im- tors explain the difference between good touch, bad paired children, Theatre IV has built a reputation as a touch (such as hitting), and secret touch, "when an adult world-class theatre group with a social conscience. They or teenager touches you in an area normally covered by a ¢.O now have a repertoire of seven community outreach two-piece swimsuit if you are a girl, and a one-piece 7K plays in which they use theatrical techniques to teach swimsuit if you are a boy." With the music lowered to a children concepts important to their safety. The com- whisper, the actors solemnly face the children to tell Q pany, which also produces plays and musicals based on them, "We want you to be big kids today, because this is children's literary classics and history, is the nation's sec- a serious play, and what you will learn is very important." ond largest children's theatre (based on audience size). Theatre IV was awarded the Sara Spencer Award for ~ The Arts Can Change the World "the most outstanding contribution to children's theatre Hugs and Kisseswas written in 1983 by Bruce in the Southeastern United States." Miller, Theatre IV's cofounder and artistic director, and On a warm afternoon in early October, Terry Bliss, with music by Richard Giersch. It is in its Theatre IV is presenting Hugs andKisses, a sexual abuse twelfth season and has been presented over 1,500 times prevention play for children, at St. Christopher's Lower to 500,000 children in elementary schools across the School. In the quiet suburbs of Richmond, Virginia, the state -- public, private, urban, suburban, and rural. As private Episcopal school for boys sits nestled protectively Theatre IV points out in literature it sends to schools among trees glowing like warm embers. before the play is presented, child sexual abuse cuts Inside, the setting is a bright school audito- across cultural, racial, and economic bounds, and occurs rium, decorated with children's paintings of sports fig- at all levels of society. Nationwide, somewhere between ures and lined with a battalion of chairs. Columns of one in four and one in ten children have been sexually mostly towheaded boys dressed in the uniform of the abused before their eighteenth birthday. Of those day -- baggy khaki shorts, T-shirts, and sneakers trailing children, more than three-fourths were closely shoelaces -- are led by their teachers to their seats. The acquainted with the perpetrator before the abuse began, boys are orderly, but irrepressibly exuberant as they skip with the abuse occurring, on the average, for three years and jive to their seats. before it was detected. On stage is a simple blue backdrop, with That is why Miller and Phil Whiteway, co- "Hugs and Kisses" painted in huge orange letters. Five founder and managing director, believe so fervently in actors, all young adults dressed in pastel-colored overalls their play and its power of prevention. The play sends a to suggest children, enter from the audience and begin strong message to children that "it's all right to say no" to singing a song: "Hug, a verb, to comfort, console, to put someone who is "secretly touching" them. Says Whiteway, "I attended a performance of The spring of 1988 saw the first production Hugs andKisses this morning, and it never ceases to im- of Walking the Line, a play discouraging teenage use of al- press me how a quality performance can affect a young cohol and other drugs. Walking the Line, written by person. In Hugs andKisses, I see the ability of a theatrical Miller, is based on a true account that was reported in a program to deliver a message of social concern, in a way Virginia newspaper of a teenage girl who was forbidden that lectures and books and talks are not able to do. If by her father to attend a party where there would be we can give these young people information that will drinking. Worried about her friends driving home drunk protect them, or even one of them, then we've done a from the party, the girl convinced her father to allow her good thing." to pick them up. On the way, she was killed in a head-on Miller and Whiteway are proud that the play collision with a car carrying drunken teenagers -- the very has resulted in 3,000 disclosures of abuse from children friends she was trying to protect. and that it has received awards for its role in the preven- Says Miller, "Currently, 86 percent of all Vir- tion of childhood sexual abuse from the state of Virginia ginia high school students claim they drink to the point of and the U.S. Department of Health and Human Services. drunkenness prior to graduation. Our play deals with the Beyond awards, the Virginia General Assembly recently issue of irresponsible drinking. Not to imply there is re- cut to the bottom line by allocating funds to underwrite sponsible drinking, but to say, 'If you drink and drive, if the play's fall 1994 tour, as the first step towards present- you use alcohol as the gateway to other drugs, or if you ing the play in every elementary school in Virginia. become a teenage alcoholic, that is irresponsible and unac- "The main thing that makes Theatre IV ceptable behavior that will have terrible consequences in tick," says Miller, a friendly bear of a man with an em- your life and the lives of others.' " bracing smile and commanding speech, "is that we try to Walking the Line was followed in 1991 by 3o find ways to serve our community through the art form WondeqCul World, an awareness program introducing chil- o of theatre." Theatre IV has pursued that mission by di- dren to basic environmental issues. In the fall of 1992, recting a third of the company's resources and produc- Dancing in the Dark toured for the first time. The play en- O tions to its community outreach series. courages teenage sexual responsibility and was developed c In 1985 Theatre IV produced Runners, a play in partnership with the Junior League of Richmond. The based on interviews with forty-three Virginia runaways Virginia Department for Children invited Theatre IV to in emergency shelters throughout the state. Runnerswas present Dancing in the Dark at its 1989 annual confer- written to dissuade teenagers from running away from ence, and later the play was warmly received at the annual problems at home and into the vastly more dangerous meeting of the National Organization for Adolescent life in the streets. The company developed the show by Pregnancy Prevention in Rockville, Maryland. Since 1992 working closely with the National Network for Run- more than 30,000 young people have seen this program. away and Youth Services, and between 1990 and 1992 In 1990 the Richmond Department of Social was the core of a comprehensive delinquency prevention Services proposed to Theatre IV that they produce a play program funded by the Virginia Department of Crimi- about issues families face in the foster care system. As a re- nal Justice Services. sult, Me andMy Familieswas introduced during the 1992-93 season. Better Safe than Sally, a childhood injury for the University Players, and I said, 'How would you prevention program and the latest in the community like to start a theatre company that works with kids and outreach series, will enter its third season in the spring. serves the schools?' And he said, 'Sure.' "

The theme that weaves together all the plays Armed with creative energy, youthful enthusi- Q in the series is the conviction of Miller and Whiteway asm, and knowledge of what schools demand in cultural that even very young children can be trusted to learn im- programs, Theatre IV ran its first production in 1975 -- portant lessons about emotionally charged and contro- an adaptation of Brer Rabbit stories presented as authen- versial social issues, if presented to them in an entertain- tic African-American folk tales. After receiving publicity o5' ing and responsible form. The two, both fathers in 1981 for becoming the first theatre company in the 8" themselves, view protecting children from harm as their country to use special broadcasting technology for hear- greatest reward -- and their greatest responsibility. ing-impaired children, Theatre IV attracted the attention Q Miller says, "What interests me in the arts in of Ann Childress, an employee of the Virginia Depart- general, and in theatre specifically, is there's this tremen- ment of Social Services and a woman with a mission. dous opportunity to do some- As a professional thing important to change the working to protect children "1 see the ability of a theatrical program world." He pauses, and leans from abuse and neglect, forward for emphasis, "I really to deliver a message of social concern, Childress was alarmed about believe that the arts can in a way that lectures and books and the growing number of re- change the world." ported sexual abuse cases talks are not able to do." across the country. Already fa- ~ Enter Theatre IV miliar with Theatre IV's pro- Twenty years ago Theatre IV was the fledgling ductions of fairy tales, and having read a newspaper ac- product of two performing artists who had been count of the company's interest in using theatre arts to roommates at the University of Richmond. Fresh from serve the community, it occurred to her that Theatre IV graduation in 1974 and a season of summer stock, would be the perfect medium for teaching children Miller took a federally funded position with the about sexual abuse without frightening them. At the Southampton County Public School system as a cultural time, Childress knew of three other theatre groups in the enrichment director. country that were presenting plays on child sexual abuse. "It was during that year, when I was booking Recalls Miller, "One of those plays dealt with cultural programs into Southampton," says Miller, "I a space character, a child from outer space who came to found that the only programs I could book came from earth and was experiencing touch for the first time. The New York and Washington, and cost, even then, $2000 other one involved a baby bear who was being sexually a day. I thought, I can get together a group of actors, I abused by another bear. And the third one was a series of can get a van, we can make costumes, and we can do sketches in Minneapolis that talked about the issue, but these shows for $300 a day and be thrilled for the work. mainly from an objective perspective and mainly for So I wrote to Phil, who had been the business manager older children." What Childress wanted was a play where the be acceptable in Virginia's school system. I remember central character was a real little girl being sexually sitting around the kitchen table trying to figure out how abused by a real person. She envisioned a play that treats we could talk about the private parts of a child's body so children with respect by giving them truthful informa- they could understand without explicitly naming them. tion, which they need to remain safe, but in a format We came up with the idea of talking about the swimsuit that is easy to talk about with parents and teachers. areas of the body." "Ann had a tremendous commitment to see- In the fall of 1983, Theatre IV joined forces ing this project happen," says Miller. "She met with us with Virginians for Child Abuse Prevention to adminis- and came right out and said, 'Have you ever considered ter a grant from the Virginia Family Violence Prevention doing a play about child sexual abuse?' Now, in today's Fund allocated for thirty free performances of Hugs and climate, that seems like a perfectly normal question. But Kisses to schools across the state. That's when Miller and in 1981, before the McMartin case broke in California (a Whiteway learned that, although they were committed much-publicized case involving employees ofa daycare to getting the message of prevention into the schools, center who were accused of there were some messages that sexually abusing children at parents did not want their the center), before the movie, "What interests me in the arts in children to hear. Initially, no Sornething About Arnelia general, and in theatre specifically, school would agree to accept a [which dramatized abuse of a is there's this tremendous opportunity free performance of Hugs and young girl by her father], it Kisses. Eventually, after the took us by surprise. We had to do something important to change show was performed for never considered doing a play the world. I really believe that the school officials and parents about an issue that controver- arts can change the world." across the state, the public o sial, that taboo." came to realize its value. However, after Megan Maroney,

Om preliminary research and speaking with adult survivors of chaplain and counselor at St. Christopher's School, says c O childhood sexual abuse who urged the project on, Miller the prospect of showing a play to students on sexual and Whiteway decided to ignore the alarmed predictions abuse alarmed some of their parents, who said they of the company's ruin and launch the show. What en- wanted to preserve their children's innocence. But, after sued were eighteen months of feverish research as Miller the script was shown to those voicing concern, only and his assistant, Terry Bliss, spoke with childhood three of 400 children were prohibited by their parents sexual abuse experts across the country, always digging from attending the play. Maroney's review: "I loved it. I for the one fact, the one phrase that would make a differ- thought the play was colorful, interesting, and funny. It ence in the lives of children. gives the language to children and adults to talk about Miller says, "In writing the play, the biggest sexual abuse, and dearly gives the message to children, challenge for us was to deal with the issues honestly, at without scaring them." the same time using language and concepts that would ::~A Role Model for Arts Organizations Social Services to ensure the presence of the CPS work- "I think Theatre IV is a model in terms of their ers at each performance of Hugs and Kisses. commitment to social service issues," says Peggy Baggett, Barbara Rawn, executive director of PCAV,

executive director of the Virginia Commission for the says, "I am in awe of Theatre IV. They take risks, they Q Arts. "They're way ahead of other arts groups that are take on tough topics with imagination and incredible in- o_. just now beginning to move in these areas. Their careful tegrity. And the actors are wonderful. They're excited attention to the research and documentation is about what they're doing and they feel very special being important. Theatre IV has carefully researched each able to do this show to help children. But doing the of their community outreach shows to make sure play, and talking to children who are being abused can that they not only have a good product artistically, but be very overwhelming. We tell them to call us whenever that it fits in with the current thoughts of the social they need to talk over their experiences. It's hard for any- Q service professionals." one, even child abuse professionals, to hear a tiny child One method Theatre IV uses to research an say her daddy is secretly touching her. For young adults issue and accurately represent the problem and recom- who are actors, it's hell." mended solutions to the public is to align itself with a "It can be really difficult to deal with these is- social service agency for each of its community outreach sues," agrees Steve Perigard, Theatre IV's community productions. As in the case of Hugs andI(isses, each pro- outreach coordinator and a former actor with the com- duction is carefully researched with nationally known ex- pany. Perigard toured with Hugs andKisses for two sea- perts in education and child health and welfare before it sons. "The children identify with the characters in the is written. A draft of the play is later scrutinized by an play who are kids, so they feel comfortable talking with advisory board of educators, social service workers, phy- us. Which is why we stick around after the question- sicians, and other interested professionals. Once the play and-answer period, to let the kids come to us, and we has begun touring, Theatre IV maintains a close rela- take them to the social workers." tionship with its advisors who keep the play's content The Child Protective Service workers are an and statistics current. important link in the prevention, and in some cases, in- Prevent Child Abuse, Virginia (PCAV), the tervention, loop. After the children have seen the play, state chapter of the National Committee to Prevent and realize this is a topic that can indeed be talked Child Abuse, and Parents Anonymous National owns about, children who are being molested will often dis- half the rights to Hugs and Kissesand participated in the close this fact to the actors. Having CPS workers on-site original research. PCAV continues to work with the reassures Theatre IV that the children who have been company by serving as a parent and teacher resource to brave enough to speak of their ordeal, often for the first schools that host the play, and by training the actors time, will receive immediate help and not be lost in ad- each season on how to answer children's questions and ministrative cracks or a jurisdictional shuflqe. to "listen, believe, and refer" children with disclosures of abuse to the Child Protective Service (CPS) workers. PCAV also works with the Virginia Department of :~ Public Funding documented the demand for their programming. They ~ receive our largest touring allocation, but they are still Because of such heart-wrenching responses from able to reach only a third of the schools and community children, Theatre 1V is committed to offering the groups who ask for them. If they had more money, they community outreach series for a low fee, or free, to keep could reach more children." the series available to a wide audience. As a nonprofit Among its supporters, Theatre IV counts the company, Theatre IV looks to contributed sources of National Endowment of the Arts (NEA). "We've been income to offset their production costs. receiving NEA funding for eleven years," says Whiteway. Phil Whiteway, an openly friendly man like "We certainly need and welcome their cash support, but Miller, but more quiet and serious, says, "We were in- we also look at it as a terrific honor that this federal en- corporated as a nonprofit organization, but my partner's tity, which uses professionals in our field to evaluate our and my attitude was then, and still is, you earn the right work and our management, has given us their stamp to ask for money. There were many years in the begin- of approval." ning when we asked for no funding, because we felt we Miller agrees with needed to provide some sort his partner on the value of of track record before we "Theatre IV has carefully researched NEA funding. He says, "The would solicit support from a each of their community outreach amount of money we receive government agency, corpora- from the NEA is not that sig- tion, or individual. shows, to make sure that they not only nificant as far as the overall "We still take a have a good product artistically, but percentage of our budget. But careful look at the ratio of it is tremendously significant contributed to earned rev- that it fits in with the current thoughts of in that it provides crucial dol- enue. Right now the ratio is the social service professionals." o lars we're unable to get any- about 25 percent to 75 per- 21- where else. And we're able to cent, and it feels like that's the O go to other funding sources and say, 'We have the sup- C most responsible approach. I'm aware that many arts or- port of the NEA, they view us as a nationally significant ganizations have a 50/50 ratio, but to me that places a organization.' Those corporations and foundations that huge burden on the community and on the organization are enlightened on this issue, think, 'That's a distinction to raise that kind of money every year. Still, with 25 per- that only the best can claim,' and take our organization cent contributed revenue, it's an awesome thought to more seriously." know you must raise halfa million dollars each year." Theatre IV began receiving support from the Virginia Commission for the Arts in 1978, three years ~ TheatreIV Has MassiveImpact after its inception. Says Peggy Baggett, "Theatre IV re- Barbara Rawn says, "In the years that I have ceives a larger amount of touring support from the com- worked with Theatre IV, I have personally seen that mission than any other group in the state, because of the Hugs andKisses has had massive impact as a primary quality of what they do. And over the years they have prevention tool." William Lukhard, former commissioner of the Virginia Department of Social Services, says it changed the face of the way childhood sexual abuse prevention is handled in Virginia. :m

"Childhood sexual abuse thrives in an atmo- Q sphere of ignorance and secrecy. The play has made it 8. 7~ OK for not only children but the gatekeepers to chil- dren -- teachers, parents, daycare providers -- to talk 3> about the issue and bring it out into the open. If you oa

walk into a daycare center and you see posters about re- 7~ g," porting child sexual abuse, and the staffhave been

trained to know what to look for, and the children have o been educated about secret touching, then it is an unsafe place for perpetrators. Hugs and Kisses was the catalyst for that to happen in Virginia." []

Rebecca Neale is a ~ee-lance writer based in Richmond, Vir- ginia. She has a Master's in Social Work and was formerly a clinical social worker at the Memorial Child Guidance Clinic in Richmond.

Forfurther information on Theatre IV,, please contact the theatre at 114 West Broad Sweet, Richmond, Virginia 23220; phone 804-783-1688. Additional State and Regional ArtsAgency Projects

All state arts agencies support arts projects that offer creative Selma Youth Development Center. Approximately 200 alternatives for youth. Like the compelling stories featured in kids receive classroom instruction in dance, music, the previous chapters, the following examples jSom the rest of drama, visual arts, and boxing, and take field trips to lo- the nation "sfifty-six state arts agencies and seven regional cal museums and performances. According to the pro- arts organizations illustrate the positive impact the arts can gram director, "the arts are used as a tool to uplift and have on youth, their families, and their communities. build the self-esteem of kids who live in a depressed community." The State Arts Agencies Space One Eleven and Selma Youth Devel- opment Center receive support from the Alabama State ' Alabama State Council on ~he Arts Council on the Arts. Space One Eleven also receives sup- City Center Arts is a multi-agency, community- port from the National Endowment for the Arts. based effort to build resilient children, strengthen Bir- mingham families, increase community involvement, ~ AlaskaState Council on the Arts create job opportunities, and promote racial harmony Out North Theatre Company, located in Anchor- through arts-rdated activities. It is an arts education and age, established a partnership with McLaughlin Youth jobs program that brings the visual arts to children in Corrections Center called the "Locked Up" Teen Pro- grades one through ten from three public housing com- gram. Out North conducts on-site writing and action munities. The program uses the arts to build self-esteem workshops with local and guest artists, hosts teens at off- o and redirect youth in positive directions. The program site workshops, and provides free tickets to see perfor- 7J- 0 was initiated by Space One Eleven, a grass-roots artists' GO mances (the first time for many of the teens). Out North 0 C organization, as a way for local artists to contribute to also employs selected teen inmates as backstage assistants their community. In 1993, Space One Eleven was to give them work experience. This is the third year of joined by the Birmingham Museum of Arts to expand the program, and some positive results are increased self- the program and facilitate the museum's outreach to un- confidence and the development of social skills. derserved and economically disadvantaged citizens. Stu- In addition, Out North has joined with the dents who participate in the program attend studio Anchorage School Districts and the Partnership for a classes, and they exhibit both at Space One Eleven and Healthy Community to initiate in 1994 a program that the museum. allows junior high school kids who have been suspended Selma Youth Development Center provides to spend a portion of that time working with a nonprofit an after-school, year-round program that targets at-risk organization. At Out North Theatre Company, a pilot youth. The program is a collaboration between the site, suspended youths have been working behind the Selma City Schools, the Selma Civic Club, and the scenes assisting with props and costumes. The Alaska State Council on the Arts pro- at-risk students while giving the students a source of vides general operating support to Out North pride in their contribution to the community. > Through its use and interpretation of the arts, D- Theatre Company. Q-

WEC has become a national model. It allows about fifty O ~ mericanSamoa Council on Art, students who have not succeeded in traditional school Q Cultureand Humanities settings an opportunity to succeed in its environment of 8" intensive individual support and creativity. Q One of the arts council's mandates is to assist the young & people of the territory in crossing the difficult bridge be- g ~ ConnecticutCommission on ~he Arts ¢.0 rween their native Samoan culture and continental O United States culture. However, Samoa's problems with During the summer of 1994, the Sankofa- Q its youth are not the same as in the states. Young Samo- Kuumba Cultural Arts Consortium targeted at-risk 3> youth in a program that taught traditional West Afri- 3> ans who have joined gangs or been involved in crimes ¢.O can dance, music, and history, while also promoting while living in the states are being sent back to grandpar- ,,< ents to "straighten out." These returnees are negatively self-confidence and respect for others. Over 200 chil- O influencing their peers in school and the community. dren in Hartford learned valuable lessons in critical The arts council is countering the problem with its Cul- thinking, conflict resolution, and presentation skills. tural Maintenance Workshops, Summer Art Academy, The program culminated in an afternoon of perfor- and its Arts in Education and Folk Art programs. These mances. Participants from six city neighborhoods programs give participants a creative outlet for expres- crossed territorial boundaries and put aside their differ- sion, and are also hdpful in identifying troubled indi- ences to celebrate their common heritage with several viduals who can then be referred to counseling programs. thousand community members. Sankofa-Kuumba and four Hartford agencies ~ ArkansasArts Council were partners in the effort. Christine Dixon-Smith, Sankofa-Kuumba's director, credits their success to the The Arkansas Arts Council funds a nine-month training they received through the Connecticut Com- residency program in the Watson Education Center mission on the Arts' Inner City Cultural Development (WEC), an alternative high school in the E1 Dorado program (funded by the National Endowment for the District. El Dorado is a cultural and economic center Arts), which provided the fund-raising and management within an otherwise remote and poor area of Arkansas. skills necessary for a successful program. The purpose of WEC's arts in education pro- gram is to turn students' destructive energies toward cre- ative activities. Working four to five hours each day with ~ DelawareDivision oF the Arts small groups of students, an artist facilitates work in the With support from the National Endowment for media of the students' choosing. The most visible of the the Arts, the Delaware Division of the Arts supported program's accomplishments is a major mural on the ex- the Ko-Thi Dance Company Of Milwaukee, Wisconsin, terior of a downtown office building in E1 Dorado. The in a monthlong residency. The company uses traditional program has drawn positive attention to the needs of instruments and authentic costumes, songs, and dance to present traditional African dance and music forms to rium, and other venues. Packed audiences consisting of Western audiences. Performances and more than fifty the general public, family, and friends attended the per- educational exchanges, dasses, workshops, and demon- formances to watch and support the youth. strations took place at schools, community centers, and alternative !spaces throughout the state. ~ Florida Divisionof Cultural Affairs In many schools, preparation for the Ko-Thi The Florida Division of Cultural Affairs awarded a performances was a yearlong process, during which stu- grant to Fourth Avenue Cultural Enrichment (F.A.C.E.) dents created African dresses, masks, stenciled head- to support programs offering culturally enriching experi- bands, and dance belts. In one unique residency activity, ences to at-risk youth ages five through eighteen. Ko-Thi's musicians taught community members how to F.A.C.E. provides professionally directed dasses and make African drums, which then became the property of projects in dance, music, theater, and art without fees or the local community center where the residency oc- restrictions. Programs target underserved, inner-city curred. During a two-day, overnight workshop for populations. Performances are regularly scheduled at lo- young men, participants soaked goat skins, stretched cal schools and a neighboring nursing home. Partici- them over oil drums, tuned and decorated the resulting pants have painted two local murals, one at the Tallahas- instruments, and received instruction from Ko-Thi's see Homeless Shelter. master drummers. The activities culminated in a student Another organization, OneArt, received a performance at the Grand Opera House in Wilmington grant from the division to support its KidsArts project. to great community acdaim. The project, in conjunction with Dade County Public F/1 Schools, the Metro-Dade Police Department, and the ~ Districtof Columbia Commission City of Miami Police Department, will provide a series on the Arts and Humanities of sixty-eight workshops in dance and drama specifically o designed for inner-city children from Shadowlawn El- ::l- A major priority of the commission is reaching the co young people of the District of Columbia, particularly ementary. An estimated sixty children will be served on O c those considered to be at risk. In fiscal year 1994, an ongoing basis for thirty-four weeks. The division also through its Arts Education Program, the commission awarded a grant through its Cultural Facilities Program made an impact on approximately 55,918 district for construction of the new OneArt Center. youths. This grant program fbcuses on providing youth with training in and exposure to arts activities. It in- ~ GeorgiaCouncil for the Arts dudes artist residencies in public schools and nontradi- The Arts in the Atlanta Project (ATAP) is the arts tional settings, such as community centers and churches. component of former President Jimmy Carter's Atlanta A major milestone of the Arts Education Program has Project, created to address problems in twenty cluster been achieving the highest quality arts-related Summer communities that face high crime, teen pregnancy, and Youth Employment Program to date. These training ac- unemployment. ATAP is a collaboration, supported by tivities culminated in acclaimed performances at Ira the National Endowment for the Arts, the Georgia Aldridge Theater, Fort Dupont Park, Lisner Audito- Council for the Arts, the City of Atlanta Bureau of Cultural Affairs, Fulton County Arts Council, the Its purpose is to bring arts and cultural activities to rural DeKalb Council for the Arts, Arts Clayton, and a con- areas and underserved communities. A significant aspect > of the program was the Cultural Transition Project, O_ sortium of other arts organizations. O- _=." Many of the programs ATAP funds teach the which provided more than thirty-two presentations to O arts, both contemporary and traditional, to children at-risk youth in intermediate schools throughout the Q from local housing projects who have had little or no state. Presentations included a Hawaiian heritage guitar previous exposure to the arts. Students in these programs and song performance by National Heritage Fellowship Q Award recipient Raymond Kane and a storytelling ses- 8_ have done a variety of arts activities including learning g traditional African drumming and dance and perform- sion of Filipino folktales with Felisa Lindsey. Approxi- O ing contemporary plays that they helped write. mately 1,850 youths were reached through the Cultural Q Transition Project. At least seven other arts projects targeting at- )- Guam Council on the Arts 0D ~ and HumanitiesAgency risk youth are currently funded through the State Foun- dation. These projects extend to four islands and address Frank Rabon, head of the Taotao Tano Chamoru cul- critical social issues such as homelessness, gang violence, O tural dance group, portrays his traditional dance class at low income, delinquency, and drug abuse. Inarajan High School as the "macho, cool" thing to do. The dance class is a cooperative effort between the high school, the Guam Council on the Arts and Humanities ~ Idaho Commissionon the Arts Agency, and a developing cultural village in the area. Gel The Idaho Commission on the Arts received Pa'go, the Chamoru cultural village, was started three National Endowment for the Arts funding in 1993 for years ago with a grant from the National Endowment the Family Center Arts Project, a two-year project that for the Arts. Rabon teaches traditional dances of the provides artist residencies for first-time juvenile offenders Chamoru heritage. Those students who perfect their and other at-risk youth in the community. Arts classes skills are allowed to .join the professional dance group were integrated into education, therapy, and recreation that performs at Gef Pa'go. programs at various locations, such as a home for teen- The strong bond forged by the dance group age mothers, a shelter for troubled teenage girls, and the has satisfied the teens' need for group acceptance, which Idaho State Correctional Institution. is often sought through gang membership. Using media ranging from day to poetry to interactive electronic technology, artists worked for con- ~ State Foundation on Culture centrated periods with small groups of students, encour- aging positive self-expression. Youth workers say some of and the Arts (Hawaii) the students gained tremendous confidence and commu- In July 1992, the State Foundation on Culture and the nication skills through the residencies. Artist Kathy Arts and the National Endowment for the Arts funded Byron observes, "I often wavered between hopelessness the Statewide Cultural Extension Program, currently for these students' futures and inspiration at working funded and administered by the University of Hawaii. with such exceptional children." Illinois Arts Council young people demonstrate pride in themselves and dedi- Support from the National Endowment for the cation to their work. Arts and the Illinois Arts Council has helped the Peoples's Music School, located in Uptown Chicago, ~ lowa Arts Council provide this community's youth with an opportunity to The Iowa Arts Council's Youth Arts Opportuni- receive free, private instrument instruction and perfor- ties program began in fiscal year 1993 as a two-year pilot mance opportunities in neighborhood venues. Accord- project to work with youth who have not had encourag- ing to Director Rita Simo, the school offers young ing experiences, according to Dr. Willis J. Knight, the people a supportive, constructive environment -- a consultant for the project. Knight and five artists pursue place to experience a sense of belonging and to be the goal of building on the teens' strengths to increase around others their age -- that the larger community of- confidence. "We want them to learn to take risks to cre- ten doesn't provide. When she asks a young person why ate a more positive self-concept," Knight says. Concetta he is still at the school at six or seven in the evening, the Morales, a visual artist, worked with fifty teenagers from response is typically, "I like it here." Says Simo, "My big- five shelter facilities designing mosaic panels for the Des gest concern is to instill in the students a sense of disci- Moines International Airport. One of the students said pline." A measure of the school's impact is found in the the project made them feel successful for the first time. words of a young man who had studied there eight years before. He writes, "I saw you were tough. Without that, ~ KansasArts Commission I would have ended up in jail." One of the most significant trends in the Kansas Arts Commission's Arts in Education Program is the ~ IndianaArts Commission increasing number of programs serving identified o Begun in 1988 in Evansville, Indiana, the Evans- groups of at-risk children. Some projects being sup- 2I- ville Housing Authority's Dance Awareness Program ported in this category are: a Lawrence dance company GO was created as a means of teaching personal discipline that works with children of substance-abusing mothers Om C and building self-esteem in youth in public housing. As o in a halfway house; dasses given at the Wichita Center a positive outlet for the young people's energy and cre- for the Arts for kids who have gotten in trouble for ativity, it has evolved from its early roots in popular Top bringing weapons to school; a dance residency spon- 40 music and dance into a program that offers classes to sored by the Salina Salvation Army for at-risk children forty-five students on three levels in classical and con- who live in the economically disadvantaged area of temporary ballet, jazz, and ethnic dance. Supported town; and a partnership with Social and Rehabilitation through a HUD Drug Elimination grant, grants from Services to support artists in residence at four Youth the Indiana Arts Commission, and various corporate Centers, which are state juvenile detention facilities. A sponsors, the program boasts a donated downtown stu- follow-up study of youth after their release from the de- dio space and holds professional recitals at the University tention facilities is being developed. of Evansville Theatre. Wherever the troupe performs -- in a concert hail, at a festival, or in a classroom -- these ~ KentuckyArts Council of Black Dance, an Ethnic Arts Initiative grant) have Three rural, underserved counties in eastern Ken- provided disadvantaged youth with community-cen- > tucky present arts programs funded in part by the Ken- tered arts experiences. Professional artists skilled at work- o_ ing with disenfranchised youth have been central to the tucky Arts Council through local school district Family O Resource Centers and county government Adult Lit- success of these projects. eracy Centers. Family Resource Centers are a major a- component of the Kentucky Education Reform Act and ~ MassachuseltsCultural Council Q g_ provide health and social services to families. They have In 1993 the Massachusetts Cultural Council es- g become the link between parents and schools and have tablished an initiative called YouthReach, which sup- (.O O increased parent participation in school governance. ports partnerships among arts organizations, artists, and Q Judy Sizemore, Kentucky Arts Council com- community agencies to provide arts programs for at-risk > munity artist in residence, has coordinated short-term youth in underserved communities. The primary goals > ¢O residencies in visual arts, drama, music, dance, and cre- of the initiative are to employ the power of the arts to ative writing in twelve Family Resource Centers serving address the social challenges facing youth; to promote -< 2,000 elementary school children and their families. the integration of cultural programming into a O Judy also conducts arts programs in the county Adult community's response to the needs of its youth; to de- Literacy centers, and works with some of the same adults velop lasting linkages between cultural organizations, whose children attend the Family Resource Centers. artists, and community agencies to provide the high- These community arts programs were initi- est quality arts experiences for at-risk youth; and to ated by the Appalachian Communities for Children, a stimulate other funding sources to recognize the links Save the Children self-help organization. between community-based cultural programs and community development. ~ MaineArts Commission YouthReach has assisted activities such as the In 1993 the Maine Arts Commission adopted a Drop a Dime/Voices project, which promotes the use of new long-range plan that focused the commission's re- video and theatre to educate urban teens about sub- sources on integrating the arts into all areas of commu- stance abuse, violence, and AIDS. YouthReach is sup- nity life. Consistent with this mission, funding in all ported by the Massachusetts Cultural Council, the Na- granting categories is predicated on the indusion ofun- tional Endowment for the Arts, and the Massachusetts derserved populations, including children of disadvan- Department of Public Health. taged families. Grants have been made to organizations throughout the state that have had a direct impact on ~ MichiganCouncil for the Arts these populations. In Portland, grants to The Children's and CulturalAffairs Museum of Maine, The Preble Street Resource Center The Michigan Council for the Arts and Cultural Affairs, (a provider of services to the homeless, induding teens in partnership with the National Endowment for the and single mothers), the Portland West Neighborhood Arts, provides funding and technical assistance to Council, and the Portland School District (for The Art Detroit Area Film and Television (DAFT). DAFT is a not-for-profit educational organization that has pro- what is uniquely meaningful. moted and supported the creative use of the electronic media by young people for the last twenty-five years. ~ MississippiArts Commission Based in the Detroit area, it has had profound benefits Working with Mississippi Valley State University, for students, parents, and communities located through- the City of Itta Bena developed the Arts Enrichment out Michigan. Program targeting 150 disadvantaged and at-risk stu- DAFT takes a hands-on approach, and its dents in grades K-12. The highlight of the project was a services consist of workshops and activities geared to summer program in 1993 featuring arts classes in paint- providing at-risk young people with tangible projects. ing, photography, music, and drama at four locations. A Three major activities are the Animation Workshop, the special exhibit at the end of the summer showcased stu- Michigan Student Film and Video Festival, and a dents' work. Being recognized for their creative efforts television show featuring the winners of the juried festi- and talents boosted the children's self-confidence. Using val. DAFT has provided thousands of students with suc- their creativity opened new avenues to learning. Local cessful learning experiences, concrete evidence of the and regional artists who worked with the program were students' successes in the form of their own films and so convinced of its value that several have continued to videos, and valuable skills and work habits. volunteer their services to work with students during the school year. An exhibit of student work was held in April ~ MinnesotaState Arts Board 1994, and the city's May Festival also featured student Intermedia Arts Minnesota, The City, Inc., and artwork and performances. media artist Daniel Bergin worked together on a project Itta Bena is now on the move. The city has involving fifteen African-American, at-risk teens. The acquired a building for use as an arts facility and is form- 8' residency was funded in part by the Minnesota State ing a local arts council as part of city government. This o Arts Board's Organizational Support program, with project was supported by the Mississippi Arts Commis- support from the National Endowment for the Arts, sion and a grant from the National Endowment for the Arts. O c the Mac_Arthur Foundation, and Intermedia Arts' general fund. ~ MissouriArts Council The project entailed adapting August Parishes Associated with Kinloch Team (PAKT) is Wilson's play The Piano Lesson to video. By working an outreach program serving a community ranked by closely with this historically rich play, the students were the 1990 Census as the thirteenth poorest in the nation. inspired to examine contemporary and historical repre- This "community includes numerous single-parent sentations of African Americans in the mainstream me- households and is characterized by high rates of drug dia, from the nightly news to MTV. During a post- and alcohol abuse and teen pregnancy. screening discussion of their finished product, the teens The Missouri Arts Council, in conjunction shared their own views on cultural identity. This project with the St. Louis County Preventative Partnership enabled students to begin developing a cultural and (a program of the Department of Health and Human historical context, and to develop ways of expressing Services), supports PAKT's Youth Resources and Recre- ation Department, which provides an eight-week sum- successful collaboration between the Omaha Housing mer day camp for youth between the ages of seven and Authority and the Nebraska Arts Council, targeted at- fifteen. The camp exposes participants to multicultural risk, African-American youth from Omaha's public D.. activities and hosts visiting artists twice a week. For ex- housing projects. These youth assisted in the produc- O ample, members of the Katherine Dunham Dance tion, writing, editing, acting, filming and development Q Company taught classes in dance and percussion that in- of a film featuring the biographies of lesser-known Afri- troduced students to African arts and culture. Classes can Americans who have made significant contributions Q g_ have been helpful in deterring crime, substance abuse, to American history. The young people learned valuable and teen pregnancy, while improving self-esteem, self- skills and received training in television and film produc- ¢.O O discipline, and artistic and cultural appreciation. tion, and they were mentored by prominent African Americans in the field. The project also served as a cata- ~ MontanaArts Council lyst for changing the youths' perceptions of African- Since 1990 the Fort Peck Fine Arts Council of American history, as well as altering their view of their own lives and helping them to recognize their worth ,.< Glasgow, Montana, the HiLine Advisory Council for "-o and potential. D.O the Montana Department of Family Services, and the t~ Illusion Theatre of Minneapolis have collaborated on a The Omaha Housing Authority is currently project to address the issue of child sexual abuse in the marketing the film to be used in schools and communi- rural communities of northeastern Montana. The joint ties throughout the country. venture has received funding from the Montana Arts Council and the Montana Department of Family Services. ~ NevadaState Council on the Arts Using Illusion Theatre's critically acclaimed With support from the Nevada State Council on play Touch, the project employs local high school youth the Arts and the National Endowment for the Arts, the to reach children through live performances, and serves Lied Discovery Children's Museum in Las Vegas imple- as a catalyst for the prevention of sexual abuse. It pro- mented a new initiative designed to nurture local young vides children with the images, vocabulary, and confi- people's interest in art, science, and humanities. The ini- dence to say "no," and furthers communication between tiative focuses particularly on youth with little or no ac- children and the adults in whom they confide. The cess to cultural institutions. The targeted group, youth project has reached 7,000 students through perfor- ages ten through eighteen, lives within the museum's mances in elementary schools, and also offers commu- immediate service area, which contains southern nity performances and adult workshops. Nevada's highest concentration of low-income families and four of the highest-ranking, at-risk secondary ~ NebraskaArts Council schools in the state. The Nebraska Arts Council recently expanded The ArtSmarts component of the program support for projects in underserved, culturally diverse provides its young participants with the opportunity to neighborhoods with the help of a grant from the work alongside professional artists for an extended National Endowment for the Arts. Project Impact, a period of time on a group art project. The artist and par- ticipants work together developing an idea, investigating teaches social skills, and increases confidence in inner- different ways of carrying it out, and creating a finished city kids who are identified as at-risk. The residencies are piece or performance that is then presented to the pub- structured like sporting events, complete with competi- lic. ArtSmarts was designed to give young people both tions, judges, and fans. This connection to athletes has artistic training and experience in using the artistic proven effective in securing participation of young males. process as a method of problem-solving and developing Another program, called Share the World, self-awareness. helps curb gang violence by using the arts to teach stu- dents tolerance of different cultures. Arts assembly pro- ~ New Hampshire State Council on the Arts grams and workshops are integrated with the school cur- Using a mix of federal and state dollars, the New riculum and culminate in a school multicultural festival. Hampshire State Council on the A~s funds many projects for at-risk youth, including artist-in-residency New Mexico Arts Division programs for Headstart and community-based projects ~ Working Classroom, in Albuquerque, is a non- for teenagers involved in alternative education programs. profit, multidisciplinary youth arts organization that One highlight, Alpha Teen Theater, is an ongoing after- works with at-risk youth and receives funding from the school project that helps Hispanic youth with educa- New Mexico Arts Division. During the past three years, tional and social issues. For several months, a theater art- seven young actors and playwrights have put on plays ist worked with fourteen young people to create skits dealing with current issues. Juan's Choiceis about youth based on difficult issues, including MDS, drugs, and involvement in gangs. It was written for the eighth An- abuse, that had touched their lives. The project began nual Multicultural Mental Health Conference on Chil- with a matching grant to a community organization and dren and Families. Several hundred people attended the expanded, without council funds, to tour these skits to performance, and more than a dozen took the stage to o ZI- various schools and communities. Each new perfor- try and change the outcome of the play. Another play, ¢D mance helps to open dialogue between parents, teachers, The Rubber Band, is a tragi-comedy about sex in the age O C and teens. of AIDS. It is a bilingual play inspired by Lysistrata. The O play opened at the South Broadway Cultural Center, New Jersey State Council on the Arts and later toured to Las Vegas, Taos, Tierra Amarilla, Las ~ Each year the New Jersey State Council on the Cruces, and the Boys School in Springer. Arts, with support from the National Endowment for the Arts, is able to provide support to arts organizations ~ New York State Council on the Arts across the state that are working to enhance communi- The International Center of Photography has a ties, revitalize cities, provide creative alternatives for Community Record (CR) program serving three inner- troubled youth, and teach tolerance. One example in- city public schools in some of New York's most densely dudes the work of Young Audiences in Princeton. populated minority neighborhoods: East Harlem, Through a series of improvisation programs, Young Chinatown, and the Lower East Side. The purpose of Audiences' Theater Sports Residence builds leadership, the program is to teach students to use the camera as a powerful means of community exploration and creative from regional arts professionals. Through instruction self-expression. and examination they discover African-American heroes

One of the schools is CLC, a junior high in their history, on their streets, and in themselves. This 0_ kind of support fortifies children, strengthens families, 0__=-.. school in East Harlem that serves economically disad- O vantaged students of African-American and Hispanic and builds communities. O heritage who have limited skills in math and English.

During the 1994-95 school year at CLC, the Commu- :~ North Dakota Council on the Arts Q nity Record Program will be integrated with social stud- Through its ACCESS Grant Program, the North 8_ ies, teaching students to look at history through the pho- Dakota Council on the Arts funds projects to serve spe- ¢O

tographic record and to understand the impact and cial constituencies or minorities. Funded projects in- Q influence of photography as a tool for social change. dude the Family Support Network in Jamestown, which 3> New York State Council on the Arts has pro- provides art experiences/education for teens and young ¢.O vided grants for the CR program since it was inaugu- adults with special needs. In fiscal year 1994, the stu- rated in 1986. The National Endowment for the Arts dents were introduced to drama in the form of short sto- awarded its first grant in 1992 and renewed it in both ries and role-playing by a local artist. In fiscal year 1995, O 1993 and 1994. The program now also receives support the students will experience art activities from different from corporations and foundations. cultures. ACCESS has also supported workshops in Na- tive American storytelling and writing at the North Da- ~ North Carolina Arts Council kota Industrial School in Mandan, a state facility for the With state and federal funding, the North Caro- incarceration and rehabilitation of young offenders. One lina Arts Council is supporting projects that enhance of the students wrote that the experience gave them the lives of youth and their families through its Organi- "courage and hope, plus the encouragement to write and zation of Color Development Program and Arts in put their feelings on paper." Education Program. These programs reach children from the early ~ ComrnonwealthCouncil For Arts and cognitive years through the teen years. An example of Culture (NorthernMarianas) the former is a program at the Plaza Road Preschool in Summer Arts Exploration was a successful, four-week Charlotte where at-risk, inner-city four-year-olds now workshop for elementary and high school youth. The have arts as part of their regular curriculum. These en- project involved two weeks of intensive instruction in riching arts experiences are intended to stimulate cogni- mask making, basic drawing, print making, and calligra- tive and motor development. The Seeds of Sheba pro- phy; and a two-week exhibition of the finished products. gram in Chapel Hill helps disadvantaged youth see their Additionally, an intensive dance workshop was con- own worth, potential, and heroes through a new frame- ducted on the island of Tinian, which involved learning work of respect and support. They become creators of dance steps from American Samoa, Fiji, Tahiti, and art through classes in theater, music, and dance, and other Pacific islands. Workshop participants formed a they also regularly share their experiences with and learn dance group that will practice and perform on a regular basis. Demonstrations of traditional canoe building and lenses of their 35ram cameras. The World of Photogra- thatch house building were conducted on the island of Rota. phy Project, sponsored by North Tulsa Heritage Foun- During the school year, the arts council dation, the State Arts Council of Oklahoma, and the sponsored after-school workshops throughout the islands National Endowment for the Arts, was conducted by an of the Northern Marianas to encourage positive environ- African-American professional photographer with the ments in the arts and to provide alternative activities goal of capturing the interest of low-income youth while for students. providing useful skills. The youth were taught basic camera operation, darkroom procedures, portfolio devel- Ohio Arts Council opment, and career opportunities in the photographic ~ Urban communities must find positive ways for and media arts. They visited photo and television stu- neighborhood members to express themselves, develop dios, newspapers, graphic design companies, and the leadership skills, and be involved in solving problems University of Tulsa art department. The students exhib- that affect them. The Coordinated Arts Program is a ited their work at the community center where they re- partnership among Greater Cleveland Neighborhood ceived certificates denoting their accomplishments. Centers Association, the City of Clevdand, and the Working with mentors from Tulsa University's School Ohio Arts Council. It seeks to give children, teens, of Art, they also took photographs exploring the North and elders opportunities to receive special instruction Tulsa environment. These works were part of a popular in visual and performing arts in their neighborhoods, exhibit at the Gilcrease Museum of Art. to strengthen community pride and individual self-es- teem, to sustain long-term relationships between artists ~ PennsylvaniaCouncil on the Arts and communities, and to develop a prototype that can Many of Pennsylvania's nonprofit organizations be shared. use the arts as a way to make a positive difference in the o With funding from the Ohio Arts Council lives of young people, their families, and communities. A o and the National Endowment for the Arts, this project number of these organizations serve specific culturally 0 c creatively involved more than 2,200 people in eighteen diverse communities throughout the state. Among the neighborhoods in its first year. Arts programs were de- examples, supported with funds from the Pennsylvania signed to be flexible, cost-efficient, progressive, and cul- Council on the Arts and the National Endowment for turally specific. Activities include crafts, African drum the Arts, are the youth-directed projects of the Asian making and drumming, oral history projects, an elder American Youth Workshop of Asian Americans United musicians program, African dance, young audience (AAU) in Philadelphia. AAU projects, like their youth grooming, wood carving, and puppetry. literary magazine Unbound, video production and docu- mentation projects, and hands-on mural and craft ~ StateArts Councilof Oklahoma projects, are designed to help inner-city, Asian-American African-American youth of Comanche Park Pub- youth express their feelings and share their experiences. lic Housing Project in North Tulsa are now looking at the world from a different angle--from behind the ~ Instituteof Puerto Rican Culture Dakota has fifteen alternative education sites statewide. The Institute of Puerto Rican Culture's mission is School districts can elect to send students in grades nine through twelve who are in danger of dropping out or 3> to preserve, promote, disseminate, and enrich the Puerto o_ not graduating to an alternative education site. During _=-." Rican culture through the development of all cultural O manifestations including the arts, folklore, and the hu- the past two years, AIS/YAR has provided more than manities. A goal established in 1993 is for all agency pro- 850 class sessions on the arts, reaching over 3,100 stu- dents. The arts council has received a grant from the grams to have an impact on youth. Efforts are geared to- O& ward providing youth with an education about their Dayton-Hudson Foundation to assist with this project. heritage, the skills needed to develop their own O generation's perspective, and the opportunity to partici- ~ TennesseeArts Commission Q pate in cultural activities in order to prevent social prob- The Tennessee Arts Commission recognizes the 3> positive role the arts can play in the lives of youth, and 3> lems such as crime, drug abuse, and school dropout. ~O Several after-school programs are taking place has established the Arts: Advancement and Expansion ,.< in low-income areas in coordination with the education (AAE) grant category with support from the National department. A Puerto Rican folk dance group, Endowment for the Arts. AAE supports not-for-profit O Itanaman, originated six years ago with thirty students arts organizations of color and organizations that serve under the direction of a teacher. The dance group meets inner-city youth (among others). One project currently three times a week in the Fernando Callejo High School. funded under the AAE grant program is Blues City CUl- The group, which received funding from the Institute rural Center's "Peace in the House," a three-day confer- and from the National Endowment for the Arts, per- ence targeting youth who are at risk for participating in forms on weekends in different rural Communities on or becoming victims of violent behavior. In 1994, faced the island. with an alarming murder rate, the city of Memphis joined with artists, social servicesfacilitators, and youth to ~ SouthDakota Arts Council develop artistic and constructive alternativesto violence. South Dakota Arts Council's Artists in Schools/ Another program funded under ABE is Youth at Risk (AIS/YAR) program provides students Edgehill Center's PAVE WAY program, which incorpo- with opportunities for social and creative skill develop- rates visual art and video with antidrug messages into an ment. A pilot project was initiated in 1990 with Mobridge organized cultural environment. Youth considered to be Public Schools to offer arts education opportunities in alter- at risk for negative behavior (teen pregnancy, drug and native education environments to youth identified as at-risE alcohol abuse, crime, and school drop-out) are the target The pilot project was fi.mdedby the arts council, with audience for this program. Some participants have en- matching funds from the Mobridge Public Schools and the rolled in college and are pursuing careers in the arts. South Dakota Dropout Prevention Program. Edgehill is now developing additional arts programs The goals of AIS/YAR are to focus on prob- (dance and theater) and has a vision of becoming a lems of low self-esteem, identify constructive means for cultural center. self-expression, and promote creative thinking. South Utah Ar~s Council Project Aim was designed to provide a full ar- ~ The Central City Arts Studio, a grantee of the ray of academic and artistic opportunities. There were Utah Arts Council, is a unique collaboration of state, daily classes in fabric painting, ceramics, batiking, culi- county, and city governments working with numerous nary arts, and mask making, as well as in English, math, private sector companies to provide alternative programs and writing. Students also had the opportunity to ex- for inner-city, at-risk youth. Through a combined effort hibit and sell their artwork. by businesses and government, a storage space for vend- For ten years the School of Visual Arts and ing machines at the Central City Community Center Careers has served the Virgin Islands' culturally diverse was converted into a fully functioning arts studio. The community, providing training in fine arts and exposure arts studio provides many of Salt Lake City's inner-city to careers in the creative arts. The school, which receives youth with arts dasses that give them a positive outlet funding from the arts council and the National Endow- for expression. Now, rather than engaging in destructive ment for the Arts, has had a very positive influence on and violent means of expression, these youth are learning young adults. how to express themselves through the visual and per- forming arts. They are taught by local, professional art- ~ Washington State Arts Commission ists who offer their services free of charge. Two years ago, the State Capital Museum and the Encouraged by the results being achieved at Department of Juvenile Rehabilitation in Washington the Central City Arts Studio, the Utah Arts Council is state began a collaborative project using the visual arts to collaborating with many different organizations on help incarcerated youth build academic and social skills. projects that affect at-risk youth. With a grant from the Art produced through the project resulted in the 1993 a' National Endowment for the Arts, the council is work- exhibit, "Insight Out: A Different Perspective," which ing with the local Boys/Girls Clubs, numerous inner-city was organized by the youth. Eighty-three residents, some o elementary schools, the Salt Lake City Police Depart- D- of whom were hard-core offenders, participated in the ment, local shelters, and detention centers. project, which developed job skills in museum prepara- O C tion and graphic design. Now back in their communi- 8" :~ Virgin Islands Council on the Arts ties, transitioning youth who participated in the project The Virgin Islands Council on the Arts initiated a are doing well, and some are pursuing art careers. pilot summer camp program in fiscal year 1993 called The number of participants has increased for Project Aim, that received funding from the National 1994, and the addition of a writer in residence has ex- Endowment for the Arts. The program's goal was to panded the exhibit to indude autobiographical stories enhance academic knowledge and skills, and encourage that are powerful accounts of young lives filled with the artistic development of youth in the Bordeaux com- abuse and neglect. This year's exhibit is traveling to munity. This underserved, rural area of St. Thomas has schools, galleries, and museums in the communities to no recreational or community facilities and few activities which the youth will be returning, creating a bridge to for young people to engage in after school or during those communities and giving other youth the opportu- the summer. nity to learn from it. This project is supported with funds from both the Washington State Arts Commis- providing culturally relevant artistic experiences to di- sion and the National Endowment for the Arts. verse communities. Examples of outreach work done by 3> award recipients are Latino Arts, which teaches Hispanic O_ youth about various Latino cultures through such activi- O_ West Virginia Divisionof O ~ Culture and History ties as theater, visual arts, andfolkldrico dance classes; and Q The West Virginia Commission on the Arts supports Hansberry-Sands Theatre Company's Poetry in Motion collaborative projects among mental health service cen- program, which visits schools to present performances that Q g_ ters, schools, and nonprofit arts groups that assist at-risk pay tribute to positive African-American experience. youth in the community. Primary emphasis has been on The Wustum Museum in Racine, which re- ¢o ceives funds from the arts board's Challenge Initiative high poverty areas in rural counties. This work is done Q through the Artist-in-Residence Program and the pilot program, participates in gang intervention programs 3> held at inner-city neighborhood centers and at the mu- Arts in Basic Education Program. 3> seum. One of the programs organized by the museum's One such collaboration began last year in g -.< Lincoln County between Appalachian Arts Sanctuary, a education department staffwas a ceramics class for teen- agers in a gang program at Taylor Children's Home. o. rural community arts collaborative, and Lincoln County ¢D Schools. The Harts area of Lincoln County is a commu- nity plagued by isolation and poverty but rich in initia- ~ WyorningArts Council tive and human resources. The Harts Arts Education Several Wyoming arts and community organiza- Project established Harts High School as a training cen- tions, with support from the Wyoming Arts Council, ter for three elementary schools in the following pilot have specialized programming that responds to chal- projects: Appalachian Dulcimer Building and Perfor- lenges faced by youth and their families. mance, theater arts, and monthly visual and performing The Sheridan Young Writers Group has not arts workshops. Artists trained teachers, parents, and stu- only cultivated the talent of many young writers, but has dent leaders to carry out programs in their schools. Co- also provided a means of expression that has helped operation was good, response was excellent, and the them develop self-confldence, work through life issues, project served as a self-esteem builder for at-risk youth, and stay out of trouble. Dancers' Workshop in Jacksoia parents, and community members. has programming for special needs teenagers at C-V Ranches, which are residence facilities. The overall goal ~ WisconsinArts Board is to develop self-confidence, creativity, and self-expres- The Wisconsin Arts Board serves the state's at-risk sion through movement exploration. This program youth through its Arts in Underserved Communities has had much success in reaching teens who have emo- Initiative. This initiative is a partnership with The Mil- tional and physical difficulties and who often have waukee Foundation and receives National Endowment trouble communicating. for the Arts funding. It aims to strengthen and signifi- The Wind River Health Promotion Program cantly enhance the artistic and managerial capabilities of has received funding from the Wyoming Arts Council, a few of the state's most promising organizations that are HUD, Fremont Counseling, and the state Division of Behavioral Health for a multifaceted prevention pro- ~ Consortiumfor PacificArts and Cultures gram targeting young people under the age of twenty- Over the past several years, the Consortium for one and their families. This program will provide cul- Pacific Arts and Cultures (CPAC) has assisted the Guam tural activities using tribal elders as teachers, role modds, Council on the Arts & Humanities Agency in sponsor- and mentors. Six student artists will develop artwork for ing activities of the SKIP dance school. The dancers, billboards, posters, and pamphlets promoting health and who are elementary, middle, and high school students, cultural programs. perform ballet and jazz, as well as traditional dances from Guam. A balance between home, school, and The RegionalArts Organizations dance, and the ability to get along with others are essen- tial to being part of the group. Because of this, families Arts Midwest are engaged in the dancers' activities. SKIP has repeat- ~• Hmong youth in La Crosse, Wisconsin, are be- edly won Governor's Art Awards for contemporary ginning to recapture and preserve their unique musical dance. In January 1995, older SKIP dancers will be heritage through Arts Midwest's Cultural Development placed in two schools on Guam to provide free dance in- Fund, a granting program supported by the National struction to students and to help the dancers develop Endowment for the Arts. La Crosse is home to teaching skills. Wisconsin's largest population of Hmong refugees from SKIP's founder, Teri Knapp, says of SKiP Laos. Physically and culturally separated from their graduates, "They return to train so they can compete at homeland, Midwestern Hmong people struggle to national finals in which they are top winners. I'm so [< maintain their heritage. Youth often assimilate faster proud of their accomplishments -- almost all of the than elders, making the passing of artistic traditions older students are using their dance background to help 8' from generation to generation increasingly difficult. Arts them in college and careers... Sometimes I wonder o Midwest funding, through the La Crosse Area Hmong what direction they'd have taken if not for dance. You o Mutual Assistance Association, will enable students to can't find any group of kids like these." O c work with elder composers, musicians, and translators to CPAC works directly with the arts agencies O make instruments, write, record, and perform Hmong of American Samoa, Guam, and the Northern Mariana traditional music. This project allows the old and young islands. It endeavors to provide quality programs, to work together to preserve their culture. including arts in education and traditional and Arts Midwest is a regional organization that contemporary arts. provides funding, training, and publications to Indiana, Iowa, Michigan, Minnesota, North Dakota, Ohio, ~ Mid-AmericaArts Alliance South Dakota, and Wisconsin. This project is part of an Mid-America Arts Alliance (M-AAA) is commit- ongoing partnership with state arts agencies to promote ted to bringing high quality arts experiences to commu- social change through art. nities across its region through regional, national, and international artist rosters and special projects. With the assistance of its partners (the state arts agencies of Arkansas, Kansas, Missouri, Nebraska, Oklahoma, and ticipating organizations include Hahnemann University Texas) and a grant from the National Endowment for the (a health education center) and the Samuel Fleischer Art

Arts, M-AAA embarked in 1992 on a two-year initiative. Memorial center. O_ O_ The Mid Atlantic Arts Foundation works in The Underserved Youth/Artist Residency Ini- O tiative provided financial support to seven project sites. partnership with the artists, arts organizations, and com- Each project engaged an artist to facilitate a three- to six- munities of a nine-state region to support arts programs week residency that immersed young people in culturally and services and to insure the availability of the arts to all Q & relevant performing and/or visual arts activities. The goal of the region's residents. The region includes Delaware, g, of these activities was to stimulate creative expression in the District of Columbia, Maryland, New Jersey, New ¢12 the young people, and have them create an arts product York, Pennsylvania, Virginia, the U.S. Virgin Islands, Q to be publicly performed or exhibited. and West Virginia. 2~ The New Presenting Opportunities Program, ;> ¢0 with NEA support, has also enabled M-AAA to fund New England Foundation for the Arts ¢D many projects targeting youth and their communities. ~ The New England Foundation for the Arts con- ,.< Since 1991 this program has funded a wide range of nects the people of New England with the power of art O projects including the creation of a new dance/music to shape lives and improve communities. Although the work in Houston's Sixth Ward that involved the collec- foundation's constituents are primarily the six New En- tion of oral histories from community elders by young gland states, it also administers a national pioneering jazz people who developed, interpreted, and performed them effort, the Lila Wallace-Reader's Digest National Jazz in a multimedia context. Network. The network is composed of twenty outstand- ing organizations that emphasize jazz presenting and of- Mid Atlantic Arts Foundation fer expanded and enhanced performance and residency ~ Rites of Passage is a collaborative residency project opportunities for jazz artists and communities. Each of combining video, dance, and creative writing. Vid- the sites offers activities involving youth and jazz artists eographer Michelle Parkerson, screenwriter David Brad- on a consistent basis. ley, and theater specialist German Wilson will work with The Artists Collective, based in Hartford, groups of teenagers ages sixteen through nineteen, from Connecticut, is a network site whose mission is to train Philadelphia city schools to write, create, perform, film, and develop the talents and social awareness of youth re- and edit a docudrama. The interactive video will address siding in the greater Hartford area, with particular atten- such issues as dating, peer pressure, sexual responsibility, tion to inner-city children. The programming at the col- teenage parenthood, and AIDS education. lective demonstrates the rich contributions of African- Rites of Passage is coordinated by the Painted American, West Indian, and Latino cultures. Through Bride Art Center, Philadelphia, and is funded in part by network funding, the collective has been able to develop the Mid Atlantic Arts Foundation, the National Endow- two youth performing jazz ensembles under the ment for the Arts, the Pennsylvania Council on the Arts, direction of legendary saxophonist Jackie McLean. The Meridian Bank, Inc., and Hunt Manufacturing Inc. Par- ensembles are comprised of a cross-section of youth from diverse cultural, racial, and economic backgrounds. the National Endowment for the Arts, the Lila Wallace- This effort strives to foster understanding, respect, and Reader's Digest Fund, Western States Arts Federation good working relationships. (WESTAF), eight western state arts agencies, and dozens of local organizations in over fifty underserved commu- ~ ' Southern Arts Federation nities in the West. Among the many benefits of this The Southern Arts Federation (SAF) is a non- project is its impact on at-risk youth. The experience of profit, regional arts agency dedicated to providing lead- writer Jean Blackmon during a residency at a home for ership and support to effect positive change in the arts troubled teens best illustrates this. throughout the South. The organization works in part- At first, Blackmon wondered what she, a fic- nership with the state arts agencies of Alabama, Florida, tion writer, could offer these teenagers, some of whom Georgia, Kentucky, Louisiana, Mississippi, North Caro- were runaways, orphans, and victims of abuse and aban- lina, South Carolina, and Tennessee. donment. Says Blackmon, "Reading and writing fiction Southern Arts Education Partnerships in Ac- seemed like such a luxury when taken in the context of tion involved a planning session for seventeen communi- these troubled young lives." When the kids were asked ties in nine states, and each state department of educa- what they liked to read, one young girl provided a re- tion, state arts agency, and state alliance for arts sponse and a reminder to Blackmon of the value of fic- education. Teams included school board members, su- tion, regardless of one's life circumstances: "I like fiction perintendents, teachers, principals, parents, arts adminis- because it teaches me about life... When I read a story, trators, artists, and community volunteers who created I get inside the character and see how she solves her prob- [< strategic plans for arts education in their communities. lems. Sometimes it helps me with my own problems." The Leflore County Schools Planning Project 8' in Greenwood, Mississippi, focused on at-risk students. o To integrate the arts in classroom and afrer-school pro- 21- grams, school administrators worked with Arts for Suc- 0 C cess, a vocational and cultural alliance; Greenwood Leflore Cities in Schools; Greenwood Foundation for the Arts; Cottonlandia Museum; Mississippi Valley State University; and local businesses. These programs sup- ported job training and school-to-work transitions. The community emphasized arts education's ability to offer dif- ferent approaches to learning~ critical thinking~ and team- work, and to provide a positive outlet for creative energy.

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