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If you have issues viewing or accessing this file, please contact us at NCJRS.gov. L__ ,~,~i~!i!ill ~ ~!,~!~!~ii~'~,~!~ii,i,~i iii~ ~ • ! L~j~f te [ ,! / ! / t / / J J f ? J J / j / f L f/ f J J f /J J f- J J J 1 J / J J J J o KPART\ OF THE SQLU 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
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