Coming up Taller

Home , Boys Choir of Harlem, Rap opera, Young Divas

President's Committee on the Arts and the Humanities

-Tl

f» -Tli' Coming Up Taller

Arts and Humanities Programs for Children and Youth At Risk ADVISORS

Jessica Davis Nancy Rogers Research Associate Acting Director Project Zero Division of Public Harvard University Programs Graduate School of National Endowment Education for the Humanities Cambridge, MA Washington, DC

Diane Frankel William Strickland Director Executive Director Institute of Museum Manchester Craftsmen's Services Guild Washington, DC Pittsburgh, PA

Marianne Klink Ruby Takanishi Federal Liaison Executive Director National Endowment for Carnegie Council on the Arts Adolescent Development Washington, DC Washington, DC Wayne Lawson Nancy Welch Executive Director Senior Research Analyst Ohio Arts Council Morrison Institute for Columbus, OH Public Policy Arizona State University Frances Lucerna Tempe, AZ Artistic Director El Puente Halima Williams Brooklyn, NY Co-Artistic Director Living Stage Theatre Ellen McCulloch-Lovell Company Executive Director Washington, DC President's Committee on the Arts and the Lynn Wright-Kernodle Humanities Coordinator Washington, DC MOTHEREAD Literacy Development Program Karen Pittman North Carolina Director of U.S. Programs Humanities Council International Youth Greensboro, NC Foundation Takoma Park, MD Coming Up Taller

Arts and Humanities Programs for Children and Youth At Risk

by Judith Humphreys Weitz

President's Committee on the Arts and the Humanities

With the National Assembly of Local Arts Agencies

This project is funded by the Anncox Foundation, Botwinick-Wolfensohn Foundation, Emily Hall Tremaine Foundation, Nathan Cummings Foundation, GE Fund and Harris Foundation.

April 1996 Photos on the cover are from the following organizations:

First row, left to right: Lula Washington Contemporary Dance Foundation,

Manchester Craftsmen's Guild, Bakehouse Art Complex.

Third row, left to right: The 52nd Street Project, Precita Eyes Mural Arts Center.

Fourth row, left to right: MERIT Music Program of Chicago, The Wang Center for the Performing Arts, Washington State Historical Society, Capital Museum.

Fifth row, left to right: Washington State Historical Society, Capital Museum,

Settlement Music School, The Brooklyn Children's Museum.

Back cover, top to bottom: Oakland Youth Chorus, Vermont Council on the Humanities.

Editor: Elizabeth Murfee

Design: Beth Singer Design

Printing: Cavanaugh Press

Profile Research: National Assembly of Local Arts Agencies

Permission to copy, to disseminate or to otherwise use information from this report is granted as long as appropriate acknowledgment is given.

Copies of this report can be ordered from the

President's Committee on the Arts and the Humanities

1100 Pennsylvania Avenue, NW, Suite 526

Washington, DC 20506

Phone: 202-682-5409 • Fax: 202-682-5668 1

There is no way to fast forward and know how the kids will look back on this, but I have seen the joy in their eyes and have heard it in their voices and I have watched them take a bow and come up taller. 1

Willie Reale, artistic director of The 52nd Street Project,

describing the impact of a theater program on youth

living in "Hell's Kitchen," a neighborhood in New York City. 1

Table of Contents

INTRODUCTION AND SUMMARY 6

CHAPTER ONE I I

A Changed Environment for Children: A Status Report

CHAPTER TWO 15

Culture Counts: The Case for the Arts and the Humanities

in Youth Development

CHAPTER THREE 20

Transforming Lives: An Overview of Arts and Humanities Programs

CHAPTER FOUR 28

A Delicate Balance: Principles and Practices of Promising Arts and Humanities Programs

CHAPTER FIVE 38 Looking Ahead: A Next-Step Agenda

CHAPTER SIX 41

Two Hundred Plus: Profiles of Arts and Humanities Programs

APPENDIX 153 State-by-State Index 154 A Note on Assessment 158 Notes 160 Acknowledgments 162

The Dance Ring DBA New York Theatre Ballet —

Introduction and Summary

Coming Up Taller is a report poets, videographers,

filled with hope, a narrative museum curators, dancers,

about youth learning to musicians, muralists,

paint, sing, write plays and scholars and librarians. poems, take photographs,

make videos and play The President's Committee

drums or violins. Here are believes strongly in the WHY THIS REPORT

stories of children who learn importance of including the In September 1994,

to dance, mount exhibi- arts and the disciplines of President Clinton announced

tions, explore the history of the humanities in the the new members of the their neighborhoods and school curriculum. This President's Committee on

write and print their own study looks at what hap- the Arts and the Humanities.

books. pens to young people when He and First Lady Hillary

they are not in school Rodham Clinton, who

This report documents arts when they need adult serves as Honorary Chair of

and humanities programs supervision, safe places to the President's Committee,

in communities across go and activities that charged the Committee to

America that offer opportu- expand their skills and offer explore ways to enhance

nities for children and them hope. the availability of the arts

youth to learn new skills, and the humanities to

expand their horizons and The individual programs children, especially to

develop a sense of self, described in this study take those at risk.

well-being and belonging. place in many locations,

some unusual, in their com- "Too often today, instead of

Coming Up Taller is also an munities. Children, artists children discovering the

account of the and scholars come together joyful rewards of painting,

men and women at cultural centers, muse- or music, or sculpting, or

who share their ums, libraries, performing writing or testing a new

skills as they help arts centers and arts idea, they express them-

to shape the talents schools, to be sure. Arts selves through acts of frus-

of children and and humanities programs tration, helplessness, hope-

youth and tap their also are based at public lessness and even violence,"

hidden potentials. radio and television sta- noted Hillary Rodham

These dedicated individ- tions, parks and recreation Clinton in remarks to the

uals, often working long centers, churches, public President's Committee.

hours for little pay, are housing complexes, teen "We see too clearly how an

educators, social workers, centers, settlement houses erosion and a breakdown of

playwrights, actors, and Boys and Girls Clubs. our most cherished institu-

In places unnoticed by tions have resulted in a

mainstream media, acts of fraying of the whole social

commitment and achieve- fabric. We know that the

ment are evident every day. arts have the potential for

This report documents arts and humanities programs that are changing children's liues v

IS VO ^ 1995 Drama 1995 Drama CluB \ama ClO*> 995 Drama CUb

jj J

obliterating the limits that the arts and the humani- impart new skills and Above Left: Settlement Music

are too often imposed on ties that reach at-risk chil- encourage new perspec- School. Above:The Wang Center for the Performing our lives. We know that dren and youth and to tives that begin to trans- Arts. Lower Left: Lula they can take anyone, but describe the principles and form the lives of at-risk Washington Contemporary particularly a child, and practices that make these children and youth. Dance Foundation. transport that child beyond programs effective.

the bounds that circum- B. Community arts and • Use innovative teaching stance has prescribed." SUMMARY OF humanities programs pro- strategies such as hands-on FINDINGS vide crucial "building learning, apprenticeships

The First Lady encouraged Coming Up Taller calls blocks" for children's and technology, often giving

the Committee to offer con- attention to the variety and healthy development. youth concrete job skills.

crete ideas "about how we vitality of promising arts These programs: • Emphasize excellence and can provide children with and humanities programs • Create safe places for expose children to quality safe havens." She noted, for children and youth. It children and youth where staff and programming. "The arts and humanities also describes common they can develop construc- have the potential for being characteristics that these • Build on what youth tive relationships with such safe havens. In com- programs share. value and understand and their peers. munities where programs encourage voluntary partic-

already exist, they are pro- A* Perhaps the most • Offer small classes with ipation.

viding soul-saving and life- distinguishing aspect of opportunities for youth to • Establish clear expecta- enhancing opportunities these programs is their develop close, interactive tions and reward progress. for young people." ability to take full advan- relationships with adults.

tage of the capacity of the • Maintain sustained, regu- • Place a premium on giving As a first step, the Presi- arts and the humanities to lar programs upon which youth a chance to succeed dent's Committee produced engage students. children can count and as a way to build their sense this report to identify Beginning with this provide youth with oppor- of worth and achievement. community programs in engagement, programs tunities to be valued community members.

Through arts and humanities programs, youth tap hidden potentials and deuelop new skills. limited staff and small C. The programs not only E* No two programs are on improve linkages among budgets. Technical assis- cultural programs provide youth with experi- alike. Each program and tance efforts, perhaps sup- other community institu- ence in the arts and the reflects its creator's mis- ported by the corporate tions would enhance coor- humanities, but also deliver sion and its community's sector, community founda- dinated needed support services. specific circumstances. responses to inter- tions or local arts and related problems. While establishing inde- The individuality of each humanities councils, are pendent relationships with program is testimony to needed to strengthen their I* These arts and humani- participants, they include this field's ingenuity. administrative ties programs provide and work with parents. and vivid fund-raising capabilities. testimony on the difference Fa The arts and humani- they make in children's D. These arts and humanities programs in this report Most program staff are lives. These programs doc- ties programs teach youth are located primarily in G* trained, primarily by more ument their activities, how to navigate other net- large cities. Many of them experienced program per- assess program strengths works and advocate for were created in the mid- sonnel. Only one-third of and weaknesses, track the youth with other communi- 1980s. Most programs the programs provide on- progress of individual par- ty institutions. operate with diverse but going training. Initiatives ticipants and compare

should be developed to their goals with actual

enhance training and staff practices. A few programs

opportunities. For example, have documented, with

staff could learn from and some caveats, the positive

train at other programs. correlation between pro-

Travel grants, paid sabbati- gram participation and

cals, staff mentorship pro- cognitive development,

grams and performance interest in learning, moti-

exchanges could enrich vation, organization, self-

existing programs. perception and resiliency.

H* Partnerships provide J* With increased compe-

critical support, allowing tition for fewer resources,

limited staff to obtain the pressure to demon-

much-needed resources. strate results is increasing.

Most community arts and However, assessment takes humanities programs time and money: commodi-

described in this report ties in short supply in

were initiated by arts or these programs.

humanities organizations. Community arts and

Manchester Craftsmen's Guild However, they operate in humanities programs need partnerships with other financial support and guid-

institutions such as ance to develop assess-

schools, universities, youth ment tools that measure

organizations, churches, impact and improve pro-

businesses and health, gram practices.

housing and social service

agencies. Strategies to

flits and humanities programs provide crucial "building blocks" for the healthg deuelopment of at-risk youth. —

foundations cannot assume K. Ninety-five percent of total responsibility, their the programs report that leadership and decisions they have more than one are pivotal. Strategies for source of funding; most building support, including programs report that their sustained general support, donors are local. City gov- as well as identifying and ernment supports 58 per- generating new resources cent of the programs; local are urgently needed. foundations provide support to 55 percent; local corpora- Coming Up Taller demon- tions, to 50 percent; and strates the value of sup- individuals, to 40 percent. porting these arts and Vermont Council on the Humanities humanities programs and L. Government agencies promoting their prolifera- Graduate School of lum. In addition, the city, state and federal—are tion. The President's Education, the U.S. selected programs focus on the most common source Committee hopes that this Conference of Mayors, the youth development of funds, though most pro- report will mark the begin- National Recreation and through the arts and the grams receive significant ning of a renewed effort by Parks Association, the humanities as one of their private contributions, national, state local National Endowment for expressed goals. including foundation and leaders in the public and the Arts, the National grants. While 43 percent of private sectors to support Endowment for the Staff at the 218 programs the organizations have and expand community Humanities, the Institute of that met these criteria received or currently arts pro- Services and were interviewed at receive support from the and humanities Museum grams for children and approximately 90 other length, providing the basis National Endowment for youth at risk. urge public and private agencies for the program profiles in the Arts, National We leaders to tap the creativity that work with youth. Chapter Six. The inter- Endowment for the and energy of these These agencies include views collected the follow- Humanities or Institute of programs to improve the arts organizations; national ing information: Museum Services, many prospects for the children arts and humanities service also receive funds from • Why a program was and youth of this nation. groups; national networks other federal departments, created of institutions including the U.S. community such as Boys and Girls • What arts and humani- Departments of Health and HOW THE REPORT Clubs, libraries, ties activities are offered Human Services, Housing WAS DONE museums and Urban Development, The arts and the humani- and parks; national youth • What community condi- ties programs in social service agen- Justice and Labor. examined and tions and resources exist this study were identified cies; foundations and gov-

by a broad range of organi- ernment agencies. Each of • program serves M. These community pro- Who the zations agencies: the the 600 identified grams face their greatest and programs • How services are of State challenge as potential gov- Federation was screened to select delivered ernment funding cuts make Humanities Councils, the those working primarily Association of with at-risk children, offer- • staff, including their financial futures more American Whether tenuous. While private Museums, Project Co-Arts ing sustained arts and artists and scholars, are at the Harvard University humanities programs out- trained

side of the school curricu- ©

There aie common characteristics that contribute to these programs' success with youth. • Who the program's part- • Read With Me: Teen ners and supporters are Parent Project, Vermont Council on the Humanities, • What the impact is on Morris ville, Vermont participants

• Teen Project, Center for • How effectiveness is Contemporary Arts of measured Santa Fe, Santa Fe, New Mexico The conclusions about what makes programs • Working Classroom, Inc., effective are based on Albuquerque, New Mexico these interviews and on visits to nine sites: These programs have

existed from 2 to 26 years Oakland Youth Chorus • The Artists Collective, and accumulated 99 years Inc., Hartford, Connecticut of experience. Seven of the others, especially those that 3. Transforming Lives

• Educational Video Center, nine have received or cur- focus on a specific culture provides an overview of the

New York, New York rently receive support from in American society. highly varied cultural

the National Endowment programs surveyed for this • Experimental Gallery: Arts for the Arts, National ORGANIZATION OF report. Program for Incarcerated Endowment for the Hu- THE REPORT 4. A Delicate Balance Youth, Washington State manities and/or the This report is structured in summarizes the principles, Historical Society, Capital Institute of Museum six chapters. policies and practices found Museum, Olympia, Services. They operate in 1. A Changed Environ- in promising programs. Washington both urban and rural areas, ment for Children 5. Looking Ahead recom-

• The 52nd Street Project, serving youth as demo- describes the context in mends continued examina-

New York, New York graphically diverse as the which these programs tion of these programs and

U.S. population. Some focus operate, presenting both discusses their need for • Japantown Art and their programs on specific disheartening statistics and increased technical and Media Workshop, San disciplines, such as graphic the evidence of resiliency financial support. Francisco, California design or literature; others that children can display in 6. Two Hundred Plus con-

• Kaleidoscope Preschool offer a variety of disciplines. the face of seemingly insur- tains the 218 individual

Arts Enrichment Program, The humanities represent mountable odds. profiles of arts and humani-

Settlement Music School, the core of one program and 2. Culture Counts reviews ties programs for children

Philadelphia, Pennsylvania are integrated into several the value of the arts and and youth at risk.

the humanities for youth. It

suggests that arts and humanities programs are

crucial components of any

community strategy that

seeks to improve the lives

of children and youth.

We hope this report will mark the beginning of a renewed effort to support and expand these programs, A Changed Environment for A STATUS REPORT

Children live in a different young adolescents, the feel- Child poverty rates are the

world today from that of ing of belonging to a com- most widely used indica-

their grandparents. In some munity that offers mutual aid tors of child well-being. In

ways, it is a better world. and a sense of common pur- 1993, almost 14 million

More children today are pose, whether it is found in children in the United

better fed, better educated their families, schools, neigh- States were poor.'1 Their liv-

and free from dangerous borhoods, houses of worship, ing conditions are reported

childhood diseases. or youth organizations, has as worse than those of poor

"* However, this progress is been greatly compromised. children in 15 of the 18

not shared egually by all

children. Today's children face new hazards that were

not even imagined by previous generations.

Changing family life pat-

terns have affected today's

children. Having a parent

at home full time, a given

30 years ago, is now the

exception to the rule. Studies show that many young people spend 40

percent of their time with-

out responsible adult

companionship or supervi-

sion. 1 It is ironic that while technology can give

America's youth member- Among today's 10th grade Western industrialized The 52nd Street Project

ship in a global community, students, for example, less countries, by the Luxem-

many are alienated from than one-third attend reli- bourg Income Study. 5

the communities outside gious activities once a These children are the

their doors. week; while only a fifth most likely to attend inade-

participate in youth groups quate schools and to face

The Carnegie Council on or organized recreational danger in their neighbor-

Adolescent Development programs or take weekly hoods and communities

now reports, "The experi- classes outside of school in and the least likely to have

ence of growing up in art, music, language or access to recreation and

American communities has dance. One in 8 takes support services.

changed significantly in weekly sports lessons out-

recent decades. For most side of school, while 1 in 14

volunteers or performs community service. 3 ©

Ovei 63 million children and youth Hue in America. Their numbeis will increase to over 73 million by 2010 Federated Dorchester

Neighborhood Houses, Inc.

Almost 4 million children hood quality is "poor" they had carried a weapon

are growing up in severely or "fair." This negative (a knife, razor, club or

distressed neighborhoods, response rises to just firearm) at least once dur-

areas that have high levels under one-half from house- ing the previous 30 days.

of at least four of the fol- holds with only one One in 7 male high school

lowing risk factors: poverty, adult present. 7 students reported carrying

unemployment, high school a gun within the last

dropouts, female-headed For some children, the rise month. 10

families and family reliance in violence has created a

on welfare. 6 These children brutal reality. In the United Other alarming indices

are in double-jeopardy for States, a child dies from show that the teen suicide

they are surrounded by gunshot wounds every 2 rate, youth violent crime

mirror images of their hours, 8 and 3 million chil- arrest rate and the unmar-

own vulnerability. dren each year are reported ried teen birth rate are all

abused or neglected. 9 In rising. 11 Using a cumula-

Almost one-third of all 1993, over one-third of tive risk index, the U.S.

households with children male high school youth, Department of Health and

report that their neighbor- and nearly 1 in 10 of female Human Services reports

students, reported that

Almost 1 out of S fourth graders matches 6 01 more houis of TU each day America," growing num- opportunities and chal-

bers of elderly will depend lenges for growth or contri-

on the productivity of bution and poor and over-

working adults for their crowded neighborhoods.

economic support. Among Children facing these cir- those future working cumstances show an

adults are today's minority inability to resist the influ-

children. 15 ence of unhealthy behavior

in peers and are drawn to THE ROOTS OF RISK those who already have

All children and youth face become risk-takers" some adversity as they grow up; most adjust and There are ways, however,

thrive. However, research to prevent such circum-

indicates that when prob- stances from mushrooming

lem behaviors occur, they into damaging behavior.

often cluster in the same Many experts have identi-

young people. "Those who fied what children need to

drink and smoke in early grow up healthy, skilled

adolescence are thus more and optimistic. The

likely to initiate sex earlier Carnegie Council on

than their peers; those who Adolescent Development

engage in these behavior summarizes the basic

patterns often have a history conditions children need to

of difficulties in school. successfully complete the

When young people have a transition from childhood that in 1992, only 45 per- secure a decent-paying job low commitment to school to adulthood: cent of 15-year-olds, 31 that can support a family. and education, and when percent of 16-year-olds, Today, one-third of all male teachers or parents have low "They must have sustained,

24 percent of 17-year-olds workers earn less than it expectations of the children's caring relationships with and 16 percent of 18-year- takes to lift a family of four performance, trouble lurks. adults; receive guidance in olds were "risk free." 12 out of poverty. 13 Once educational failure facing serious challenges;

occurs, then other adverse become a valued member of "" For those children who This generation lives in an events begin to take hold. a constructive peer group; survive and graduate from increasingly diverse soci- feel a sense of worth as a school, the job market they ety, one that can provide These problem behaviors person; become socially enter is tighter, more com- an enormous opportunity have common roots and competent; know how to petitive and highly special- for cultural richness—or for feed on unfortunate cir- use the support systems ized. A high school gradu- distrust and resentment. In cumstances in children's available to them; achieve a ate as well as a high school three states and the Dis- lives: insufficient parental reliable basis for making dropout is unlikely to trict of Columbia, "minori- support and guidance; low informed choices; find con-

ty" children already make grades and schools with structive expression of the

up the majority of the child low expectations; few

population." Consider, also,

that with the "graying of ©

More than 2 out of 5 fourth graders score below basic reading levels. curiosity and exploration discovered that one-third lege or developed a stable such as churches, muse- that strongly characterizes of the high-risk children and close relationship with ums, libraries and perform-

their age; believe in a were vulnerable but a spouse were more likely to ing arts, recreation and

promising future with real resilient throughout the become successful young youth development centers. opportunities; and find ways study, becoming successful men and women. 19

of being useful to others."18 in school and later at work. Such programs address

The study's authors While the theory of resilien- children's needs for adult

In short, children and youth described them as "compe- cy is not entirely under- support and provide role

need caring families and tent, confident, caring stood, other studies sup- models, often making an

communities. adults." The other two- port the findings of Werner impression on youngsters

thirds developed emotional and Smith. The capacity to who might otherwise sur-

THE RESILIENT ONES and behavioral problems, be resilient challenges the render to hostility and

Most of us understand how which included teen preg- notion that impoverished hopelessness. They be-

children in stable families nancy and mental health environments doom a child come locations in which

with good schools and safe, problems and delinquency. to a dismal future. youth "hang out," forming enriching neighborhoods friendships with peers and

are able to succeed. But Werner and Smith identi- However, as a member of adults while taking an

how does a child who does fied three clusters of pro- the Youth Committee of the active role in constructive

not have these supports tective factors separating Lilly Endowment asserts, activities and learning

thrive? And why is it that the resilient group from the "While children can, and new skills.

even when the indicators other adolescents: certain often do, make the best of

seem to signal "doomed life temperamental characteris- difficult circumstances, As noted by the Carnegie

ahead," some children sur- tics and engaging social they cannot be sustained Council, "[Y]oung members

mount adverse circum- skills; strong relationships and helped to grow by socialize with their peers and

stances, growing and with parents or parental chance arrangements or adults and learn to set and

excelling? How do youth substitutes, including sib- makeshift events. Some- achieve goals, compete fair-

find ways within and out- lings; and a community thing far more intentional ly, win gracefully, recover

20 side their families to meet support network. is required." from defeat, and resolve dis-

some of their basic needs? putes peaceably They

Of those children in the Community youth organi- acquire life skills: the ability

A portion of the answer is Werner and Smith study zations now play an to communicate, make deci-

found in the results of an who did succumb to their increasingly vital role in sions, solve problems, make

investigation by child psy- at-risk environment, be- making "something more plans, set goals for education

chologist Emily Werner, of coming problem teenagers, intentional" happen. and careers. They put their

the University of California, a portion matured to Nationwide, more than school-learned knowledge to

and her colleague Ruth become successful young 17,000 such organizations use, for example, by working

'm Smith, a clinical psycholo- adults. Key to their ability to offer community programs as an intern in a museum.

gist. Werner and Smith pull their lives together for youth. These include Experiences such as these

tested, over a span of more were pivotal experiences large, national groups such can offset adverse circum-

than 30 years, a sample of with supportive people in as the YMCA of the USA stances and lead youth

children born in 1955 in situations that structured and Boys and Girls Clubs of toward productive lives.

Kauai, Hawaii, into trou- their lives. For example, America, as well as local bled and impoverished problem teenagers who community organizations

families. The researchers joined the military or a

church group, went to col- ®

Many young people spend 40% of their time without responsible adult companionship or supervision Culture Counts THE CASE FOR THE ARTS AND THE HUMANITIES IN YOUTH DEVELOPMENT

Organized youth activities Several integrated educa- the value of the arts has

can deter risky behavior in tional models currently had insufficient educational adolescents, according to a exist in the United States. theory and research upon recent national study. The Duke Ellington School which to base his or her

Students who participate of the Arts in the District of insight. In the last several in band, orchestra, chorus Columbia provides its high years, this gap has begun or a school play, for exam- school students, most of to close. ple, are significantly less whom come from disad- likely than nonparticipants vantaged backgrounds, Studies are exploring the to drop out of school, be with the chance to attend role of arts education in the arrested, use drugs or a school where academics development of higher engage in binge drinking. and the arts share the order thinking skills, prob-

Unfortunately, this same school day equally. In lem-solving ability and study also notes that Kansas City, 7 public increased motivation to today's most vulnerable school districts, 11 arts learn. Other studies are youth spend less time in organizations and 35 finding correlations activities like these and donors have banded between arts education are therefore deprived of together across state lines and improvements in acad- their benefits. 1 to form Arts Partners, an emic performance and

initiative to integrate com- standardized test scores,

Quality youth programs, munity arts resources into increases in student atten- whether organized around the school curriculum. dance and decreases in the arts and the humanities, Schools benefiting from this school drop-out rates. sports, science or outdoor approach have seen the exploration, are a crucial transforming effect of the source of supportive arts and the humanities on relationships and vital the quality of education and Youth Radio experiences. Arts and on student achievement. humanities programs are particularly potent in pro- While humanities disci- moting youth development. plines such as history, liter-

We see this most clearly in ature and language have educational settings when long been accepted as part the arts and the humani- of the standard school cur- ties are fully integrated into riculum, the enlightened the curriculum. educator who understands

More than 350,000 babies aie born each year to unmarried teenagers notes, "[S]tudents with The arts have the poten- Furthermore, the teaching

strengths in the spatial, tial to enhance academic methods used in many arts musical, or personal performance. The arts and humanities programs

spheres may find school far give youngsters a richer provide alternative

more demanding than stu- reservoir of information approaches to learning. For

dents who happen to upon which to draw in pur- example, some children

process the 'text-friendly' suing other subjects, such can process and retain

blend of linguistic and logi- as reading, writing, mathe- information more effective-

cal intelligences." 3 matics and history. ly when they learn by

"Drawing helps writing. doing, engage in appren-

The arts and the humani- Song and poetry make tice-like relationships and

ties provide children facts memorable. Drama use technology such as in Center of Contemporary Arts with different ways to makes history more vivid computer graphics and

(COCA) process cognitive infor- and real. Creative move- videography. 7 mation and express their ment makes processes

" The following points own knowledge. Using understandable. 5 The arts and the humani- elaborate on the important processes different from ties spur and deepen ways culture counts in the traditional approaches, the By honing nonverbal skills the development of development of children arts and humanities provide such as perception, imagi- creativity. By their very and youth. children with unique meth- nation and creativity, the nature, the arts and the

ods for developing skills arts also develop vocabu- humanities place a premi-

The arts and the humani- and organizing knowledge. lary, metaphorical lan- um on discovery and inno- ties draw upon a range Each arts and humanities guage, observation and vation, originality and

6 of intelligences and discipline has its own critical thinking skills. The imagination. As such, they learning styles. Experts distinct symbol system, elements of sound, move- can be powerful vehicles belreve that people do not whether it is nonverbal, as ment, space, line, shape for stimulating creativity in possess a single general with music or dance, or and color are all concepts young people, a valuable intelligence, but several uses language in a particu- related to other subject trait throughout their lives. different kinds: linguistic, lar way, as with creative areas such as math and musical, logical-mathemat- writing or oral history. science. The concepts Businesses today increas- ical, spatial, bodily-kines- Exposure to these alternate taught in the arts permeate ingly look for workers who thetic, interpersonal and systems of symbols other scholastic disciplines, can think and create.

2 intrapersonal. Schools by engages the mind, requir- and a child's comprehen- Clifford V. Smith, Jr., presi- and large focus on linguis- ing analysis, synthesis, sion of an artistic concept dent of the GE Fund, is tic and logical-mathemati- evaluation and application. 4 can extend across the aca- typical when he says, cal intelligences. In so demic curriculum. "Developing business lead- doing, America's educa- ers starts in school. Not in tional institutions may assembly-line schooling, consign many children to but rather through the under-achievement and dynamic processes that the failure. As eminent psy- arts-in-education experi- chologist Howard Gardner ence provides." 8

More than 1 out of 3 male high school students reports carrying a weapon within the preuious month The Brooklyn Children's Museum

The arts and the humanities provide critical tools for children and youth as they move through various developmental stages. Preschool children, before they are fluent in language, are powerfully affected by music, visual arts and dance. Preschool- ers can paint, color, mold clay, sing songs and dance in order to convey feelings and ideas. These activities encourage young children to express themselves and learn through the use of nonverbal symbols.

Teenagers struggle with issues of identity, independence, competency and social role. The arts help to mediate this confusion.

"Creative art activity allows the adolescent to gain mastery over internal and external landscapes by discovering mechanisms for structure and containment that arise from within, rather than being imposed from outside.

The artistic experience entails repetition of actions, thoughts or emotions, over which the adolescent gains

Ouei 11,000 youth, ages 15-10, die each yeai fiom homicide, suicide 01 accidents. "The arts provide a safe container for every Similarly, the humanities The arts and the humani- person or every culture or every group to encourage youth to read, ties teach the value of express things about coming into being as an write and express them- discipline and teamwork dealing hardship, dealing with a adult, with selves in a disciplined way. and the tangible rewards sense of beauty. No other activity provides us each can bring. When with that. [The arts and humanities] allow us Changes in body image children's efforts culminate culturally, individually to say things and do may be expressed through in a performance or exhibi- things we might never get to do." movement and dance. tion, they have a chance to Carlos Uribe Drama offers the opportuni- experience meaningful Director of Programs ty to explore identity by public affirmation, which Center for Contemporary integrating childhood roles provides them with some Arts of Santa Fe and experimenting with degree of celebrity. For Teen Project future possibilities. Music those few minutes, chil-

increased tolerance or mas- expresses emotional disso- dren are in their own eyes

tery. While providing a nance and volatility. The every bit as important as

means to express pain and visual arts provide a vehi- anybody—any TV, sports,

unfulfilled longings during a cle for translating inner music, movie or video

distinct maturational phase, experiences to outward idol. 11 This can be an expe-

the arts simultaneously visual images. 10 Writing rience of particular potency

engage the competent, and oral history projects for youngsters whose lives

hopeful and healthy aspects bring a greater understand- are primarily characterized

" of the adolescent's being. 9 ing of one's family and by anonymity and failure. neighborhood.

Almost 4 million children Hue in severely distiessed neighborhoods. Somerville Community Access Television

they can bridge barriers

among cultural, racial and

ethnic groups. The arts also can promote a deeper

understanding of similari-

ties and differences among

religions, races and cultural

traditions. For some chil-

dren, the exploration of

their unique cultural histo-

ries can be critical to their

sense of themselves and to

others' images of them. This knowledge can help

bind them more fully to the

larger society of which they

are a part.

The arts and the humani- "It [the book] represented a answers to those questions Finally, the arts and the ties provide youth with a world outside of her own means the fullest and rich- humanities are a critical

different perspective on circumstances; a world of est and most imaginative part of a complete educa- their own lives, a chance honor and honesty, love development of every tion. The true worth of cul-

13 to imagine a different and loyalty and bad luck single self." tural knowledge transcends

outcome and to develop a and good luck. It gave her any of its specific applica-

critical distance from something outside of her A respected gang-interven- tions. Exposure to the arts

everyday life. For one own experience. And she tionist writes, "One of the and the humanities and

adult poet, a well-known could see that there was a most natural and effective the experience of their

12 children's book allowed her way out." vehicles for gang members power are of inestimable

to envision a different is the road of the arts, value unto themselves.

world from the abusive one Developing cultural literacy especially theater. New val- And in this respect, the

in which she lived as a in children and youth gives ues only emerge through beauty of the arts and the

child. At a conference for them a sense of perspective new experiences, and the wisdom of the humanities

adults learning to read, she as they participate in tradi- arts provide a unique labo- count for everyone.

recalled this experience, tions of expression from ratory where truth and pos-

held up Smokey and the which they learn and to sibility can be explored

Cowhorse and said, "This which they can contribute. safely. Validating emotional

is the book that saved my As humanist John William safety is everything." 14

life." Victor Swenson, exec- Ward wrote in 1985,

utive director of the "[H]umanistic learning is Because dance, music, pho-

Vermont Council on the centered on the individual tography and other visual

Humanities, elaborates: who has important ques- arts transcend language,

tions about self and soci-

ety. To learn some of the ©

More than 1 out of S children, or almost 14 million. Hues in a poor family Transforming Lives AN OVERVIEW OF ARTS AND HUMANITIES PROGRAMS

In the spring of 1996, seemed instinctively to Most youth participating in

20 teenagers from a low- understand Shakespeare. It these programs live in

income community in was a pivotal time; she large cities. They come

Pennsylvania will graduate gradually evolved from the from 36 states and the

from high school with 6 one who "got involved in District of Columbia. These

years of professional the- confrontations" into the children represent every

ater experience. Jessie is mediator to which every- racial and ethnic group in

one of them. one turned when disagree- the country and include

ments arose among school dropouts, teen par-

She was in the sixth grade Ensemble members. Over ents, immigrants, refugees when The People's Light time, the Ensemble and gang members. Some

and Theater Company became like a family, but live in juvenile detention

reached out to a group of one "she didn't have to centers, public housing

students and made a com- take care of, one that projects, halfway houses

mitment to stay involved helped her to take care of or homeless shelters.

with them until they grad- herself." Though her own Others are simultaneously

uated from high school. family situation continued enrolled in prevention

The Theater Company to be fraught with stress, programs for substance

worked with students after Jessie became one of the abuse, teen pregnancy,

school year-round. Staff top students in the 12th school dropout or juvenile

provided transportation grade. She now hopes to delinquency.

and, during the summer become a lawyer. 1

time, provided employment Mostly, they are "just kids"

as well. This ensemble of THE PARTICIPANTS who were born into eco-

teenagers, called "New Stories like Jessie's are nomically disadvantaged Voices Ensemble," created common among the pro-

plays together, as they grams profiled in this

wrote, improvised, report. The 218 arts and rehearsed and performed. humanities programs

described in Chapter Six

Jessie was moody at first, touch the lives of an esti-

sometimes walking out of mated 88,600 youth each

rehearsals. Her family situ- year. While they reach chil-

ation was extremely diffi- dren of all ages, 92 percent

cult, and she often had to of the programs work with

supervise and attend to teens. Seventy-two percent r&^r*zy?> five younger brothers and of the programs also serve pf*" sisters. Then, while work- 6- to 12-year-olds, and 24 ing on A Midsummer percent assist preschoolers. Night's Dream, Jessie

The 216 aits and humanities programs in this leport serve 08,600 youth each year Right: Precita Eyes Mural Arts Center. Below: Guadalupe Cultural Arts Center.

families and/or resource- poor communities. And being just kids, they long for friendship, approval, protection, security, con- nectedness and things to do. However, often living in poor communities or stressed families, these youth sometimes grow up with little adult guidance, School Settlement, both in Endowment's creation in In recent years the NEA in fear of physical danger, New York City, are now 1965, the network of local also has expanded its part- with few stimulating over 100 years old. These arts agencies has grown nership collaborations with activities and with consid- organizations offered pro- from 500 to 3,800. State and other government agencies erable uncertainty about grams in the arts and cul- territorial arts councils have such as the Corporation for their futures. ture as part of a constella- increased from 5 to 56. National and Community

tion of services designed to Several of the programs Service, the Department

PROGRAM ORIGINS address the needs of poor described in this report of Health and Human

Though by no means European immigrants. The were created by local coun- Services and the reaching all youth in need, same can be said of Hull cils, including those in Department of Justice to community programs House in Chicago, started Tucson, Arizona; New encourage greater involve- devoted to children like in 1889 by social work pio- Orleans, Louisiana; and ment of arts organizations

Jessie are proliferating. neer Jane Addams. Hull Toledo and Columbus, Ohio. in federally supported com-

There appear to be more House continues to provide munity prevention pro- cultural programs now than community cultural activi- In 1971, the NEA estab- grams for youth. Projects at any other time in our ties through its Beacon lished its Expansion Arts supported through these history. However, many Street Gallery and Theatre, program specifically to federal partnerships often more programs are needed which became separately encourage the development have national impact or to reach under-served incorporated in 1989. of community cultural serve as models to encour- children and youth. organizations. These organ- age the expansion of sup-

Since the late 1960s, gov- izations assumed that port for programs that uti-

This survey shows that ernment agencies and pri- improving lives in their lize the arts to benefit at- many of the programs were vate philanthropies have neighborhoods was part of risk youth. started in the last half of supported community arts their mission. Thus, helping the 1980s, but their and humanities programs. children and youth was a State humanities councils, antecedents trace their ori- The National Endowment natural extension of their largely supported by the gins to the settlement for the Arts (NEA), the activities. Over-one third of National Endowment for house movement and com- largest donor to the arts the organizations profiled the Humanities (NEH), also munity music schools. since 1976, has played a receive or have received grew during the 1970s, and

Henry Street Settlement major role in decentralizing NEA support. with their expansion began and the Third Street Music the arts to ensure broad a flourishing of literacy, oral access. Since the ©

These aits and humanities programs are located mostly in large cities. history and community their communities and revitalization programs. have reached out to new GENERAL PROGRAM INFORMATION

These programs encourage audiences. Museums in Average Median scholars to take active roles partnership with communi- Staff 3.5 2.0 in their communities, ty leaders, educators and Volunteers 23.0 5.0 bringing their perspectives others are creating innova- Consultants 9.2 8.0 into active play and bring- tive and effective ways to Annual Budget $158,537 $84,000 ing the community togeth- address a wide range of Annual Youth Served 407 100 er around discussions of social concerns. Museum Year Started 1986 1989 important issues. programs for at-risk chil- The median and average are both provided because of the broad Humanities councils in dren range from art activi- range of responses. The median is the middle value of a set of numbers Kentucky, Louisiana, New ties fostering personal arranged in order of magnitude. The average is the sum of the observa-

Jersey, Vermont and the expression to opportunities tions divided by the total number of observations. Source: National

District of Columbia creat- for exploring cultural her- Assembly of Local Arts Agencies. ed programs that are itage and building skills described in Chapter Six. and confidence through

inquiries into the world of workers who want to pro- Community Access

The Institute of Museum science. More than a dozen vide positive experiences Television in 1992 after

Services (IMS), established programs created by muse- for children and youth. meeting eight teenagers at in 1976, serves all varieties ums are described in this a local park in Somerville, of museums from art, histo- report, including programs When visual artists at City Massachusetts. He began ry, science and children's at children's museums in Center Art in Birmingham, to work with them, helping museums to zoos and Brooklyn, New York; Alabama, noticed neigh- them to explore their botanical gardens. IMS Holyoke, Massachusetts; borhood children hanging neighborhoods with video supports museums that Indianapolis, Indiana; Las out at their warehouse, cameras. Two of the videos have taken an active role in Vegas, Nevada; and they developed an arts pro- won awards, and now, with

Seattle, Washington; as gram—Space One Eleven partial funding from the U.S. well as at the Georgia —for youth who live in the Department of Housing and AGE RANGES Museum of Art in Athens, nearby housing complex. Urban Development, the OF PARTICIPANTS New York State Museum in program operates at hous- SERVED Albany and The Mexican In Buffalo, New York, chil- ing developments, Boys and Museum in San Francisco. dren knocked on the door Girls Clubs and community 1 to 5 24% of a local artist named centers in the area. 6 to 12 72% Programs that reach youth Molly Bethel asking her to 13 to 18 92% by engaging them in cul- teach them to paint. That Sometimes artists who 19 to 21 44% tural activities arise under was over 35 years ago, have retired from their per- Programs may serve more than one many circumstances. Some and today, MollyOlga forming careers draw upon age range. Source: National Assembly of Local Arts Agencies. are started by artists or Neighborhood Art Classes their backgrounds to help teachers concerned about remains a neighborhood young people. Former bal-

young people; others are sanctuary, available to any lerina turned defense attor-

begun by mayors or by young person. ney Sherry Jason and her

juvenile justice or youth public defender husband

Television director Roberto Bob started the Sentenced

Arevalo began The Mirror to the Stage program for

Project at Somerville juvenile offenders in ©

92% of the aits and humanities programs work with youth ages 13-18: 72%, with children ages 6-12. 8

Topanga, California. In this Columbia has run the It is impossible to pinpoint youth's production of program, offenders must Living Stage Theatre exactly what stimulates the videos to help rival gangs participate in acting and Company for poor children, personal vision and com- understand each other and dancing workshops as a teen mothers and incarcer- mitment of the individuals to help teens communicate condition of their proba- ated youth. The Cleo behind these programs. with adults. Teen mothers tion. Similarly, a former Parker Robinson Dance Whatever their reasons, improve their parenting

Joffrey and American Ballet Theatre is building a posi- perhaps the most com- skills using children's liter-

Theatre dancer leads tive record with first-time pelling is that the needs ature. Young people classes at OneArt studio's offenders, teen parents and of today's children are research the history of their Kids Off Streets program, other at-risk youth through so profound. communities, sometimes in Miami, Florida, located its Project Self Discovery using a video camera and in one of the most violent in Denver. PROGRAM CONTENT sometimes a pen, in order to neighborhoods in the These programs provide gain a perspective on the country. For other organizations, the children with a rich range present. The children learn

impetus to launch youth of opportunities to create how to become museum

Some programs were outreach programs is more and to reflect, from 10- docents and what it takes to founded by nationally practical. For example, the minute skits to Shakes- become a curator. known artists or organiza- Settlement Music School in peare, rap music to opera tions. Alvin Ailey Philadelphia runs an arts- and rites of passage cere- There is no one cultural

Company, for example, ini- enriched preschool pro- monies to ballet. Children discipline that dominates tiated AileyCamp for high- gram for children living in in these programs produce the field. Taken together, risk children, and the a public housing project custom-designed T-shirts, the programs report that dance camp now runs in across the street. Since the ceramics and murals. They they spend 24 percent of

Frostburg, Maryland, School was empty during play saxophones and vio- their time on theater, 1

Kansas City and New York the morning hours, it lins and transform public percent on music, 16 per-

City. Since 1966, the Arena seemed logical to use the spaces into places of beau- cent on literature, 15 per-

Stage in the District of space for nearby children. ty. The programs facilitate cent on dance, 8 percent

Washington State Historical Society, Capital Museum

Programs involve youth in a wide variety of cultural disciplines. on other humanities and 7 Tutorial programs in math, and emergency medical

percent on the visual arts. reading and computers, as care when needed. The

The remaining 12 percent well as dance, heritage Sarasota Ballet of Florida

is spent on a variety of arts, poetry and vocal arts provides instruction,

other activities, such as are available to the chil- dancewear and transporta-

folk arts and him. dren participating in the tion to scholarship partici- STARS Program—Success pants in Dance—The Next Even though these are not Through Academic and Generation.

primarily social service pro- Recreational Support, spon-

grams, they provide an sored by the City of Fort These cultural programs

array of support services Myers, Florida. When the serve both large popula-

for children and youth Program began, the majori- tions and small numbers

beyond arts and humanity of its students had less of youth. Appalshop in

ties activities. Because of than a C average, but now Whitesburg, Kentucky,

the difficult circumstances 80 percent maintain a C involves 13 youth a year

of many participants' lives, average or better. The city in a program that uses

it is not uncommon for pro- police point to a 28 percent videography as a way to

grams to offer conflict reso- decline in juvenile arrests document Appalachian

lution sessions, life skills since the Program was culture. In contrast, 120

and job training, job and founded rn 1989. teenagers sing in the

college counseling, tutoring Oakland Youth Chorus in

and sometimes even Some programs charge a California, while 2,000

meals and transportation modest fee, but scholar- children participate in

f services. ships and waivers general- dance, creative-writing,

ly are available for children music, theater and visual

° The Manchester Crafts- who cannot afford it. Most arts classes in recreation

men's Guild in Pittsburgh, materials are provided free- centers in Columbus,

Pennsylvania, in addition of-charge. Prime Time Ohio's Children of the

to offering an Arts Family Reading Time, a Future program.

Apprenticeship Training project of the Louisiana

^ Program in ceramic arts, Endowment for the The average number of computer imaging, drawing Humanities, gives chil- children served annually

and photography also pro- dren's books to families so by these programs is 407;

vides college counseling parents can read them the median number, 100.

services. This combination aloud to their children at Sixty percent of the pro-

may account for the fact home. Children on scholar- grams report annual

that 74 percent to 80 ship participating in increases in attendance

percent of participants in Project LIFT, The Dance since they began. the Program are accepted Ring DBA New York

into college, compared to Theatre Ballet program, PROGRAM STAFF

20 percent in the surround- receive free ballet lessons, Most programs employ a ing community. dance clothes, transporta- small number of staff and

East Bay Center for the tion money and books. make additional use of vol- Performing Arts Project LIFT also provides unteers and consultants.

school clothes, winter coats

The median number of children served by arts and humanities programs annually is 100 "Consultant" is a category that includes the artists PARTNERSHIPS and scholars who work Programs were asked to list the major partners critical to their development and sustainability. directly with children and Partners provided a variety of services such as funding, mat erials, facilities, visibility, public support and board member service. Source: National Assembly of Local Arts Agencies. youth. Each employee works long hours for mod- Schools (K-12) Federal Government 43% Police 20% est pay and little job secu- Artists Youth Groups 39% Halfway Houses 17% rity, using his or her skills Foundations State Governments 36% Women & Children 17% Programs and energy to provide Corporations Local Arts Agencies 33% Homeless Shelters 17% youth with new perspec- Arts Organizations Mayors' Offices 31% Community 16% tives and new experiences. Media Religious 28% Development Organizations Corporations City Governments Volunteer 28% United Ways 15% Over an average year, Colleges/Universities Organizations Chambers of 11% programs employ 3.5 per- Neighborhood Libraries 26% Commerce Groups manent staff members, 23 City Councils 26% Humanities Councils 10% Social Service volunteers and 9.2 consul- Agencies County Governments 22% Governors' Offices 8% tants, primarily artists and scholars. The annual median number of staff is 2, recording technicians, Law, FENCES, a computer- with 5 volunteers and 8 commercial artists, mask- based interactive television consultants. makers, muralists, electron- show, produced by teens.

ic and print media experts, Teens are exposed to writ-

Most programs provide lawyers, public health ing, video production, edit- some type of training for nurses, youth and social ing, graphic development, people who work directly service workers, along set design and construction. with youth. This training is with many others. likely to be provided in- In Vermont, public health house by more experienced Young Aspirations/Young nurses are an integral part Tucson-Pima Arts Council personnel. Only one-third of Artists (YAYA) program in of the Read With Me: Teen the programs provide ongo- New Orleans teaches youth Parent Project offered by ing training, however. A the occupational aspects of the Vermont Council on the majority of programs prefer art by partnering juveniles Humanities. Nurses identi- staff who have had previous with commercial artists fy interested teenagers and experience working with every day after school and transport them and their children and youth. on weekends to work on infants to the literacy

projects and commissions, through children's litera-

Who are the individuals which they create and ture program. Professors working most closely with then sell. from local colleges, librari- children in these programs? ans and independent

They are poets, actors, Television Executive scholars facilitate these dancers, musicians, painters Producer Chris Schueler sessions. and museum curators, to be staffs, along with lawyers sure. They also are college from the University of New teachers, historians, Mexico Institute for Public ©

The annual median number of staff is 2, with 5 uolunteeis and 8 consultants. Similarly, college students

from Brown University,

Rhode Island College and

Providence College, along with independent music

and dance teachers, act as

mentors to young people in

The Cultural Alternatives

Program of The Music

School in Providence,

Rhode Island. Participating

youth also receive training

in violence prevention from

Through home visits made Partnerships are an integral create books that are then the University of Rhode by public health nurses, the part of these programs. In sold to museums and rare Island Teen Crime project is able to extend its fact, most organizations book collections around the Prevention Program. programs to teens unable to seek and develop collabora- country or placed in the visit its site and to reinforce tions with other groups, local library and the The Cultural Center for the importance of reading to enriching their resources Wustum Museum. the Arts in Canton, Ohio, a child among participants. and expanding the oppor- initiated Children's Art

tunities they can provide California Lawyers for the Connection for children

PARTNERSHIPS for children and youth. To a Arts in San Francisco col- ages 8 to 12, in partnership

While this study focuses on large degree, the impact laborates with the San with the Canton Ballet, programs outside school and sustainability of these Francisco Unified School the Canton Symphony curricula, schools remain programs depends on inno- District and the Private Orchestra, the Canton very much involved. Sixty- vative alliances. Partners Industry Council, a non- Museum of Art and The eight percent of the arts can be active participants profit organization that Players Guild. Through this and humanities programs or providers of support ser- administers federal Job program, children attend report that they work in vices such as facilities, Training Partnership Act artist-led classes and perfor- partnership with schools. materials and funding. funds, to find employment mances held at the partici-

Schools identify children for youth in local cultural pating cultural institutions. who would benefit from The Victory in Peace institutions. these programs and make Program, created by the BUDGETS AND their facilities available Charles A. Wustum The Community Arts FUNDING after hours. Some programs Museum of Fine Arts in Partnership program, run Two-thirds of the programs deliberately build on in- Racine, Wisconsin, is a by Plaza de la Raza in Los examined in this report school learning, while oth- partnership among the Angeles, pairs youth with were created by arts edu- ers run in-school programs Museum, the Racine Urban art students from the cation and arts organiza- in addition to community League, the Racine Council California Institute for the tions such as theaters, programs. for the Prevention of Drug Arts. These one-on-one dance companies and sym- and Alcohol Abuse and mentoring relationships are phonies. Some are housed

The Taylor Home and developed at community in major mainstream cul-

Education Center. In this centers throughout the city. tural and educational insti- program, young people tutions such as Lincoln

of the programs report that they work in partnership with schools Center for the Performing from $4,355 to $3,000,000, (NEA), the National (Office of Juvenile Justice

Arts in New York City, The the average annual budget Endowment for the Prevention); U.S.

John F. Kennedy Center for is $158,537, and the medi- Humanities (NEH) and/or Department of Labor (Job the Performing Arts in the an budget is $84,000. Most the Institute of Museum Training Partnership Act;

District of Columbia and piece together their bud- Services (IMS) support or Summer Youth Employ-

The Wang Center for the gets each year from a vari- have supported 43 percent ment and Training).

Performing Arts in Boston. ety of sources. Ninety-five of organizations surveyed.

But many others exist in percent of the programs Public funds account for neighborhoods and inhabit report more than one In all, 43 percent of the pro- the largest source of sup- modest accommodations. source of funding. grams receive funds from port for 40 percent of the

Acquiring funding and federal agencies, includrng, programs participating in

The Teen Project of the seed money has proved in addition to NEA, NEH this study. Seventeen per-

Center for Contemporary much easier than attract- and IMS: U.S. Department cent of these organizations

Arts of Santa Fe resides in ing long-term support. The of Agriculture (Extension identified municipal gov- a converted warehouse majority of donors—individ- Service); Corporation for ernment as their largest near the railroad for which uals, foundations, corpora- National and Community donor, while state and fed- a dollar a year is paid to tions, government—are Service (AmeriCorps); eral governments were list- the City of Santa Fe. local. City governments Corporation for Public ed as the largest supporters

Precita Eyes Mural Arts provide funds to 58 percent Broadcasting; U.S. of 11 percent and 12 per-

Center in San Francisco of the programs; local Department of Education cent of these programs, rents a two-room space foundations, to 55 percent; (Title 1, Compensatory respectively. packed with student work. local corporations, to 50 Education); U.S. Depart-

The Artists Collective, Inc., percent; and individuals, ment of Health and in Hartford, Connecticut, to 40 percent. Human Services (Head occupies a former Catholic Start; Center for Substance school while it finishes State and federal govern- Abuse Prevention); U.S. raising the funds needed ments are a significant Department of Housing to break ground on a source of financial support and Urban Development new building. for these programs. Almost (Title 1, Community

half receive some support Development Block Grant;

While the annual budgets from their state govern- Public Housing Drug Above: Japantown Art and Media of the community pro- ment. The National Elimination); U.S. Workshop. Left: Appalshop. grams surveyed here range Endowment for the Arts Department of Justice

SOURCES OF PROGRAM FUNDING City County Regional State National

Government 58% 18% 6% 49% 43% Foundations 55% 5% 22% 17% 34% Corporations 50% 7% 11% 9% 8% Individuals 40% 6% 6% 4% 7% Earned Revenue 10% 1% 1% 2% 0% Nonprofit Orgs. 50% 5% 12% 11% 20% Other 25% 3% 6% 5% 4%

Source; National Assembly of Local Arts Agencies.

43% of the programs receive funds fiom the federal government. A Delicate Balance: PRINCIPLES AND PRACTICES OF PROMISING ARTS AND HUMANITIES PROGRAMS

As we have seen in the on specific arts and Arts skills can be wonder-

previous chapter, arts and humanities disciplines fully liberating. "When I

humanities programs for without ignoring broader teach kids drawing," recalls

children and youth vary child development con- Carlos Uribe, director of

mensely. Sponsored by texts. These programs programs at the Center for

different organizations work with parents while Contemporary Arts of

orking in partnership preserving independent Santa Fe, Teen Project, "I

with others, these pro- relationships with children. say, 'The wonderful thing

grams offer a range of Finally, they capitalize on about drawing is you can

cultural experiences in a the unique perspectives be anywhere, and you can

ariety of locales. possessed by artists and do it. You can draw any-

humanists. thing you want. It's an ulti-

re there certain practices, mate freedom for you. It

though, that are fundamen- The following characteris- doesn't have to be the

tal to these programs' tics were identified greatest piece of artwork.

effectiveness with chil- through site visits to the You can throw it away as

dren? Are there features nine programs named in soon as you do it. But for

that cause programs to be the Introduction and the moment, you are ulti-

captivating rather than Summary 2 The descrip- mately free, and there's

merely available? tions below quote liberally almost no other place on

from the people directly this planet where you can

A substantial body of infor- involved because their experience that.'"

mation exists on the char- voices embody the vision

acteristics of successful and character of the pro- The Kaleidoscope

programs for children and grams themselves. Preschool Arts Enrichment

youth. 1 This chapter seeks Program at the Settlement

to describe these attributes Effective programs take Music School in Philadel-

from the perspective of full advantage of the phia provides children with

Federated Dorchester artists, scholars and direc- capacity of the arts and alternative techniques for

Neighborhood Houses, Inc. tors of community arts and the humanities to stimu- perceiving their world. As humanities programs. late ways of knowing Robert Capanna, executive

and learning. These pro- director of the Settlement

This study found that the grams teach children new Music School, explains, "If

most effective programs languages: the language of you sit at a desk and try to

maintain a delicate balance visual images, of move- understand your environ-

between structure and ment, of sound. The new ment only through verbal

flexibility, creating opportu- skills learned can be excit- concepts and verbal com-

nities for growth and ing; for children and youth munication, it obviously

building on the familiar. whose verbal skills are has a different impact on

Successful programs focus limited, these new languages are empowering. ©

"life treat everyone as an actor, or an artist or a writer from the minute they walk in." you than if you get up and or an artist or a writer from you can write a perfect move around the space, or the minute they walk in," paragraph, you're allowed

if you try to look at the says Nan Elsasser, execu- to write [a short story] . We space and reproduce it on tive director of Working do the opposite. We start paper or if you engage in Classroom, Inc. Robert purely with the imagina- singing and making Capanna, of the Settlement tion and then help youth sounds through instru- Music School, agrees. build the technical skills to ments. All of those things "What is most important to finesse their expression of give you an opportunity to kids is to know that they that. I think that's really, understand your environ- are in a place that is treat- really important. These are ment differently." ing them with respect for kids whose ideas and

their abilities." imagination have not been The Experimental GaDery encouraged, not even in the Washington State Elsasser continues, "What acknowledged."

Historical Society, Capital happens a lot of times in

Museum serves youngsters education is that your This acknowledgment is in juvenile detention cen- imagination and vision is often the key to altering ters who have failed in the last thing that you're positively youth's self- mainstream schools and exposed to. It's like you image. "I've seen kids walk society. This program can't write a play because in here who have been encourages them to re- you can't write a sentence. slumped to the ground engage, re-define and re- When you have a perfect because their self-esteem enter their families and sentence, you're allowed to is so low," says Ana Washington State Historical communities on new write a paragraph. When Gallegos y Reinhardt, Society, Capital Museum terms. "The youth come to us pretty beaten down and with a pretty low self- image. They start believing, perhaps, what people have said about them. But through their abilities to develop a skill in art or in expressing themselves quite differently, they're able to bring up that self- image," says Carol Porter, superintendent of Maple Lane School, Juvenile Re- habilitation Administration.

Respecting young people's arts skills is crucial. "We treat everyone as an actor,

'These aie kids whose ideas and imagination have not been encouraged, not even acknowledged. "Children don't want to all the things that are

know about things intellec- involve [d] in shooting and

tually. They want the editing a video," says

experience of doing them," Steven Goodman, execu-

observes Capanna. tive director.

Experiential learning acts Apprenticeship relation-

as a gateway to other kinds ships occur in many of of learning. "We found that these programs. The 52nd

through the exhibit Street Project, for instance,

process, you can teach all pairs young children one-

The Artists Collective, Inc. director of the Teen Project, kinds of important social on-one and two-on-two

Center for Contemporary and academic skills," says with professional play-

Arts of Santa Fe. "They Susan Warner, curator of wrights and actors to write

make bad grades. Their education, Washington and produce mini-plays.

parents beat them, abuse State Historical Society,

them. They don't feel like Capital Museum. "Our stu- The use of computers,

they have any skills. dents have been unsuc- video cameras and record-

They're coming in here, cessful in mainstream ing and broadcast studios

and we see what they schools. But they were will- holds enormous appeal for

have. You give them a little ing to create the art for the youth who experience the

bit of stimulus, and it's like exhibit. And then, by help- electronic media everyday.

they blossom. It's giving ing to plan the exhibit, Having access to these

kids permission to have they learn things like audi- expensive means of cultur-

ideas, because they don't ence identification, what is al production is a special

even actually acknowledge appropriate in an exhibit. opportunity for many of

that they can have an They use basic math skills them, and the challenge of

original idea." in determining how you mastering the machines

design and lay it all out. can be motivating. The

Effective programs Pretty soon, they are technology allows youth

emphasize dynamic improving their reading what Uribe of the Teen

teaching tactics such as and writing skills." Project calls "a fast hit,"

hands-on learning, the experience of success

apprenticeship relation- While the goals of the on which the programs

ships and the use of Educational Video Center can build.

technology. Traditional in New York City do not

teaching methods can explicitly include the Effective programs pro-

be abstract and remote teaching of math and sci- vide children and youth

for many youngsters. ence, both disciplines are with opportunities to suc- involved when making a ceed. Central tenets of

video. "There's a lot of sci- these programs include

ence in what we do. You generating the expectation

figure out the physics of of success and then provid-

light and color and dis- ing the means to accom- tance and motion and time, plish defined goals.

"Children don't want to know about things intellectually. They want the experience of doing them. For some children, success performing the child's try it some other way. If says Elsasser. Outside is completing work, howev- ideas. The staff also casts they don't do this well, recognition from the public er modest the project. For according to the unique then you find the thing can be much more com- others, success lies in ful- abilities of the children. "If that they do well and con- pelling. She goes on to filling a contract with a a kid has a raspy voice, centrate on that." explain: "We opened this community organization, make him or her a pirate. If gallery last Friday, and selling works of art or the kid can't remember These programs, however, there were over 200 people mounting an exhibition or long passages, then we're put a high premium on who came and bought performance. talking a terse pirate. If the excellence. Many of the commissioned work.

kid can't manage to stand groups put on perfor- Bingo!... The youngsters do

"We try to guarantee suc- still on stage, that terse mances and exhibitions, need positive reinforce- cess, because a lot of our pirate is tied to the mizzen- or sell items the students ment, but they know when kids have not been suc- mast," says Willie Reale, make. The response of the it's real and when it's just cessful in school," says artistic director. 3 public is one criterion for part of the curriculum."

Robert Sotelo, artist/educa- excellence. "If the audience tor who works in one of the These groups work tireless- didn't like it, not only Effective programs begin juvenile detention centers ly to construct an environ- would we be unhappy, but small and keep their in Washington state. "We ment where young people the kids wouldn't be suc- classes small. One of the make sure they finish pro- believe that even if a con- cessful. So it is about creat- reasons these programs jects, make sure they finish tractor does not pick their ing good theater... it's not have an impact on young what they start, no matter design, they are not fea- so much about social work lives is that the classes are how small. They may do 10 tured in a performance or for kids," explains Carol small. Hands-on learning percent of their first pro- their artwork is not picked Ochs, executive director of ject, and I may do 90 perfor an exhibition, it still has The 52nd Street Project. cent of it as a way of nurs- value. Dollie McLean, ing, basically. But I've had founding executive director Public affirmation can be kids go from that to want- of The Artists Collective, the most powerful motiva- The 52nd Street Project ing to stay when I'm sup- Inc., says, "Somebody has tor of all. "It doesn't posed to go home. Then to care about what hap- matter if people tell they will call and want to pens to these young people you, 'Oh, you're come over and work and say, 'No, you can do it wonderful,'"

because they have these better, ' or give them the great ideas." encouragement to

try it again, to try it

These programs dedicate in another way, and themselves to finding a if that doesn't work, way for everybody to excel at something. Sometimes it takes a little cleverness. At

The 52nd Street Project, actors and playwrights motivate a youngster by writing a play in which he or she will be great, or by

"Hie try to guarantee success, because a lot of our kids have not been successful in school. Educational Video Center

and apprenticeship programs necessitate small classes. Since mentoring, academic, artistic and personal, lies at the heart of the power of these programs, any dilution of the adult-child relationship diminishes their impact.

important until a step-by- issue. Getting a job relates discipline, appropriate

"There is a lot of one-to- step strategy for expansion to this primary concern. "I dress, grooming and good one time that is spent with can be implemented. like to have pragmatic behavior with a small adult role models, people goals for these kids," says stipend. The Artists who are respected, who Effective programs build Dennis Taniguchi, execu- Collective, Inc., located in pay attention and who give on what young people tive director of the one of Hartford, sensitive guidance to the already value. The experi- Japantown Art and Media Connecticut's poorest young people," says Bernie ences that children and Workshop, "and something neighborhoods, now is

Lopez, executive director of youth bring with them are real for them to get into, known locally as the "oasis the Center for Contempo- not only valid, but also the that they can see how they on Clark Street." rary Arts of Santa Fe. core around which the can make some bucks.

"That's something that's learning process is built. That's a very good way to But if learning art for pay almost totally absent in Not all children and youth, reach these kids." "buys a little patience," so their lives. They get almost however, come to these does the use of technology no one-to-one time with an programs believing that These young people are for this media-sawy gener- adult anywhere, certainly the arts and the humani- not rejecting the adult ation. The Japantown Art almost none at school." ties are particularly rele- world, but trying to figure and Media Workshop uses

vant to their lives. "You out how effectively to play computer games to teach

There are practical reasons cannot throw somebody a role in it. "You can't design and offers an for beginning small, as who has been beaten down exclude kids from the adult apprenticeship in comput- well. Putting programs most of their life into a world because that's where er graphic design. The such as these in place drawing class and expect they're headed and that's Educational Video Center requires intense labor. them to understand the what much of their frustra- recognizes that learning to

Ensuring success is even beauty of drawing. They're tion and longing is about," communicate through a more challenging. not there yet," recognizes says Lopez. video camera is part of the

Beginning with a small Uribe. "Getting them there" attraction of its program. number of children is means beginning with The staff of The Artists The apprenticeship pro-

what youth value and Collective, Inc. would gram in videography capi-

understand. agree. Among its offerings talizes on young people's

is a Summer Youth interest in media.

For many of the young peo- Employment and Training

ple in these programs, eco- Program that rewards

nomic survival is a critical ©

'There is a lot of one-to-one time that is spent with adult role models. "

Both of these programs ducing 500 T-shirts, the learning the relationship cratic in that everybody

apprentice youth to profes- mini-thrill of possibly see- between effort and results gets fair and equal treat-

sionals who are completing ing them on the street is a potent experience. ment under the law. But

specific projects under somewhere appeals to For many youth in these the law is the law.

contract. Working on "real- them." For the same rea- programs, it is a new one. world" projects in a "real- son, the Teen Project is At The Artists Collective,

world" environment with a also planning a custom In some programs, contracts Inc., youth wanting to

client and a contract, dead- car-painting service to with outside businesses and receive a check from the lines, telephones and fax draw at-risk youth to the organizations—with defined Summer Youth Employ- machines makes the task program. goals, timetables and stan- ment and Training Pro- more compelling. It also dards—provide a structure gram must meet certain addresses a central con- In a related way, the within which artistry takes grooming, dress and

cern many young people Vermont Council on the place, just as preparing for a behavior standards. "They

have about their futures: Humanities, which serves performance or exhibit pro- know that we're strict. But their employability. teenage mothers, builds on vides it in others. they also know that we

the importance of their care about them," says

Future employment is babies to them to encour- Some programs have set Founding Executive

exactly what is behind the age literacy. The Read With up specific mechanisms for Director Dollie McLean.

YO-TV program at the Me program provides a rewarding positive perfor-

Educational Video Center. place for isolated teens to mance. For instance, the However, setting expecta-

Designed for a small group talk with others about Working Classroom, Inc. tions for behavior and per-

of high school graduates, common concerns, hopes has a point system: Teens formance is different from

YO-TV provides them with and dreams. earn points for keeping up being inflexible or authori-

advanced, pre-professional their grades in school and tarian. Such rigidity, in

training and allows them to Effective programs have participating in classes. create broadcast-quality clear goals and high These points can be

documentary videos on expectations. "These kids, "cashed in" for special

issues of concern to the if put into the right kind of events or related travel, or,

community. environment, can absolute- for some, financial assis-

ly flourish," says Capanna, tance for college.

Some programs build on reflecting the positive

current teen fads. Both the expectations the directors While programs emphasize

silk-screening classes at of these programs have mutual respect and open-

the Japantown Art and concerning the children ness to the ideas of the

Media Workshop and the they serve. The "right envi- children, they also recog-

Teen Project focus on T- ronment" includes clearly nize that it is important for

shirt design as a beginning articulated goals with a adults to set certain para-

activity. "A lot of kids reliable structure. meters; it's not just "any- Japantown Art and Media don't really care about the thing goes." Willie Reale at Workshop

design aspect. They'd Clear goals provide securi- The 52nd Street Project

rather leave that to the ty to children whose lives describes this arrangement

artist," says Uribe. "But the are often chaotic and over- as a "benevolent dictator-

work of it, the result of pro- whelming. Knowing what ship." "The rules are demo- the expectations are and ©

"You can't exclude kids from the adult world because that's where they'ie headed. part, makes many of these the building should be cultural heritage and, It also means that pro- children rebel against monitored. therefore, of themselves. grams must be account- school, "You tell home and commu- can't just a person able to children, youth and , nity. As Carlos Uribe points The program directors also that you are somebody. You families; if the program out, "If you come across as speak eloquently about the have to learn who that does not "measure up," the an authoritative hard-line, critical need to create a somebody is, who that children will not come. For no-flexibility figure, kids safe haven for ideas and somebody was, what those youth, "measuring up" are going to turn away relationships: a "petri dish" accomplishments were. includes giving them the from you immediately. where youth can develop You have to give them chance to hold themselves

That's why the kids turn caring and respectful rela- faces that they look at, that accountable for the suc- away from education. tionships with each other look back at them, that say, cess of their experience.

That's why they turn away and with adults, a place in Tm special. I'm somebody from parents or religious which children "come special,' whether it's the Allowing children and institutions that don't give away looking at themselves face of a Wynton Marsalis youth to accept responsi- them the permission to fig- and society differently." or a Harriet Tubman," says bility is part of what makes ure it out." Humanities programs McLean. these programs work. "It's

where the emphasis is on not learning to please some

Effective programs pro- exploring ideas are key Effective programs are external thing. The kids are vide youth with an acces- to developing a broader voluntary and are shaped in charge of the project. We sible and safe haven and perspective. by youth themselves. All give them the responsibili- a broader context within nine arts and humanities ty, and they come through which to learn. Creating a Many directors noted that programs that were visited every time," says Warner, site where children are youth are thirsty for infor- are voluntary programs. of the Washington State physically safe is a crucial mation about their racial Even within the juvenile Historical Society, Capital requirement. Programs and ethnic cultures. Part detention center, participa- Museum program. "They must be located in safe of The Artists Collective, tion is optional. This volun- make the choice to change places, accessible by pub- Inc.'s mission is to provide tary participation is an because they aren't being lic transportation. When youth with a more com- important part of "not made to." necessary, entrances to plete picture of their being like school." Effective programs pro-

vide quality staff and quality programming.

Directors stressed the

importance of quality programming and top-notch

staff. They believe that economically disadvan-

taged children, like more

affluent children, should

have access to the best

society has to offer. "The

system says the good stuff

is for Suzi, but the good

stuff is not for Nadine.

Arena Stage

[Tine theory of our program is that everything good belongs to everyone That's from 5 eating a diet with It is also important to put Directors also discussed functions at that level." On

children in frequent, direct the need to locate artists the other hand, artists and

contact with artists and who have a sense of fun, teachers do not ignore the

scholars themselves. who "put a little wink in pain, anger or frustrations

"Artists process their envi- the work" and who under- that may emerge through

ronment differently," stand that the program is their work with children. It

explains Capanna. "When not about them but about can be a fine line to tread.

you put an artist in a teaching environment, they

stay an artist. When you

put a teacher in that envi-

Victor's going to get to ronment and give them read The Odyssey, and some art skills, they are a

Dawn is going to get to teacher with some art read we-don't-even-know- skills. And the kids know what because we don't the difference." read it ourselves. But the theory of our program is The talent of children is that everything good never an issue in these belongs to everyone," says programs. Effort is. "The

Victor Swenson, executive kids may not have the abil- the children. "Ego must be Finding people with all director of the Vermont ity to become what the checked at the door before these characteristics is not

4 Council on the Humanities. teacher is, but when they entry," says Reale. Terms easy. "It is very difficult

work at their own level of such as "facilitator" and because we look for some-

Capanna concurs, "It is ability, they do it with the "shepherds" often were body who's skilled in his or very important for kids to same degree of concentra- used to describe the role of her craft. But people who come into contact with tion and commitment that artists and scholars. The are really skilled can make adults who are experts, their teacher demon- directors considered it a lot more money in the because kids get it on a strates," confirms Capanna. essential that the process industry. So they have to visceral level that they are of creation belong to chil- have some inner commit- dealing with somebody Effective programs recog- dren and youth. ment to work with the who knows all there is to nize that positive adult kids," says Steven know about a particular relationships are central The adults working with Goodman of the Education- area. Even if you are dealing to success. Directors youth must understand the al Video Center. with kids of very average stressed the importance of dynamics of working with ability, or even below aver- finding people who care vulnerable children. age ability, when you put about young people and are "Problems, big emotional them in an art activity or a comfortable around them. problems, are not solved on music lesson with a highly Effective adult mentors our stage," declares Reale. trained person who is at the choose to work in commu- "Leave the therapy to the top of the held, that community programs, are honest, therapists.... The theater is nicates." Effective programs respectful and flexible and a medium of metaphor, and emphasize excellence. able to adapt quickly to it is far more beautiful and

individual situations. far more moving when it

Top Left: Department

of Cultural Affairs. Above: California Lawyers © for the Arts.

"Ego must be checked at the dooi before entry." —

Keeping quality staff also You can't make a policy out showing up for the show exemplified by the presents a challenge. The of this. We're just a bunch and being there. So we try Vermont Council on the pay is low; the perquisites, of people who happen to to be as communicative as Humanities' Read With Me few; the burn-out, fast; and want to affect a bunch of possible in terms of every- program for teen parents. in some fields, the compe- other people. You can't thing that we're doing." tition, stiff. "I wish we had codify it. It's as individual more resources to give staff as any relationship is." Reale points out, "Most of sabbaticals and profession- the kids who we work with al development so that this Effective programs work have remarkable, hard- is a career and not a side in partnership with par- working, decent parents thing," says Goodman. ents, but recognize their folks trying to do the best

But there are benefits for different relationship for their families and them- the teachers and volun- with youngsters. Every selves. Getting to know the teers, which help to create program stresses the parents is part of the job. a mutually sustaining com- importance of parents. As your relationship with a munity. "I think one of the Acceptance and apprecia- child deepens, you can big linchpins in our suc- tion by parents is very work together with a parent Many of the parents of the cess has been creating a important to young people, to help the child through children who attend the

difficult stretches. When a Kaleidoscope Preschool

kid exhibits behavior that is Arts Enrichment Program

difficult to understand, ask are young themselves.

his or her parents to shed These parents are required

light. They usually have the to attend five hour-long

answers.... Above all, the parenting seminars each parents must be treated semester. "The Program

with respect." 6 has provided a mentor-type

relationship between par-

Even so, creating an inde- ents and faculty. It has

pendent relationship is been very beneficial. We

important, particularly with have had a number of par-

older children. For many ents who have decided to

adolescents, parents are go back to school to get program that is both satis- even children living with "part of the problem." And GEDs and to go to commu- fying to the people we're family difficulties. As Abe, sometimes youth are more nity college. We have been serving and the people one young person at a willing to talk about impor- very conscious that it's who are volunteering," says juvenile detention center, tant issues with caring important to pull the fami-

Reale. "What we're able to says, "Kids like to send adults outside of their lies into the whole mix," do is give people, give our stuff home. They give it to families. says Capanna. volunteers, a way to use their parents and say, 'Hey, their skills and to serve the look. I did this.'" For some programs, how- Effective programs exist institutions community. I think when- ever, the distinction in committed ever you can do that, peo- "We are desperate to main- between being a parent for the long term. For ple feel good about them- tain relationships with par- and being a child has van- Robert Capanna, offering

for programming selves. And that's it. We're ents," acknowledges Carol ished. Programs one are sustained not changing our world. Ochs. "Nothing makes kids often for the other, as and a stable community

feel better than the parents

Nothing makes kids feel bettei than the parents showing up for the show and being there." home-away-from-home is considerable. Raising gen- navigate other networks. and scholars are part of a not just practical, but eral support and multiyear They can advocate on their multidisciplinary team. moral. It is "cruel" to bring funds, particularly in the behalf. "Obviously, part of children into a positive midst of government fund- the kid needs to brush his Nan Elsasser does not have environment that cannot ing cuts and over-stretched teeth, and part of him a social worker on staff, but be sustained. "You have to foundation resources, is needs to go to the dentist, she advocates for the commit to being there for very difficult. While the and part of the kid needs Working Classroom teens kids for all of the time hybrid nature of these pro- shoes on his feet and the herself. "The sad part of it you've said you are going grams—part arts and other part of the kid needs is, there's a real difference to be. So if it is a 3-year humanities and part youth a stimulating environment when I go to school program, you have to be development—is one of and an opportunity to for someone, and the funded for 6 years, so that their strengths, it makes express himself artistically parents do." the kids coming in at the fund-raising efforts more dif- and to be fed and nurtured. beginning and the kids ficult. "The frustration is, It is all part of the kid," Most programs do not have leaving at the end both some funders can be says Capanna. Recent formal links with other ser- have the full range of the 3- remarkably and painfully Head Start funding has vice providers, but like year experience.... If you are inflexible in their areas of allowed his Kaleidoscope Elsasser, going the "extra going to build a relation- interest," observes Capanna. Preschool Program to hire a mile" for children is part ship with the community, full-time social worker to and parcel of the program's you have to say, 'We are Effective programs are coordinate services for work. This commitment to here, we are it, and we are gateways to other ser- children and act as a service is the overriding going to keep doing this. vices for children. While bridge to families. reason these programs can

We are really committed to the directors are clear that make such a difference in doing it.'" they offer arts and humani- Because both the Washing- the lives of young people.

ties programs and not ton State Historical Society,

Being available means social service programs, Capital Museum and the Above Left: Center of more than providing activi- they also recognize that Vermont Council on the Contemporary Arts (COCA). ties. It means creating a the programs can be gate- Humanities programs work Far Left: East Bay Center for location children can come ways to other services for in partnership with health, the Performing Arts. to over time for a variety of their constituents. They social service and/or edu- Below:The Brooklyn reasons; a place that is a can teach children how to cation systems, the artists Children's Museum. stable element in their lives. For instance, The

52nd Street Project, in looking for new space, made it a priority to move back into the heart of the neighborhood it serves and to find space suitable for youth to just drop in.

The challenges of building and maintaining sustained, long-term programs are

'You have to commit to being there foi kids for all of the time you'ue said you're going to be. Looking Ahead: A NEXT-STEP AGENDA

This survey paints an types of communication visit other community

enticing picture of the could lead to new collabora- institutions. Strategies.es to

effect community arts and tions and partnerships link cultural programs with

humanities programs have among centers. schools, public agencies

on children and youth. It and other community orga-

also suggests the value of COMMUNITY LINKS nizations are greatly need-

supporting these programs, The needs of families and ed to develop coordinated

promoting their prolifera- children are usually multi- responses to interrelated

tion and conducting more ple, changing and varied. problems. Such a linking of

extensive studies of their However, in most cases, services and providers

effectiveness. community services are would reap the added ben-

organized narrowly to efit of allowing scarce

THE NEED FOR TECH- respond to specific prob- resources to yield greater NICAL ASSISTANCE lems. A common conse- returns.

Most of these community organizations operate with

limited staff and small bud-

gets. Technical assistance programs, perhaps support-

ed by the corporate sector,

community foundations or

local arts or humanities

councils, should be devel-

oped to strengthen their administrative and fund-

raising capacities.

Upper Right: MERIT Music With increased resources, Program of Chicago. new areas could be Right: Guadalupe Cultural explored to expand the quence of this segmenta- ASSESSMENT AND Arts Center. Lower Right: effectiveness of programs tion is that children and EVALUATION MollyOlga Neighborhood Art and enhance staff opportu- their families must go to Cultural leaders currently Classes. nities. For example, staff different agencies to are searching for an

could learn from and train receive different but relat- approach to assessment

at other centers. Travel ed services. Thus, families that enriches understand-

grants, paid sabbaticals, receive fragmented and ing of effectiveness and

staff mentorship programs insufficient assistance. provides programs with an

and performance ongoing tool for evaluating

exchanges would all con- Many of the children and and improving their prac-

tribute to creating a net- youth in these arts and tices. To this end, Project

work to enrich existing humanities programs also Co-Arts at the Harvard

programs. In time, new University Graduate School

of Education began a study

Technical assistance should be developed to strengthen program capacities. in 1991 of community arts The GE Fund, both individ- address public safety culminate in the develop-

education centers with uaUy and in collaboration issues and reduce crime. ment of a handbook to

sustained programs in eco- with the John D. and Evaluation and research guide additional agencies in

nomically disadvantaged Catherine T. MacArthur methods for this study are community arts program

communities. The Foundation and the being developed and con- development and artist

University published in- President's Committee on ducted by the Rand training. Startup funds for

depth portraits of five the Arts and the Human- Corporation. the project were provided

exemplary centers in Safe ities, funds several by the National Endowment

Havens: Portraits of research projects whose The second multiyear for the Arts, and the U.S.

Educational Effectiveness goal is to demonstrate the study is a collaboration Department of Justice is an

in Community Aits Centers impact of arts education. among the Regional Arts active partner in its evalua-

that Focus on Education in and Culture Council in tion component.

Economically Disadvan- The National Assembly of Portland, Oregon; the City

taged Communities. Local Arts Agencies is col- of San Antonio StrategiesTor developing

Harvard also developed laborating on two studies Department of Arts and. funding, assessments

and published, in The Co- with local arts agencies to Cultural Affairs; must be an integral compo- Arts Assessment Hand- evaluate arts programs that Fulton County Arts nent of program planning.

book, an assessment also have social goals. The in Atlanta, Georgia. The.

technique that uses first study, a partnership project seeks to develop

assessment forums and among the City of Los and test models fogevi

"process folios" to describe Angeles Cultural Affairs ating programs dajj

effectiveness. Department, the Chicago improve the lives azldW^

Department of Cultural reduce criminal activity of

With increased competition Affairs and the New York at-risk youth. As a,portion

for fewer dollars, however, City Department of Cultural of the study, the tragS

finding ways to measure Affairs, will measure the for artists and soc:

results takes on a new effectiveness of arts pro- vice personnel also^rakbe-

urgency. Several nation- grams that are designed to evaluated. This project

wide initiatives expect to

yield important information.

With increased competition foi fewer dollars, finding mays to measure results takes on a neui urgency. Gross Domestic Product;

private charitable giving is not growing with a

stronger U.S. economy." 1

While private foundations alone cannot be expected

to "save the day," their

leadership and decisions

are pivotal, now more than

ever. Some already support

community cultural programs with funding and Above: Asian Americans THE ISSUE OF research. But programs

United. Right: Center for FINANCIAL SUPPORT will not survive without Contemporary Arts Even as these programs for sustained support and of Santa Fe. Far Right: Artists youth make striking new resources. Raising the Consciousness advances, their financial of Humanity (ARCH) Productions. future is threatened; many The organizations in this of their sources of support survey do not pretend that

Donors can play an impor- are in jeopardy. Govern- they have all the answers tant role in ensuring the ment funding cutbacks will for at-risk children and evaluation of community affect these programs youth. The arts and arts programs for at-risk severely. The substantial humanities are not "mira- youth both by funding this reduction in federal funds cle solutions." At the same

component of projects and for the National time, something very by providing technical Endowments for the Arts In fact, cuts in public sup- important is being

assistance for developing and the Humanities and port may signal an achieved. These programs useful, practical and credi- the Institute of Museum unprecedented upheaval in have a positive impact on ble research. Services will mean not only the entire nonprofit sector. the lives of youth. Their

less money for programs A recent study by Nina fresh, sometimes novel,

like these, but also marked- Kressner Cobb for The approaches, implemented

ly increased competition Rockefeller Foundation, by caring, committed

with other programs for the published by the artists and scholars, are

reduced number of grants. President's Committee, worthy of a closer look and Other government programs with the Texaco Foundation, increased support.

in education, housing, job shows that donations by

training and social services individuals for any charita-

also face reductions or elim- ble purpose are stagnant,

ination at the federal, state even as individual wealth

and local levels. has increased. "For the first

time since 1986, total giv-

ing has fallen below 2% of

Progiams need sustained support and new resources •i sfi

o Hundred Plus: PROFILES OF ARTS AND HUMANITIES PROGRAMS \ The arts and the humanities programs outside of • Whether staff, including under Puente. An alphabet- ties programs profiled in the public school curricu- artists and scholars, are ical list of organizations this section were identified lum. In addition, the trained and their programs by by a broad range of organi- selected programs focus state begins on 154. • Who the program's page zations and agencies: arts on youth development of the partners and supporters are While most headings organizations; national arts through the arts and the in the profiles are self- • What the impact is on and humanities service humanities as one of their explanatory, a few deserve participants groups; national networks expressed goals. comment. Both the "Youth • How effectiveness is of community institutions, Served" and "Budget" measured such as Boys and Girls Staff at the 218 programs numbers are annual

Clubs, libraries, museums that met these criteria numbers. "N/A" means The following arts and and parks; national youth were interviewed to gather "not available." humanities program and social service organi- information on: descriptions are arranged zations; foundations and To assist the reader in • Why a program was alphabetically by organiza- identifying the program- government agencies. The created tion. Organizations that President's Committee did matic focus of each pro- • arts and humani- What begin with "The," or with not visit or review every gram, icons representing ties activities are offered the Spanish equivalent "El" program profiled in the different cultural • What community or "La," are alphabetized study. Each of the 600 disciplines have been conditions and resources without regard to the arti- identified programs was developed. The key to the exist cle. For instance, screened to select those icons follows. The Village of Arts and working primarily with at- • Who the program serves Humanities will be found risk children, offering • How services are under Village; El Puente, sustained arts and humani- delivered

Creative Film Media Arts Theater Writing # Multi- Dance History disciplinary Video ft Arts

Design Humanities Music Visual Arts

„ L- I Literature ^\ I Photography

Organization: Program: Theater Organization: African Program: African Administrative in Diversion Heritage Dancers and Heritage Dancers Office of the Courts/ Year Started: 1993 Drummers and Drummers

Juvenile Services Focus: Theater 4018 Minnesota Year Started: 1 960 Kenton County Youth Served: 20 Avenue Focus: Dance & Music

Building, Room 606 Ages: 8- 1 Washington, DC 200 1 Youth Served: 250

303 Court Street Budget: $ I 5,000 202-399-5252 Ages: 3-2

Covington, KY 4101 I Budget: $ 1 00,000 606-292-642

This program is designed to divert teen The African Heritage offenders from the formal court system, Dancers and Drummers, reduce delinquent behavior, increase located in Washington, DCs

positive peer interaction, enhance criti- inner city, teaches dance cal thinking abilities, bond youth to the community, traditions in an environment that, according to Exec- develop in youth an appreciation for the arts and utive Director Melvin Deal, serves as a surrogate fami- increase their understanding of the legal system ly and a repository for African cultural research and through dramatic interpretation of concepts such as documentation. The teen program includes an inten- authority, justice and responsibility. Program goals sive regimen of 2- to 3-hour dance and drumming are met by engaging youth in role-playing and impro- classes 5 days a week, during which participants visational theater techniques in classes conducted also learn performance skills and study the costumes by professional actors over a 10-week period, culmi- and history of the dances. Supplementing the cultural nating in a final production. Youth continue program are mentoring services that encourage to be involved by training to be junior facilitators or character development, teach life skills, advise on technical production staff. Other youth participate in teen pregnancy prevention, assist with truancy the program through creative-writing classes leading problems and support general equivalency diploma to script development and through visual arts class- preparation. "We've come to realize we need to es involving set design. The program, originated by make a whole person before we can make an artist,"

Peg Phillips, an actress of recent Northern Exposure says Deal. The dancers and drummers receive a

TV fame, can be summed up best in her words: "It stipend and community service hours toward high went over with a 'bang' right from the first. Kids are school graduation for performing throughout the in love with the drama exercises and theater impro- year at local community centers, schools, festivals visations taught in the program. The kids' enthusi- and cultural centers. They recently performed at asm and the way they respond is all we need to New York City's Lincoln Center. Participants move justify our presence in their lives." through the program in stages from student to per-

former, performer to teacher and teacher to mentor. This progression helps youth gain exposure to the

larger world and see options for becoming positive

contributors to the community. "Staff and instructors

evaluate the program almost daily. We need to con- stantly assess the morale of the youth and outside

influences to ensure solidity," says Deal.

(j) 5

Organization: Alliance Program: ALPHA Organization: Program: In Our for the Progress of TEEN Theater American Indian Own Words

Hispanic Americans Year Started: 1 992 Contemporary Arts Year Started: 1 994 83 Hanover Street Focus: Theater 685 Market Street Focus: Multi- Manchester, NH Youth Served: 53 San Francisco, CA disciplinary Arts

03101 Ages: 12-19 94105 Youth Served: 1 603-627-5127 Budget: $50,000 415-495-7600 Ages: 12-18 Budget: $25,000

Hispanic youth have an outlet to express ^^K v In Our Own Words uses the arts to themselves, develop cultural pride and M FA m provide Native-American youth in receive the mentoring and guidance v5j^^^, ' San Francisco with a supportive peer they need to be successful in school "^B ^^ group and positive role models. The and life because of the ALPHA TEEN Theater program. 1994/1995 program taught young people how to During the school year, the teens attend the program integrate modern technology with native traditions twice weekly after school for 1 hour of academic to produce videotapes and radio programs. Meeting tutoring and 1 hour of theater work. The teens do once a week for 3 hours at the Indian Education theater exercises under the guidance of an artistic offices in the participants' community, the program director. The theater work helps them develop deci- was divided into three phases. In phase one, youth

sion-making skills, address social issues, improve learned about poetry from a poet and Lakota drum-

coping skills and build their self-esteem. The teens mer, wrote their own poems and compiled an anthol- write five scripts based on issues or conflicts in their ogy. In phase two, they worked with the local public

own lives. They perform these and other skits before radio station to produce their own radio program:

audiences of peers in community settings. ALPHA They read their poetry on tape, edited the tape and

makes a commitment to work with youth until they then aired the program with a live call-in session. are accepted into college. An intensive, 8-week sum- In phase three, working with computer technology,

mer program also is offered to these youth, with a youth learned how to combine imagery, music and

shared focus on academic and theater skills. words into a videotape of their poems, which was

shown at a final event for families and friends. "I Hispanic youth have an outlet know that this program helped prevent at least one of participants from dropping out of school," to express themselves, develop the says Janeen Antoine, director of American Indian cultural pride and receive the Contemporary Arts, adding that youth had to stay in

mentoring and guidance they school to participate in the program. "Even though need to be successful in school they didn't get paid to participate, they came dili- gently every week and often on Saturdays." and life because of the ALPHA TEEN Theater program. * *

Organization: Program: American Organization: Andrew Program: In-School American Variety Variety Theatre Cacho African Drum- and After-School Theatre Company Company 4-H mers and Dancers, Inc. Program

2027 W. Broadway Year Started: 1 98 P.O.Box 15282 Year Started: 1 969 Minneapolis, MN Focus: Multi- Washington, DC 20003 Focus: Dance & Music

5541 I disciplinary Arts 202-889-03 50 Youth Served: 30 612-521-4439 Youth Served: 250 Ages: 6-2

Ages: 4- 1 Budget: $85,000 Budget: N/A

^^R v The American Variety Theatre Compa- Over 25 years ago, Andrew M WA % ny (AVTC) is an outgrowth of a 4-H Cacho started teaching ^sj^^^k garden project developed to meet the African dance and drum- "^B ^^ changing needs of youth in the program ming to youth at Friendship as they grow older. Using an old abandoned theater, House, a community center in Washington, DC.

AVTC offers classes in jazz, tap, ballet, acting, impro- When he saw how young people responded, he visational theater, piano, voice and recording. Each developed a new organization to focus on these art discipline is split into different classes by age and forms and African cultures. The mission of Cacho's proficiency level. The classes all culminate in a pro- Program is to provide youth with positive duction at the end of each session. Students, ages alternatives in their lives. Three evenings a week

4-19, come to the theater after school at least three and on Saturday afternoons, participants come times a week to take different, 90-minute classes. together to learn about African cultures through

The program is open to all county residents and relies dancing, drumming and mask-making in anticipa- heavily on community volunteers. Transportation is tion of mounting a final production. There is a daily provided, and the $10 annual fee is waived for those summer program in which young people are paid for unable to afford it. Using points awarded for good participation through a government youth work and behavior, students buy items donated to employment initiative. Fifteen children have been the theater store by local corporations. The AVTC with the Program for almost a decade, and a number encourages youth to express themselves, share ideas have gone on to earn college degrees. and explore new and challenging topics as they work together to present a theatrical production.

The AVTC encourages youth to express themselves, share ideas and explore new and challenging topics as they work together to present a theatrical production. * *

Organization: Program: Appalshop Organization: Program: Living Stage Appalshop Media Institute Arena Stage Theatre Company

306 Madison Street Year Started: 1 988 6th and Maine Year Started: 1 966 Whitesburg, KY 41858 Focus: Video & Avenue, SW Focus: Theater 606-63 3-0108 Humanities Washington, DC 20024 Youth Served: 300

Youth Served: 1 202-234-5782 Ages: 3-18 Ages: 13-17 Budget: $585,000

Budget: $ I 1 0,000

^H^^ ^^^^ Located in central Appa- ^^T^^^M fe lachia, Appalshop is an arts ^^^^^^^^ wM W and education center that ^^ ^^ w^EJ provides local people a modern vehicle with which to tell their stories. There are two primary programs for youth at Appalshop; both are designed to reform traditional education and to help teens better understand Appalachian culture.

The Roadside Theater Company, a storytelling theater company, conducts extended school residencies.

Youth interview community members and turn the Living Stage Theatre Company is the stories they hear into theater pieces, which they pre- outreach arm of Arena Stage, one of sent to the community. Appalshop Media Institute the country's preeminent professional

(AMI) is a 6-week summer video production project regional theaters. Living Stage is an for sophomore and junior high school students. It improvisational theater program that draws from emphasizes analytical thinking, good study habits the lives and concerns of audience members to and collaborative learning through the teaching of develop the content for its performances. The four media production skills and their use in examining ongoing workshops, for physically disabled toddlers, community issues. College students who have gradu- impoverished second graders, teen mothers and ated from the program act as group leaders to teach incarcerated youth, give traditionally overlooked technical, research and leadership skills. Youth are populations a voice. The first part of each workshop paid to participate in classes and production exercises focuses on a scenario in which the main character for 40 hours a week. For the last 2 weeks of the pro- is always the same age as the participants and faces gram, participants go into communities, interview a dilemma. At a crucial moment, the scene freezes, residents and produce a documentary based on the and the group improvises how the scenario can be interviews. "The program teaches youth about their resolved. During the second part of the workshop, history and fosters community responsibility and the the participants work on theater exercises to develop idea of giving back," explains Educational Services skills in communicating emotions and creating char-

Director Robert Gipe. "We find that the rate of college acters, on building sets and more. Then, each group attendance for kids going through the program is works together to create an improvisational perfor- much higher than the average rate here. The program mance of its own. Professional actor/educators lead helps focus kids on who they are and what they want the workshops, tailoring each to the specific needs for themselves." During the school year, AMI interns of the group. Youth participate weekly over a work with teachers to develop media studies curricula 5-month period, working VA to 3 hours in groups of and teach portions of classes to pass on their video no more than 20. skills to other students. © 1 turn

Organization: Program: Museum Organization: Armory Program: High School Arkansas Arts Center School: Outreach Center for the Arts After-School Program Museum Programs 145 N. Raymond Year Started: 1 992 9th & Commerce Year Started: 1 990 Avenue Focus: Visual Arts Little Rock, AR 72203 Focus: Visual Arts Pasadena, CA 91 103 Youth Served: 60 Served: 3,917 818-792-5101 Ages: 14-18 SO I -3 72-4000 Youth Ages: 5-2 Budget: $65,000 Budget: $3 1,000

The Museum School: Outreach Programs Armory Center for the Arts offers a vari-

of the Arkansas Arts Center Museum ety of arts education programs in the

work with 1 6 sites in the greater Little schools, the community and at its stu-

Rock area to develop hands-on, respon- dios and gallery. The Armory's High sive arts programming primarily in the visual arts. School After-School Program is run in partnership

Working with each site, the director of the Museum with the Cal Arts Community Arts Partnership (CAP) School and a faculty member help determine specific program and Pasade- goals for the site. Once a faculty match is made, that na's Visual Arts and artist works with the site contact to decide on Pro- Design Academy, a gram content, on recruitment and on the nature and public school "acade- frequency of youth participation. For instance, at a my" (a school within a homeless shelter, staff wanted to give participants school). Twice a week some sense of control over their environment. As a for 3 hours and on Fri- result, the art project focused on constructing boxes days and Saturdays and environments within these boxes. Sites include for open studio time, a variety of organizations serving at-risk populations: students selected for shelters for battered women, teen mothers and home- the Program come to less families; youth organizations; a housing authori- Armory to study letterpress or photography. Profes- ty; an alternative school for delinquent youth and a sional artists and teaching assistants from Armory variety of multipurpose social service centers. David and Cal Arts instruct the classes. Youth learn the

Bailin, director of the Museum School, believes that technical aspects of each discipline on design pro- the Programs have improved his organization: "The jects that reflect their personal concerns and on con- community respects the Arts Center as a good neigh- tracted projects such as bus posters and other public bor. It promotes the feeling that art can have a place art projects. Pieces completed for the community are in the well-being and health of the community; it then displayed in public venues. At the end of each does enhance and enrich the lives of our children, school year, youth can continue working through the youth and families." Summer Youth Employment Program. They can become assistants in Armory's in-school photogra-

phy workshops, apply for (and many have been

accepted into) the Summer School for the Arts at Cal

Arts or enroll in programs run by other CAP partners.

"This is our last opportunity to reach at-risk youth," Director Elisa Crystal explains. "Once they leave

high school, they are really out on their own. Through the Program, kids are staying in school and becoming increasingly ambitious." © 1

Organization: Program: Summer Organization: The Program: The Artists Art in General Program With Artists Collective, Inc. Collective, Inc.

79 Walker Street Project Reach 3 5 Clark Street Year Started: 1 970

New York, NY 1 00 1 3 Year Started: 1993 Hartford, CT 06 1 20 Focus: Multidisciplinary 212-21 9-0473 Focus: Visual Arts 203-527-3205 Arts & History Youth Served: 50 Youth Served: 600 Ages: 14-21 Ages: 2/2-2 Budget: $44,000 Budget: $690,000

Joining forces with Project Reach, a

community youth crisis counseling

center, Art in General has created a

summer visual arts program that serves young people from the Chinatown, Little Italy and

Two Bridges neighborhoods of New York City. This intensive Summer Program meets four times a week and includes a series of art-making workshops exploring painting, sculpture, photography and computer- based art. Instructors place as much emphasis on process as on product, with the intention of providing a forum for communication and a means by which to demystify contemporary art. Workshops are ^^K V .i^^^V Housed in a former Catholic supplemented by field visits to cultural institutions M W^ ^^^fj^k school in the Clay Hill neigh- and by discussion groups about a variety of social, ^ l^^^l^P borhood of Hartford, The personal and aesthetic issues. Art created by partici- "^BW^ -^^^ Artists Collective, Inc. has pants is exhibited at the Art in General gallery and developed a series of multidisciplinary programs for in various storefronts in lower Manhattan. This pub- children and youth based on African, West Indian and lic display of the participants' work adds to their Latin-American cultural traditions. The Artists Collec- pride in the skills that they acguire. tive, Inc. offers regular classes in dance, music and African percussion, as well as an after-school program

in the performing arts and African history; youth

receive high-guality arts training and opportunities to

perform throughout the school year. The Summer Youth Employment and Training Program prepares

disadvantaged young people for employment in both arts-oriented and non-arts-oriented careers. During

the 6-week Program, youth study martial arts, dance,

African percussion or vocal and instrumental music

with professional artists. Students also participate in

Life Skills Training, which focuses on job readiness and career development. Receiving minimum wage,

the 105 youth are paid from city and foundation job training funds. A culminant production at summer's end includes a side-by-side performance by both professionals and youth. © 1

Organization: Artists Program: City Teens Organization: Artists Program: CityKids for Humanity Design Company Raising the Conscious- Program

288-300 A Street Year Started: 1 99 ness of Humanity Year Started: 1989 Boston, MA 02210 Focus: Visual Arts (ARCH) Productions Focus: Theater 617-737-2455 Youth Served: 200 c/o Pittsburgh Public Youth Served: 50 Ages: 14-18 Theater, Allegheny Ages: 14-18 Budget: $228,000 Square Budget: SI 8 1,000 Pittsburgh, PA 15212 412-323-8200, ext. 21

A safe place for young people to go dur- Artists are using the theater as a means ing their free time and engage in mean- of support for former gang members, ingful work—that was the vision of a substance abusers or youth from trou- group of young people and founder bled homes. The CityKids Program,

Susan Rodgerson. What emerged is an organization housed at the Pittsburgh Public Theater, turns teens' where youth create art and learn the business of negative experiences into tools for self-awareness selling it. The only criterion for participation is that and growth. An intensive, 6-week summer course youth must attend school. A group of 26 at-risk trains and employs youth, who leam voice, improvi- youth, the City Teens Design Company (CTDC), are sation, movement and audience interaction. Two or paid staff who both market their own artwork and three different troupes perform a repertoire of five help administer Artists for Humanity. They serve shows, four times a month. Throughout the year, on a Peer Evaluation Review Board that conducts teens attend monthly sessions to talk about both per- monthly evaluations of members' attendance and sonal and theater subjects. Participants sign 1-year work; meets with prospective business clients to contracts in which they agree to be punctual, attend learn about the clients' objectives and target audiences; and works directly with artists and business advisors. In addition, there is a large space for other youth, who are not paid, to work with the artists and CTDC members on a variety of short-term or personal projects. The businesslike environment stresses team-oriented projects and mutual respect. Young people create unique works of art that have generat- ed over $50,000 in sales over 3 years. Most importantly, youth who thought they had few options are learning they can be successful.

all classes and rehearsals, refrain from alcohol and

drug use, cease all gang activity and commit to personal transformation. Productions focus on such teen problems as participating in gangs, driving under the influence and living with chemically dependent parents. Recently CityKids toured 64 performances to public schools and to Pennsylvania-area chapters

of MADD, SADD, Blue Cross, the Center for Victims of Violent Crimes and other groups working to make a difference.

49 Organization: The Program: Carr Court Organization: Arts Program: Young ArtsCenter Community Center Commission of Artists at Work 300-G E. Main Street Artist Residency Project Greater Toledo (YAAW)

Carrboro, NC 27510 Year Started: 1 994 2201 Ottawa Drive Year Started: 1 994

9 1 9-942-2787 Focus: Multi- Toledo, OH 43606 Focus: Visual Arts disciplinary Arts 419-475-2266 Youth Served: 75 Youth Served: 23 Ages: 14-21

Ages: 4-16 Budget: $ 1 60,000

Budget: $ I 1 ,000

^^K v Once a week at the Carr Court Commu- Young Artists at Work (YAAW) uses the M vA m nity Center, children and youth from arts to create summer jobs for economi- v5tj^^ ' low-income families participate in arts cally disadvantaged students. Every "^B W^ workshops and activities led by local summer, 75 youth are apprenticed to professional artists and assisted by volunteers from established artists to study a craft while creating the community. The Artist Residency Project is made public art for the city, fulfilling art commissions and up of a series of 3-month residencies, during which participating in community workshops. Professional children learn about various arts disciplines and artists and college arts instructors oversee the pro- explore African-American culture through the arts. gram and serve as mentors to youth. Participants

They re-create the music, dance, arts and crafts, must be in school to apply. During 30-hour workweeks, food and stories of African village life; design and the participants learn about job responsibility and make African story and collage quilts; build and learn what is required to be a working artist. Activities to play steel drums and other instruments. These have included painting park benches; designing and arts activities are part of a larger after-school program painting a mural downtown; developing five murals that includes tutoring; mentoring; taking field trips for installation at Boys and Girls Clubs; and attend- to local museums, arts exhibits and performances; ing workshops in music, drama, metalsmithing, jew- as well as participating in social activities, personal elry making and black-and-white photography. In health and safety presentations and athletics. Speak- addition, YAAW works with local schools, social ser- ing about the African Village Celebration the chil- vice agencies and museums to enhance their build-

dren perform at The ArtsCenter for parents, friends ings with artworks. and the public, Susan Gamling, director of the Pro- ject, says, "The kids confronted and worked through " Every summer, 75 youth are their own fears of speaking and performing in front apprenticed to established artists of others. Their communication and social skills have to study a craft while creating improved dramatically. They have learned to express themselves through words, rather than acting out public art for the city, fulfilling art

physically." The ArtsCenter, "St. Joseph's Methodist commissions and participating in Church, the Carrboro Community Police Officers community workshops. * * Association, AmeriCorps service students and other

local volunteer and community organizations have teamed up with the Carr Court Junior Association, the community's youth group, to provide these safe,

enriching after-school activities for children.

® 1 8 1

Organization: Program: La Tierra Organization: Arts Program: Neighbor- ARTScorpsLA de la Culebra Council of Fort Worth hood Arts Program

(The Art Army) Year Started: 1 992 and Tarrant County Year Started: 1 99 P.O. Box 65803 Focus: Visual Arts 508 Main Street Focus: Multi- Los Angeles, CA Youth Served: 300 Fort Worth, TX 76102 disciplinary Arts 90065 Ages: 5-2 817-870-2564 Youth Served: 500

213-223-3879 Budget: $100,000 Ages: 5- 1 Budget: $200,000

ARTScorpsLA is a public arts organiza- ^^B v The predominantly Mexican-American tion that works with low-income Los M VA m Northside and the African-American Angeles communities to transform fal- v^^B^ Eastside low-income neighborhoods low land into gathering and learning "^J ^^ of Fort Worth are home to two of the places. The current site, called La Tierra de la Cule- city's flourishing and culturally rich arts programs. bra (The Land of the Serpent), the symbol of fertility The Arts Council of Fort Worth and Tarrant County's and growth, was once a vacant 2%-acre unauthorized multidisciplinary Ballet Folklorico Azteca and Jubilee garbage dump. Under the direction of artist Tricia Theatre are 2 of 14 hands-on Neighborhood Arts

Ward, in collaboration with community youth, it is programs occurring daily around the city to "maintain now a cultural art park with a 450-foot serpent fabri- a two-way street between the Anglo mainstream cated of rubble, stone and pique tiles. The site is a arts institutions and neighborhood arts institutions, model of community renewal; a safe haven; a labora- schools and audiences," according to President Ken- tory for learning for disadvantaged and under-served neth Kahn. Ballet Folklorico Azteca stages Mexican youth. Youth meet daily at La Tierra de la Culebra folk dance performances based on weekly year-round for 3 hours after school. During the first hour, youth classes. Jubilee Theatre participants, meeting once receive school tutoring from members of AmeriCorps a week after school, create original musicals and and teens in the Culebra project. The 17- and 18-year- adaptations of classics. Other dance classes and old tutors receive honoraria while the younger teens the Mondo Drum Ensemble also are offered. Class give their time in exchange for field trips and partici- and performance spaces are shared with other arts pation in other arts programs. The remaining 2 hours groups, making the space a community focal point. are spent working with local artists on arts and com- "The programs instill a sense of self-worth that munity projects, such as the development of commu- comes with recognition from the community," says nity parks, which include murals; creation of arts Kahn. "We have a high level of retention and repeat spaces; and cultivation of flower and vegetable gar- enrollment. There's a demand for expansion into dens. Youth use the arts to develop their communica- other neighborhoods." tion and cooperative learning skills, job preparedness, community awareness and leadership skills.

51 Organization: Program: Urban Arts Organization: Program: ACT IT OUT Arts Council Training Program Arts in Progress Peer Performers

of New Orleans Year Started: 1 992 555 Armory Street Year Started: 1 992

82 1 Gravier Street Focus: Multi- Jamaica Plain, MA Focus: Theater Suite 600 disciplinary Arts 02130 Youth Served: 10

New Orleans, LA Youth Served: 1 05 617-524-1 160 Ages: 15-21 701 12 Ages: 14-18 Budget: N/A

504-523-1465 Budget: $ 1 20,000

^0K v The Arts Council of New Orleans has The ACT IT OUT Peer Performers inte- M v4 m conducted summer arts programs over grate training in violence prevention, ^55^^ l ^ e 13ast ^ Years and in January of 1995 conflict resolution, teen health issues "^B ^^ initiated an after-school program. These and creative decision making with programs have been funded with Job Training Part- drama. Trained in violence prevention and other nership Act monies from the Orleans Private Indus- health-related topics by two Boston health agencies try Council. The number of young people served each and in drama by Diane Beckett of Arts in Progress, year varies, depending on available funds. In 1992, ACT IT OUT actors carry a message of healthy life- over 50 young people (ages 14-18) were introduced styles to their peers while learning discipline and to the visual arts. In 1993, the Arts Council broad- communication and job skills. Participants are

ened the Program to include instruction in five arts recruited from the high schools where the group has areas—visual arts, dance, music, theater and com- performed. The intensive program runs year-round. puter graphics—and involved 250 young people. Between October and May youth meet after school In 1994, the Arts Council implemented the Program and on weekends to learn acting techniques, develop with 43 students as part of the Brandeis Summer an original theater piece and perform the piece in Beginnings Project. Students worked in small crews Boston-area schools and throughout Massachusetts. to create public art projects for community groups. During the summer, the group performs almost every

Major learning activities took place through "real day, often creating a new piece for the summer tour. work" projects. Students were heavily involved in The group also has produced work for television and

nearly all aspects of development, implementation video and is working on a new CD-ROM about vio-

and evaluation. Once students identified a project lence prevention. ACT IT OUT is a program of that they thought would provide a valuable service Arts in Progress, a nonprofit agency that provides

to the community, they conducted research to de- artist/teachers to Boston-area schools, as well as to

termine what it would take to execute the project, social service and community agencies.

designed it, carried it out and helped to evaluate

it. For the summer of 1995, the Arts Council of New

Orleans initiated an integrated work and learning pro-

gram for 105 youth in three areas: visual arts, theater and video. The classes took place at Southern Uni- versity and Xavier University. The Arts Council hired

13 artist/teachers to mentor students and serve as

role models. Youth created stylized sculptures repre-

senting the letters "R," "E," "A" and "D" that were

installed in the window of a library; another team

made mosaic tile murals for a health center.

(5) 1

Organization: Asian Program: Asian Organization: Program: AM LA Latin Americans United American Youth Asociacion de Musicos Music School

80 1 Arch Street Workshop Latino Americanos Year Started: 1 986

Philadelphia, PA Year Started: 1 988 (AM LA) Focus: Music 19107 Focus: Multi- 2757 N. 5th Street Youth Served: 370 215-925-1538 disciplinary Arts Philadelphia, PA Ages: 5-2 Youth Served: 40 19132 Budget: $85,000 Ages: 14-18 215-634-4150 Budget: $50,000

^^f v For Philadelphia's Asian-American ^^9^^ The Asociacion de Musicos Latino

M WA m youth , Asian Americans United (AAU) ^^>^A Americanos (AMLA) Latin Music School, v^^A is one of the few places where they ft U| I located in Philadelphia's highest crime "^B ^^ can find refuge from discrimination ^^3^^ and lowest income neighborhood, is and street violence. At the Asian American Youth dedicated to promoting understanding of Latino oral Workshop, one of several AAU programs, Asian- and musical traditions. The AMLA School operates

American youth are provided a safe haven. Youth after school, 3 days per week and all day on Satur- meet once a week throughout the year to work with days. Private and group instruction is provided in

Asian-American artists on projects ranging from guitar, classical and Afro-Cuban piano, voice, per- public murals and an in-house literary magazine cussion, chekere, flute, clarinet, trumpet, trombone, to dance performances and a video project. Youth music theory and salsa dance. Student ensembles make all of the important creative decisions—from give youth the opportunity to perform at community what projects to do to the content of each project. festivals as well as with well-known local and nation-

Teenage participants share their common experi- al Latino musicians. The music classes, ensembles ences as Asian-American youth. "The underlying and recitals engender artistic excellence while teach- thread throughout all the projects is for youth to be ing children the values of delayed gratification, goal the major decision-making force," says Juli Kang, setting and cooperation. Student registration is $5 the arts program coordinator. every semester; classes cost $28 to $45 per month.

However, many full and partial scholarships are " The underlying thread awarded. Through AMLAs other community music programs, such as the faculty concert series and throughout all the projects is for performances that feature national and local Latino youth to be the major decision- artists, students also are exposed to their Latino ' making force. * heritage and cultural role models. Juli Kang -Arts Program Coordinator

Organization: Bake- Program: Bakehouse Organization: Documentation Project house Art Complex Children's Art Baltimore City Life and Neighborhood Kids 561 N.W. 32nd Street Workshop Museums Mural Project

Miami, FL 33127 Year Started: 1 989 800 E. Lombard Street Year Started: 1 994

305-576-2828 Focus: Visual Arts Baltimore, MD 2 1 202 Focus: Visual Arts Youth Served: 4,500 410-396-5290 Youth Served: 19 Ages: 5-2 Ages: 10-15 Program: Jonestown Budget: $9 1 ,000 Budget: $28,000; Community Photo $10,000

Even in Miami's turbulent times Located in a neighborhood with several

hurricanes, increased immigration and public housing developments, the Balti-

decreased tourism—the Bakehouse Art more City Life Museums (BCLM) initiat- Complex is there to help sustain the ed arts programs to provide area youth community, particularly its socially, physically and with opportunities to learn new skills and to build emotionally challenged youth. Shortly after artists stronger relationships with city residents. Last sum- converted the historic bakery into 70 studios, they mer, in the BCLM's Jonestown Community Photo were deluged with requests from local schools, social Documentation Project and the Neighborhood Kids service agencies, family shelters and individuals to Mural Project, youth worked with professional artists start public arts programs. The Bakehouse artists to create interpretations of their neighborhood initiated the Children's through photography and murals. They also learned

Art Workshop to stimu- practical skills, such as reading, writing, working as late an interest in alter- part of a team and goal setting. These Projects took native, off-the-street place 3 days a week and included field trips to cul- activities and to teach tural institutions and relevant points of interest in basic mechanical and the city. "The programs elicited a wonderful social skills to youth. response from the neighborhood as evidenced by the

Hour-long, after-school large turnout for the final celebration of the Mural and weekend workshops Project," reports Curator of Objects Victoria are held at the complex, -•>«#' Hawkins. "It drew one of the greatest audiences to at social service agencies the Museums ever. The programs and community and at schools. Students ^ response to them show the kids they have something are shown how to use materials found in their imme- to give; setting goals and seeing projects through to diate environment, as well as traditional arts supplies, completion is helping build self-confidence." Youth to make art. Activities intensify over the summer have been encouraged to stay involved by partici- during a 4-week daily program of arts classes. Artists pating in the development of the upcoming inaugur- team-teach classes to increase one-on-one interaction, al exhibition of the new Community Gallery. Children with some older students taking on teaching respon- will help select photos from their work and write sibilities. "We're able to see a difference between the autobiographies and brief labels. "I can not empha- positive behavioral patterns of repeat students and the size strongly enough," says Hawkins, "that what newer students," notes Education Coordinator Donna children need is a sustained effort; programs which Sperow. The Bakehouse Art Complex's impact on youth endure from year to year, season to season." gained widespread attention and challenged it to move beyond the immediate neighborhood to conduct art workshops in neighborhoods throughout Miami.

54 1

Organization: Bayview Program: Community Organization: Program: Art Jobs Opera House Recording Studio Beacon Street and Cultural Heritage

P.O. Box 24086 Year Started: 1 993 Gallery and Theatre Programs San Francisco, CA Focus: Music 4520 Beacon Street Year Started: 1983 94124 Youth Served: 2 Chicago, IL 60140 Focus: Multidisciplinary 415-824-0386 Ages: 13-17 708-232-2728 Arts & Humanities Budget: $37,500 Youth Served: 78 Ages: 10-21

Budget: $3 1 0,000

^^0JW The Bayview Opera House, the oldest ^£ v ^^^^ The Beacon Street Gallery ^P^flA theater in San Francisco, is the host M WA M ^ and Theatre started the M m M site for the Community Recording Stu- v^^^k '^ ^M W Art Jobs Program to provide ^^3^^ dio. Youth from the community and in "^B W^ ™^fc» youth with the opportunity the juvenile justice system come after school to the to learn about poetry, music, dance, painting, pho- Recording Studio to create their own music. They tography and other arts while making positive

work with the two instructors; one focuses on music, changes in their lives. Realizing that the needs of

and the other, on lyrics. By creating their own pieces, the immigrant community should be addressed, the mostly rap music, students learn about keyboards, Gallery developed the Cultural Heritage Program. In

music composition and lyric writing. The students this Program, participants learn both the history and

produced a compilation tape, which is being used the art forms of different cultures, frequently becom- to teach them about the music industry, marketing ing members of the Marimba Ensemble, West Indies

and distribution. Students also learn about producing Dance Troupe or the Laotian Dance or Cambodian

a successful public performance, including advertis- Dance groups. Both Programs meet at the Gallery

ing, preparation, technical and staff requirements. twice a week for 10 weeks, with a core group of par-

"Instructors have dropped the theoretical approach ticipants continuing for several 10-week sessions. to teaching in favor of a more experiential curriculum Teachers who identify any behavioral problems are

which encourages students to develop and utilize backed up with support from a social service agency.

their critical thinking skills, become more self-disci- "The Programs are keeping the kids in school as well plined, develop academically (writing in particular) as getting those who have dropped out back in and learn how to work cooperatively," explains Steve school," says Executive Director Patricia Murphy.

Cohn, a consultant on the project. The program was "Some have gone on to college, and others have launched by funding and equipment from the popu- entered vocational training programs."

lar rock music band The Grateful Dead. Youth also can participate in the Bayview Opera House Dance * * The Programs are keeping the Troupe and the Young and Gifted Choir, which some- kids in school as well as getting times performs with the Zaccho Dance Theatre. The those who have dropped out back visual arts program at the Bayview Opera House * takes the notion of neighborhood beautification to in school. * heart. Murals created and executed by professional Patricia Murphy artists and elementary school children dot the com- -Executive Director munity. Funded in part by the U.S. Environmental Protection Agency and the Neighborhood Beautifica-

tion Fund, these murals foster neighborhood pride and intergenerational participation.

55 4

•>'*-'

Organization: Program: Believe In Me Organization: Program: Employment

Believe In Me Year Started: 1 992 Boulevard Arts Center Training Program

413 1 Spicewood Focus: Dance 601 I S.Justine in the Arts

Springs Youth Served: 425 Chicago, IL 60636 Year Started: 1 984

Austin, TX 78759 Ages: 9- 1 3 I 2-476-4900 Focus: Multi- 512-345-3357 Budget: $350,000 disciplinary Arts Youth Served: 80 Ages: 14-21

Budget: $ 1 80,000

The Believe In Me program uses dance The Employment Training Program in r^PH I ^^K V to give youth, of are involved in WjM I many whom M vA m the Arts pays youth the Englewood with drug and gang activity, the tools ^^^L t section of Chicago to bring art and needed to be successful in the commu- "^J ^^ culture to their economically deprived nity. Modeled after New York City's National Dance neighborhood. The youth, who apply for the Program

Institute program and St. Louis's Personal Responsi- in January, work 20 hours per week for 8 weeks in bility Education Process (PREP), Believe In Me offers July and August. They work in groups of 10 to 12 an in-school program, the special dance teams Swat under the guidance of a master artist to conceive, and Celebration and a 2-week, intensive summer design, create, critique and present an artistic piece dance institute. The in-school program teaches of public art to their community. Projects have choreography and performance skills. Members of included stone and wood sculptures, murals, photo- the Swat Team and Celebration Team are chosen graphic billboards, silk-screened posters and videos. from the in-school program. They work on choreog- Both a dance and theater company are created out raphy skills, rehearse more advanced pieces and of the summer work. "We've had 98 percent of our perform in the community throughout the year. At kids complete high school," reports Pat Reed, director the summer institute, 80-100 children participate of the Boulevard Arts Center. "The Program helps

8 hours a day, with a performance at the end of the kids realize that there is another direction open to 2 weeks. The programs incorporate PREP methods them, away from the gangs and violence." During by engaging youth in evaluations of community the year, programming includes basic instruction in needs and discussions of values, such as making drawing, painting, photography, videography and a commitment and working as part of a team, that performance and instruction in business development. youth can adopt to meet those needs. "Youth are The arts and business programs assist both youth excelling in other areas of their lives, such as in and adults in developing viable careers in the arts. school," reports Executive Director Rachel Carter. "We're seeing less participation in drug and gang The Program helps kids realize activity and a decrease in dropping out of school." that there is another direction open to them, away from the ™ gangs and violence. *

Pat Reed -Director of Boulevard Arts Center

56 8 8

H IMH

Organization: Program: Smart Moves Organization: Boys Program: Challengers Boys and Girls Club Players Theater Arts and Girls Club of Art and Music of Easton Ensemble Morristown Year Started: 1*993

508-A Charles Street Year Started: 1 992 3 1 I Sulphur Springs Focus: Multi- Easton, PA 18042 Focus: Dance Road disciplinary A.fe ts 610-252-6983 & Theater Morristown, TN 37816 Youth Served: 200

Youth Served: 74 615-586-2331 Ages: 6- 1

Ages: 9- 1 Budget: $27,000 Budget: N/A

[M|| P^^^W What started as an educa- ^^K v To enhance at-risk youth's quality of LHkZ I ^ ^ I tional program to prevent life through a greater appreciation of I .«. I M KA m

children and youth from v^fl^ ' their cultural heritage, the Boys and participating in high-risk "^^ ^^ Girls Club of Morristown created an behavior has grown into a performance group of youth after-school, drop-rn arts program with classes in that tours schools, civic organizations and conferen- ceramics, oil painting and watercolor, sculpture and ces. The Smart Moves Players Theater Arts Ensem- sign-making. Participants work individually in media ble includes an all-female dance group, Sisters With that interest them with the help of volunteers. In

Soul; the Smart Moves Touring Ensemble, a theater the Fine Arts Room, more structured and advanced group; and the full troupe of 74 youth who write, classes and workshops are offered, including acting, choreograph, stage and perform at least three pro- clogging and choral singing. Community artists work ductions a year. The performances are adapted from 1 to 2 days a week helping students with art projects literature, including works by Langston Hughes and which they exhibit locally, regionally and nationally original work by Director Sandra Riley, and feature through Boys and Girls Club competitions. Recently, soliloquies, music and dance. Rehearsing on average the Morristown Club had seven first-place winners twice a week after school and three times a week in in the national competition. Performances of youth- the summer, the youth can either specialize in one written plays on issues such as domestic abuse are area or do a bit of everything. The Touring Ensemble given for the community. The Club is open every performed A Piece of Black History, a play related day from 2:30 p.m. to 8:30 p.m., and membership is to Martin Luther King's birthday, at schools, churches, $8 a year. Other Club services include citizenship/ civic organizations and private corporations. "The leadership development, health, physical education kids are coming up with their own ideas for shows and recreation programs. and setting up their own rehearsals. They feel like the program is theirs because they have such a strong role in creating the pieces," says Riley. "They get a lot of admiration from their peers for their performances, which helps them steer away from risky behavior that might elicit the same type of admiration."

57 8

Organization: Boys and Program: Creative Organization: The Program: The Boys Girls Clubs of Broward Arts Unit Boys Choir of Harlem Choir of Harlem

County Year Started: 1 994 2005 Madison Avenue Year Started: 1985 1401 N.E. 26th Street Focus: Theater New York, NY 10035 Focus: Music Ft. Lauderdale, FL Youth Served: 30-45 212-289-1815 Youth Served: 450

33305 Ages: 12-18 Ages: 8- 1

954-537-1010 Budget: $ I 1 6,000 Budget: $3,000,000

Realizing that sports, games and com- ^^9^^ Created as an after-school program to puter programs did not meet the needs ^fA*^^L provide an alternative to the despair in of all Broward County's young people, m \ip W the community and the standard edu- the Boys and Girls Clubs of Broward ^^3^^ cation and social programs, The Boys County created a musical theater program for youth. Choir of Harlem has grown into a nationally recog-

Program auditions are held each January at partici- nized school and after-school program. This artisti- pating Boys and Girls Clubs, which are located in cally driven program uses an intergrated model of high-risk neighborhoods. Selections are made on the education, counseling and the performing arts to basis of interest and commitment as well as talent. prepare inner-city youth to become disciplined, con-

For 14 weeks, the participants are transported to the fident, motivated and successful citizens. Five days

Creative Arts Unit—at first, 3 afternoons; later, 5 a week from 8:30 in the morning until 6:30 in the days a week. They begin the process by brainstorm- evening, young boys and girls in grades 4-12 study ing for a theme dealing with critical issues in their academics and music at the Choir Academy, which lives. Themes to date have dealt with inner-city vio- operates in partnership with the local school district. lence, teen pregnancy and domestic abuse. After the After school, they rehearse up to 3 hours and partici- theme is picked, each person chooses a character; pate in counseling and tutoring sessions. Each year, then an outline for the scene is created. The partici- auditions are held for entering students at the school, pants divide into small groups based on their areas at public schools throughout the city and at commu- of interest, such as dialogue, music or set construc- nity sites such as Kmart and McDonald's. Before being tion. At the end of each session, participants' work accepted into the intensive program, students and is coordinated into a single show, which, after many their families meet with representatives who describe weeks of rehearsal, is performed at a major theater. the commitment involved in attending the Choir The 1995 play Cry No More was seen by audiences Academy. All of the students perform in some man- totaling 1,800. In the fall of 1995, a new segment was ner, and those who perform outside of the school added to the program—coaching in acting, voice must maintain their grades. Students study all aspects and diction and performance skills. of music, and their performance repertoire ranges

from classical to jazz, spiritual to hip-hop. Many

alumni say, "The program changed my life," and some have returned as instructors, counselors and interns.

"Ninety-eight percent of our graduates go on to col-

lege," explains Director of Development Audry Wax- man. "The Choir helps increase the expectations

that children have of themselves and that the com-

munity has of them. We are using art to change all

aspects of our children's lives and to open doors for

them, both emotionally and in their everyday lives." 1

Organization: Program: Organization: Braval Program: Drama Divas

Brandywine Workshop Philly Panache for Women in the Arts Year Started: 1 99

730 S. Broad Street Year Started: 1 978 2 1 80 Bryant Street Focus: Theater Philadelphia, PA Focus: Visual Arts San Francisco, CA Youth Served: 20 19146 Youth Served: 6 941 10 Ages: 15-21 215-546-3675 Ages: 14-19 415-641-7657 Budget: N/A Budget: $25,000

Partnering with housing developments, For 3-6 hours every week, a group of

a horticultural society, community organi- 15-20 gay and lesbian youth, most of zations and the Philadelphia Department whom are Latino, meet at Brava!, a

of Sanitation, the Philly Panache program nonprofit arts organization, to talk, write matches a professional artist with a small group of and act. Once a year, the participants put on a per- high school students for 6 weeks during the summer formance at Brava !'s theater. But, on any given day to visually improve the neighborhoods where they live. of the week, these young "Divas" may perform one

The youth, who are paid for 30 hours a week, design of their pieces at a local conference, an awards din- and paint murals and issue-oriented billboards at sites ner, a banquet, youth shelter or festival. The perfor- chosen by Brandywine Workshop and the partner mances, which are all scripted, are based on real-life groups. The Philly Panache participants learn about experiences and deal with such issues as relation- computer graphics and design their murals and bill- ships, gender, class, family and race. The youth learn boards using computers in Brandywine 's Video Tech- not only about acting, but also about lighting, stage nology Center, a youth computer graphics and video design and theater direction and production. Most of training program started in 1994, which reaches many the youth are paid through the Mayor's Office on disadvantaged youth through its after-school and Sat- Children, Youth and Families to participate in the urday classes. When the design is complete, the artist program, assist with Brava! 's adult performances guides the participants through the painting process. and attend career training workshops. "Through the At the end of the program, the group holds an unveil- Drama Divas program, the participants have gained ing for the community, parents and friends. "Every work experience, have been able to travel, have had time the kids put up a mural or billboard, we get new access to many talented professional artists and requests from other organizations," says Cindy Lee have received positive recognition. This program

Hauger, director of development and marketing. "There provides some constancy in the crazy lives of these are no graffiti on the murals, and the projects seem to youth," sums up Cathy Arellano, general manager. bring the community together. The artists are all from the same type of communities the kids grow up in, so they are great role models." Since 1978, 130 teenagers have benefited from Philly Panache. Over 50 murals and 14 billboards were completed, and mural panels

painted with trompe l'oeil scenes are used to seal off

90 abandoned homes. More than 70 artists have been

employed through the program to date, and in 1983, the organization won the Foundation for Architects'

Environmental Art Award. In addition to Philly Panache, Brandywine Workshop also runs the Henry O. Tanner

Youth Gallery, of which one floor is an art gallery organized by, and devoted to, high school students. © 3 8

Organization: Bronx Program: Bronx Organization: The Program: Museum Team

Dance Theatre Dance Theatre Brooklyn Children's Year Started: 1 987

286 E. 204 Street Year Started: 1 976 Museum Focus: Multidisciplinary

Bronx, NY 10467 Focus: Dance 1 45 Brooklyn Avenue Arts & Humanities

718-652-7655 Youth Served: 500 Brooklyn, NY I 1 2 1 Youth Served: 1 ,200

Ages: 4-20 718-735-4402 Ages: 7- 1 Budget: $530,000 Budget: $250,800

The Bronx Dance Theatre is using is r^Wfl I ^^K v ^^^^ Museum Team an educa-

dance to teach life skills provide i WjM I and M vA vfl ^ tional, job training and em- professional arts training. The students, v^M^ *^ ^M W ployment program for youth most of whom come to the program "^B. ^r HHr at The Brooklyn Children's with no experience, begin by taking classes in mod- Museum, an institution established for youth in 1899. ern dance and ballet. Those who show commitment Museum Team, recipient of the 1995 Institute of are eligible for scholarships and reduced tuition fees Museum Services National Award for Museum Ser- and are offered the opportunity to join 100 of their vice, is open to youth ages 7-18 and targets residents peers in an intensive program of instruction, which of the Museum's immediate neighborhood of Crown includes classes four to five times per week. These Heights and Bedford Stuyvesant. The program has a students take prescribed courses, specifically struc- four-tier structure to meet the needs of participants tured to their individual levels, in ballet, jazz, tap and in an age-appropriate manner. Kids Crew (ages 7-14) modern dance; acrobatics and choreography. If the combines on- and off-site education activities, includ- students miss a class, they are called; if they begin ing daily science, cultural, arts, library research and having trouble meeting their commitments, the staff gallery-based programs. Members are involved in meets with their parents or guardians. The students a writing club and publish their own newspaper. perform 12-24 times a year. The performances teach Volunteers-in-Training (ages 10-14) builds upon cooperation, independence, persistence and quick Kids Crew activities with artist- and scientist-in-resi- response. The directors stress the relationship between dence programs and short-term work experiences these principles in dance and in life. When youth are in a specific gallery or Museum department. Volun- ready to enter high school, the Bronx Dance Theatre teers (ages 12-14) participate in a career preparatory teaches them what will be expected of them in both program as well as in Museum-related program- the interview and, if applicable, the performance ming and maintain longer term work placement. Paid competition. "We have established ourselves as a Interns (ages 14-18) work in a variety of positions place where a child can achieve," explains Director throughout the Museum and in other sites in the Neil Goldstein. "Our children have had tremendous community. Ongoing workshops support continued success both in the field of performing arts and per- skill development, with emphasis on college and voca- sonally, because we are not just a dance program. tional training. A youth advisory council helps plan

Our holistic approach uses the discipline required in for and evaluate the program. According to one young the performing arts to prepare the kids to acquire participant, "There is a lot of stuff going on around my the skills necessary to become productive adults." block. Becoming a Volunteer was the best chance to Recently the Bronx Dance Theatre received funding do something good for myself." from the New York Board of Education to start a public school based on dance. ® 8 7

Organization: Program: T.E.A.M. Organization: California Program: Arts and

California College Year Started: 1 990 Lawyers for the Arts Community Develop- of Arts and Crafts Focus: Media Fort Mason Center ment Project

5212 Broadway Youth Served: 200 Building C-255 Year Started: 1 992

Oakland, CA 946 1 Ages: 14-19 San Francisco, CA Focus: Multi- 510-597-3642 Budget: N/A 94123 disciplinary Arts 41 5-775-7200, ext. 293 Youth Served: 800

Ages: 6- 1 Budget: $125,000

Teens in Oakland, California, are chang- ^^R v For the young people of the San Fran- ing public perceptions of youth and M vA m cisco Bay Area, the Arts and Communi- influencing policies and institutions v5j^^BL ty Development Project of the California that affect their lives. T.E.A.M. (Teens "^B W^ Lawyers for the Arts (CLA) provides an + Education + Art + Media) unites a coalition of avenue to summer employment in the arts as well artists, educators and media professionals with as multicultural after-school instruction in visual, teens to produce innovative interdisciplinary projects literary and performing arts. Working in partnership that influence media images of youth and institu- with the San Francisco Unified School District and tions serving youth. One project, The Roof Is on Fire, the Private Industry Council, a nonprofit organization resulted in an hour-long, nationally televised perfor- that administers federal Job Training Partnership mance based on significant issues in the teens' lives. Act funds, CLA finds employment in local arts and

Each T.E.A.M. project has three components: media cultural institutions for youth city-wide. Teens in the literacy, in which teens learn to analyze images of program work 20 hours a week for 8 weeks at mini- youth in popular culture; public conversations staged mum wage. CLA meets with teens one-on-one and as public performances, in which teens learn to matches them with an appropriate site. Once the speak out and the community learns to listen; and young people go to work, CLA coordinates enrichment active citizenship, in which teens seek and develop seminars that focus on life skills such as conflict reso- solutions to problems. Students from eight public lution, peer counseling, communication and job high schools and a number of community agencies readiness. Additionally, CLA incorporates sessions attend the program each week at various sites. on careers in the arts, some hands-on sessions on

"T.E.A.M. continues to grow in scope of activities the creation of artworks and backstage visits with and in the ways it integrates art with public institu- professionals of major arts institutions; a mentoring tions related to youth," says School of Fine Arts program is part of the career development experience

Dean Suzanne Lacy. "We're committed to a complex available to youth. The after-school instructional pro- cultural analysis that integrates artists and teens as gram is offered in collaboration with eight nonprofit planners in the public agenda." multicultural arts providers. The collaborative Project fosters the self-esteem, personal identities and cross- cultural exchanges among children and teens from

different communities by teaching and sharing art

forms. Older youth in this collaborative Project also

develop marketable employment skills appropriate

to the arts and other fields.

61 2

Organization: Program: Avalon Organization: Carlota Program: California Museum of Gardens Curators Santana Spanish Bronx Project

Science and Industry Kids Club Dance Company Year Started: 1 994

700 State Drive Year Started: 1993 1 54 Christopher Street Focus: Dance Los Angeles, CA Focus: Visual Arts New York, NY & Humanities 90037 Youth Served: 45 10014-2839 Youth Served: 40

2 1 3-744-7444 Ages: 10-13 212-229-9754 Ages: 8- 1 Budget: $55,000 Budget: $23,000

When Diane Miller, director of outreach

at the California Museum of Science and Industry, identified a grant program

to support science education for at-risk students, she turned to her own experience as someone who grew up in an impoverished inner-city community. Miller talked to a lot of people, put together an advisory board and focused on programs she would have liked as a child. Working with the Avalon Gardens public housing community, she designed a 3-year pilot program through which youth could VWPI ^^^^ The Carlota Santana Spanish learn about persistence and self-motivation while iKfl flfl fe Dance Company offers a exploring physics, chemistry, mathematics and biol- IS^^HV ^M W dance program at Public ogy. The second year of the program, sensing chil- LL^JI X^mJ School 42 (PS 42), a Bronx dren's uncertainty about their creativity, Miller elementary school. Integrated into the program are brought in photographers, printmakers, jewelers all 8- to 12-year-olds who live in a nearby battered and mask-makers to oversee afternoon arts projects. women's shelter. These children are enrolled in the

Participants take at least one field trip each week, dance program to help lessen the burden and stigma which combines science and the arts. At the of living in a shelter. The children are brought to the program's conclusion, youth curate a presentation school to learn dance as well as to help them feel more for family and friends. In the following year, partici- comfortable in the school. The comprehensive program pants serve as mentors to new participants whom covers dance technique and music, as well as Spanish they have personally recruited. culture, history and geography. Classes are held twice

a week for 2 hours after school and are taught by

a Company guitarist and dancer who emphasize the

development of the children's movement and cognitive

skills. "The kids are committed throughout the year. Teachers report that the kids were repeatedly asking

when the flamenco was going to begin," says Santana.

"It was especially compelling to observe the boys'

progress in getting involved in the art form." Perform-

ances for seniors are helping to promote an intergener-

ational understanding among community members.

This year the Bronx Project will be offered to more of

the school's students, in an effort to provide long-term

programming to all the children at PS 42.

62 1 2

Organization: Center Program: Teen Project Organization: Center Program: Arts for Contemporary Year Started: 1 990 of Contemporary Connection

Arts of Santa Fe Focus: Multi- Arts (COCA) Year Started: 1 994 1614 Paseo de Peralta disciplinary Arts 524 Trinity Avenue Focus: Visual Arts

Santa Fe, NM 8750 1 Youth Served: 86 University City, MO Youth Served: 93

505-989-4423 Ages: 13-21 63 130 Ages: 7- 1 Budget: $250,000 314-725-6555 Budget: $42,000

^^f v "No place to go, nothing to do," was The Center of Contemporary Arts A vA m the overall response of local youth to the (COCA) is a partner in Arts Connection, v^^^k ' Center foi Contemporary Arts of Santa an artist-initiated project to involve '^ ^r Fe's (CCA's) survey, conducted shortly neighborhood children from public after the public schools cut back arts programs. After housing projects in arts projects. COCAs partners, surveying museum-based programs around the coun- artists and art and social service agencies, create a try, the Center's director decided it was important community web that fosters creativity and self-confi- to move away from the short-term or consumption- dence. Artists design their programs in consultation based model of most museum programs to an ongo- with the partners in preparation for a year-round ing program for young people managed by young schedule of classes. A variety of classes meet in the people. One hundred youth were invited to plan and summer, one to three times a week, and in the fall, develop a teen center. CCA raised the funds and on Saturdays and after school 1 to 2 days a week. Past found the space, an old warehouse by the railroad projects include planning tracks on the outskirts of downtown Santa Fe. The a garden and creating teens' "ownership" of the Center gives them a place scarecrows based on to develop creatively in a comfortable environment. masks from diverse cul-

A broad range of free workshops are offered in music, tures. A recent annual dance, visual arts (including mural arts) and media exhibition at the COCA arts, while ongoing theater, photography and radio gallery resulted in the programs are also available. The Teen Project also sale of the older partici- sponsors cultural events for community families and pants' portraits of them- young people: street theater, art exhibitions, video selves and others, as well nights, live music dances, lectures and open-mike as an invitation to install •stcvcn slaughter • poetry nights. The Rainbow Pilot Project targets gang posters made from the members and teens at risk for delinquent activities, portraits in city bus shelters. During the exhibition, providing programs designed to appeal to them, such one of the artists and a student led a workshop to as Peace in the Streets, a lowrider car show that drew demonstrate how the portraits were created. "The the largest audience of any event offered in recent program has caused community agencies to collabo- time, and a theater group made up of former gang rate in ways they never have before," says Director members. Some participants are paid stipends for of Visual Arts Kathryn Adamchick. "And students producing the radio show and publishing the news- who had no interest in the arts are developing self-

paper. "When kids walk out with a product, they esteem and seeing art as a vehicle for expression." are learning business; they're understanding what

employment is and feel they have a name in the community," says CCA Teen Project Director Ana Gallegos y Reinhardt.

63 8

Organization: Central Program: Organization: Program: City Hospitality House Youth Program El Centro de la Raza The Hope for Youth

290 Turk Street Year Started: 1 967 2524 16th Avenue S. Year Started: 1 987

San Francisco, CA Focus: Visual Arts Seattle, WA 98 1 44 Focus: Creative Writing 94102 Youth Served: S50 206-323-1283 & Literature 415-749-2139 Ages: 15-21 Youth Served: 60

Budget: N/A Ages: 8- 1

Budget: $ 1 20,000

"Central City Hospitality House is a I V ^0^^^^. What began as an arts and place to hear a 'yes ' when so often in ^ V^^tf^ *— *""* 1 poetry workshop to get their lives these kids hear 'no,'" says - youth off the street has •V 91 I ,-, Executive Director Kate Durham. "Many BuflSfl ^^^^ become a significant after- of our youth have been sexually abused or have been school leadership training program. In the poetry thrown out of their homes because they are not het- workshops, youth read poems by poets of diverse erosexual. They come to San Francisco seeking refuge cultures that deal with community issues, analyze and hoping to find support and acceptance for who their structure and content and then write poetry they are." Hospitality House is a drop-in center and that is critiqued by other members of the group. an off-site home for 12 runaways. Both drop-in and The workshops are held in 10-week cycles at 15 resident youth can take advantage of a number of different public schools. The Kingian Nonviolence programs, including employment or substance abuse workshops use poetry to help youth learn how to counseling and literary or fine arts instruction. Many channel their anger and frustration into positive who participate in the Youth Program attend 6-week and disciplined behavior. Participants who receive art courses that meet once a week for 3 hours. The a minimum of 120 hours of nonviolence training courses are strictly instructional, but because they become Varsity Team Players of El Centro. Varsity are nestled among a variety of other support services, Players participate in Get a Life Productions and there is a relationship between studying the arts and conduct nonviolence training and poetry workshops addressing runaway and homeless issues. Artists at conferences, universities and political and com- teach ceramics, painting, silk-screen process and munity events. They produce concerts and poetry other arts, according to the participants' interests. readings by both renowned and lesser known artists.

A hands-on computer workshop for skills training Fear of violence in the Latino community has led includes a creative-writing component. On average, many parents and their children to El Centro, where 75 percent of the youth who participate in these and youth can be safe and learn something valuable. other Hospitality House Youth Programs leave the street. The program gains the runaway youths' trust " * Fear of violence in the Latino and, in turn, creates a stabilizing element in their lives. community has led many parents and their children to El Centro, where youth can be safe and learn something valuable. * * ^B ^^^^^H

Organization: Program: Victory Organization: Chau- Program: Charles A. Wustum in Peace Program tauqua Alcoholism Awareness Theatre

Museum of Fine Arts Year Started: 1 992 and Substance Abuse Year Started: 1 985

25 1 9 Northwestern Focus: Creative Council (CASAC) Focus: Theater Avenue Writing & Visual Arts 2-6 E. 2nd Street Youth Served: 45 Racine, Wl Youth Served: 60 Jamestown, NY 14701 Ages: 14-18

53404-2299 Ages: 6- 1 I 716-664-3608 Budget: $53,000

414-636-9177 Budget: $ 1 00,000

The effectiveness of team- Two troupes of youth are recruited at work evidenced by the the beginning of every school year to

partnership of four diverse perform scenes about alcohol and sub- Racine agencies—the stance abuse before student audiences Charles A. Wustum Museum of Fine Arts with the throughout the county. Performers receive intensive

Racine Urban League, The Taylor Home and Educa- theater training and then meet once a week for 214 tion Center and the Racine Council for the Preven- hours for rehearsals and discussion. Once a month, tion of Drug and Alcohol Abuse—is a paradigm for guest speakers and trainers meet with youth to work the youth they serve. Program participants are rec- on special issues such as AIDS and alcohol and sub- ommended by teachers in 27 public schools and stance abuse treatment. There is a basic outline include children with learning disabilities, gang for each of the scenes. However, improvisation and participants and children acting out in classrooms. audience participation are encouraged, so every

The agencies are introducing the Museum to a con- performance is different. In performance, youth and stituency it had not yet tapped, and the Museum is peers talk about substance abuse and alcoholism, showing the agencies how the arts can serve their thus creating an interactive program between per- common goal of steering youth away from destruc- formers and audience members. This interaction tive behavior. The 1-year program engages students has resulted in a regular following and requests for weekly for VA hours through arts projects and, more repeat performances. In 1994, 245 performances intensively, a summer book workshop that takes (mostly in schools) were given. participants through the process of creating and producing a book—writing the stories, making the paper and designing the pages. The books have been so successful that some copies have been placed in the public library and the Museum; some have been sold to museums and rare book collections around the country. The other arts projects take advantage of such opportunities as a Fair Housing Poster con- test. Victory in Peace participants also receive help with their homework, transportation from school and to their homes and other needed support services through the Program. Victory in Peace also organizes field trips to museums, libraries, concerts and other special places.

Organization: Chicago Program: In-School, Organization: Chicago Program: Children's Choir After-School and Public Art Group Youth Training

Cultural Center Concert Choir (CPAG) Year Started: 1 99 78 E. Washington Street Programs 1255 S.Wabash Focus: Visual Arts

Chicago, IL 60602 Year Started: 1 956 Avenue Youth Served: 75 3 12-849-8300 Focus: Music Chicago, IL 60605 Ages: 14-18

Youth Served: 2,000 3 1 2-427-2724 Budget: $ 1 70,000

Ages: 4- 1 Budget: $986,840

Chicago Public Art Group (CPAG) has a summer employment program that guides youth with paints and brushes

to create permanent murals in low- income communities. CPAG co-sponsors the program with social service agencies that identify the teens

for participation and provide them with counseling

and other services as part of the project. Paid through

the Job Training Partnership Act, youth work in

small groups with two to four artists who help them

design and execute public art projects suited to spe- ^»W The Chicago Children's Choir (CCC) cific sites. During the 8-week projects, teams work ^fA^^^L uses choral music to enhance racial and 25 hours a week to create wall and canvas murals, m m W cultural understanding among inner-city concrete sculptures and mosaics. The program helps ^^3^^ groups and to confront violence and integrate youth into the larger community and into gang activity. CCC gives children the opportunity discourse with adults. "Young people in the program to work and perform with youth from other Chicago are learning creative problem-solving skills and are neighborhoods through In-School, After-School and developing transferable work skills," says Executive Concert Choir Programs. The In-School Program Director Jon Pounds. "They are accomplishing some- provides participants with introductory training in thing they never thought they could and, as a result, music by visiting conductors. The After-School Pro- are gaining a new understanding of themselves and gram provides choral and performance training at their capabilities." The commitment of the artists graduated skills levels at five neighborhood locations. to help youth develop life skills, as well as arts skills,

Youth meet twice a week for 90 minutes to work on is critical to the program. As tensions arise in the music theory, vocal training and performance skills group, the artists work with the youth to find ways that prepare them for four public concerts each year. to resolve issues. Chicago Public Art Group also

After reaching a certain proficiency, students can join works in schools, restores public art, conducts mural the Senior Choir. The next step is to become a member tours and develops intergenerational mural projects. of the Concert Choir, which tours throughout Chicago, the United States and internationally, including performances in Russia, Japan and Mexico. Choir members meet twice a week—more often just prior to major concerts—and serve as mentors to the younger singers.

"By nature, choral music is communal," says Director of

Development Don Klimovich. "There is a goal of excellence, but the nonthreatening environment nurtures socialization and cooperation."

66 2 6 1

Organization: The Program: The Organization: Program: The Children's Aid Society Children's Aid The Children's Art Children's Art

2 1 9 Sullivan Street Society Chorus Carnival Carnival

New York, NY 1 00 1 Year Started: 1 990 186 E. 122nd Street Year Started: 1 969 212-533-1675 Focus: Music New York, NY 10035 Focus: Visual Arts Youth Served: 100 212-234-4093 Youth Served: 6,874

Ages: 8- 1 Ages: 4-2

Budget: $ 1 42,000 Budget: $640,477

^^9^^ "We're trying to bring the community of Originally an outreach program of the ^P^fl^ New York City together through song," Museum of Modern Art, The Children's m ^P M says Francisco Nunez, founder and Art Carnival (CAC) in Harlem has existed ^^3^^ director of The Children's Aid Society as an independent community school for Chorus, a professional, premier choral group. Nunez's the past 26 years. CAC enriches the lives of inner- program crosses gender, race and economic lines to city youth through the use of visual and communica- unite city children and offer them a rare chance to tion arts. Faculty believe creative thinking is a develop life-long skills and build new friendships necessary ingredient of intellectual development. through singing. To join the rigorous performance- Theme-based arts activities draw on collage, pup- based education program, students must pass an petry, 3-D construction, painting, ceramics, photog- audition and maintain a B average at school. They raphy, videography, cartooning, illustration, drama, also are required to pay a $35 admission fee to textile design, computer graphics and other media. demonstrate their commitment; however, more than CAC programs include in-school, after-school and

50 percent of the participants are on full or partial Saturday programs for youth, teacher training work- scholarship. Twice a week the young singers meet shops and parent advocacy. After-school programs, at a Children's Aid Society community center in for youth ages 4-7, 8-13 and 14-21, take place at the

Greenwich Village, where they rehearse after school CAC. Summer programs, for children ages 4-7 and and 1 weekend a month. Composers help singers 8-13, incorporate arts activities into local park pro- create new work to perform at 30 public concerts grams. Apprenticeship training and employment throughout the year and on tour, during which they experience is provided for youth ages 14-21. Class work with other young choruses. The program is instructors are professional artists who also help par- structured to meet a variety of needs beyond quality ticipants gain exposure to career options. CAC's music instruction: Academic tutoring, high school strength lies in the partnerships it forms with city entrance counseling, family life and sexuality classes, institutions. A relationship with North General on-site social work counseling at every rehearsal, Hospital resulted in the sale of 33 paintings from transportation services and a summer mini-camp the advanced painting and collage class. The Chil- also are offered. Recently, the Alvin Ailey Dance dren's Clinic of the Hospital commissioned a series

Company choreographed movement to the music; of soft sculptures from an after-school arts work- several youth were accepted into specialized arts shop. Organizations such as the Studio Museum high schools, and the Chorus began performing at of Harlem, the Schomburg Center for the Study of prestigious halls such as Lincoln Center. "The Cho- Black Life and Culture, the New York Urban League rus is raising the expectations of everyone involved," and others arrange summer apprenticeships and says Nunez. jobs for CAC students.

67 2

Organization: Junior Volunteers, Organization: Program: Neighbors' Children's Museum Junior Leadership Children's Museum Program at Holyoke, Inc. Incentive Program of Indianapolis Year Started: 1985

444 Dwight Street Year Started: 1 982 3000 N. Meridian Focus: Multidisciplinary

Holyoke, MA 1 040 Focus: Design, Visual Street Arts & Humanities 413-536-7048 Arts & Humanities Indianapolis, IN 46208 Youth Served: 200

Youth Served: 1 70 317-921-4142 Ages: 6- 1 Program: Museum Ages: 6-17 Budget: $64,000 Adventure Club, Budget: $46,000

The Children's ^^K V ^^—. For 50 years, from the same Museum at M W^ MM W inner-city neighborhood

Holyoke, Inc. l° catlon tri e Children's ^m ^M W ' ^5M^ r FISSIj) offers a trio of "^.JP* Museum of Indianapolis has programs through which youth can experience the worked to provide cultural enrichment for the area's

Museum from an arts and humanities perspective. children. Local artists familiar with the neighborhood

For the Museum Adventure Club, a range of activi- children teach classes that use visual arts, dance, ties, from papermaking to studies of architecture, music and storytelling to explore African-American are based on Museum exhibits and stimulate partici- history and culture. Pertinent Museum exhibits and pants to use problem-solving skills. Youth ages 6-10 collections contribute to in-depth explorations of can join the Club, which runs 3 afternoons a week topics. A year-round schedule of activities takes for 2 hours. The Junior Volunteers program is a way place at the Museum on weekends, during the school for youth, ages 10-17, to learn how a museum oper- year, on school breaks and during the summer. Sum- ates and to gain work experience. Volunteers work mer months are spent preparing dance performances, one shift a week, assisting visitors, demonstrating songs and stories for the popular Family Night and exhibits, facilitating workshops for young children for special events such as Black History Month and and answering phones. Junior Volunteers showing Martin Luther King Day. Participants meet daily for motivation and dedication are selected to take part 4 hours in the afternoon. "The kids are very committed in the Junior Leadership Incentive Program. Partici- to this Program and stay for years. Many have grown pants must be 1 3 years old and available to meet up in the Program and return to work for the Muse- every other week for leadership training conducted um," says Museum Programs Coordinator Leon Jett. by Museum staff with the assistance of community The Program also includes a career ladder compo- partners. "Having a community partnership adds nent, which allows participants to move from volun- so much depth to the Program; the assistance from teer to paid staff. A $1 fee per day per family is Merrill Lynch has been invaluable," says Program required, though half of the participants attend free-

Director Amy Landry. Youth set their own goals of-charge through scholarships. "The Program is in the Junior Volunteers program. They also have sustainable because staff genuinely care about shar- opportunities to represent the Museum at city-wide ing their art and themselves with the children. They conferences and to apply for Museum jobs. establish long-term relationships with these kids

and have created a real sense of family," says Jett.

(=) 4

Organization: The Program: Rainier Organization: Program: Children's Museum Vista Arts Program The City, Inc. The City, Inc.

Seattle Center House Year Started: 1995 I 545 E. Lake Street Year Started: 1 987 305 Harrison Street Focus: Multi- Minneapolis, MN Focus: Film & Theater

Seattle, WA 98 1 09 disciplinary Arts & 55407 Youth Served: 80 206-441-1768 Humanities 612-377-7559 Ages: 7-20 Youth Served: 200 Budget: N/A

Ages: 5- 1 Budget: $92,000

^^R v ^^^^ In conjunction with the . flj M J k^^^^H ^ou won 't find a "program" ^^1 M WA M ^ Seattle Housing Authority A I _ _ ! I ^^ for the arts at The City, Inc., T^ ^M W and the Children's Museum 1 ™ ~ a muitiservice social service ^^& 1 I r^^^^^l "^1 ^^ Uar of Seattle, which has worked ,11" 1^*4 agency that assists more extensively with youth since 1988, the Rainier Vista than 3,000 young people and their families each year. public housing community runs a year-round Arts More than 80 percent of the young people have been

Program for its young residents. The Program is involved in juvenile court. Although some teens come designed to enable children and youth from cultural- to The City, Inc. because of its arts offerings, the term ly diverse backgrounds to stretch their minds, mus- "program" implies beginnings and endings, says the cles and imaginations in surroundings that stimulate artist-in-residence and conflict resolution teacher, creativity and build self-confidence and cultural Bobby Hickman. He calls the arts "stuff to do in their understanding. Children come and go as they wish. lives" and works with the students on arts projects

However, they are asked to finish at least one project of their own choosing every day after school hours. before leaving. During the school year, the after- Most of the work is in theater, filmmaking and video- school Rainier Vista Arts Program offers children graphy, which are Hickman's crafts. Over the course hands-on experience in the visual, performing and of the school year, approximately 80 youth are invol- literary arts supplemented with field trips to muse- ved in arts projects, many of which are done in collab- ums, libraries, cultural institutions, galleries and oration with local arts organizations, such as Creative artists' studios. The Program focuses on the arts of Theater Unlimited and the Minnesota Museum of specific cultures and brings in guest artists, actors, the Arts. During the summer, 30-50 participants col- musicians and dancers to instruct the children and laborate on one project, such as a play or a mural. to help develop exhibits and performances. In the Prize-winning plays, such as A Raisin in the Sun by 11 -week summer program, students are provided Lorraine Hansberry and Fences by August Wilson, with breakfast and lunch and participate in disci- have been performed. The purpose of these projects pline-specific classes. Each week a new discipline is to help youth develop their problem-solving and is explored, with participants taking related field conflict resolution skills. trips to learn about the practical applications of the art form. The Program has been cited by the U.S. Department of Housing and Urban Development as a model for public housing communities. It receives funds from the Seattle Housing Authority's Public Housing Drug Elimination Program.

Yes to the Arts to the Stage 57 Leonard Street Year Started: 1 985

P.O. Box 13 14 Year Started: 1 984 New York, NY 10013 Focus: Theater Topanga, CA 90290 Focus: Multi- 212-925-3320 Youth Served: 80 3 10-455-2898 disciplinary Arts Ages: 14-21

Youth Served: 300 Budget: $ 1 00,000 Program: The Early Ages: 3-18 Years, Sentenced to Budget: $80,000

^^B v Sentenced to the Stage and Youth The CityKids Foundation was started m 7A m Arts Diversion are programs to which to bring together young people from v5jM^ * tne L° K Angeles Juvenile Court refers diverse backgrounds—youth who would '^B W^ young offenders to participate in act- not ordinarily get the chance to meet ing and dance workshops as a condition of proba- each other—and provide them with a "safe space" tion. City Hearts, founded by former ballerina turned for discussion and growth through participation in defense attorney Sherry Jason and her husband Bob, the CityKids Coalition. At Coalition meetings, held a 26-year veteran public defender, allows young every Friday night, young people speak their minds, offenders to take part in a 12-week workshop with discuss issues of importance to youth and are heard up to 1 5 other youth for community service credit. with respect. The discussions at the CityKids Coali-

The youth write an original performance piece, which tion meetings are the basis for original dramatic and they perform at the end of the session. The program musical material developed and performed by The operates both in juvenile detention facilities and in CityKids Repertory, a nationally recognized company the City Hearts downtown Los Angeles studio. Youth of 80 youth. CityKids Repertory meets on Saturdays who have learned to refer to themselves by their at the CityKids Foundation facility. Half the day is criminal classification ("I'm a 601," for incorrigibles devoted to the Life Training Institute, which provides and runaways; or "602," for juveniles who have com- training in conflict resolution, anti-violence tech- mitted crimes) are finding a new identity and focus nigues and other life skills. The other half of the day through the arts. Interested participants may contin- is spent in developing performance skills and ue with City Hearts in ongoing 25-week programs rehearsing. A CityKids alumni/ae program provides in theater arts, circus skills, voice and movement opportunities for graduates, many of whom work in classes. Additionally, City Hearts has an Early Years youth- serving community programs. "The kids are program, for at-risk children ages 3-11, and From involved in every move the organization makes," says

Gangs to the Stage, which works solely with incar- Director of Special Projects Carla Harman. "Some of cerated the youth are on staff—they're invested." Harman youth in reports that many of the youth are going on to col- an inten- lege and getting into careers in teaching or social sive, 12- services, and others have become professional to 15-week dancers, singers and performers. program in which the youth write their own play 4

Organization: and Recreational Organization: Program: Fine Arts City of Fort Myers Support City of Kalamazoo Skills Enhancement

2200 2nd Street Year Started: 1 989 Department of Program

Fort Myers, FL 33901 Focus: Multi- Recreation, Leisure Year Started: 1 990 941-3 38-2287 disciplinary Arts and Cultural Services Focus: Multi-

Youth Served: 765 24 1 W. South Street disciplinary Arts Program: STARS Ages: 8- 1 Kalamazoo, Ml 49007 Youth Served: 85 Program-Success Budget: $257,000 616-337-8191 Ages: 12-13 Through Academic Budget: $64,000

^^K v The) City of Fort Myers police claim ^^R v The Fine Arts Skills Enhancement M WA m a 28 percent drop in juvenile arrests A vA m Program of the City of Kalamazoo's v^^A since the inception of the award-win- v^^fek ' Department of Recreation, Leisure and "^B W^ ning STARS Program—Success Through '^ ^^ Cultural Services recruits disadvantaged Academic and Recreational Support. Held at an youth from the city's three middle schools to partici- expansive recreation complex built in the heart of pate in an after-school arts program. The Program the city's minority community, STARS provides area runs 2 days a week for 1 weeks during both the fall youth much-needed recreational and artistic outlets. and spring semesters in local schools and arts insti-

Once educational abilities and recreational interests tutions, with transportation available for classes con- are identified, youth are enrolled in a variety of class- ducted off school grounds. Taught by professional es, including modern dance, African folk dance, artists, students select from classes in photography, cultural and heritage arts and celebrations, poetry, dance, theater, drawing, painting, ceramics, weav- creative writing and vocal arts. Tutorial programs ing and videography, with each class culminating in math, reading and computers also are available. in an end-of-the-semester performance or exhibition. The classes run in 6- to 10-week segments through- The Program has received an Innovative Program- out the year. Participation in STARS is a family affair: ming Award from the Michigan Recreation and Parks

Both parents and children must agree to participate Association. Before the City of Kalamazoo supported in the activities. Children are required to maintain the Program, local foundations funded a 3-year pilot good behavior and at least a C average in school. program. The impact of the funding transition is not

At the start of the STARS Program, 75 percent of yet fully apparent. the children were making less than a C average; now 80 percent are making a C average or better.

At the start of the STARS Program, 75 percent of the children were making less than a C average; now 80 percent are " making a C average or better. *

Organization: The Program: Project Organization: Program: Extension Cleo Parker Robinson Self Discovery The Cleveland Music Department: Teens

Dance Theatre Year Started: 1 99 School Settlement in Training

I 1 9 Park Avenue W. Focus: Multi- I I 125 Magnolia Drive Year Started: 1953 Denver, CO 80205 disciplinary Arts Cleveland, OH 44106 Focus: Multi- 303-295-1759 Youth Served: 500 216-421-5806 disciplinary Arts Ages: 13-18 Youth Served: 400

Budget: $300,000 Ages: 6- 1

Budget: $86,2 1 I

^^7 v Through a carefully designed program ^^R v Teens in Training is an educational M Wm M of therapy, visual arts, drama, move- M 7A m program that provides job opportunities f^^ft T merit and ongoing evaluation, Project vjj^^^k ' to teenagers. Arts instruction in a non- '^B^^^' Self Discovery is building a record of '^B ^^ competitive atmosphere, which encour- success with first-time offenders, teen parents and ages personal achievement through discipline, takes other at-risk youth. Harvey Milkman, a psychologist place in 19 community centers. The program is struc- and drug prevention counselor, and Cleo Parker tured around three components: lessons in the arts,

Robinson, artistic executive director of The Cleo participation in leadership training sessions and paid

Parker Robinson Dance Theatre, started this program apprenticeships assisting arts instructors in conduct- to formally integrate the arts into drug prevention ing classes. Classes are offered in African dance and work. A rigorous screening process helps identify drumming, choral singing, modern dance, drama, youth who would benefit most from this program. visual arts and intergenerational programs. The free

The selected youth pick an arts discipline for their ongoing classes are held throughout the school year, focus and are assigned a personal counselor. The with a public performance at the end of each year. arts programming is complemented with a daily "Teens in Training is increasing students' desire to therapy session over a 12-week period, which also learn and has resulted in higher achievement at includes a rights-of-passage ceremony and wilder- school," reports Executive Director Robert McAllister. ness activities. Their graduating ceremony, with "We have a high retention of youth who want to con- parents and friends in the audience, includes a dis- tinue in the program, and there is a waiting list to play of their artwork with a discussion of their goals get into the program." and plans. The first half of this year the Project will focus exclusively on youth who have been through " ' We have a high retention of the juvenile justice system in order to assess the pro- youth who want to continue in gram's impact on that target population. The second the program, and there is a wait- half of the year will expand the services offered by * ' Project Self Discovery to its graduate program. Initial ing list to get into the program. evaluations indicate that the program is successful Robert McAllister in increasing participants' resiliency skills. -Executive Director

Organization: Program: Youth Organization: Program: Teen Cleveland School At Risk Dancing Community Adoles- Resource Project of the Arts Year Started: 1993 cent Resource and Year Started: 1988 2064 Stearns Road Focus: Dance Education Center Focus: Theater

Cleveland, OH 44106 Youth Served: 1 (CARE) & Visual Arts

216-791-2496 Ages: 14-18 74 Essex Street Youth Served: 1 54

Budget: $25,000 Holyoke, MA 1 040 Ages: 13-19 4I3-S32-6350 Budget: $100,000

How did some inner-city high school The Teen Resource Project HVJH I football professional is a community, after-school WjM I players become

dancers? Ask Bill Wade, a modern and summer program of dancer and choreographer at the Cleve- the Community Adolescent land School of the Arts. Wade conducts after-school Resource and Education Center (CARE), which works classes 3 days a week for 2% hours for at-risk males. in Holyoke, Massachusetts, to prevent substance

In the classes, "youth talk and discover similarities abuse, AIDS and teen pregnancy. In an effort to pro- among themselves that become the subject of their mote teens' self-esteem and to provide them with performances." For these inner-city youth, the self- better decision-making skills, the Project keeps teens discipline associated with dance is helping them active and engaged in outdoor activities and the grow into manhood. The current troupe has been arts, particularly theater. In partnership with the Uni- together for 4 years and is performing around the versity of Massachusetts at Amherst, Holyoke teens state, on television and with Pilobolus, a professional meet 5 days a week to create original theater pieces dance company. A new program is offered 2 days a and use different visual arts media to build skills and week to boys in grades 6-8. Some program partici- explore issues relevant to their lives. The Project's pants have made remarkable strides, winning schol- theater company, the New Visions Theater, performs arships to the Interlochen Arts Academy, Ohio State in English and Spanish. Their most recent perform- University, the Julliard School and the Martha Gra- ance dealt in a comic way with the serious problems ham School. One dancer was recently hired by the facing new immigrants. Because of a recently formed

Bill T. Jones Dance Company. partnership with the acclaimed Amherst-based New

World Theater, teens will receive additional theater

training and work with professionals of color.

Organization: Program: The Neighbor- Organization: Program: After Community School hood Arts Program Community Television School Program of the Arts Year Started: 1 985 Network Year Started: 1 986 200 W. Trade Street Focus: Multi- 2035 W.Wahansia Focus: Media Charlotte, NC 28202 disciplinary Arts Chicago, IL 60647 Youth Served: 45

704-377-4187 Youth Served: 980 3 1 2-278-8500 Ages: 6-2

Ages: 3- 1 Budget: $48,768 Budget: $43,335

^£ v The Neighborhood Arts Program (NAP) Students from Chicago's poor and M h4 m provides arts programming to children high-risk neighborhoods are developing ^J^Kk ' and youth at park and recreation cen- award-winning cable television programs ~^^_^^ ters located in public housing and low- about critical issues in their lives. This income neighborhoods. Community School of the 9-month After School Program of Community Televi- Arts has customized programs to meet the needs sion Network (CTN) brings together young people and interests of the host sites, often based on sug- to develop programming ideas for a show called gestions by the participants and the teachers. Arts Hard Cover. Youth share responsibility for generating programs include creative writing, tap dance, video story ideas, operating cameras, editing and coordi- production, Native-American culture, visual arts, nating publicity. A new TV show is cablecast every

African dance and choral music. Classes of 10-20 2 weeks throughout the school year. Hard Cover will students meet once a week for 10-20 weeks. It is celebrate its 10th anniversary this summer. The not unusual for a child to take more than one class teamwork and individual responsibility required at a time or to take NAP classes for several years. gives students an opportunity to look for solutions

Professional artists teach these classes and are as they are exploring problems. Videotapes created selected for both their teaching competence and by participants have won awards nationally. Partici- their ability to serve as role models. At the comple- pants report that the program makes them more tion of a class, students receive a certificate of aware of issues, more likely to think through issues achievement and exhibit their creative talents at an and solutions and gives them a voice and a chance

"art sharing" open to the public. "A stabilizing factor to build relationships. CTN also is working in the of the Program is the instructors," says Carol Nash, public schools. the Program's outreach director. "The teachers know the parents, attend community meetings and recruit Participants report that the students. Many teachers are an integral part of these program makes them more aware communities." of issues, more likely to think through issues and solutions and gives them a voice and a chance to build relationships. * *

(u) 2

Organization: Program: Corcoran Organization: Corner- Program: Creative Corcoran School of Art Art Mentorship stone Project, Inc. Expressions

1680 Wisconsin Program 4323 W. 29th Street Year Started: 1 989 Avenue, NW Year Started: 1993 Little Rock, AR 72204 Focus: Multi- Washington, DC 20007 Focus: Visual Arts 501-664-0963 disciplinary Arts

202-628-9484 Youth Served: 1 Youth Served: 40 Ages: 15-18 Ages: 12-18 Budget: $21,820 Budget: $50,000

Working to provide talented youth from ^^K v Creative Expressions is an after-school low-income Washington neighborhoods M vA m program that weaves the arts into with an opportunity to develop their vH^^Hk ' Cornerstone's job training, substance visual arts skills, the Corcoran School '^ ^^ abuse prevention and academic enrich- of Art developed the Art Mentorship Program. High ment programs. Through hands-on experience with school age youth are nominated by school or local professional artists and field trips to cultural institu- community center visual arts teachers and then tions, young people learn about theater, graphic interviewed by Corcoran staff. Focusing on youth for design, dance and visual arts. All of the projects are whom the arts are an important part of their identity, chosen and shaped by the participants with the help

Corcoran staff match teens with an artist/mentor. of an artist on staff and guest artists who are invited Once matched, both youth and mentor sign a 1-year to assist with special projects. Personal experience contract, requiring that they meet at least twice a and trips to cultural institutions are used as a spring- month, with phone calls weekly. Meetings include board for the creation of projects. For example, youth visiting museums, the artist's studio and the youth's created a play based on their personal experiences: home; buying arts supplies and even attending sport- They wrote the script, built the sets and performed ing events. Youth are paid a small stipend for travel in public. Youth who are admitted to the program and wages for 4 hours a month; the mentors are paid make a year-long commitment to attend 4 days a week a nominal fee with which to buy arts supplies. As from 4:00 p.m. to 8:00 p.m. If a participant fails to part of the Program, youth are entitled to take art meet the commitment, a caseworker calls the family. classes at the Corcoran School for free and are given a membership to the Corcoran Gallery. Additionally, * * Youth who are admitted to participants have access to two social workers who the program make a year-long are associated with the Mentorship Program. The commitment to attend 4 days a Mentorship Program has been recognized as a national model by the Hearst Foundation. In addition, the week from 4:00 p.m. to 8:00 p.m. Corcoran provides free art classes to inner-city children If a participant fails to meet the at a variety of community sites, including churches commitment, a caseworker and youth and neighborhood centers. calls the family. * *

Organization: Program: Community Organization: Cultural Program: After- Cornerstone Theater Collaborations Arts Institute School Program

Company Year Started: 1 986 5502 York Road Year Started: 1977 1653 18th Street Focus: Theater Baltimore, MD 21212 Focus: Multi- Suite 6 Youth Served: 200 410-435-2787 disciplinary Arts Santa Monica, CA Ages: 6-2 Youth Served: 300

90404 Budget: $450,000 Ages: 6- 1

3 1 0-449- 1 700 Budget: $65,000

From 5 to 7 evenings a week, Latino ^^K V The Cultural Arts Institute sponsors and African-American residents of m vA « after-school classes in eight schools the Watts community in Los Angeles ^^^fe t for students chosen by their teachers rehearse The Central Ave. Chalk Circle, *^B ^^ and principals. Working when possible a play based on one by Bertolt Brecht but adapted to with teachers and parents, the Program offers two address specific issues of their community. This is 12-week sessions. Students are first introduced to one of the many plays that citizens throughout the the basics of drama, dance, rhythm and vocal music. county have written and produced through Corner- The second session focuses on a production based stone's Community Collaborations. Using a 3- to 4- on participants' interests and/or school curricula. month-long residency format, Cornerstone collabo- The final public performance gives the students rates with a community host organization to lead a feeling of accomplishment and pride in seeing young residents from creation to production. Those a project through to completion. At the end of the who want to join the program must commit to 24 weeks, the students are awarded a certificate rehearsing 5-7 days a week after an initial 3-day acknowledging their commitment. "It is hoped that training session. Participants can study any aspect through an appreciation for the arts, students will of theater, including acting, directing, producing or develop creative, academic and life skills," notes designing sets. "After working together, participants Executive Director Sheila Childs. "We do see the have an increased sense of their own community growth of teamwork and students being supportive of and the diversity of it," explains Managing Director one another. " The dedication of the artist/instructors Leslie Tamaribuchi. "Both adults and youth no longer and the active involvement of the Board of Directors have a sense of alienation from art because they of the Cultural Arts Institute are important parts of begin to see themselves as artists and believe that developing children's motivation and self-worth. they have the right and the ability to participate in the creative process. Nurturing this belief," she " It is hoped that through an notes, "is an explicit goal of the program." appreciation for the arts, students will develop creative, academic and life skills. * ' Sheila Childs -Executive Director

76 2 1 1

Organization: Cultural Program: Children's Organization: Dallas Program: Juvenile Center for the Arts Art Connection Parks and Recreation Gang Prevention

1001 Market Street N. Year Started: 1 98 Department Program Canton, OH 44702 Focus: Multi- 5620 Parkdale Year Started: 1991 330-452-4096 disciplinary Arts Dallas, TX 75227 Focus: Theater

Youth Served: 1,000 2 1 4-670-0200 & Visual Arts

Ages: 8- 1 Youth Served: 90 Budget: $60,000 Ages: 8-2 Budget: N/A

^^K V In an effort to provide at-risk youth The Dallas Parks and Recre- M VA m with the chance to develop skills in ation Department (DPRD) v^^^k t the arts and to work with artists, the started its Juvenile Gang "^( ^r Cultural Center for the Arts initiated Prevention Program in city after-school and summer arts programs that bring parks, where an influx of gang members was caus- low-income youth (95 percent of whom qualify for the ing alarm. The DPRD formed a citizen task force to subsidized lunch program) in contact with Canton's serve as the governing board and help shape posi- arts organizations. Professional artists lead a chang- tive pathways for at-risk youth. Now, free 2-hour ing array of 1 -hour, after-school classes at both the classes held weekly at four recreation centers are

Center and at schools. For example, youth in grade generating student presentations, performances and

3 are taking 12 weeks of movement classes at the exhibitions around the community. Usually half a

Canton Ballet, and there is a 10-week program in year is dedicated to theater and the other, to visual steel drums for youth in grades 4 and 5 offered by arts. Teachers from Junior Players, a local nonprofit the Canton Symphony Orchestra. In addition, each arts group, help participants create their own plays school has a 1 -month residency in creative drama, based on personal experiences, or expose them to with after-school classes for students and teachers various visual arts. Transportation is provided to provided by The Players Guild. Ongoing visual arts encourage attendance, which is reported to be 80 instruction is held twice weekly and includes trips percent of the participants on a regular basis. "The to the Canton Museum of Art. The students also Program has the kids thinking and reflecting on their attend performances by the Canton Ballet, Canton actions and how they affect themselves, peers and Symphony Orchestra, The Players Guild and the families," says Community Outreach Supervisor

Canton Civic Opera. Activities also are held in school Boadicea White. "Previously territorial gang mem- (during the school day), but are not part of the school's bers are now working as a team and relating to each curriculum. Enrollment in the program has grown other as they take on challenges and work hard to steadily, and there is a long waiting list for additional achieve something." after-school programs.

77 1 4 5

Organization: The Program: Project LIFT Organization: Delta Program: Delta Blues

Dance Ring DBA New Year Started: 1 989 Blues Education Fund Education Program

York Theatre Ballet Focus: Dance 29 1 Sunflower Avenue Year Started: 1 992

30 E. 3 I Street Youth Served: 23 Clarksdale, MS 38614 Focus: Music

New York, NY 10016 Ages: 6- 1 60 1 -627-6820 Youth Served: 120

2 1 2-679-040 Budget: $2 1,000 Ages: 9- 1 Budget: $20,000

rWPI I Once a year, during the Christmas ^^0^^ Using the rich heritage of the Missis- holidays, children I come from homeless ^gA^^^ sippi Delta Blues tradition, the Delta shelters to the New York Theatre Ballet, m ^f^P Blues Education Fund is giving youth a a professional dance school and perfor- ^^3^^ healthy alternative to the harsh realities mance company Every day for 1 week they get a hot of Clarksdale streets. Classes concentrate on instru- breakfast followed by ballet classes, a hot lunch and mental technique and performance. Instruction on open reading time. At the end of the week, children the instruments of the Delta Blues (bass, guitar, key- who show a particular interest in continuing are given boards, harmonica, drums and voice) is augmented full scholarships to attend Project LIFT. Of the children by teaching participants the keys to success as pro- who receive scholarships, generally half become consis- fessional musicians. Instructors, professional artists tent students and are integrated into the dance classes themselves, teach personal conduct, effective com- as regular participants. "Dance is the hook in this pro- munication and money management. After-school gram," explains Director Diana Byer. "These children classes are held at the Delta Blues Museum for 3 hours, have no real opportunities in life, and through LIFT, 5 days a week. On Saturdays, students take classes we can instill the values of self-discipline, teamwork at the Elks Club and Chamber of Commerce. The and respect for others, which helps to keep them moti- after-school program complements a daytime program vated to stay in school. All of the scholarship students at six area schools. A large number of youth partici- have made vast improvements in their school work, and pate in both the daytime and after-school programs. one of the little girls received a certificate for academic Students perform publicly, with many of the perfor- excellence at her sixth grade graduation." The scholar- mances generating income that is put into a trust ship students, who have to keep their grades up in order account. Older students who have graduated from to participate in the program, receive not only free ballet the Program perform the Delta Blues in Delta-area classes, but also all necessary dance clothes, transporta- communities. "The children have become profession- tion money and books which they can keep. Additional- al musicians and are performing all over Mississippi, ly, they are provided with school clothes, winter coats, Tennessee, Alabama and Illinois. They have been on toys, special things for the holidays, emergency medical television, and some are now important wage earn- care and help for their families in budgeting money if ers for their families," says Co-Director Rex Miller. they move out of the shelter. After 1 full year of classes, the children can perform with The Dance Ring DBA New York Theatre Ballet company in a performance of The Nutcracker. "Through dance, the children learn to care for each other. The Nutcracker gives them something to look forward to, and they begin to understand that through hard work they can achieve their dreams.

We show the children that it is not where you come from that determines success, but how hard you work," explains Byer. © Organization: Demicco Program: Northern Organization: Depart- Program: Youth Services Horizon Cultural ment of Arts and Cul- Urban smARTS

825 N. Hudson Arts Program tural Affairs Year Started: 1 994

Chicago, IL 606 1 Year Started: 1 994 222 E. Houston Focus: Multi- 312-337-2723 Focus: Multi- Suite 500 disciplinary Arts disciplinary Arts San Antonio, TX Youth Served: 320 Youth Served: 400 78205 Ages: 11-14 Ages: 7-20 210-222-2787 Budget: $250,000

Budget: $3 1 5,000

^^K v The Northern Horizon Cultural Arts ^^R V Urban smARTS is an intervention pro- M 7A m Program provides arts programming to M vA m gram designed to divert youth from v^^^k the young people of the Cabrini-Green/ v^Tj^^k ' entering the juvenile justice system. '^B W^ Near North neighborhood of Chicago, "^B ^^ The San Antonio City Council initiated a community with high rates of unemployment, gang the program, bringing together the city's Department violence and other social problems. Youth participate of Arts and Cultural Affairs with the Department daily in a variety of performing and visual arts activi- of Community Initiatives, which provides case man- ties, some of which center on the African and African- agement services to youth. The partnering of depart-

American heritage of the residents. Artists have ments has resulted in a multidisciplinary program developed comprehensive curricula for drama, choir, that combines innovative arts activities with conflict dance, fine arts, arts and crafts and African folklore resolution training and other prevention services. and rhythms. The artist/instructors are assisted by At each of seven school sites, three artists and five teenagers from the community. Classes are held in caseworkers are joined by a volunteer and a school

churches, community centers, parks and residential teacher to lead daily after-school, 2-hour classes, centers in the neighborhood after school and on using visual arts, dance, theater, literature, music, weekends, year-round. All classes meet once or photography and videography. Activities, which twice a week, are organized around issues that include field trips, are tailored to the needs of each affect the community and include quarterly per- site. Participants are encouraged to get involved in formances and special events. A 2-day summer a number of different classes as a way of discovering festival of the arts celebrates the accomplishments where they feel most comfortable. While each 14-week of students in the Program. session throughout the school year culminates in a

performance or exhibition, it is the process that is * The Northern Horizon Cultural emphasized to show young people that steps have to be taken to achieve something. "Urban smARTS Arts Program provides arts pro- has been effective in changing the kids' attitudes gramming to the young people and increasing self-esteem," reports Program Man- of the Cabrini-Green/Near North ager Berti Rodriguez Vaughan. "They're realizing neighborhood of Chicago, a there are other possibilities for them." community with high rates of unemployment, gang violence and other social problems. * * 1 3

Organization: Program: Gallery 37 Organization: Program: Creative

Department of Year Started: 1 99 The Door—A Center Arts Program

Cultural Affairs Focus: Multi- of Alternatives, Inc. Year Started: 1 972

78 E. Washington disciplinary Arts 1 2 1 Avenue of the Focus: Multi- Street Youth Served: 1,000 Americas disciplinary Arts

Chicago, IL 60602 Ages: 14-21 New York, NY 1 00 1 Youth Served: 617

312-744-8925 Budget: $1,000,000 2 1 2-94 1 -9090, ext. 252 Ages: 12-21 Budget: $75,000

^^R v Gallery 37 is a summer arts education ^^K V The Door, a full-service youth agency, M VA m and job training program in which city A VA m provides a comprehensive, integrated ^^^Hk t hrgh school students are employed by ^55^BL ran ge of services to youth, including '^B W^ the City of Chicago to create art for '^B ^r an average of 20 classes a week after public spaces and fulfill private commissions. Archi- school and in the evening in dance, vocal and instru- tecture, metal jewelry making, bookbinding, paper- mental music, theater, painting, drawing, ceramics, making, painting, creative writing and journalism, photography, tie-dying, jewelry making, woodworking public art, furniture painting, textile art and urban and airbrush design. Staff artists are supplemented landscaping are offered as part of a changing array by artists-in-residence who teach in exchange for of classes. Located in the heart of downtown Chica- rehearsal and studio space. The Creative Arts Pro- go, Gallery 37 transforms a vacant 3-acre lot each gram also includes lectures/demonstrations, master summer into a lively outdoor studio where the classes, trips to cultural events and institutions apprentices/artists work and student performances/exhibitions. Classes are and train and where the designed to help youth develop their skills and learn public is welcome to visit. about the world through art and the resources of

The benefits of the pro- New York City. For example, youth may go to see an gram to Chicago youth in exhibition and then use the theme of the exhibition the summer months are for their own work. Every 2 months, one of the young numerous: meaningful artists exhibits his/her work at The Door. The partic- employment, develop- ipants' work, which has been shown at other sites ment of job skills and throughout the metropolitan area, has won awards in arts education. In addi- city-wide contests and has been highlighted in the tion, 12 satellite programs press for its creativity and uniqueness. "Through the in other city neighbor- arts, participants learn about the planning process; hoods are employing young they learn how to appraise their own strengths and people in their own communities. The Gallery 37 model weaknesses, how to get organized and how to focus also has been replicated in communities across the in order to complete tasks," explains Eileen Bethea, country. Most recently, Gallery 37 was invited by the coordinator of the Program. "The kids in the Creative

Board of Education to bring its job training program Arts Program are motivated by the activities, and that to Chicago's public schools. Beginning this spring, excitement spills over into other areas of their lives."

Gallery 37 will initiate an after-school program in 15 Chicago public schools, following the guidelines of its summer program.

Organization: and Texas Young Organization: Program: Art Groups, Dougherty Arts Playwrights Program DrawBridge: An Arts DrawBridge School

Center Year Started: 1 989 Program for Homeless Education Project,

1 1 1 Barton Springs Focus: Theater Children Traveling Art Exhibit

Austin, TX 78704 & Visual Arts P.O. Box 2698 Year Started: 1 989

512-397-1456 Youth Served: 8 1 San Rafael, CA 949 1 Focus: Visual Arts Ages: 3-19 415-456-1269 Youth Served: 550 Program: Youth at Budget: N/A Ages: 4-16 Arts: Graffiti as Art Budget: $134,000

The City of Austin's Youth Operating in nine Bay Area homeless

at Arts program gives chil- shelters in three counties, DrawBridge

dren an opportunity to learn provides a safe environment where

about the arts and build homeless children use art to express self-esteem by developing their creative abilities. their needs, fears and hopes. DrawBridge brings art

The program includes more than a dozen activities facilitators and trained volunteers to shelters on a for youth ages 3-1 9 at locations all over the city. regular basis in order to give children a voice and

Two of the programs are Graffiti as Art and the an opportunity to feel valued. High-quality and varied

Texas Young Playwrights Program. Graffiti as Art materials are provided, including paint, clay and looks at the artistic merit of graffiti and helps youth collage materials. An important component of Draw- learn how to draw distinctions between vandalizing Bridge's program is the inclusion of formerly home- and creating art. Working with well-respected mural- less mothers and teens as staff. They relate to children ists and graffiti artists, participants gain an histori- because of their shared experience. The DrawBridge

cal understanding of graffiti and create murals and School Education Project takes a video about a home-

other works at sites throughout the city. The Texas less boy to local schools as a means of helping youth Young Playwrights Program works with youth at the understand family homelessness and substitute fact

Arts Center and at housing projects, high schools for fiction. Formerly homeless teens help with these

and recreation centers around Austin. With assis- presentations and assist students with art projects. tance from the University of Texas' Department of Through Our Eyes, DrawBridge's Traveling Art Exhib-

Theatre and Dance and the Capitol City Playhouse, it, features the artwork of homeless youth. Summing students learn about scriptwriting. Each develops a up the program, one 11 -year-old participant noted,

one-act play about issues of concern. The students' "It's like when you play telephone, and it never

plays are produced and critiqued by theater profes- comes back the way you mean it. When you draw sionals during the Texas Young Playwrights Festival. your feelings, people can't misunderstand you. Like

The programs range in duration from 1 intensive if you're really mad and you may not be able to tell

week to 3 months, depending on the host site. the exact words, you can draw lightning flying down

or something like that." " Graffiti as Art looks at the artistic merit of graffiti and helps youth learn how to draw distinctions between vandalizing and creating art. * *

® 1

Organization: Program: East Bay Organization: Eco-Rap Program: Eco-Rap East Bay Center for Center for the 3435 Cesar Chavez After-School the Performing Arts Performing Arts Studio 222 Workshops

3 39 llth Street Year Started: 1 969 San Francisco, CA Year Started: 1 994 Richmond, CA 9480 Focus: Multi- 941 10 Focus: Multi- 510-234-5624 disciplinary Arts 510-835-9213 disciplinary Arts

Youth Served: 1,600 Youth Served: I 5

Ages: 1-18 Ages: I 1-19 Budget: $974,000 Budget: $20,000

^^K V Eco-Rap uses hip-hop to educate peo- m vA m pie primarily in the Northern California ^V^fl^ ' Bay Area and the Bayview Hunters '^l ^^ Point community, in particular, about

issues ranging from toxic spills to teenage pregnancy.

Eco-Rap makes numerous presentations at school

assemblies and in classrooms regarding these issues.

The After-School Workshops have been held in such places as the Bayview Opera House and San Fran- cisco Educational Services; presently, the environ-

mental group SLUG (San Francisco League of Urban

Gardeners) also is hosting Workshops. Eco-Rap opens ^^K v To promote intercultural awareness and each 3-month program with a community Toxic M vA M social reconciliation, East Bay Center Tour led by environmentalists and A.K. Black, Eco- v^^^k ' for the Performing Arts developed an Rap 's artistic director and artist-in-residence. The '^B ^r educational model that integrates art tour gives youth different perspectives of their com- and culture into the community. Participants explore munity. Next, the group examines environmental three interrelated components: repertoire and tech- issues presented in news articles and a diverse range nique; comparative studies across cultures and disci- of periodicals. Meeting 4 days a week for 3 hours, plines; participation in community life through which each youth is assigned an article to read and share community issues are explored through the arts. Youth with the group and is encouraged to work on an from low-income, culturally diverse communities individual performance art, poetry or book project. participate in traditional West African, Mexican and At the end of each session, the group presents to

Southeast Asian music and dance; vocal and instru- the community a hip-hop performance art piece that mental jazz; contemporary ballet; theater; film and addresses an issue the youth examined. "Our aim is video. Sessions run for 10 weeks, each on a year-round to bring knowledge out of youth, not always to instill basis. Youth participate at the main site in Richmond it," says Black, a native of the Bayview Hunters Point and at 1 5 other sites throughout the East Bay. One community. Describing the success of the program, specific project, the Juvenile Justice Diversion Project, Black notes, "We have consistent requests for perfor- is run in partnership with Contra Costa County Juve- mances and continued student attendance. And we nile Hall. Selected students exchange time in deten- see a change in the outlook of the youth from hope- tion for training in the performing arts. Students take a less to hopeful." rigorous schedule of classes, participate in counseling by trained professionals and are given the chance for positive community recognition at a final performance/ exhibition event.

(-) Organization: Edgehill and Video From Organization: Educa- Program: High Center, Inc. Edgehill With Artists tional Video Center School Documentary 935 Edgehill Avenue and Youth) 55 E. 25th Street Workshop

Nashville, TN 37203 Year Started: 1 992 Suite 407 Year Started: 1 984

615-256-5108 Focus: Visual Arts New York, NY 1 00 10 Focus: Video Youth Served: 29 212-725-3534 Youth Served: 60 Program: PAVE WAY Ages: 10-18 Ages: 15-19 (Preventive Arts Budget: $ 1 8,000 Budget: $500,000

Youth from low-income housing devel- ©New York City high school students opments are being given opportunities from all five boroughs are creating award-

to beautify the city of Nashville through winning videos about the daily problems

commissioned outdoor murals in a pro- young people face at home, in school gram of the Edgehill Center, Inc. The Center hires and on the streets. Through the Educational Video professional, African-American male artists who work Center (EVC), a nonprofit media center housed in an in a variety of visual arts. These artists are role mod- alternative public school, groups of 12 to 15 students els and guides for participants and come from the become members of a video production crew. The same background as the youth. Nonprofit organiza- 3-hour classes are held during and after school at tions, schools and private companies reguest murals the Center 4 days a week. The crews brainstorm and designate a theme for the art. Youth talk about topics, choose an issue, write text and map the video what the theme means to them and collaborate with the artists in designing a mural that encompasses their visions. Depending on the size of the mural reguested, 7 to 10 young people participate in each project and may work nights and weekends, later returning to a regularly scheduled weekly 2-hour meeting. There is strong family participation in the program. The older youth are mentoring newcomers and their younger siblings. "When there are kids with a natural ability in the arts, often the parents have this same ability that never was developed," says Community Services Director Cathy Roberts. content. Using newly learned camera and interview-

"The parents are being given opportunities to learn ing skills, students shoot footage, produce a rough- and grow with their children." cut, get feedback and make final edits. Videos, such

as Guns and the Lives They Leave Holes In, are used

in classrooms and by libraries and other nonprofit organizations. Participants are evaluated on the basis

of a portfolio reviewed for writing, research and com-

munication skills, as well as technological compet-

ence and creative expression. Youth Organizers Tele-

vision (YO-TV) provides a very small number of high

school graduates who have participated in the Work-

shop with an advanced pre-professional program for producing broadcast-guality videos that address community problems. 1 6

Organization: Elders Program: Living Organization: Program: Share the Arts History Program Evansville Housing Dance Awareness

57 Wi Hough by Street Year Started: 1 979 Authority Year Started: 1 988

Brooklyn, NY I 1 20 Focus: History & 41 1 S.E. 8th Street Focus: Dance 718-488-8565 Multidisciplinary Arts Evansville, IN 47713 Youth Served: 57

Youth Served: 1 50 812-428-8522 Ages: 6- 1 Ages: 5-18 Budget: $20,000 Budget: $300,000

v Elders Share the Arts (ESTA) The Evansville Housing Authority's ^J fWPH I links generations and cul- J^^^J^A 7A m WM I award-winning Dance Awareness pro- \T1 i^^55^^ tures through year-long Liv- gram started because of the determina- r ^m^m^- "^B ^ ing History Programs that tion of one individual who witnessed transform life experiences into dance, theater, writ- the impact of dance on children in another city. ing, visual arts and storytelling. ESTA's programs Brenda Murry-Pittman, now the Housing Authority's facilitate relationships among community members, director of community service, returned to Evansville bringing together neighbors of all ages and ethnici- from Washington, DC, and formed a partnership ties to build community, address community issues with a local dance group to teach children personal and celebrate common ground. In the Living History discipline and build self-esteem through dance. The Program, youth and elders come together throughout resulting school-year program meets 3 days a week, the year in 30 weekly workshops at 20 New York for 45 minutes in the early evening, to teach children neighborhood community centers, schools, libraries ballet, jazz and ethnic dance. A Housing Authority and other sites. Youth interview seniors and develop van provides free transportation from three housing oral histories of their lives. At the end of each year's sites to a dance space donated by the Tri-State workshops, youth and elders stage dramatic literary Food Bank. The dancers are provided with leotards, and visual presentations based on those oral histo- tights and shoes and perform once a year at a spring ries at a city-wide Living History Festival. Through recital at the University of Evansville. In addition, the Living History Program and another ESTA activi- the Evansville Museum has invited them to perform ty, the Conflict Mediation Program, elders and youth during Black History Month. "The kids are learning form relationships that are maintained beyond the to trust that people outside their world care about

Program. As a vendor agency for the New York City what happens to them," says Murry-Pittman. Dance Board of Education, ESTA helps youth participating Awareness reports an 80 percent youth retention in these Programs to improve their school attendance, rate in the program. The program is supported by increase attentiveness and gain arts and communi- a variety of public and private sources, including cation skills. Moreover, youth's involvement with funds from a U.S. Housing and Urban Development elders stimulates their curiosity and interest in learn- Drug Elimination Grant. ing, making historical events from the pages of a textbook more vibrant and real. 2 2

Organization: Program: Everyday Organization: Ewajo Program: After- Everyday Theater, Inc. Theater Youth Dance Workshop School Program

P.O. Box 70570 Ensemble 2719 E.Madison Year Started: 1 992

Washington, DC Year Started: 1 984 Seattle, WA 98 1 1 Focus: Dance 20024-0570 Focus: Music 206-322-0155 & Humanities 202-554-3893 & Theater Youth Served: 60

Youth Served: 9 Ages: 5- 1 Ages: 16-21 Budget: $6,300 Budget: N/A

~~ Everyday Theater Youth fJMH ^^^^ The Ewajo Dance Workshop r Ensemble, a company of as c rown irom a small >^ I Bffifl flfl V ^ J ^fefl^^^^—l African-American youth, IS^^B dH W dance studio to a multifac- electrifies audiences with ^h^b^^ V^Hhv eted organization that helps powerful plays that illuminate issues surrounding sub- youth from diverse backgrounds find common stance abuse, violence and AIDS. Using music, rap, ground while building individual skills. The After-

African oral traditions, dance and drama, Ensemble School Program offers dance classes that reflect players create original productions based on personal Seattle's African-American, Brazilian, Filipino and experiences, such as the rap opera trilogy Outside Native-American populations. Taught by guest My Window, about commitment to family and com- artists called Cultural Heritage Specialists, classes munity, self-help and spirituality. Out-of-school youth take place in local schools during after-school hours, are paid for a 40-hour workweek. They work year- twice a week for 2 hours during the school year. round with Theater staff and guest choreographers Before the start of each class, students take part in and other consultants. Participants start with inten- chat sessions that allow them to talk about their sive training in acting, diction and music, among thoughts and learn about social, cultural and histori- other areas. The Ensemble puts together a participa- cal issues. The Program concludes with city-wide tory production with complementary workshops for community performances by the students. "This is school children to encourage them to examine some a dance program for kids who wouldn't otherwise of the critical issues affecting their lives. Theater have the chance to be involved with dance. Its goal skills are further developed through 6-week workshops is to develop cultural and social skills through dance led by Ensemble members in the schools. A summer and through working together with other kids from program involves youth who have attended Every- a variety of backgrounds," notes Executive Director day Theater programs during the school year. They Edna Daigre. A recent 2-year grant from the City of work daily for 6 weeks, gaining new skills and sub- Seattle is enabling Ewajo Dance Workshop to increase stance abuse awareness through the help of a sub- the number of youth served and to expand services stance abuse coordinator. A performance is presented such as transportation for the participants. The three times for parents and community members. After-School Program complements a number of

As a tool for social change, the program is helping other Ewajo programs, such as Artist-in-Residence participants "better articulate information about the and Dance as a Cultural Expression, which works issues," says Artistic Director Jennifer Nelson. The with homeless children through a collaboration with program works, she notes, because "most of the peo- an elementary school. ple in the Ensemble are from the communities that receive the presentations." 8 1 9 7 1

Organization: Program: Art Express Organization: The Program: The 52nd

Federated Dorchester Year Started: 1 99 52nd Street Project Street Project

Neighborhood Focus: Multi- 500 W. 52nd Street Year Started: 1 98 Houses, Inc. disciplinary Arts 2nd Floor Focus: Theater

90 Cushing Avenue Youth Served: 340 New York, NY 1 00 1 Youth Served: 80

Dorchester, MA 02 1 25 Ages: 6- 1 212-333-5252 Ages: 7- 1 617-282-5034 Budget: $400,000 Budget: $350,000

The purpose of The 52nd Street Project

is to give every child the experience of success through writing and performing

his or her own plays. Economically dis-

advantaged children from the "Hell's Kitchen" neighborhood of New York City are paired with professional

theater artists to create, mount and perform original

theater pieces. The individual child is the focus of

this Project's work. Workshops take place in local community centers and theaters, as well as during out-of-town retreats. They include One on Ones,

in which youth are paired with adults to create a

^^K V Arts programming is offered daily to work especially for them that is performed by the M 7A m elementary school children in an after- child with that adult. In Two on Twos, a professional ^y^^^ school program in Dorchester. Through playwright creates a play "^B ^^ the auspices of the Federated Dorchester performed by two 52nd

Neighborhood Houses, a social service agency, artist/ Street Project participants. educators and group leaders design programs in fiber Playmaking is a series of arts, sculpture, theater, painting, drawing, photo- playwriting classes for graphy and film for children at four sites. A pool of young people developed artists rotate among the sites, providing youth with by Daniel Judah Sklar exposure to a variety of disciplines. In December, from his book Playmak- each site holds an annual holiday open house craft ing: Children Writing and fair so the children can display and sell their work. Performing Their Own

Older participants meet weekly for a hands-on inter- Plays. These classes were active program that introduces teens to the visual adapted to include a per- arts. Working side-by-side with artists and gallery formance component. An staff, teens create their own work, learn the basics ongoing acting company of children is under devel- of gallery administration and design and mount an opment. In addition, based on their experience, The art exhibition to display their work. To supplement 52nd Street Project has written a practical guide to their technical instruction and expand their horizons, teaching theater arts to children. both younger children and teens go on field trips to local cultural institutions.

Organization: Flynn Program: Flynn/ Organization: Fools Program: Artsworker Theatre for the Wheeler School Company Apprentices Performing Arts Partnership 311 W. 43 rd Street Year Started: 1983

153 Main Street Year Started: 1 990 New York, NY Focus: Dance Burlington, VT 05401 Focus: Multi- 10036-6413 & Theater 802-863-8778 disciplinary Arts 212-307-6000 Youth Served: 25

Youth Served: 1 75 Ages: 16-21 Ages: 5-1 Budget: $133,000 Budget: $10,250

^^R v After-school programs offered as part [MV ^^^^B I In a year-round program, LW^E I -^ ** I M WA % of the Flynn/Wheeler School Partner- I .^ | Fools Company's Artswork- Vv^^fek t ship take place at the Wheeler School, er Apprentices exposes "^( ^^ located in the Old North End, the neigh- teens to the performing borhood that has the highest concentration of low- arts. Teens are referred by community organizations income and minority residents in Burlington. Classes and schools and learn about the program through are organized in three sessions a year; each session public service announcements or by word-of-mouth. generally includes three classes, which meet once a Participants attend free 2-hour workshops once a week in such areas as creative dance, ballet, creative week and learn about performance and production. drama, theater production and string instruments. Additionally, by helping the Company with its mail-

Performances or presentations of works-in-progress ings and fund-raising efforts, they also learn about are given throughout the year. In addition to classes arts administration. Workshops are complemented and performances, children have the opportunity to by the Company-sponsored International OFFestival, participate in workshops with visiting professional which is staged several times a year and exposes artists. Each child is given free access to student youth to contemporary performances by artists from matinees at the Flynn Theatre and is offered tickets around the world. Visiting artists conduct the regular for a Sunday series for families. The City of Burling- workshops during the weeks they are at the Festival, ton was just named recipient of a U.S. Department and the teens help with the Festival's administrative of Housing and Urban Development Enterprise Com- and technical needs. As participants build their job munity Grant. Some of these funds will be used to skills, they can work part time with Fools Company hire an arts enrichment coordinator for the Flynn or with other artists who perform in the Company's Theatre's work in the Old North End. theater space. "The kids are gaining knowledge about

jobs in the performing arts and are increasing their

general job skills," says Executive Director Jill Russell. "They are showing heightened self-confidence and an

increased ability to articulate and express themselves."

* The kids are gaining knowledge about jobs in the performing arts and are increasing their general job skills. * '

Jill Russell -Executive Director

Organization: Fourth Program: Fourth Organization: Program: TeenStreet

Avenue Cultural Avenue Cultural Free Street Year Started: 1 99 Enrichment (FACE) Enrichment 1419 W. Blackhawk Focus: Multi-

P.O.Box 15134 Year Started: 1 992 Chicago, IL 60622 disciplinary Arts

Tallahassee, FL 32317 Focus: Multi- 3 I 2-772-7248 Youth Served: 4 904-224-8600 disciplinary Arts Ages: 14-20 Youth Served: 70 Budget: $73,000

Ages: 6- 1 Budget: $26,9 5

^^K V Fourth Avenue Cultural Enrichment ^^K V Free Street provides jobs and job train- M WA m (FACE) is a multicultural, interdiscipli- M W^ m ing in creative writing, dance, music " nar ^W^^^ Y program designed to provide ^Vjfll^ anc^ theater through its TeenStreet "^B ^^ children and young adults with a con- "^J ^^ program. The program emphasizes sistent artistic outlet. FACE works with school per- being punctual, taking direction, assuming personal sonnel, city government officials, community leaders responsibility and working as part of a team. Working and parents to interest young people in African under an artistic director, youth create theater pieces dance, drumming and culture; public mural painting; based on their lives and views of the world. "The ceramics and field trips to area cultural institutions performances are built from the kids' lives, so they to see ballet, theater and other performances. Year- get to work out their anger," says Executive Director round classes meet three times a week at a space David Schein. TeenStreet is a two-tiered program donated by the Department of Parks and Recreation with both a summer and year-round ensemble. The and start with a half-hour of academic tutoring. Pro- summer program runs for 8 weeks. Teens attend fessional artists direct the arts projects, which have 20 hours a week and take part in a rigorous perfor- ranged from painting murals on a homeless shelter mance schedule of two performances a day during and bus station to presenting public performances at the last half of the session. Participants must audition community festivals and senior citizen homes. Older to become members of the year-round ensemble, children are eligible to become summer youth leaders which meets 8 hours a week for 5 months. The ensem- and are paid through the Job Training Partnership ble performs throughout Chicago and has appeared program. "The children are wonderful human nationally and internationally as well. TeenStreet is beings," observes Executive Director Jill Harper. also a jobs program: The Job Training Partnership

"They are still in school, are more respectful of each program pays youth in the summer; Free Street pro- other and are bringing their younger siblings to the vides wages during the school year. To reinforce program." Harper runs the program single-handedly, the employment training aspect of the program, visiting the public housing community and schools youth are taught interviewing and other job acqui- to market the program. But as she notes, "The pro- sition skills. In addition, guest artists meet with the ject is a community effort. It improves the whole ensemble to discuss the entertainment business. community because it promotes communication "TeenStreet enables kids to face the realities of their between people from diverse backgrounds." lives and know what they have to do to attain better

lives for themselves," notes Schein. "Kids learn how II The children are wonderful to work the system and how to connect with people who have access and can help them." Schein reports human beings. 11 that TeenStreet participants are going on to college Jill Harper and successfully building careers. -Executive Director

88 1

Organization: Friends Photography/ Organization: Program: of Photography Education: Partnership Fringe Benefits Fringe Benefits

250 4th Street and Community 530 N. West Year Started: 1 99

San Francisco, CA Outreach Knoll Drive, Suite I Focus: Theater

94103 Year Started: 1 989 Los Angeles, CA Youth Served: 70 415-495-7000 Focus: Photography 90048 Ages: 14-21 Youth Served: 300 3 10-657-8149 Budget: N/A Program: Ansel Ages: I 1-17 Adams Center for Budget: N/A

For nearly 30 years, the artist-founded "When I had been honest, I was told to

Friends of Photography has promoted shut up. When I had felt passion, it had

the development of creative photogra- ultimately been ignored.... [A]nd when I

phy. When it relocated to San Francis- had been courageous, I ended up alone." co, Friends opened the Ansel Adams Center for These emotions, expressed by a homeless gay youth Photography and initiated a youth outreach and in Fringe Benefits, are the very ones that Director education program to create new partnerships and Norma Bowles and Co-Director Ernie Lafky tap to involve a broader spectrum of the community. The help youth create performances that clearly express program involves a variety of youth with special their views of the world. Fringe Benefits contracts needs who are identified by partner organizations. for 6 months with shelters and transitional homes

These organizations pay any nominal fees. Artists for homeless gay and lesbian youth. The staff meet work once a week over 8- to 12-week sessions with youth at each site at least twice a week to conduct teen girls, English-as-a-Second-Language youth writing and acting classes. The young people's and others attending after-school programs at com- experiences shape the content of their work. In one- munity organizations. During the ongoing sessions, on-one sessions, youth focus on improving their youth not only work on technical skills in photogra- creative-writing skills and on finding erfective ways phy, but also take part in other activities such as to dramatize their individual stories. Over a 6-month writing projects. The program always includes gallery period, 70 youth collaborate on writing a play that and museum visits and concludes with a student is performed by approximately 12 participants at the exhibition. "Learning takes place in many different Highways Performance Space in Los Angeles. "The ways, and photography provides an outlet for those performing arts provide a bridge from the street to who may be more visual learners," says Deputy other kinds of work. Kids learn' the concept of delayed

Director for Public Programs Deborah Klochko. Friends gratification; they leam how to work very hard, through of Photography conducts several specialized programs, the frustration, to get to the end result. Some of the including a Saturday Teen Docent Program, which youth in our program," Bowles continues, "have gone provides paid training for high school students who on to college and summer repertory programs; one gain appreciation of art and public speaking skills, youth got a poetry prize from a local museum. Their and a Teen Girls Program, which is run with the work is top notch, classy, intelligent, powerful and

San Francisco Educational Services and focuses on quite beautiful." how self-image is defined by media. The programs

are about more than just photography and art. "We want young people to become visual consumers and see how media can influence what we think about ourselves," says Klochko.

® 2

Organization: Georgia Program: ArtReach Organization: Program: Children

Museum of Art Year Started: 1 987 Greater Columbus of the Future

University of Georgia Focus: Humanities Arts Council Year Started: 1 992 Athens, GA Youth Served: 6 55 E. State Street Focus: Multi- 30602-1719 Ages: 15-17 Columbus, OH 43215 disciplinary Arts

706-542-3255 Budget: $ 1 6, 1 88 614-224-2606 Youth Served: 2,000

Ages: 5- 1 Budget: $528,800

^^^^ ArtReach is a summer program for a ^^K v Children of the Future creates safe ^k ^ small number of Athens-area low-income M vA m neighborhood havens for youth and V ^M W teens. The program is run by the Geor- \W^^k ' provides them with daily after-school W^Kkm gia Museum of Art in cooperation with "^B ^^ arts activities, as well as weekend the Northeast Georgia Regional Development Center programs featuring visiting artists. Twenty-three using funds from the Job Training Partnership Act. AmeriCorps participants work at seven recreation Students work with two arts education instructors. centers in inner-city neighborhoods. Each center

They study art history and research a wide range of offers programs in dance, creative writing, music, related topics, such as the architecture, music and theater and visual arts, depending on each center's dance of the same period, as well as the daily lives facilities. The centers develop exhibits and perfor- of the people who lived at the time the art was pro- mances that can be seen at sites throughout the duced. The teens learn research, computer graphics city, as well as at the neighborhood centers. The and word processing skills. Their work culminates program emphasizes teaching basic analytical with presentations at sites around Athens, including skills critical to all learning. Some activities include nursing homes, day-care centers, Boys and Girls instruction in conflict resolution and development of

Clubs and libraries. The presentations are tailored to communication skills. The program is a partnership each audience and include hands-on arts activities. among the City of Columbus Department of Parks and Recreation and Department of Public Safety, the Columbus Metropolitan Housing Authority and the Greater Columbus Arts Council.

Children of the Future creates safe neighborhood havens for youth and provides them with daily after-school arts activities, as well as weekend programs featuring visiting artists. ' *

90 2 7 2

Organization: Program: After- Organization: Program: Summer Greater Golden Hill School Cultural Club The Greenwood Arts Program

Community Develop- Year Started: 1 992 Cultural Center Year Started: 1 989 ment Corporation Focus: Multi- 322 N. Greenwood Focus: Multidisciplinary 2469 Broadway disciplinary Arts Tulsa, OK 74120 Arts & Humanities

San Diego, CA 92 1 1 Youth Served: 250 918-583-4545 Youth Served: 50

6 1 9-696-9992 Ages: 6- 1 Ages: 8- 1 Budget: $40,000 Budget: $8,500

^^K v Joining the circus is not just a dream ^^K v ^^^^ Founded by a retired African- A vA m for youth living in San Diego's Golden M VA v^ ^ American educator, the Sum- v^^Bk Hill community. The Greater Golden v^j^^k *^ ^1 W mer Arts Program in Tulsa "^B ^^ Hill Community Development Corpora- "^B ^^ W^^BV works to provide at-risk tion is making this universal childhood dream come children with a social and cultural education as well true through an after-school program sponsored with as to enhance a sense of self. The 8-week Arts Program the Fern Street Circus. Youth train with the Circus runs during the summer every day from 8:30 a.m. to troupe at the neighborhood recreation center. They 1:00 p.m. Participants, who are separated by age, study juggling, mime, clowning and trapeze. Eventu- rotate through every class, including classes in the ally, youth perform circus acts at community events. visual arts, African-American history, music, dance,

Children preferring other arts can attend a semester- drama/speech, nutrition and etiquette. The nutrition long after-school program at Brooklyn Elementary and etiquette classes are funded in part by the state's

School. Local bilingual artists teach sketching, paint- Health Department. At the end of the summer, partici- ing, sculpture, crafts, cartooning, playwriting, dance pants stage a production, including a dance and

and choir to the 80 percent immigrant population of music performance; mount an exhibition; make oral the school. Classes meet twice a week for 1 hour presentations about their artwork and stage an eti-

and on Free-For-All Fridays. Dance, theater and choir quette performance. The Arts Program has a van to

students perform at annual open houses and at sites transport youth to and from the program site and the throughout San Diego. "The programs are filling a performances. Scholarships are given to those who void created by the elimination of art and music pro- are unable to pay. As a testament to the Program's grams in the school," says Program Manager Rafael popularity, youth come back to the Program year Ramirez. "The youth are participating on a regular after year. Students who are too old to participate basis because they're getting attention and being often come back to work as assistants. nurtured by instructors and volunteers." * As a testament to the Program's popularity, youth come back to the Program year after year. * *

Organization: Program: El Grupo Organization: Program: Guadalupe Center, Inc. Folklorico Atotonilco Guadalupe Cultural Grupo Animo

1015 Avenida Cesar E. Year Started: 1 979 Arts Center Year Started: 1 992

Chavez Focus: Dance I 300 Guadalupe Focus: Theater Kansas City, MO & Humanities Street Youth Served: 20 64108 Youth Served: 55 San Antonio, TX 78207 Ages: 13-18

8 1 6-472-4770 Ages: 3-2 210-271-3151 Budget: $40,000 Budget: $20,000

MH ^^^^ El Grupo Folklorico Atotonil- Guadalupe Cultural Arts Center is run KKfl mM m C0, ^ e c' ance and perform- by and for the El Barrio community, an BS^^^H V rf| W ance company of Guadalupe area of San Antonio with public housing, tl M *kMJ Center, Inc. (GCI), teaches latchkey children, drugs, violence and Latino children and youth about their culture and school dropouts. The Center provides an extensive history through dance. Participants study traditional range of programs that stress Latino heritage. Grupo Mexican dance, Caribbean dance and the cultures Animo, a multidisciplinary theater program, engages from which these dances developed. Visiting artists youth in issue-oriented theater. Working 5 to 7 days who are specialists in a particular dance form are a week during the summer, participants write and brought to the Center. The participants, most of produce a play. The work is done through workshops, whom are teenagers and from low-income families, individual writing assignments and collaboration practice one to five times per week and perform at with a well-known guest director, who comes for festivals year-round throughout the county. There is a 1 -month residency. During the school year, Grupo an open enrollment policy; new young people join Animo tours the play to 12 to 15 community sites. classes, which are organized by age and experience, Participants continue to meet twice a month for dis- all the time. El Grupo puts on 3 major performances cussions and to work with visiting artists. Twelve and some 45 other performances a year. According to summer performances take place at the historic Gua-

Bernardo Ramirez, GCI's director of development, "El dalupe Theater. "The future of our community is in

Grupo 's excellent reputation and extremely high level the hands of youngsters," says Executive Director of instruction has allowed several longtime partici- Pedro Rodriguez. "We have to work hard and have pants to spin off and form their own dance groups." a can-do attitude." Through Grupo Animo, San Anto-

The Guadalupe Center, Inc. is a multiservice center. nio youth have a community program on which to rely year-round. At the Center, they are exposed to professionals from around the country and to posi-

tive role models. "The staff has witnessed that just

being around other kids, all thinking about positive things, has had a good impact on the participants," says Rodriguez.

92 Organization: Program: Pueblo Organization: Harlem Program: The The Guilds of the Opera Program School of the Arts Bridge Program

Santa Fe Opera Year Started: 1 973 645 St. Nicholas Year Started: 1 992 P.O. Box 2408 Focus: Music Avenue Focus: Multi- Santa Fe, NM Youth Served: 200 New York, NY 10030 disciplinary Arts

87504-2408 Ages: 6-22 2 1 2-926-4 1 00, ext. 3 1 Youth Served: 25

505-986-5928 Budget: $50,000 Ages: 9- 1 Budget: $35,000

^tft^^ With the assistance of Native-Ameri- ^£ v The Harlem School of the Arts (HSA) ^F^flA can coordinators and leaders from local A K4 m offers programs to people of all ages. m \Jp M pueblos and reservations, The Guilds vHj^hL ^e bridge Program is for students in ^^3^^ of the Santa Fe Opera's Pueblo Opera "^J ^^ grades 4 and 5, many of whom have

Program is expanding cross-cultural awareness, participated in HSAs school-based program. The dispelling opera misconceptions and reciprocating school program provides children in grades 1-3 with pueblo hospitality through music, dance and drama. experience in dance, music, theater and visual arts.

"There is an important sharing of Native-American The Bridge Program helps these children make the traditions and operatic traditions," says Education transition to the School of the Arts, where they can and Outreach Coordinator Andrea Fellows. The take at least two classes a week after school. While

Pueblo Opera Program engages children in creating participants are not reguired to audition, the classes and producing an original opera. The semester-long are rigorous, with artist/teachers stressing consisten-

Program meets 8 hours per week at local schools and cy and effort. Students are given weekly homework then moves to the Santa Fe Opera for rehearsals. assignments. There are ample opportunities for chil-

Santa Fe Opera artists serve as mentors to the par- dren to perform and exhibit their work. In an effort to ticipants by helping them develop the story, libretto provide these young people with role models, HSA and music and by coaching them at rehearsals. The gives children the opportunities to work with people young opera singers perform for their schools and of color in a professional setting. communities and bring their production to the Santa

Fe Opera open house, as well. "Many of the same children return year after year and later work as Pueblo Opera Program coordinators in their communities," says Fellows. The Guilds of the Santa Fe Opera also runs a teacher training program.

II1 There is an important sharing of Native-American traditions and operatic traditions. * * Andrea Fellows -Education and Outreach Coordinator

93 1

Organization: Harlem Program: Harlem Organization: Henry Program: Abrons Textile Works, Ltd. Textile Works Street Settlement Art Center Youth

1 86 E. 1 22 Street Year Started: 1 984 Abrons Art Center Programs

New York, NY 10035 Focus: Design 466 Grand Street Year Started: 1 975

212-534-3377 Youth Served: 24 New York, NY 1 0002 Focus: Multi-

Ages: 14-21 2 1 2-598-0400 disciplinary Arts

Budget: $ I 1 0,000 Youth Served: 4,000 Ages: 2-2 Budget: $800,000

Harlem Textile Works, Ltd. provides arts ^^K v The Henry Street Settlement Abrons education and employment opportuni- M 7A m Art Center is an expansive, 1 -block ties to students and artists interested ^55^Bk facility in Manhattan's Lower East Side. in fabric design and related fields. This "^ ^^ It is home to three theaters; one amphi- Harlem-based organization provides job training to theater; galleries; dance and art studios; and an minority and economically disadvantaged students array of theater, dance and visual arts programs. through design workshops. Students are recruited The Henry Street Settlement began using the arts from The Children's Art Carnival, an independent 100 years ago as part of its neighborhood social ser- Harlem-based school; community service programs vice mission. In 1975, the Abrons Art Center was at alternative and specialized high schools and built to bring all of the arts programs under one roof. college internship programs. Designs are inspired The Youth Programs provide opportunities for New by authentic textiles from Africa and the African York City's at-risk youth to "express their view of Diaspora, as well as from Harlem's urban environs. the world and envision the way things could be,"

Participants develop original designs for hand-printed according to Program Associate Jonathan Ward. fabrics, organize sales presentations and exhibits, Most courses meet weekly for 15 weeks. Students design and screen-print T-shirts and products for study acting, musical theater and movement; take client organizations and conduct tours for visiting classes in ceramics and painting; learn ballet, jazz, school groups. Students earn hourly wages, stipends, tap and modern dance; or study any of 25 different school credits or honoraria for design work. While musical instruments, as well as voice. Performances not all participants go on to careers in design, many and art exhibitions are held regularly at the Art Cen- appreciate working in a creative environment in their ter. Recently, the Center added a career awareness community and sharing their talents with peers and component and apprenticeship program for members adult artists. of the resident theater company. The Center also runs

a special year-long workshop in acting, scene design,

stagecraft, movement and choral music in an effort to prevent students from one area high school from

dropping out of school. Finally, through the Summer

Enrichment Program, immigrant youth use folk tales

from their countries of origin and their experiences

in America to create skits that they perform for the community at the end of the summer.

94 8 1

Organization: Program: The Hills Organization: Program: City Lights

The Hills Project Project After-School Humanities Council Year Started: 1 989 Fox Plaza Program of Washington, DC Focus: Humanities

1390 Market Street Year Started: 1 994 133 1 H Street, NW Youth Served: I 50

Suite 9 1 Focus: Multi- Washington, DC 20005 Ages: 5-2

San Francisco, CA disciplinary Arts 202-347-1732 Budget: $ I 10,000 94102 Youth Served: 230

415-554-4605 Ages: 7- 1 5 Budget: $3 50,000

^^K v Artistic organizations in San Francisco ^^^^ City Lights is a collaborative effort M vA m are collaborating in an arts education ^k W among writers, scholars and public v5j5^^^ After-School Program for elementary V ^M W housing residents. Working 1 to 2 years "^1 ^^ and middle school children living in an HI in a public housing community, City under-served part of San Francisco. The San Francisco Lights scholars and writers collaborate with residents

Symphony, San Francisco Ballet, San Francisco Opera to design projects that focus on storytelling, personal and the Fine Arts Museum all contract with profes- story sharing and story reading. One public housing sional artists to teach children every weekday after site conducted an intergenerational oral history pro- school and in an intensive summer program. Two ject that resulted in a video and exhibition. Another days a week instrumental music lessons are offered. site is creating a library and reading circles for par-

Children are given a flute, clarinet, violin or cello so ents and children. Professional storytellers are they can practice at home. Two other days, classes helping participants dramatize the books they are are held in visual arts, acting, voice, world dance reading. National Service WritersCorps members are and ballet. A theater production class, run by the San working with teens on writing projects. Most projects

Francisco Opera, is offered on Fridays. Through a new meet once a week over the summer or during the partnership with The National Academy of Recording school year. "Success of the programs is dependent

Arts and Sciences, Inc., a rap and rhythm and blues on the involvement of the residents," says Director of class was added last year. Field trips to the San Fran- Council Projects Carmen James Lane. "Projects cisco Ballet, museums, artists' studios and other cul- tend to continue long term after City Lights leaves tural institutions, as well as visits by artists, are part because of the level of the residents' involvement at of The Hills Project After-School Program. There is a the outset." Humanities scholars work closely with

$3 registration fee, but everything else is free. Coun- residents, and residents are encouraged to take selors from area schools are site coordinators. The active roles in running the projects throughout the collaborating organizations provide in-kind services, year. They also are involved in organizing fund-raising such as tickets to performances and administrative workshops, providing information on community assistance. This After-School Program also addresses resources and assisting in forming partnerships with social service issues; recently, parenting classes were community organizations. added to the offerings. 8

Organization: Hyde Program: Gallery, Organization: Indian- Program: Park Art Center Classes and Outreach apolis Art Center ArtReach Program

$307 S. Hyde Park Program 820 E. 67th Street Year Started: 1 989

Boulevard Year Started: 1 985 Indianapolis, IN 46220 Focus: Multi- Chicago, IL 60615 Focus: Visual Arts 317-255-2464 disciplinary Arts 312-324-5520 Youth Served: 2,500 Youth Served: 350

Ages: 3-18 Ages: 5- 1

Budget: $ 1 4,000 Budget: $144,000

Since its founding in 1939, the Hyde ^0B V The Indianapolis Art Center works at

Park Art Center (HPAC) has worked with M 7A m 15 community sites through its ArtReach local schools and community groups to vHjflkL » Program . Classes in clay, watercolor, provide arts programs for young students. "^ ^^ photography, drama and other arts are Eleven years ago, the Center began an Outreach taught at housing communities, churches and com-

Program to serve at-risk youth. Cutbacks in public munity and health care centers. Teachers and activi- school arts programs and an interest in extending ty directors at the sites work together to shape the the scope of its art school and gallery sparked this courses to meet the needs and interests of each effort. HPAC now partners with youth organizations community. The 1 5-week school-year session takes and schools to build relationships with, and design place 1 day a week for 2 hours; the summer session programs for, each site. At a community learning lasts 9 weeks. In August, an annual exhibition at a center, 1 of 20 sites, a 20-week program for 6- to 11- downtown building includes work by participants year-old children meets for VA hours each week. from all sites. Other programs that support special

Children work on a variety of projects. Recent pro- needs take place at the Center. For instance, once jects included creating a Black History Month quilt per week for a semester, the Center provides classes that stitched together images of historical figures in ceramics to first-time offenders referred by the and of the participants themselves; building personal juvenile court. An Apprenticeship Program employs boxes inspired by the work of artist Bettye Saar; and two 18-year-olds to learn construction and stone producing Earth Day paintings, drawings and comic carving. "The teachers are the strength of the Pro- books. At another site, where youth are engaged gram," says Outreach Director Bill Spalding. "They in multimedia projects that encourage imaginative are concerned about the contribution they can make thinking, group interaction and self- awareness, stu- to the community and the kids." dents created artworks from found objects and clay. In another project, students created a collage of foot- The teachers are the strength like to visit. These prints showing places they would of the Program. They are concern- arts workshops meet anywhere from 1 day to 20 weeks, ed about the contribution they with most lasting 10 weeks. In partnership with two elementary schools and four arts organizations, the can make to the community and

Center also is working on a 5-year initiative to inte- the kids. J ' grate arts instruction into the school curriculum. Bill Spalding -Outreach Director

® 1 8 6

Organization: Inner Program: Inner City Organization: Program, Video City Cultural Center Cultural Center Inquilinos Boricuas Training Program

1605 Ivar Avenue Year Started: 1 965 en Accion, IBA-ETC Year Started: 1 976 Los Angeles, CA Focus: Multi- 405 Shawmut Avenue Focus: Multi-

90028 disciplinary Arts Boston, MA 02 1 1 disciplinary Arts 213-962-2102 Youth Served: 500 617-927-1715 Youth Served: 68 Ages: 4-2 Ages: 9-19 Program: AREYTO Budget: N/A Budget: $ I 1 6,2 1 Cultural Awareness

^£ v The Inner City Cultural Center (ICCC), ^^K v Inquilinos Boricuas en Accion, IBA-ETC M WA m a 30-year-old Los Angeles-based multi- M vA m is a Community Development Corpora- v^^^k ' ethnic, multidisciplinary cultural insti- v?WMk ' tion serving the community of Villa "^( ^^ tution, is recognized internationally for "^1 ^^ Victoria in Boston's South End. Its its programs in theater, music, dance and visual arts. cultural component, Arte y Cultura, provides a variety The Center serves residents of some of Los Angeles' of programs, including the AREYTO Cultural Aware- poorest communities. With a small part- and full-time ness Program and the Video Training Program, both staff assisted by volunteers, ICCC brings together for youth ages 9-19. The AREYTO Program develops thousands of participants from diverse backgrounds youth performing ensembles. It offers training ses- in daytime and evening programs held 7 days per sions in Latin percussion, folkloric dance, visual arts, week, year-round. Open to residents of all ages, class- theater and Bomba, an Afro-Puerto Rican music and es are provided on a sliding-fee basis, with scholar- dance tradition. Youth meet weekly with profession- ships available. ICCC programs emphasize activities al artists to develop skills and a repertoire for perfor- that bring families together and allow for interaction mances throughout the community and region. The among diverse populations. Training and internship 3%-month Video Training Program provides teenagers opportunities for teens focus on the acquisition of with basic instruction in camera use, editing and coping skills, which raise levels of confidence to production. Youth produce a variety show, Teens in enhance teens' competitiveness in the job market. Action, which is aired regularly through a communi- Other important activities include high-quality pre- ty cable channel. Video Program participants also sentations by in-house professional arts groups as document activities and events taking place in the well as by touring companies from throughout the community, a biannual performance series and a world. In addition, annual competitive events at ICCC variety of cultural community events organized by attract participants from across the United States Arte y Cultura. "Most of our kids don't see themselves and bring gifted individuals into contact with South- reflected in what they learn at school, nor in the large- ern California's arts and entertainment industry and, ly negative portrayals of Latinos in the media," says hopefully, employment possibilities. According to Artistic Director Alex Alvear. "The Programs are bring-

ICCC founding director, C. Bernard Jackson, gradu- ing about personal development and building cultur- ates of ICCC programs go on to assume key leader- al identity, helping youth get closer to their parents ship roles in all areas of American civic, cultural and and to their community." professional life.

(!!) 7

Organization: Program: Docent- Organization: Program: Youth Leader- The Institute of Teens Program Jamaica Center ship Development and Contemporary Art Year Started: 1993 for the Performing Violence Prevention 955 Boylston Street Focus: Visual Arts and Visual Arts, Inc. Program

Boston, MA 02 I I 5 Youth Served: 25 161-04 Jamaica Year Started: 1 993 617-266-5152 Ages: 13-19 Avenue Focus: Design & Theater

Budget: $88,380 Jamaica, NY I 1432 Youth Served: 60

718-658-7400 Ages: 8- 1 Budget: $3 3,333

The DocentTeens Program teaches Four days a week after

inner-city Boston-area teens about con- school, youth come to South temporary art and trains them to lead Jamaica Houses, a housing tours at The Institute of Contemporary project's on-site community Art (ICA). Teens from economically disadvantaged center, to study drama/conflict resolution and com- communities work with artists, curators, educators puter graphics. The Jamaica Arts Center works and other ICA staff to conduct research on ICA exhi- closely with the community center to identify youth bitions, assist in the development of a curriculum for the Youth Leadership Development and Violence for each exhibition, participate in art projects and Prevention Program. Each class, which begins with visit artists' studios and other cultural institutions. time for homework, meets twice a week for 2 hours.

During ICA exhibitions, DocentTeens offers tours on Approximately 80 percent of the 60 youth enrolled weekends and by appointment on Thursday evenings. remain in the Program all year. The instructors are

In addition, the group critically examines exhibitions professional artists from the Arts Center who have and performances at other cultural institutions. Teens worked in similar communities. The computer graph- work 6-12 hours per week and receive a stipend ics program teaches participants basic computer of $5-$6 an hour, based on their progress in the skills and graphic design so they can produce flyers, DocentTeens Program. The Program helps teens posters and newsletters. In the drama/conflict reso- explore higher education opportunities and provides lution class, youth create original scenes that deal scholarships to Program alumni. The DocentTeens with a variety of issues, particularly with everyday

Program was the inspiration for the CityACCESS/ situations that can be resolved either peacefully or Teen Ambassador Program, which encourages simi- through violence. The participants write their own lar youth programs at four other cultural institutions material and are encouraged to voice their feelings. in Boston. Since the DocentTeens Program's incep- In addition, a core group of participants began an tion, participants have improved their written and informal youth council at the community center to oral communication skills and their academic skills help their peers resolve conflicts nonviolently. and developed greater confidence in themselves. Participants are reguired to maintain satisfactory [Y]outh create original scenes school grades. that deal with a variety of issues, particularly with everyday situations that can be resolved either peacefully or through violence. * *

(=) Organization: Program: Japantown Organization: The John Center/Dance

Japantown Art and Art and Media F. Kennedy Center for Theatre of Harlem Media Workshop Workshop the Performing Arts (DTH) Community

1 840 Sutter Street Year Started: 1 977 Education Department Dance Residency San Francisco, CA Focus: Design Washington, DC Year Started: 1993 941 15 & Visual Arts 20566-0001 Focus: Dance 415-922-8700 Youth Served: 50 202-416-8804 Youth Served: 130 Ages: 14-21 Ages: 10-17 Program: The Kennedy Budget: $150,000 Budget: $ 1 89,000

The Japantown Art and The Kennedy Center/Dance Theatre of rJKPH | Resi- Media Workshop (JAM) Wjm I Harlem (DTH) Community Dance

combines entrepreneurialism dency is in its third year. The program

with the promotion of Asian- introduces classical ballet to students

American culture through public art projects and through lecture/demonstrations, workshops, live graphic design services for businesses and community performances and training experiences. Coordinated organizations. Located in the heart of the Japanese- by The Kennedy Center's Education Department, the

American community in a community center that also program has three community partners: the Duke serves seniors, the Pan-Asian youth programs involve Ellington School of the Arts (Washington, DC); the young people in all phases of the business: design Nannie J. Lee Recreation Center (Alexandria, ideas and sketches, client relations and product devel- Virginia) and Suitland High School for the Visual opment. Through the Graphic Design Interns program, and Performing Arts (District Heights, Maryland). youth in high school or col- There is an 8-week training opportunity for 1 30 lege or new college grad- youth between the ages of 10 and 17 at each com- uates meet 3 to 5 days munity site and an intensive 8-week series of classes a week, year-round, to for beginning, intermediate and advanced students design and produce pos- at The Kennedy Center. Classes are taught by princi- ters, street banners and pal dancers from DTH and the DTH School. Prior to other products for clients. the selection process for the training program, the

Participants are not paid DTH School Ensemble presents a series of lecture/ but receive computer demonstration performances in each community. training and build port- These performances have reached an audience of folios for future job inter- approximately 13,500 students and their families views. Older students since the fall of 1993. The Kennedy Center, in addi- teach younger students as well. In the Silkscreen Work- tion, provides study opportunities for students in shop, teens print T-shirts and collaborate with other theater through its Theater Training program and youth groups on cross-cultural projects. As opportuni- Traveling Young Players and in music, through the ties arise, JAM runs other workshops; most recently, National Symphony Orchestra. Students also can

JAM ran an intensive photography project targeted at attend performances for young people, master class-

Asian-American youth at risk of dropping out of high es and special events designed for them. school. In addition to teaching photography skills, the workshop was a forum for youth to discuss contemporary Asian-American culture and to capture their lives in photographs. Dennis Taniguchi, executive director, reports, "Our kids are graduating from design schools and have been successful in getting jobs with top graphic design and software firms." © 1

Organization: Program: Teatro Organization: Program: Latin Junior Players del Barrio KALA Institute American Workshop

3630 Harry Hines Year Started: 1 992 1 060 Meinz Avenue Year Started: 1 988 Dallas, TX 75219 Focus: Theater Berkeley, CA 94710 Focus: Visual Arts

214-526-4076 Youth Served: 400 5 1 0-549-2977 Youth Served: 30 Ages: 11-18 Ages: 6-2 Budget: $33,000 Budget: $50,000

Teatro del Barrio is the result of a col- The KALA Institute is both a studio laboration between Junior Players and focusing on printmaking and an umbrel-

Dallas-area youth agencies. The program la organization for a wide variety of pro-

brings theater classes to youth in the grams, many of which involve at-risk city's gang prevention program, juvenile detention youth. For example, working with the East Oakland centers, Camp Fire Boys and Girls programs and in Catholic Worker Shelter, KALA sponsors the Latin programs run by local social service agencies. Pro- American Workshop, which focuses on printmaking, fessional actors work with youth, 75 percent of whom for political refugees and victims of torture. In ongoing, are male, one or two times a week for 12 weeks after twice-weekly workshops, participants, most of whom school on acting, scriptwriting and rehearsing. The are children and youth, are introduced to the basics program takes place at up to 10 sites each session, of printmaking and are encouraged to tell their stories with each site running three consecutive sessions a through their art. In addition, the Workshop invites year. The actors receive support from a professional guest artist/instructors to teach in other media or add- familiar with the issues and conflicts that can arise ress social issues. The Mission Cultural Center when working with at-risk youth. "The youth have recently opened an exhibition featuring projects from more self-confidence and feel more comfortable the Workshop and hopes that a book detailing the standing up and talking in public," says Executive participants' stories and work will be published soon.

Director Kirsten Brandt. "Hopefully this will carry through to their lives, such as at a job interview." The collaboration allows Junior Players to reach a greater number of at-risk youth.

* " The youth have more self- confidence and feel more comfortable standing up and talking in public. Kirsten Brandt -Executive Director Organization: Program: AileyCamp Organization: Program: Summer

Kansas City Friends Year Started: 1 988 Karamu House Scholar Program of Alvin Ailey Focus: Dance 23 55 E. 89th Street Year Started: 1 988

218 Delaware Youth Served: 1 00 Cleveland, OH 44106 Focus: Theater

Suite 101 Ages: 1 1-14 216-795-7070 Youth Served: 25 Kansas City, MO Budget: $14 1,000 Ages: 13-18 64105 Budget: $13,600 816-471-6003

AileyCamp's goal is to use dance to build When children living in the neighbor- FWM| I of P/fl| | self-discipline, motivation, respect and hood the Karamu House began look-

purpose among youth ages 11-15. From ing for summer jobs, the theater realized

7:00 a.m. to 3:30 p.m., 5 days a week, it could provide work for youth while children take classes in ballet, jazz, tap and the Hor- giving them a theater experience. Starting with a ton dance technique; techniques of performance; tour of the theater and an exploration of what partici- creative writing and personal development, which pants' interests are, an artist/teacher works with includes conflict resolution and problem-solving exer- youth on dance, scriptwriting, stage lighting, impro- cises. A rigorous screening process ensures that 80 visation and vocal and physical exercises. Participants percent of the participants are high-risk adolescents. develop a script that reflects their concerns about

There are weekly field trips to performances, muse- inner-city life. At the end of 3 months, after working ums and cultural events. At the end of the 6 -week daily for 5 hours, the teens perform on 2 weekends. session, a final performance is held. An evaluation by The fee charged for the performances supports stip- the Kauffman Foundation found improved self-esteem ends for the performers and pays for costumes and and an increased competency in critical thinking and sets as well. "The benefits to the children are notable," problem-solving skills among participants. An adviso- reports Assistant Director for Drama Renee Matthews ry group of parents, staff and educators was formed Jackson. "Participants have become more well-round- to help strengthen follow-up to the camp experience. ed individuals through their involvement in the the-

In addition, Alvin Ailey Camp Dance, comprising ater, and they are a great deal more self-disciplined." former Kansas City AileyCampers, ages 11-19, meets twice weekly so participants can continue classes in * Participants have become dance and choreography, and, on occasion, perform more well-rounded individuals before local audiences. AileyCamp also is run in New through their involvement in the York City (through the Dance Theater Foundation) and at a mini- camp in Frostburg, Maryland. New theater, and they are a great camps are being created in St. Louis and Philadelphia. deal more self-disciplined. * * Renee Matthews Jackson -Assistant Director for Drama

® Organization: Program: Katherine Organization: Program: New Books Katherine Dunham Dunham Museum's Kentucky Humanities for New Readers

Centers for Arts and Children's Workshop Council Year Started: 1 988

Humanities Year Started: 1 982 206 E. Maxwell Street Focus: History &

532 N. I Oth Street Focus: Multi- Lexington, KY 40508 Literature East St. Louis, IL disciplinary Arts 606-257-5932 Youth Served: N/A 62201 Youth Served: 75 Ages: 16-21 618-271-3367 Ages: 4-17 Budget: $12,500 Budget: $50,000

^^R v The Katherine Dunham Museum's For the 400,000 Kentuck- M vA « Children's Workshop helps guide young ians, many of whom are vjj^^^k ' children m positive directions using the teenagers and single

'^l ^^ arts. Through multicultural art forms, it mothers, who read below helps youth understand themselves better by under- the fourth grade level, New Books for New Readers standing other cultures. Classes are offered in per- provides a unique gateway to literacy. Each year, cussion, music, language and dance, including ballet the Kentucky Humanities Council contracts with a and tap. Local artists and guest artists from different Kentucky author to develop a book in collaboration parts of the world teach classes three times a week with a small group of adult literacy students and during the school year and keep an intensive sched- their tutors. Over a period of 6 months, the partici- ule in the summer of 5 days per week, 6 hours per pants receive sections of the book from the author day. The summer program feeds into an annual inter- to read and critique one-on-one with a tutor and national seminar on the Dunham Technique, with then as a group with the author. After the group children participating from centers around the coun- critique, the author rewrites the sections based on try. After their first year in the program, students take the feedback. When the book is completed, it is part in public performances, and some go on to join published by the University Press of Kentucky and a performing unit of 20. Older children become men- disseminated widely to libraries, literacy and state tors and work for the program. "The Workshop has jobs training programs, schools, family service cen- resulted in an increase in the children's respect for ters, programs for the deaf and English-as-a-Second- one another," notes Associate Program Director Language programs. The books are written on a

Jeanelle Stovall. The program has provided profes- fourth grade reading level but address substantial sional opportunities for participants, several of whom topics. To further promote reading, the Humanities have been invited to perform with dance companies Council offers free book discussion programs in and instrumental ensembles. which a group of new readers is given one of the books to read and to discuss with a scholar provided " " The Workshop has resulted by the Council. The program helps develop participants' self-confidence because they feel free to com- in an increase in the children's municate their ideas in an environment that is self- respect for one another. * * affirming. "Not only are parents now able to read news- Jeanelle Stovall papers and job ads, but they can also help their chil- -Associate Program dren with schoolwork," explains Director Virginia

Director Smith. "It means a lot to the kids to see their parents

reading and studying. It helps the children to be more oriented towards success in reading themselves." Organization: Program: "Don't Organization: Program: Arts for KTCA-TV Believe the Hype" Latin American Prevention and

1 72 E. 4th Street Year Started: 1992 Youth Center Development

St. Paul, MN 55101 Focus: Media & Video 3045 15th Street, Year Started: 1 968 612-229-13 12 Youth Served: 20 NW Focus: Multi- Ages: 14-21 Washington, DC disciplinary Arts

Budget: $ 1 20,000 20009 Youth Served: 500 202-483-1 140 Ages: 11-21 Budget: $35,000

"Don't Believe the Hype" ^^R v The Latin American Youth Center

was created by St. Paul's M WA m (LAYC) provides youth in a predomin-

public television station, v^^^L ' antly Latino neighborhood of Washing- KTCA-TV, for urban youth of "^J ^^ ton, DC, with a range of services, includ- color in the Twin Cities region. Approximately 15 teens ing social services, health education, outreach and are recruited from schools and community organiza- prevention and skills training and employment ser- tions. They come together once a week to develop vices. It also offers youth a variety of arts experien- skills in research, camera work, prompter reading, ces. Through the arts, youth at the LAYC explore field piece development, videography, writing and their heritage, build critical thinking skills and devel- event coordination. The group then develops and op work and personal skills. The LAYC's Teen Parents tapes an issue-oriented television program about program meets 3 days a week for 2 hours to promote concerns facing young people and edits it for broad- good parenting skills and to prevent repeat pregnan- cast. Station staff work with community leaders cies. Young women in the program have created self- and volunteer mentors to help youth improve their portraits, woodcuts and prints, as well as baskets. technical skills and to explore issues. "People look These arts activities help to keep the teens active in forward to hearing about issues from a young, urban other components of the program, such as counseling perspective," according to Production Manager and general equivalency diploma preparation. Partici- Leola Daniels. "This project started as a television pants in the ongoing Gang Prevention program show, but has developed into a grass-roots commu- recently completed a video called Que Pasa, which nity development and service movement." reflects their view on Latino stereotypes and docu-

ments their challenges and hopes for the future. The * * This project started as a televi- video is being shown at schools, universities and conferences as a way to promote cultural sion show, but has developed into understanding. The Youth Center, in conjunction a grass-roots community develop- with a Washington, DC, youth employment program, * ment and service movement.* operates a 6-week daily summer art project that Leola Daniels engages students in theater, photography, creative -Production Manager writing or mural painting. These arts activities address such topics as diversity, immigration, cultural

values and other issues important to youth. 4 2 !

Organization: Program: Cultural Arts Organization: Program: Enriched Latino Arts Classes Lawrence Arts Instrumental

1 028 S. 9th Street Year Started: 1 985 Academy Instruction for Milwaukee, Wl 53204 Focus: Multi- Lawrence University Hmong Children

414-384-3100 disciplinary Arts 1 00 Water Street Year Started: 1991

Youth Served: 1 20 Appleton, Wl 549 1 Focus: Music

Ages: 7- 1 414-832-6632 Youth Served: 35

Budget: $ I 5,000 Ages: 11-18 Budget: $4,355

^^K V Latino Arts is an outgrowth of a single ^^t^^ For the young Hmong students in M vA m Hispanic folk dance class initiated by WfA^^^ Appleton, Wisconsin, the Lawrence vw^fllL ' a local dance instructor and held at the m m m Arts Academy provides an opportunity ^^1_ ^^ United Community Center. The class ^WD^^ to learn about music and themselves sparked an interest in developing courses in a variety and to become involved with the greater Appleton of Latino art forms and led to the formation of Latino community. Each spring, Lawrence Arts Academy

Arts, which continues to be housed in the Commu- presents its program to fifth grade Hmong students nity Center and is Milwaukee's only Hispanic arts through performances by their Hmong peers at local organization. The after-school and summer programs schools. Interested fifth graders can enter a 6-week meet 2 hours daily in 12-week sessions to explore summer program where they meet with Academy dance, visual arts, music and drama and are comple- faculty three times a week. At the end of the summer mented by the Center's Decision for Youth program, session, the Academy holds a concert and potluck which offers conflict resolution and peer counseling. for the students and their families. During the school

Dance and drama students share their culture through year, the Academy works with a Hmong English-as- city-wide performances. In the summer, participants a-Second-Language coordinator to track the students work with professional artists from the Milwaukee and make sure they are scheduled into the school's area. Past collaborations resulted in mask-making band. They also maintain the students' school instru- classes, a puppet theater and a multimedia oral his- ments for free and arrange private lessons for those tory project. "We continue to get more Hispanic who are advancing quickly. The benefits of the pro- artists collaborating with us and leading new work- gram are many, as Jane Serumgard Harrison, acting shops," says Cultural Arts Coordinator Jennifer La director of the Academy, notes, "Language is not a

Porte. "It's helping create a safe haven for kids expe- barrier with music. Yet, through talking with their riencing the isolation and confusion of immigration peers and instructors one-on-one and in band, the and poverty." Latino Arts provides specialized ser- kids have developed higher language skills. Some vices to meet particular needs. Latina women and of our students are now first chair in their bands girls in the community display their artwork through This program has changed their whole self-image." a Celebration of Milwaukee's Latino Artists program in partnership with the Department of City Develop- " Some of our students are now ment. This kind of programming is helping the Lati- first chair in their bands! This no community value its own culture and adjust to a program has changed their whole new home. self-image. Jane Serumgard Harrison -Acting Director of the Academy 5 I^^HM

Organization: Program: First Organization: The Program: The City Lawrence Arts Center Step Dance Leonard Davis Center College Art Institute

200 W. 9th Year Started: 1 993 for the Arts of The City Year Started: 1 989 Lawrence, KS 66044 Focus: Dance College of New York Focus: Design

913-843-2787 Youth Served: 1 75 38th Street and & Visual Arts

Ages: 1-21 Convent Avenue Youth Served: 1

Budget: $27,000 Room 1 76, Shepard Hall Ages: 13-17 New York, NY 10031 Budget: $45,000 212-650-8151

MMPH I Lawrence Arts Center (LAC) and First "My ability for art has grown a halfway for a large amount along with WM I Step House (FSH), house recovering, chemically addicted women my ideas," remarked a

and their children, formed a partnership 14-year-old participant in to expand the Arts Center's constituency and to The City College Art Institute program of The Leonard give the women and their children ways to work on Davis Center for the Arts. Designed to provide oppor- violence and addiction prevention through the arts. tunities for minority youth who show exceptional

First Step Dance includes weekly classes for the potential in the visual arts, the Institute combines women and separate classes for the children in cre- career-oriented visual arts training with literacy ative movement designed to foster positive feelings, development and mentoring. The integrated program explore emotions and build self-esteem. Periodically makes youth more aware of career options and how the women and children join together in combined conceptual and studio training can prepare them for classes through which they share fun and creative a career in the visual arts. Small classes of 7 to 10 experiences. These classes are taught by members students are the key to the program. "These kids are of the Prairie Wind Dancers, the resident dance com- so starved for attention that classes larger than 10 pany at LAC. The company performs three concerts lose their educational effectiveness," says Develop- a year for the residents, staff, family and friends of ment Assistant Brian Haller. College faculty introduce

FSH and creates choreographic works that deal with students to fundamental drawing and design skills addiction issues. These works are performed across through a Foundation/Portfolio Workshop and expose Kansas. Occasionally FSH residents join the Prairie them to sculpture, painting, photography, advertis-

Wind Dancers in a performance. "The program works ing and interior design through other special work- to demystify the arts and enhance the women's and shops. After-school and Saturday classes are held on children's sense of personal worth and creativity," campus once a week for XA hours during the school says Artistic Director Candi Baker. "They are learning year. A 3-week summer program includes career work- that the arts are more accessible than they thought shops. Field trips to museums, sculpture parks and because they come to understand that the artists arts-related businesses nurture an appreciation of New teaching the classes are ordinary people. The dance York City's vast resources and demonstrate ways for program is breaking down barriers." As a result, teens to channel their talents as they become adults. some of the participants are coming to the LAC to take free classes in other areas after they leave First " These kids are so starved Step House. The dancers also are working with the for attention that classes larger alternative high school to develop a high school than 10 lose their performance group. educational effectiveness. * * Brian Haller -Development Assistant 1 !

Organization: Levine Program: Public Organization: Program: YouthALIVE!— School of Music Housing Orchestra Lied Discovery YouthWorks/ArtSmarts

1690 36th Street, NW Year Started: 1 994 Children's Museum Year Started: 1993 Washington, DC 20007 Focus: Music 833 Las Vegas Focus: Visual Arts 202-3 37-2227 Youth Served: 64 Boulevard & Humanities

Ages: 5-2 Las Vegas, NV 89 1 1 Youth Served: 1 80

Budget: $ 1 00,000 702-382-3445 Ages: 10-17 Budget: $83,000

>^0t^^ A cello is a rare site in most public On a visit to the Lied Discov- ^fA^^^k housing communities, but at two sites ery Children's Museum, it is m U| m in Washington, DC, it's not the only not uncommon to encounter instrument residents in thH ^^3 ^r see the hands a 15-year-old docent. These of youth. Once a week during the school year and youth are part of the year-round YouthWorks program, twice a week in the summer, young musicians attend designed to help participants discover their compe- small group lessons at the housing communities' tencies and interests, develop communication and nearby community centers. They study violin, clarinet, job skills, interact with and appreciate people of trumpet, saxophone, trombone, piano, percussion, different cultures and ages and learn about careers viola or cello. "We teach the instruments that the chil- that they never knew existed or did not believe were dren can continue studying in their school bands or accessible to them. The participants are trained on orchestras," explains JoAnn Williams, director of out- the job by staff members. They learn about the exhi- reach programs at Levine School of Music. The chil- bitions and how to present themselves to an audience. dren learn about teamwork and cooperation through Youth work 4 hours a week on weekends during the public performances held three times a year in the school year and during the week in the summer. community. "Our instructors provide so much more YouthWorks is one component of the YouthALIVE than music lessons," continues Williams. "As members program, a multiyear national initiative of the DeWitt of our Artistic Role Model Program, they also act as Wallace-Reader's Digest Fund in partnership with mentors and role models for the children." The Youth the Association of Science-Technology Centers, cre-

Orchestra is one component of a larger program fund- ated to reach youth who traditionally are not served ed by a drug elimination grant to the Washington, DC, by museums. ArtSmarts, the other component of

Housing Authority from the U.S. Department of Hous- the Lied Discovery Children's Museum program, ing and Urban Development. Other Levine School matches youth with artists-in-residence for 12 weeks, community outreach programs include Project DAISY, 10-14 hours per week, to design and complete art- which uses music to improve the attention spans and work for the Museum. Projects, which culminate in learning capabilities of preschool children who were a parent reception, have included a movable mural, prenatally exposed to drugs; Summer Music Theater a community history video and an architectural Ensemble, an intensive music and movement training piece about walls. Some youth participate in consec- program for teenagers; and Hope and a Home, an utive residencies. "Through YouthWorks and Art- early childhood music program for formerly homeless Smarts, youth are learning how to communicate children now living in transitional housing. their thoughts and opinions, and they are opening up and showing increased self-confidence," says Director Suzanne LeBlanc. 1

Organization: Lincoln Program: Open Organization: Living Program: Living Litera- Center Theater Stages—The Urban Literature Colors ture Colors United

1 50 W. 65th Street Ensemble United Year Started: 1 989

1 Focus: New York, NY 10023 Year Started: 992 1 440 S. Sepulveda Multidisciplinary 212-362-7600 Focus: Theater Los Angeles, CA Arts & Humanities Youth Served: 20 90025 Youth Served: 200

Ages: 16-21 310-444-8357 Ages: 1 4-2 Budget: $34,000 Budget: $260,000

^^K v ^^^^ Living Literature Colors M W^ %f ^ United (LLCU) motivates v^^Bk '^ d W a t-n.sk youth by awakening *^ ^^ aHf thou interest in learning through literature, drama, music and dance classes.

Working with schools that have high drop-out rates,

a record of violence on campus and racial conflicts,

LLCU encourages all interested students to partici-

pate. Each year this after-school program is organized around a different theme, usually based on the

works of an author. The first half of the year, the pro-

gram focuses on artistic training; the second half The Urban Ensemble provides a series focuses on reading the selected author's books and of multigenerational theater workshops conducting research on his/her life. Following the on cultural and social differences. The research, participants develop an original performance workshops are designed to engage New piece using text and music. The program meets at York residents whose interests normally are not met each school 2 days a week, after school, and com- by mainstream cultural institutions: public housing bines literature, drama, music and dance instruction. residents, teen parents, juvenile delinquents and On Saturdays, LLCU brings together teens from the homeless families. About one-half of the participants participating schools for rehearsals. Performances are are youth. The program uses theater to explore issues presented at high school auditoriums and communi- of violence, safety and identity. Students from New ty centers. Participants also travel to literary festivals York University's Tisch School and AmeriCorps volun- to participate and perform, including the John Stein- teers facilitate weekly, 3-hour workshops that include beck Festival, the Ernest Hemingway Festival and writing exercises, theater games, photography and the Jack London Festival. discussions. Participants are invited to continue as long as they wish. Participants attend plays at The Public Theater and Lincoln Center Theater. Workshops The first half of the year, the take place October through May and are held on a program focuses on artistic train- rotating basis at the Lincoln Center Theater, The Pub- ing; the second half focuses on lic Theater or the Tisch School. "Participants are feel- reading the selected author's ing a level of respect they've never received before, from actors, theater directors and arts students. Many books and conducting research of the participants who are no longer referred to the on his/her life. * * program by social service agencies come back on their own because they enjoyed the program so much," reports Education Program Coordinator Willa J. Taylor. 1

Organization: Program: Prime Time Louisiana Endowment Family Reading Time for the Humanities Year Started: 1 99

1 00 1 Howard Avenue Focus: Literature Suite 3110 Youth Served: 275 New Orleans, LA Ages: 3-10 701 13 Budget: N/A 504/523-4352

1 ^0^^0^ Every week for '/ hours at libraries in To ensure that the program is engaging, an advisory — m - —' 1 22 Louisiana communities, at-risk chil- panel made up of librarians and scholars chooses ' l _ dren and their parents discover how guality books for the program from a variety of cul- 1 r^ ^^BM^ much fun reading can be. For 8 weeks, tures and establishes the syllabus. The participating a local storyteller, a humanities scholar and communi- humanities scholars generate thoughtful discussion ty residents who are recruited through social service among people who are not accustomed to speaking agencies, compensatory education programs and the about cultural issues raised in literature. "There is like come together at a library in one of Louisiana's a demand for this type of program, in which the parishes to read, tell stories and discuss the issues participants are active in their education—not just raised in the books they have read. The program is being lectured to. Many of our scholars say it was designed to reach an audience that is not already the most valuable teaching experience they have part of the humanities community and to foster a life- ever had," remarks Mettelka. The public library in long love of learning through reading. Anywhere from Baton Rouge has followed the families who have par-

25 to 40 parents and children meet once a week for ticipated in Prime Time Family Reading Time since

90 minutes for 8 weeks. At each session, the story- 1991. While many families were receiving welfare teller acts out a children's story, and the scholar leads when the program started, none are today, and none a discussion of issues that are raised in the story. Par- of the children have been held back in school. ents and children have the opportunity to talk about values in an environment that is respectful and self- People in the program come affirming. The parents then take the books home and to it not liking to read. Often they read them aloud to their children during the week. have agreed to come because their "People in the program come to it not liking to read," explains Kathryn Mettelka, associate director of the children 'forced' them to. Parents Louisiana Endowment for the Humanities. "Often will do things for their kids that they have agreed to come because their children they will not do for themselves. 'forced' them to. Parents will do things for their kids When these parents leave the that they will not do for themselves. When these par- program, families like to read ents leave the program, families like to read togeth- * er." Every family is given a library card when they together. * enroll, and during the 8 weeks, the librarians famil- Kathryn Mettelka, iarize participants with the library's resources. -Associate Director

Through the efforts of librarians, program volunteers of the Louisiana and staff, a community reading network is being Endowment for the established for people who had neither access to, Humanities nor interest in, libraries before. 8 8 1

Organization: Program: I Do Organization: Program: Inner Voices

Lula Washington Dance Not Drugs Macon Neighborhood Year Started: 1 99 Contemporary Dance Year Started: 1983 Arts, Inc. Focus: Multi- Foundation Focus: Dance 905 Main Street disciplinary Arts

5041 W.Pico Youth Served: 100 Macon, GA 3 I 208 Youth Served: 2 1

Boulevard Ages: 4- 1 912-742-5813 Ages: 5- 1 Los Angeles, CA Budget: $200,000 Budget: $9 1,500 90019 213-936-6591

" rM|B I For the 100 children who attend after- ^^B v The Inner Voices program provides school and Saturday classes, the studio VA m visual and performing arts programs for WjM I M of the Lula Washington Contemporary v^^^k t young people in four of Macon's public Dance Foundation is like a second home. "^B W^ housing complexes. Macon Neighbor- Each day, 1- to 2-hour classes are held in modern hood Arts, Inc., the host institution of Inner Voices, dance, jazz, African dance, tap and ballet. Through was formed in partnership with the Macon Arts the discipline of dance, children learn to work as Alliance, the Macon Housing Authority and the part of a team, to be more responsible and to push Macon Police Department. After-school sessions themselves to succeed. The studio urges parental that meet 5 days a week for 3 hours during the involvement and finds that when parents are involved, school year begin with tutoring and are followed their children's chances for success in the program by classes in drama, vocal and instrumental music, are increased. Fifty percent of the students require drawing, painting, ceramics, modern dance and jazz. scholarships to participate. Those on scholarship get Often these classes culminate in performances and informal job training by helping with all aspects of exhibitions. Participants also sell their artworks in the Foundation's administration: answering phones, Macon and in other cities. Many of the classes use designing flyers, helping with public outreach and the arts to raise awareness about drug use, teen pre- filing. The Foundation also runs an intensive, 10-week gnancy and AIDS. Some of the classes are oriented summer dance workshop for 40 youth, of whom 25 are to the African-American community, and the program paid through the Summer Youth Employment and exposes children to the best of many different cul-

Training Program of local government. After children tures. Inner Voices also emphasizes self-discipline, have reached a certain level of dance proficiency, they education (including college campus visits) and join the Youth Dance Ensemble, which performs exten- peer tutoring and holds oratorical competitions. sively throughout the community, presenting dance works that advocate for a positive, drug-free approach to life. As children grow up, they can become part of the Lula Washington Dance Theater, a professional modern dance company that tours nationally with works that reflect African-American culture. The program allows participants to start as children and remain through adulthood. Families develop friendships and help each other out over the years, assisting with baby-sitting, carpooling and celebrating birthdays, as well as at times of family crises. An informal extended family is created, giving each student a wider group of adults and friends on which to rely. 8

Organization: Program: Arts Organization: Marwen Career Program

Manchester Apprenticeship Foundation Year Started: 1 987 Craftsmen's Guild Training Program 325 Huron Street Focus: Design

1815 Metropolitan Year Started: 1 986 Chicago, IL 60610 & Visual Arts

Street Focus: Visual Arts 3 1 2-944-24 1 Youth Served: 1,600 Pittsburgh, PA Youth Served: 350 Ages: 12-18 Program: Community 15233-2233 Ages: 11-19 Budget: $580,000 Partnership, Studio 412-322-1773 Budget: $778,000 Program, College

The Manchester Craftsmen's Guild is a Marwen Foundation was

multicultural arts education and perfor- founded in 1987 to provide

mance organization located in one of guality arts education and

the poorest neighborhoods of Pittsburgh. college career planning for

In place for the past 27 years, the Guild conducts Chicago's under-served youth. The Foundation offers

classes in visual arts, with a focus on ceramic art sequential visual arts education programs to foster

and photography, and in the performing arts, with creative and practical skills, as well as advanced

an emphasis on jazz. Educational activities as well as schooling and job preparation both in and outside presentations by living masters are offered in each of the arts field. The Community Partnership brings

discipline. The facilities include a ceramics studio, introductory classes to six community centers in photography laboratories and studio, a gallery and culturally diverse neighborhoods. Participants meet

a music hall. The Arts Apprenticeship Training Pro- after school and on weekends for 10 weeks for in-

gram at the Guild teaches struction in the visual arts. Motivated students may

inner-city youth drawn continue training through the Studio Program, for

from public schools the which they go to the Marwen facility for more rigorous technical and aesthetic study in photography, drawing, sculpture, animation,

elements of ceramic art, painting, architecture, design and other areas. The computer imaging, draw- College Career Program connects students with pro-

ing, painting and photo- fessional artists and designers in the Chicago region

graphy. Recently, teen and nationally for master classes, career workshops,

artists created an on-line internships and apprenticeships. It also provides stu-

Internet art exhibition of dents with work by including them on design teams

their own masterpieces, including selections of origi- that produce commissioned artworks in Chicago. nal ceramics, drawing, painting, photography and Students receive assistance in applying to and inter-

computer imaging. Students receive counseling and viewing for colleges and other advanced schooling. college outreach services. From 74 percent to 80 per- Stressing the hands-on aspects of the art world,

cent of participants in the Apprenticeship Program Marwen shows artistically inclined inner- city youth

go on to college, compared to 20 percent in the com- how to enhance their lives through art and how to

munity. The Guild also runs an artist-in-residence mold their talents into marketable skills. program in 11 area high schools as well as a summer

arts program. The Guild is part of a complex of non-

profit and for-profit subsidiaries, including The Bid- well Training Center, The Business and Industrial Development Corporation and Bidwell Food Services. ® 1 8

Organization: Program: Summer Organization: MERIT Program: MERIT Music M Ensemble Youth Employment Music Program Program of Chicago

Company, Inc. in the Arts and Life of Chicago Year Started: 1 979

P.O. Box I 1 75 Enrichment Dearborn Station 47 Focus: Music

Miami, FL 33168 Year Started: 1 99 Chicago, IL 60605 Youth Served: 3,000

305-891-2998 Focus: Theater 3 I 2-786-9428 Ages: 6- 1 Youth Served: 20 Budget: N/A Ages: 13-19 Budget: $36,000

There is a special place in Miami for ^fW Since 1979, the MERIT (Music Educa- African-American youth from low-income ^fA^^^k tlon Reaching Instrumental Talents) areas who have an interest in theater. m m W Music Program has been reaching The M Ensemble Company, which ^w3^^ economically disadvantaged students cultivates and preserves African-American culture throughout Chicago with comprehensive programs in through the performing arts, believes that youth are instrumental and vocal music, music theory, ensem- our future and that they need help developing self- ble performance and composition. MERIT provides in- esteem and coping skills. In response to this need, school programs in 50 Chicago public schools and the Company formed the Summer Youth Employment complements them with a variety of after-school, week- in the Arts and Life Enrichment program to help end and summer programs. The Tuition-Free Conser- keep African-American youth gainfully involved in vatory Program provides theater. After passing an audition, teens receive pro- intensive, year-round fessional training in acting, production and stage- after-school training for craft. They help mount and act in a summer produc- students ages 10-18 in tion. Teens are given roles to perform and receive instrumental technique, individual counseling. Meditation, theater exercises theory and ensemble per- and other activities help participants reflect on their formance. Students also lives and options. A program for juvenile delinquents have access to private also is conducted twice a week during the summer. lessons, summer camps,

Rappers, street dancers and other artists talk with master classes, perform- youth about their own backgrounds, struggles and ance tickets and college professional growth. Efforts are being made to extend scholarships. The Music these theater opportunities beyond the summer. Cultivation Program for the Chicago Housing Authority

and the Preparatory Program are designed to nurture

students who might come to participate in the Con- servatory Program. The Music Cultivation Program

provides instruction on string instruments for young people in public housing communities and includes a

Mentorship Program for their parents. The Preparatory

Program works with young people who have partici-

pated in school programs and offers private instruction,

ensemble performance opportunities and theory class-

es. As Executive Director Duffie Adelson notes, "The

music training gives students the tools to compete

for college scholarships; the environment gives them the tools to achieve more in school and work."

(!!!) 7 8 8

Organization: Program: United Organization: Program: Street SmArt

Metropolitan School In Hope The Mexican Museum Year Started: 1 993 for the Arts Year Started: 1 992 Fort Mason Center Focus: Visual Arts 320 Montgomery Focus: Multi- Building D & Humanities Street disciplinary Arts San Francisco, CA Youth Served: 75

Syracuse, NY 13202 Youth Served: I 1 94123 Ages: 6- 1

315-475-5414 Ages: 5- 1 415-441-0445 Budget: $15,000 Budget: $18,800

^^f v In a community with no community Open to all young residents M VA m center to serve the neighborhood chil- of a low-income housing v^^Bk T dren, the Episcopal Church and Evan- development in San Francis- "^1 W^ gelical African American Church joined *>H co's Mission District, Street forces to create United In Hope, a safe haven in an SmArt operates an arts program that involves youth economically depressed and drug-ridden neighbor- in visual arts projects reflecting their Latino heritage. hood. The churches turned to the Metropolitan School Meeting twice weekly over a 15-week period, partic- for the Arts to help them provide arts programming. ipants learn about tools and concepts. The objects

Introductory-level classes in music, theater, dance created are related to Latino history and cultural tra- and visual arts are offered at the Episcopal Church ditions. Each 15-week session culminates in an exhi-

4 days a week for up to 2 hours after school through- bition of the artwork and a public program, with out the school year. Course offerings are as varied as some public art pieces becoming a permanent part percussion ensemble, explorations in visual arts, cre- of the housing complex. The Mexican Museum, ative dramatics, teen theater, introduction to dance, organizational host to the program, notes high par- hip-hop and children's chorus. The program draws ticipation rates and youth and parent satisfaction a constant core of about 30 children, with many oth- with the program. The Mexican Museum is one of ers dropping in for specific classes. Instructors work nine culturally specific arts institutions that make with the children in intensive discipline blocks that up the Cultural Equity Group, a collaborative that result in the staging of performances, street fairs and shares information and resources and jointly seeks exhibitions at the end of each 3- to 10-week session. funding for culturally targeted youth programs, Older students, working as assistants with the young- which each group then runs. er children, help emphasize the program's focus on the process rather than on the product. "The children tell us that they are enjoying the classes and that they feel comfortable in the program. It's a safe and stable place to focus their energies positively," says Executive Director Dee Britton.

112 1

Organization: Program: Organization: Program: TEENWORKS

Mill Street Loft Project ABLE Milwaukee Repertory Year Started: 1 994

Multi-Arts Year Started: 1 994 Theater Focus: Theater

Educational Center Focus: Design 1 08 E. Wells Street Youth Served: 27 20 Maple Street Youth Served: 60 Milwaukee, Wl 53202 Ages: 14-21

Poughkeepsie, NY Ages: I 3-2 414-224-1761 Budget: $6, 1 1 12601 Budget: $250,000 914-471-7477

Mill Street Loft Multi-Arts Educational The Milwaukee Repertory Theater offers

Center has developed a job skills training a variety of activities for young people,

program, Project ABLE (Arts for Basic the most intensive of which is TEEN-

Education, Life Skills and Entrepreneur- WORKS. Teens are recruited from the ship). Mill Street Loft is running the model program metropolitan Milwaukee area through other commu- for economically disadvantaged youth in Poughkeep- nity programs staffed by Repertory artists. Teenage sie's north side, where corporate layoffs, crime and applicants must submit a request to participate in drugs are common. Project ABLE helps teens gain this free program. Upon acceptance, they sign a for- specific job skills, learn how to resolve conflict, mal agreement to conduct themselves responsibly work in teams and exercise decision-making skills. and participate with a group to achieve shared The year-round program goals. In 6 weeks of daily summer meetings, teens involves youth 12-30 ook spend time learning basic theater techniques and \vho's .checking'' hours a week after school, developing an original theater piece on a socially 'out the food-.,, i yoihbuy! on weekends and during V' ,. relevant issue. Working with a variety of Milwaukee holidays. A 7-week sum- Repertory professionals, including artists, adminis- mer program engages trators and craftspeople, teens polish their theater youth 30 hours a week. pieces and perform at The Stiemke Theater or The Under the guidance of a Powerhouse Theater. When the new school year begins, carpenter, a retail design the group writes newsletters and prepares for future specialist and artists, city summer sessions by participating in biweekly theater youth have renovated a workshops. Teen participants also have the opportu- gift shop, art gallery and nity to assist in the daily operations of the Milwau- warehouse that are used as training sites. Participants kee Repertory Theater as general work assistants. develop and design products and learn all facets of operating a retail business and becoming entrepre- neurs. Another component of the program involves youth in neighborhood revitalization through the creation of public art. The philosophy of the program is one of open enrollment and exit; youth are encouraged to stay and succeed through positive reinforce- ment. They are paid $4.25 to $5 per hour to "earn while they learn."

(M3) Organization: Program: After- Organization: Program: Art Team

Mind-Builders School Literacy Minneapolis Institute Year Started: 1 988 Creative Arts Center Through the Arts of Arts Focus: Visual Arts

3415 Olinville Avenue Year Started: 1 978 2400 3rd Avenue & Humanities

Bronx, NY 1 0467 Focus: Multi- Minneapolis, MN Youth Served: 8 7I8-6S2-6256 disciplinary Arts 55404 Ages: 14-17 Youth Served: 60 612-870-3000 Budget: $6,000

Ages: 6- 1 3 Budget: $5 1,000

^^K v Every day after school, 60 children Urban flight has left the Min- M vA m meet at a neighborhood school from neapolis Institute of Arts in

t0 ' to arti c ate in an economically depressed ^yM^ ^ ^ P m ' ^'^ P' m P iP Literacy Through the Arts. This program *>H area of Minneapolis. Art "^B ^^ uses the arts to improve the reading, writing and Team was created to meet the community's need for math skills of participants. In addition to being tutored employment opportunities and the museum's wish to in reading, writing and math, participants take two increase neighborhood attendance. Art Team trains to three classes, taught by professional artists. In the and employs youth to work at museum events. Mem-

Book-N-Art class, children write and illustrate a story bers are required to sign a 9-month contract to attend and learn how to bind their story into a book. Other weekly classes (for which they are paid) at the muse- arts programming includes theater; music; modern, um during the academic year. Museum staff lead

African and step dance; percussion and visual arts workshops that illustrate the role of art in the devel- and crafts. Children maintain journals which they are opment of societies and ideas. Special emphasis is free, but not obligated, to share with the professional given to multicultural perspectives and the historical artists who instruct them. The semesters are struc- and social relevance of art as it relates to the lives of tured around a theme, and at the end of each session, the participants. Hands-on activities using a variety of participants hold a performance and exhibition of materials and experience with object research methods their work. Book-N-Art participants keep their own help Art Team members in their role as advocates for books, but the originals are copied and bound into the museum during public events. In the summer, Art an anthology. "Because the children set their own Team youth act as assistants at 1 5 inner-city Art in the goals with the help of an adult, they have more con- Park programs sponsored collaboratively with the Parks trol over their results," explains Director Camille and Recreation Board.

Akeju. "Most of the youth enter the program reluc- tantly since they know that the reason they are here " * Members are required to sign is because they are not achieving. They leave with a a 9-month contract to attend sense of achievement and are more tolerant of each weekly classes (for which they are other." Akeju adds that the children's test scores are improving and that the work they create, especially paid) at the museum during the the anthology, is very popular within the community. academic year. Museum staff lead workshops that illustrate the role of art in the development of societies and ideas. * *

Organization: Molly- Program: Tuition-Free Organization: Program: Olga Neighborhood Sequential Instruction Mosaic Youth Theatre Youth Ensemble

Art Classes Year Started: 1959 of Detroit Year Started: 1 992 Locust Street Neigh- Focus: Visual Arts P.O. Box 09667 Focus: Theater borhood Art Classes Youth Served: N/A Detroit, Ml 48209 Youth Served: 75

I 38 Locust Street Ages: 3-2 3 13-554-1422 Ages: 12-19

Buffalo, NY 14204 Budget: $ 1 1 ,000 Budget: $ I 10,000 716-852-4562

Mosaic Youth Theatre of Detroit is a

nationally acclaimed multicultural youth theater that develops young theater

artists through training and performing.

The program is divided into three specific areas. The Acting Company focuses on training the voice, body and imagination and on scriptwriting. The Technical Crew works on set design and construction, lighting design and operation and props management and costumes. The Music Group includes singers, song- writers and sound engineers, who write and perform

Over 35 years ago, some children in an all of the music for Mosaic productions. The 11 -month inner-city neighborhood knocked on the program engages youth 10 hours a week in the even-

door of a local artist, Molly Bethel, and ings and on weekends and includes guest artist visits.

asked her to teach them to paint. Any Sundays are reserved for tutoring to help participants child, teen or adult who wants to develop painting maintain the grade point average required to stay in skills can walk in off the street and register for begin- the program. Each year, the Youth Ensemble tours ning to advanced arts classes at MollyOlga Neigh- Detroit-area schools with either an original play or borhood Art Classes. Professional artists who grew an innovative version of a classic. Study guides and up with this program work with all age groups in handbooks for teachers are developed for each perfor- painting and drawing, clay (sculptural and pottery) mance. Mosaic's Youth Ensemble also performs at and black-and-white photography. Weekly classes community centers, hospitals, nursing homes and are offered year-round, with breaks in June and special events. To further showcase the teens and September. Special classes during the school day the Ensemble-created production, Mosaic's Ensemble

are provided for high-risk children from a local public members participate in a 3-week tour of professional

school. Serious teen artists work independently in theaters. "Kids from different backgrounds and ages

open studios, as well as during scheduled class time. are put in a demanding atmosphere in which they

Staff provide help with portfolios, applications to art learn how to respect each other. While working toward

schools and public exhibitions. An annual art show a shared goal, each member maintains his or her indi-

displays the most significant accomplishment of viduality and unique cultural identity," says Managing

each student for that year. Respect for the children Director Annette Madias. A new component of the

and their art, ease in enrollment, a consistent sched- program, a 1-week residency at a college campus, is

ule of classes and a familiar group of faces offering familiarizing youth with college life. Madias reports

instruction and support are central to the longevity that several of the teens are winning performing arts

and success of this program. scholarships to attend college.

(MS) 9

Organization: Program: Organization: Program: Stepping MOTHEREAD, Inc. MOTHEREAD, Inc. Moving in the Spirit Stones, Apprentice

3924 Browning Place Year Started: 1 987 P.O.Box 17628 Corporation Outreach

Suite 7 Focus: Literature 750 Glenwood Year Started: 1 986 Raleigh, NC 27609 Youth Served: N/A Avenue, SE Focus: Dance

1 9 1 9-78 -2088 Ages: N/A Atlanta, GA 30316 Youth Served: 275

Budget: $320,000 404-627-4304 Ages: 4- 1 Budget: $114,198

MOTHEREAD, Inc. is a national, pri- Moving in the Spirit (MITS) teaches ^^B\ rA'Mj I «-» ~^ vate nonprofit organization that com- workplace values AL | WM I through dance. Two I ' bines the teaching of literacy skills programs, Stepping Stones and Appren- u ^^^b^ with child development and family tice Corporation Outreach, focus on empowerment. MOTHEREAD designs and develops teaching commitment, discipline and accountability its curricula based on carefully chosen multicultural through modern dance. Dance classes draw upon the children's literature. The story is used to teach read- messages of Martin Luther King, Jr. for inspiration. ing, writing, communication and critical thinking The young Stepping Stones dancers meet once a skills. Adults learn to be story readers, writers and week during the school year at 10 centers through- tellers in a group structure that supports their own out Atlanta. Dance classes operate around an incen- sense of worth and ability and encourages parents tive system that rewards participants with points for to be reading role models for their children. "Story- their efforts. In Apprentice Corporation Outreach, sharing" classes for children provide a structured students sign job contracts pledging to be on time environment to foster creative thinking, nurture a and to fulfill other responsibilities. Corps members love of books and aid in developing comprehension audition for the program, which meets at least four skills. In partnership with the North Carolina Human- times a week year-round. Public performances, which ities Council (NCHC), MOTHEREAD's training and include dialogue with audience members, are taken technical assistance is provided to educators and on the road in a 3-week "Tour Explosion" to church- family service professionals from a variety of agen- es, theaters, prisons and community centers. Both cies and locations. Through this partnership with programs pay youth for their participation. Youth

NCHC, certified instructors currently are implement- earn "MITS money" based on the number of points ing MOTHEREAD's approach and curriculum in 54 earned in the incentive system, and the money goes of North Carolina's 100 counties, in 12 other states into make-believe checkbooks. The young dancers and in the Virgin Islands. For example, working with are able to use their money in the Moving in the a variety of social service and education agencies, Spirit Christmas store, which is supplied with dona- two of MOTHEREAD's afffiliates, the California Coun- tions from individuals and local businesses. "Every cil for the Humanities and the Minnesota Humani- day the dedicated dancers are taking on more of the ties Commission, provide MOTHEREAD/FATHEREAD organization's responsibilities and asking for addi- programs in their respective communities. In Wake tions to the curriculum," reports Development Coor- County, North Carolina, the national office provides dinator Lydia Pettigrew. a variety of direct literacy services to parents and children in collaboration with departments of social services, health and corrections; the local school system; community-based agencies; local and county governments; child abuse prevention programs and preschool programs. @ 1

Organization: Education and Organization: Program: The Multicultural Educa- Counseling Through El Museo del Barrio Caring Program tion and Counseling the Arts 1230 5th Avenue Year Started: 1 990

Through the Arts Year Started: 1 979 New York, NY 10029 Focus: Visual Arts 1900 Kane Street Focus: Multi- 212-831-7272 & Humanities Houston, TX 77007 disciplinary Arts Youth Served: 30

713-802-9370 Youth Served: 3,300 Ages: 8- 1 I Ages: 5-2 Budget: $10,000 Program: Multicultural Budget: $45 1 ,000

^^K v With a view toward increasing the For 25 years, El Museo del M vA m social and intellectual development of Barrio has worked to preserve vSj^^^k Houston's inner-city youth through the 5f>H and interpret Latin-Ameri- '^ ^r arts, Multicultural Education and Coun- can cultural heritage for New seling Through the Arts (MECA) works in partner- York City residents. Changing demographics necessi- ship with public schools to provide arts education tated a shift in the kinds of programs offered by El year-round. The activities expose youth to the arts Museo to meet the needs of New York City's Latino with in-school, after-school and summer programs. and African-American communities. Six years ago,

Classes in ethnic art forms include mariachi, Mexi- El Museo began offering its constituents The Caring can ballet folklorico, international ballet folklorico and Program, which Columbia University's Child Psychi- Afro-Caribbean dance. Classical instruction in voice, atry Department created as a way to relieve stress in instruments, modern dance and jazz, ballet and the- young patients. The Program provides collective art- ater is offered as well, with students practicing up making experiences and technical skills development to 6 hours per week. Fees for classes are waived for to improve children's attitudes and self-image. The about 75 percent of the participants, who perform classes promote development of ethnic pride, problem community service instead—cleaning the organiza- solving and social involvement. In 10-week sessions tion's central facility or schools, creating public murals throughout the school year, an artist-in-residence and and helping with mailings. The center follows the a Columbia University mental health professional work school schedule, but is open all summer as well. A together at El Museo to encourage children to examine large part of MECA's programming involves support the different social issues affecting their lives and to services for students, which include tutoring, a men- discuss mechanisms for coping with these problems. toring program, assistance with college applications, The artists transport the children from school to El scholarships and a girls club for junior and senior high Museo, where they work for 2M hours. Through art school students, as well as social services through workshops, participants learn about the work of artists agencies with satellite offices in the center. "The such as Frida Kahlo and Fernando Botero and explore strength of our program is the comprehensive sup- issues such as the relationship of ecological survival port services we offer the children and the whole to urban survival. At the end of the sessions, students' family," says Executive Director Alice Valdez. "If a work is displayed at El Museo and at the University. child is having problems, we call in the whole family and get social service agencies involved."

<& 4 " 8

Organization: Program: The Cultural Organization: Program: Hill The Music School Alternatives Program Neighborhood Outreach Program

P.O. Box 603038 Year Started: 1 989 Music School Year Started: 1 976

Providence, Rl 02906 Focus: Music 1 00 Audubon Street Focus: Music

401-272-9877 Youth Served: 400 New Haven, CT 065 1 Youth Served: 45

Ages: 9- 1 203-624-5189 Ages: 7- 1 Budget: $250,000 Budget: $35,000

^^P^t The Music School's Cultural Alternatives ^fW The Hill Outreach Program of the ^jA ^^^ Program rntegrates arts and cultural ^jA ^^^ Neighborhood Music School provides m m W education with mentoring and training m ^ J W individual lessons in wind, brass and ^W3^^ in conflict resolution and substance and ^WO^^ percussion instruments to youth in one violence refusal methods. Classes and performances of New Haven's poorest communities. All classes are give students outlets through which to develop posi- held at the Wesley United Methodist Church, a focal tive attitudes about themselves and constructive risk- point of the community. In keeping with the School's taking experiences. "The strength of the Program is philosophy of promoting ownership and responsibili- its interconnectedness," says Executive Director Alan ty, all participants must contribute something to the

Fox. "There is a linkage among the different elements cost of the lessons, even though it is sometimes as and a layering of activities that support each other. little as $2 per lesson. Classes are taught on Saturdays

Music and dance teachers, along with college men- throughout the school year by professional artists, tors from Brown University, Rhode Island College whose ethnic diversity reflects that of the participants. and Providence College, lead activities at public hous- Ninety percent of the students return year after year ing sites, after-school programs, community centers to continue their lessons. Families participate by and churches. The participants simultaneously attending student recitals as well as parent/grand- receive training and supervision from the University parent support meetings that are scheduled during of Rhode Island Teen Crime Prevention Program. the year. Added benefits of the Program include

Around 20 youth per site meet once a week for 1 or opportunities to attend field trips and concerts free- more hours over a 6- to 9-month period to develop of-charge and to participate in ensembles and a their artistic skills and peer relations in preparation summer music camp at the School's main branch. for performances, some of which address cultural identity or social issues. Participants perform for the Families participate by attend- community at New Year's Eve activities and at other ing student recitals as well as par- neighborhood and community events. ent/grandparent support meetings that are scheduled during the

118 Organization: Nevada Program: Las Vegas Organization: New Program: Connections: School of the Arts Children's Choir Hampshire State The New Hampshire

3 I 5 S. 7th Street Year Started: 1 994 Library Reading Project

Las Vegas, NV 89 1 1 Focus: Music 20 Park Street Year Started: 1 990 702-S98-2787 Youth Served: 35 Concord, NH 03 301 Focus: Literature & Ages: 10-14 603-271-2866 History Budget: $7,500 Youth Served: N/A Ages: 18-21 Budget: $50,000

^^9^^ Once a week for 2 hours after school, The New Hampshire State ^T>^A low-income youth recruited from near- Library's Connections m ^^ W by local schools come to the Nevada Reading Project is a book ^^3^^ School of the Arts to practice a diverse discussion program that repertoire of choral pieces. Youth are recommended encourages family reading, literacy and continued to the program by their music teachers, who view use of state libraries. Participants include single par- this program as a high-quality choral experience. ents, teens, school dropouts and new immigrants,

The School charges a nominal fee of $8 per semester all of whom are adult new readers and many of whom for instruction by two choral teachers. Youth in the are parents and grandparents. When new readers program present performances throughout the year, enter the program, they receive books, get a library with a special performance on the Super Dave televi- card and meet the librarian, who gives them a tour sion show. "The kids are enthusiastic about the pro- of the library and introduces them to staff. Working gram, and they have learned how to cooperate as a with tutors, participants read six to nine selections group," explains Dr. Paul Hesselink, director. "The from picture and short story books related to a com-

parents are supportive. . . .They come to performances. mon theme, such as courage, home, justice, friend- They bring and pick up their children. And, some- ship, New England history, journeys or autobio- times, they even stay in the room during practice graphy. Two-hour monthly book discussions at the to observe." The Nevada School of the Arts also runs local libraries during the school year bring together

Chamber Music Ensembles for youth living in isolat- students and humanities scholars to explore the ed, rural areas of the state and provides Suzuki violin literature. Eighteen scholars travel throughout the instruction in English and Spanish for youth. state, remaining with a group for a 4-month session.

Participants may join the program again at the next session. Connections Project Director Christie Sarles

reports that 75 percent of the tutors believe the

program improves students' reading skills, word

recognition and comprehension; 100 percent of the

librarians say participants return to the library after

attending the program; and 46 percent of the parti-

cipants report Connections changes how they feel

about libraries. "The program is making local ties

between the tutorial coordinators and librarians,"

notes Sarles. "Students, librarians and discussion

leaders all want to continue participating."

Organization: New Program: People Organization: New Program: New York Jersey Council for the and Stories/Gente York State Museum State Museum Club

Humanities y Cuentos 2003 Cultural Year Started: 1 988

28 W. State Street Year Started: 1 970 Education Center Focus: Multi- 6th Floor Focus: Literature Albany, NY 12230 disciplinary Arts &

Trenton, Nj 08608 Youth Served: I 30 518-474-1569 Humanities 609-695-4838 Ages: 15-21 Youth Served: 68

Budget: N/A Ages: 8- 1 Budget: $95,000

^0t^f^ People and Stones/Gen te y Cuentos m *-* ^ 1 was developed to use literature to ' accomplish several goals with partici- Bl L ^^^^^ pants: to increase their self-worth, to develop their critical thinking skills and, ultimately, to change their relationship to the world. The New

Jersey Council for the Humanities runs approximately

30 programs a year at senior citizen centers, prisons, libraries, homeless shelters and community centers.

Some of the sessions are organized for youth, and others include youth in multigenerational programs. The sessions are made up of 90-minute classes held once a week for 8 weeks. At each session, highly trained ^£ V ^^^^ The Museum Club at the " program coordinators read aloud a short story by a M W^ M : ^ New York State Museum renowned writer. After the story is read, the coordi- ^H^fllL t™ wM W is a free, educational after- nators ask questions that focus specifically on the "^B ^^ school program for Albany poetic texture of the short story. The program is children between the ages of 8 and 14. Daily programs unique because it asks participants to focus on the incorporate art, science, history and math and use literature—not only on reading skills. The result is Museum exhibits, the school curricula of participat- that participants who do not think of themselves and ing students and current events. A tutor is available each other as capable of speaking intelligently about daily to help with school homework assignments. literature find themselves discussing complex ideas. There are always two projects going on simultane-

Participants bring their own life experiences into ously, one of which is focused on the arts. Arts-based the discussions and begin to see their lives in a dif- projects are diverse in nature: Artists-in-residence ferent way. "The program breaks down stereotypes worked with Club members to create masks and by showing common experience through literature," paintings for a local art gallery; children created a explains Georgia Whidden at the New Jersey Coun- quilt exhibition shown in conjunction with the dis- cil for the Humanities. "Participants discover that play of the NAMES Project AIDS Memorial Quilt; they have the ability to communicate about litera- and students made wooden puppets and created ture and controversial issues, which increases their poetry and rap related to archaeological digs. This self-confidence. We find that people enrolled in this program builds on children's initial attraction to the program will go on afterwards to join a GED [gen- Museum, encourages their curiosity and provides a eral equivalency diploma] or English-as-a-Second- special safe "home" for participants. The program

Language program, which they would not have felt anticipates expanding to provide opportunities for comfortable doing before." older teens. 2

Organization: Oakland Program: Oakland Organization: Program: Coordinated Youth Chorus Youth Chorus Ohio Arts Council Arts Program

2619 Broadway Year Started: 1 976 727 E. Main Street Year Started: 1993

Oakland, CA 946 1 Focus: Music Columbus, OH 43205 Focus: Multi-

5 1 0-287-9700 Youth Served: 1 20 614-466-2613 disciplinary Arts Ages: 14-21 Youth Served: 3,500 Budget: N/A Ages: 1-19

Budget: $ I 50,000

^^f^^ Twice a week after school for 2 hours, ^^K v The Ohio Arts Council, working with ^jA fl^ youth from diverse cultural backgrounds M vA m the Greater Cleveland Neighborhood M m M come together to perform a repertoire v^^^k Centers Association, instituted the ^^3^^ representative of their backgrounds. *^B ^^ Coordinated Arts Program (CAP) to The Oakland Youth Chorus comprises four ensembles, enrich the lives of residents and make a lasting impact from beginning to pre-professional levels. Approx- on 14 neighborhood centers. In the 3 years since its imately 65 percent of the singers are from economi- inception, CAP has met these goals through flexible, cally disadvantaged homes. The choral classes are cultural-based arts activities and through close coor- free, but the curriculum is highly disciplined and dination between the CAP staff and the staff of the demanding. If students miss a class, they are required neighborhood centers. Youth programs are offered to make it up. If they are behind or having trouble, in instrumental and vocal music, modern dance, they are expected to come in for extra help. Despite the demands, youth stay for an average of 5 years.

"We have created a successful model that makes it possible for youth of different classes and cultural backgrounds to work together and produce high- quality work. We also provide a positive peer environment that encourages excellence in all areas of their lives and gives them a safe after-school alternative," comments Kim Cook, director of the Chorus.

The Chorus performs full-length concerts in December, March and May and 30-40 shorter performances throughout the year at parties and festivals. The artistic director and two conductors choose the pieces that African dance, African and Afro-Cuban drumming, youth perform. Some of the music is composed by woodcarving and theater. Similar programs are offer- participants. The program uses music as a way to ed to seniors, who also share their life experiences educate youth about their culture. Guest artists are through oral history projects. Classes are held at invited to the Chorus throughout the year to offer various times throughout the day for 1 to 2 hours, special workshops. For example, a graphic designer Monday through Saturday, October through June, taught several participants with an interest in visual enabling participants to attend easily. Summer class- arts how to design and produce the flyers for promotes, tuition-based because of grant limitations, are ing the performances. available and draw regular attendance. The cities of Toronto and New York have used the Coordinated

Arts Program as a model for similar programs. ® 6

Organization: OneArt Program: Kids Organization: Opera Program: P.O. Box 558555 Off Streets Theatre of St. Louis Artists-in-Training

Miami, FL 33255 Year Started: 1 979 P.O.Box 1 91910 Year Started: 1 990 305-279-5373 Focus: Multi- St. Louis, MO 631 19 Focus: Music

disciplinary Arts 314-961-0171 Youth Served: I 5 Youth Served: 125 Ages: 15-18

Ages: 9- 1 Budget: $56,000 Budget: N/A

^^K v OneArt is a nonprofit cultural and edu- ^^|^^ Designed to discover and nurture vocal M vA » cational organization whose primary ^fA^^^ talent in urban high schools, Artists- ^Vjfl^ focus is to provide free access to cultural m m M in-Training (AIT) was launched as an "^B ^^ programming for underprivileged chil- ^W3^^ experiment 6 years ago by the Opera dren living in high-risk communities in Miami. Five Theatre of St. Louis in partnership with the Monsan- days a week, the Kids Off Streets program provides to Fund and the St. Louis public schools. It is now a youth with a variety of free after-school classes at thriving, permanent project. Although many young schools and at the OneArt studio. The school-based singers belong to school and church choirs, only a program is focused primarily on dance. A former handful have experienced opera or had access to the

Joffrey and American Ballet Theatre dancer leads kind of vocal training that might lead to a career in classes using contemporary music and traditional classical music. Through the AIT program, students dance forms. The dance program acts as a feeder attend half-hour weekly lessons; two separate, inten- to the studio program, where participants work indi- sive, week-long master classes with well-known vis- vidually and in groups with artists on painting, pho- iting professional artists; a fall weekend planning tography, drama and dance projects. Monthly student retreat; numerous extracurricular concerts; field trips exhibitions and performances coincide with neigh- and Opera Theatre borhood gallery openings held regularly on the second performances. The year

Friday of every month. "At OneArt, we are dedicated ends with a public recital to crime prevention by fighting crime before it even and a competition for begins," says Executive Director Alexander Prado. scholarship awards judged

"Get children interested in the arts at an early age, by nationally recognized and the love of learning develops a sense of pride artists. These scholar- and skills." OneArt is building a 12,000-square-foot ships help students pre- center, which will allow the organization to include pare for auditions and programming in music, photography, filmmaking, pay for college. Recently, computer training, tutoring, college counseling, a pre-college institute was added to the program to work experience and more. reinforce a focus on academics and expose teens to

college life. One hundred percent of AIT participants At OneArt, we are dedicated have finished high school; 55 percent are currently in college (many of them vocal performance or music to crime prevention by fighting education majors); and 30 percent are still studying crime before it even begins. * * voice. Some have been invited to work with nation- Alexander Prado ally known teachers. -Executive Director

(m) 1 1

Organization: Program: Organization: Pacific Program: DanceChance

Pacific News Service YOi (Youth Outlook) Northwest Ballet Year Started: 1 994

450 Mission Year Started: 1 99 301 Mercer Street Focus: Dance

Room 204 Focus: Media Seattle, WA 98 1 09 Youth Served: 55

San Francisco, CA Youth Served: 360 206-44 1 -94 1 I Ages: 7-8

94105 Ages: 1 5-2 Budget: $60,000 415-243-4364 Budget: N/A

The Pacific News Service, a national FWM| I DanceChance brings the world of dance print electronic service, to selected third grade students in Seat- and media news I

created YO! (Youth Outlook), an organi- tle. The program focuses on low-income, zation that provides a diverse constit- inner-city children who would not other- uency of young people with a medium through which wise have access to dance instruction because of to express their views. The organization produces a the cost, transportation difficulties or lack of exposure. newspaper, YO! (Youth Outlook). Many of the youth Working with 12 central-city schools, the Pacific working on YO! are from disadvantaged families; Northwest Ballet (PNB) screens children each Octo- some are living on their own because of problems at ber to identify those with physical ability, musicality home. Through weekly articles in the San Francisco and interest and transports them to the Pacific North-

Examiner and its own bimonthly newspaper, YO! west Ballet school facility for twice-weekly classes. participants give voice to the critical issues facing After a 5-week session, students who show promise young people today. Youth new to the program meet and interest are invited to return for a 20-week spring with writers and editors from the Pacific News Ser- semester. PNB provides tuition-free instruction, vice to develop story ideas based on their own life dancewear, supplies and tickets to performances. experiences. With a core group of teen staff writers The program incorporates a variety of fitness oppor- and a larger group of free-lance writers, youth meet tunities, from toning, yoga and Russian folk dance to weekly to determine the paper's content, make assign- instruction in classical ballet. Students can remain in ments and get updates on stories in progress. Writers this program for up to 2 years, after which promising are paid for their stories, and program participation students are mainstreamed into the training school includes lunches and workshops with working print of the Ballet Company to continue on full scholarship. and radio journalists, Freedom Forum representatives "These are the kind of life-training experiences that and peers in local high schools. A fiction workshop carry children through," according to Larry Jacobs, meets regularly, and fiction often is included in the principal at ORCA Elementary School. Reflecting newspaper. The newspaper, YO!, is distributed free on one of his students in the program, Jacobs says in schools and youth centers. that "even if he stopped right now, he will have this

memory and vision of possibilities for himself for the ' Through weekly articles in rest of his life." the San Francisco Examiner and its own bimonthly newspaper, YO! participants give voice to the critical issues facing young people today. * * ® —

Organization: PAKT Program: Color Organization: Program: Arts and Parishes Associated Me Bright Pennsylvania Prison Humanities Program-

on Kinloch Team, Inc. Year Started: 1 993 Society Youth Arts Program 8301 Booker Avenue Focus: Visual Arts 2000 Spring Garden Year Started: 1985 Kinloch, MO 63140 Youth Served: 77 Street Focus: Multi-

314-524-2710 Ages: 8- 1 I Philadelphia, PA 19130 disciplinary Arts Budget: $2 1,999 215-564-6005 Youth Served: 30 ext. 7923 Ages: 12-17 Budget: $30,000

Parishes Associated on Kinloch Team, ^^K v Youth on probation at the Friends Inc. (PAKT) is a full-service community M WA m Neighborhood Guild in Philadelphia resource center in the Kinloch commu- v^^^k Put their creativity and ingenuity to nity and one of the sites for the Color "^B ^r~ work last year writing and illustrating Me Bright program, funded by the St. Louis Regional a comic book. Over 20 weeks, participants learned

Arts Commission. Color Me Bright is a year-round about all of the elements involved in creating a story, fine arts program. Once a week after school, two art read and discussed different comic books, studied

teachers from the public school system teach paint- how illustrations tell a story and then created their

ing, sculpture and drawing to a group of 25 youth. own comic book. During the course of the project,

A tutorial program is available to encourage students guest artists (cartoonists, storytellers and writers) to maintain a B average in school. Those who do from similar cultural backgrounds came to discuss

are honored annually at PAKT's Student Recognition their craft and their lives with participants. The artists Night, where youth exhibit their artwork "gallery also spoke about living by values other than material

style." To ensure maximum attendance, children ones. Two other projects resulted in a rap music tape

are provided with transportation to the center. In and an anthology of stories. Both involved a similar the summer, youth participate in PAKT's Summer process of analyzing the structure of the craft, talk-

Day Camp. One day per week, the children, their ing with guest artists about their work and then cre- families and the whole community are invited to ating pieces. "Our interdisciplinary approach has

PAKT's Multicultural Day activity. This interactive shown the kids that they are capable of doing things

arts program spotlights various cultures and nation- that they once thought were impossible. Also, that

alities to promote cooperation with, tolerance for they can be excited about subjects they had never and understanding among different ethnic groups. been interested in before, like writing, reading and

history," says Homer Jackson, project director.

Our interdisciplinary approach has shown the kids that they are capable of doing things that they once thought were impossible. * * Homer Jackson -Project Director 8 2

Organization: The Program: New Organization: The Program: The People's People's Light and Voices Ensemble People's Music School Music School

Theater Company Year Started: 1 989 93 I W. Eastwood Year Started: 1 976 39 Conestoga Road Focus: Theater Chicago, IL 60640 Focus: Music Malvern, PA Youth Served: 50 312-784-7032 Youth Served: 200

19355-1798 Ages: 8- 1 Ages: 5- 1

610-647-1900 Budget: $179,350 Budget: $ 1 60,000

In the spring of 1996, 20 teens from ^^0^^ Inspired by the free music education Chester, a low-income community in ^f^^^^k she received as a child in the Domini- Pennsylvania, will graduate from high m ^ J W can Republic, Dr. Rita Simo, a former school with 6 years of professional the- ^W3^^ concert pianist, started The People's ater experience. The People's Light and Theater Music School in the Uptown neighborhood of Chica-

Company reached out to these youth in sixth grade, go. Two hundred students per term, ranging in age called them "New Voices" and made a commitment from 5 to 76, though mostly between 5 and 12, come to work with them to create plays together (writing, to The School for free weekly private music lessons improvising, rehearsing and performing) until they and weekly music theory classes. Students' develop- graduated from high school. New Voices meets ment is tracked by the instructor, with an evaluation year-round, after school and almost all summer, with conducted at the end of each semester. The School daily schedules when they are in production. Space also offers master classes, a variety of ensembles and is provided by Swarthmore College, and Swarthmore performance opportunities. In exchange, students

College students write plays for New Voices. The volunteer at The School, performing clerical, clean-

Swarthmore students can get college credit for their ing or other types of work for 2 hours every other work. Last year, People's Light formed Younger Voices, month. "What we are doing is letting students dis- an ensemble made up of the younger siblings of cover their self-worth through their love of music," New Voices' members. Younger Voices meets week- Simo states. ly. The key to long-term participation by youth is the availability of transportation and paid summer ' What we are doing is letting employment. Abigail Adams, the Company's co- students discover their self-worth artistic director, reports that youth have learned through their love of music. * * the disciplines of theater and are demonstrating greater powers of concentration as well as exhibit- Dr. Rita Simo ing increased commitment and greater acceptance -Founder of responsibility.

Organization: Program: Pittsburgh Organization: Program: The School

Pittsburgh Playback Playback Theatre: Plaza de la Raza off Performing and Theatre Hosanna House 3540 N. Mission Road Visual Arts

2770 Fernwald Road Year Started: 1 992 Los Angeles, CA Year Started: 1975 Pittsburgh, PA 15217 Focus: Theater 9003 1-1935 Focus: Multi- 412-521-0444 Youth Served: 60 213-223-2475 disciplinary Arts Ages: 12-17 Youth Served: 600 Budget: $45,000 Ages: 5-2 Budget: N/A

In Pittsburgh Playback Theatre produc- ^^R v Situated in the heart of East Los Ange- tions, "There is not just a script but a M vA m les, Plaza de la Raza is the only multi- sharing of lives," says Executive Director ^^^A * disciplinary cultural arts center serving Roni Ostfield about her improvisational ^^1 ^^ Latinos in Los Angeles. Many of the performance company. The roving theater troupe, in youth who come to the center are from low-income operation since 1988, visits various sites, including families. All workshops are ongoing on a 10-week

Hosanna House in Wilkensburg, Pennsylvania, where schedule, either for free or for a nominal fee. One professional actors are in their fourth year of engaging of the programs offered by Plaza de la Raza is The neighborhood teenagers as playwrights and actors. School of Performing and Visual Arts. It provides

The interactive theater process has a therapeutic and performing and visual arts classes after school and entertaining format that allows participants to drama- on Saturdays for participants from the surrounding tize issues such as peer pressure, drug and alcohol neighborhood. Classes operate on a semester system abuse, dysfunctional families and sexuality. "Partici- and range from 2 to 4 hours in duration. Youth pay a pants' sensitivities and perceptions are heightened, $15 registration fee for participation in some 25 differ- enabling them to gain insights into the causes of, ent classes. The School uses Latino instructors who and solutions to, the problems dramatized," explains serve as both teachers and role models for young

Ostfield. Wilkensburg youth, meeting once a week people. In addition, The School offers The Community for 2 to 3 hours, become storytellers and learn to do Arts Partnership program that pairs youth with art

"playback" by acting out each other's stories. Train- students from the California Institute for the Arts ing is followed by preparation of a performance for in one-on-one arts programs, held free-of-charge at schools and community groups. "This gives the kids community centers throughout Los Angeles. Students something to give back to others and helps improve receive advanced training in such disciplines as gui- communication skills," notes Ostfield. tar, salsa, jazz and theater. In the Young Playwrights Project, an artist-in-residence conducts a 10-week

playwriting project for young people. Participants

develop original plays, which are then presented in

stage readings and at an annual production. Students draw upon mythology, dreams and personal experi-

ences to create these plays. Organization: Program: Urban Organization: Program: Precita Eyes Mural Youth Arts and El Puente Leadership Center

Arts Center Mural Workshops 2 1 I S. 4th Street Year Started: 1 982

348 Precita Avenue Year Started: 1985 Brooklyn, NY I 1 2 1 I Focus: Multi- San Francisco, CA Focus: Visual Arts 718-387-0404 disciplinary Arts 941 10 Youth Served: 50 Youth Served: 500

415-648-3224 Ages: 11-19 Ages: I 1-25 Budget: $5,000 Budget: N/A

^^K v Located in Williamsburg, Brooklyn, in A vA m one of the poorest Latino communities vjj^^^ in New York State, El Puente Leadership ^^ ^^ Center is a community center serving primarily young people and their families. The Center has a membership after-school and weekend program that promotes mastery through rigorous participation requirements. Young people attain permanent mem-

bership after an introductory period, during which

they learn and experience El Puente 's 12 principles

and their life applications, audit classes and meet

with their peer facilitators and adult mentors. Having made a commitment, members can pursue a wide

Some of San Francisco's most neglected range of artistic interests such as study in dance,

youth are developing their own styles drama, music, videography and visual arts, including and modes of expression through the mural painting, under the guidance of accomplished

Urban Youth Arts and Mural Workshops artists. El Puente staff develop individualized plans

of the Precita Eyes Mural Arts Center. Artist-led with participants that focus not only on the arts, but

classes on the development of new alphabet styles also on educational, vocational, personal and social

and mural art are offered. Participants create wall issues. El Puente houses resident performing compa-

murals and paintings, using spray paint and nies comprising trained young artists from the pro-

airbrush, as well as more traditional techniques, with gram and provides a stage for visiting local, national

older children who have had experience in the pro- and international companies and artists. El Puente's

gram helping the younger ones. Many participants model for youth and community development is being include their poetry, words and phrases in their replicated through a growing national association murals. The drop-in classes take place 2 evenings a that presently includes three New York centers, two

week at two storefront studios run by the Center. Sat- centers in Massachusetts and a center in formation

urday morning and afternoon classes were added for in San Diego, California. In 1983, in a partnership

girls who felt uncomfortable at the evening classes, with the New York City Board of Education and the

attended primarily by male youth. These Saturday New York City Fund for Public Education, El Puente

classes now include male youth, thus helping to opened its own public high school, El Puente Acade-

bridge the gender gap. The Center also has art classes my for Peace and Justice.

for children of preschool and elementary school age.

Through on-site projects, an additional 300 children

Organization: Program: Youth Art Organization: Program: The Real Deal La Quinta Arts Works Educational Out- Rheedlen Centers Year Started: 1985 Foundation reach Program for Children and Focus: Media & Video

P.O. Box 777 Year Started: 1 994 Families, Rise & Shine Youth Served: 1,000 78-080 Avenida La Focus: Visual Arts Productions Ages: 1-21 Fonda & Humanities 300 W. 43 rd Street Budget: $200,000

La Quinta, CA 92253 Youth Served: 1 New York, NY 10036 619-564-1244 Ages: 16-21 212-265-5909 Budget: $20,000

Riders on the Bear Creek Bike Rise & Shine Productions

Path know that they will be is the media literacy pro-

able to find water, shade and gram of Rheedlen Centers

*>H a place to sit at the rest stops for Children and Families, along the way. What they may not know is that the a multiservice youth organization. Rise & Shine rest stops, which function as public art pieces as well, creates opportunities for young people to develop are designed and constructed by youth. These rest communication, reading, artistic and leadership stops are a result of La Quinta Arts Foundation's skills. The program started as a drop-out prevention

Youth Art Works Educational Outreach Program. program to motivate children to go to class and Through Youth Art Works, at-risk youth play a positive improve their academic performance through poetry role in community development by creating public writing, performance, scriptwriting and video pro- artworks. La Quinta Arts Foundation, with assist- duction. Today, through The Real Deal, teens from ance from local social service agencies and school diverse communities come together to produce their districts, recruits, trains and pays young people to own cable TV program and independent videos on assist in the research, design and construction of pro- race relations, violence, drugs, materialism and the jects. Professional artists and qualified youth leaders power of media. The teen production company mem- coordinate and supervise these projects. Young peo- bers meet after school and during the summer and ple working on the Bear Creek project interviewed are paid for their work. Once they have selected a community residents, researched the history of the theme for a piece, they form production units to

Coachella Valley and invited speakers from the local create the work. The cable show provides a regular

community college and museum to present informa- venue for the work of Rise & Shine. Teens also return tion at local town meetings. The group was assisted to the parks and neighborhoods where the videos by a nationally recognized artist who was hired as an were made to show them to the people involved and artist-in-residence to mentor the local artist working to discuss the content. Videos are screened national- with the youth. At each stage of development, youth ly and are recognized widely for their quality and presented their plans to residents. "This project's authenticity. The program reports a substantial impact

greatest strength is its inclusiveness," remarks Carolyn on participants, with gains in school attendance rates,

Frances Lair, former director of La Quinta. "Through mainstreaming of special education and English-as- their research and extensive discussions with long- a-Second-Language students and college placement time residents, youth have developed a real sense of for many participants. pride in their community and their roots, and adults

are beginning to appreciate the contribution young

people can make through the arts," adds Lair. In partnership with a Boys and Girls Club, a YMCA and a

housing coalition, La Quinta also runs a Young at Art

program to bring children discipline-based arts training. Organization: Program: ROCA Organization: Program: Late ROCA, Inc. Chelsea, ROCA Revere Sacramento Metropol- Night Sacramento

1 48 Washington Year Started: 1 988 itan Arts Commission Year Started: 1993

Avenue Focus: Multi- 800 1 0th Street Focus: Multi-

Chelsea, MA 02 1 50 disciplinary Arts Suite I disciplinary Arts

617-889-5210 Youth Served: 1 50 Sacramento, CA Youth Served: 200 Ages: 12-21 95814 Ages: 13-18 Budget: $150,000 916-264-5558 Budget: $15,000

^^D v ROCA, Inc. operates two innovative ^^B v Recognizing that not everyone is inter- M K4 M youth and community development M vA m ested in basketball, the Sacramento v^^^k programs in Chelsea and Revere, v5/^^^ ' Metropolitan Arts Commission (SMAC) '^l ^^ Massachusetts, two of the smallest "^B ^^ initiated an arts alternative to Sacra- and poorest cities in the state. Through a combina- mento's Friday Night Basketball program. Working tion of interdisciplinary arts and recreational activi- with the Police Athletic League, the City Council, ties, health programs, educational and vocational the Parks and Recreation Department and Neighbor- programs, street outreach, leadership skills training hood Services, SMAC developed Late Night Sacra- and community organizing, ROCA, Inc.'s youth devel- mento, a Friday night drop-in program in the arts opment programs teach young people how to be held at six area high schools. Artists are recruited leaders in their own lives as well as in the commu- by SMAC to submit proposals for the workshops. nity. Arts programs are free, multilingual (English, Projects all work toward the creation of a product

Spanish and Khmer) and fully integrated into other for exhibition or a performance. Students drop by the programming. Classes are offered in African textiles, schools between 7:00 p.m. and midnight, between

Cambodian and Latin dance, painting, video, theater, March and September for activities such as the hip-hop dance, clay and more. Classes are held for production of a poetry anthology and the creation a 1- to 2-hour period on a trimester schedule and are of murals, street dances and musical compositions. taught by professional artists and peer leaders who Late Night Sacramento provides a safe place where have apprenticed with professionals. The classes teens can discover the arts. As one Late Night partic- also are attended by youth trainers who provide ipant suggested, "This is the first place I've come to instruction in leadership and health promotion in where there is no trouble. I can enjoy myself without the context of the arts program. Additionally, ROCA, feeling like I'm going to get into trouble myself." Inc.'s health peer leaders and community service SMAC also runs a Healthy Start after-school program programs utilize the arts to deliver messages through with an arts component for low-income children theater/discussion presentations, videos and visual ages 9 to 12 and The Neighborhood Arts Program, arts projects. All participants are required to perform an artist-in-residence program that takes place at community service during the semester. At the end a variety of community sites. of each semester, youth present art exhibitions and performances to the community free-of-charge. Ac- cording to program administrators, these events and activities are helping young people gain the skills and experiences needed to make constructive choices about their lives. They are staying in school, going on to college, demonstrating better coping skills and making a difference in their communities. 1

Organization: Program: San Diego Organization: Program: WritersCorps

San Diego Symphony Symphony Community San Francisco Arts Year Started: 1 994 Community Music Music Center Commission Focus: Creative Writing Center Year Started: 1993 25 Van Ness, Suite 240 & Literature

1 8 1 6 3 I st Street Focus: Music San Francisco, CA Youth Served: 750

San Diego, CA 92 1 02 Youth Served: 58 94102 Ages: 7-2 619-696-7535 Ages: 10-12 415-252-2546 Budget: $307,000 Budget: $33,000

j^^t^^ In an effort to open doors for local com- I V ^0^^^. ^ e ^ an Francisco Arts munity youth, the San Diego Symphony "" ^* Commission, ^jA^^^k ^ I^Sfl I along with m Community Music Center, in conjunc- - -. local agencies in New York m W * ^H I i ^ i ^^3^^ tion with a committee of school princi- WvBBf^^S^ and Washington, DC, is pals, neighborhood groups, community centers, Latino carrying out a national service initiative, the Writers- organizations and parent organizations, designed Corp, funded by the National Endowment for the a program to provide music instruction to students Arts, the Corporation for National and Community from schools serving a high percentage of low-income Service and the Associated Writing Programs. While families. Youth attend after-school classes three times all WritersCorps sites serve under-served people, only a week at one of the participating elementary schools the San Francisco program focuses exclusively on and receive instruction in violin, guitar and brass, youth. Created to give urban youth a sense of identi- wind and percussion instruments. After completion ty through literary arts, WritersCorps in San Francis- of the 2-year program, students are allowed to keep co is a multicultural community effort. Local writers their instruments, which enables them to participate are recruited to work 25-40 hours a week for up to in their junior high school band or a newly develop- 1 year in schools, youth centers, public housing and ing orchestra of program graduates. "Seventy-five other venues serving at-risk youth. Corps members percent of the program participants are still playing receive up to 200 hours of training in teaching liter- their instruments," reports Director Joseph E. Barry. ature, arts administration, conflict resolution and

"The music is raising the aspirations of the kids and service learning. The writers either add a writing giving them a sense of belonging to society." component to existing programs or create a writing

program that meets the particular needs of the site. The music is raising the aspira- Participants learn about different kinds of writing and produce their own fiction and nonfiction, includ- tions of the kids and giving them ing poetry, prose and performance scripts. Young a sense of belonging to society. * * writers share their work with each other and talk Joseph E. Barry about ideas for new writing projects. Participants -Director stage public readings, make books and submit their

work for publication. Jointly, the sites have published

15 books. The San Francisco Arts Commission is working toward decentralizing administration of the WritersCorps and placing the program in the hands

of local community organizations. 1

Organization: Program: Midnight Organization: Sankofa Program: After-School San Francisco Shakespeare Kuumba Cultural and Summer Arts

Shakespeare Festival Year Started: 1 994 Arts Consortium Program

P.O. Box $ 90479 Focus: Theater 89 Willow Brook Road Year Started: 1 989 San Francisco, CA Youth Served: 1,200 Cromwell, CT 06416 Focus: Dance & Music 94159-0479 Ages: 15-19 203-635-0725 Youth Served: 500

415-666-2222 Budget: $ 1 20,000 Ages: 8-2 Budget: $74,000

The San Francisco Shakespeare Festival Sankofa Kuumba Cultural

is using Shakespeare to break down Arts Consortium offers young

barriers. Working with the Department street people the chance to

of Parks and Recreation, social service develop their cultural aware- agencies and civic agencies, the Festival's Midnight ness through traditional African dance and drum- Shakespeare program engages young people by mak- ming. The After-School and Summer Arts Program ing theater and Shakespeare accessible. Working with provides children with a familylike setting and a

Festival artists at various community sites, includ- place to belong. Workshops are held twice a week ing YMCAs, Boys and Girls Clubs, community cen- for 3V2 hours during the school year and daily in the ters and prisons, participants meet twice weekly for summer at the executive director's home. Before

6 weeks to learn scenes from Shakespeare's plays, participating in classes, youth must sign a contract work on sets and costumes and prepare for a final affirming that they understand what is expected of public performance. The success of the program has them. They are then integrated into a pre-existing led to its expansion into 16 California cities. "There group of dancers and drummers. The Program also has been an overwhelmingly enthusiastic response focuses on life skills and how to use the arts to earn from the social service agencies," reports Executive a living. Business, writing, computer and marketing

Director Bobby Winston. "The Mexican-American skills are emphasized. "Youth are coming to under-

Community Services Agency told us it had a 90 per- stand what society is about and what choices they cent retention rate for the Midnight Shakespeare have," says Executive Director Christine Dixon. program, while its other programs usually only have "They are gaining a greater understanding of their a 60 percent rate." culture and community and are seeing job possibili-

ties." Mothers and grandmothers of participants serve * There has been an overwhelm- as volunteers and, in addition to assisting, share their ingly enthusiastic response from life experiences. the social service agencies. * *

Bobby Winston -Executive Director

131 6 1

Organization: Program: Dance— Organization: Settle- Preschool Arts Enrich- Sarasota Ballet The Next Generation ment Music School ment Program of Florida Year Started: 1 99 416 Queen Street Year Started: 1 990 P.O. Box 49094 Focus: Dance Philadelphia, PA Focus: Multi-

Sarasota, FL 34230 Youth Served: 1 00 19147 disciplinary Arts

94I-3S9-077I Ages: 9- 1 215-336-0400 Youth Served: 60

Budget: $ 1 20,000 Ages: 2-6 Program: Budget: $500,000 Kaleidoscope

Dance The Next Generation provides walking into the rWPH I — ^^K V "Anyone Settlement

full I scholarships in dance for economi- M W\ m Music School would think that this is a cally disadvantaged and/or at-risk chil- ^5M^ regular, high-quality preschool program," dren. Third grade children from "^ ^^ says Director and composer Robert targeted schools are accepted into the program Capanna. In fact, the Program serves South Philadel- annually. Classes are held twice a week initially and phia children who live in a housing project across the increase to three and four times each week as the street from the 87-year-old Music School. One impe- students progress. All children participate in The tus for starting the Program was the fact that the Nutcracker, and older students have small roles in School was empty during the morning hours. Work- such major productions as Sleeping Beauty and Swan ing with a faculty of professional artists with train-

Lake. Using the discipline of dance as a catalyst for ing in early childhood education, six to nine times a behavior modification, the program emphasizes hard week small groups of children go to the arts studios work and confidence building. The program provides to explore concepts that children with opportunities to excel and to experience cut across the arts: pattern, a sense of accomplishment. Many who enter the change, repetition and program with poor grades and discipline problems extremes. They also are develop into honor roll students; four students have taught specific skills, such a 4.0 grade point average. "Perhaps more importantly, as in music: keeping a they develop self-esteem and interpersonal skills steady beat, staying on that help them overcome confrontational situations pitch, recognizing rudi- with their peers and adults, including teachers," says mentary notation and

Jennifer Gemmeke, director of education. Instruction, understanding the proper dancewear, shoes and transportation are provided physical approach to an by the Ballet at no cost to the families. A key service instrument. To reinforce preschool learning, children's of this program is the transportation provided from parents or guardians are required to attend five hour- school to the dance classes. Family participation is long parenting seminars each semester. A 3-year encouraged in Saturday morning workshops, where Program evaluation reveals that children have made such subjects as the history of dance, social etiquette gains in cognitive and language development above and nutrition are taught. The program is held in and beyond those evidenced in a control group of conjunction with the University of South Florida. preschoolers without the arts-enriched curriculum. Students who complete the 7 years successfully are The Settlement Music School also runs an arts in guaranteed scholarships to the University to pursue early childhood teacher training institute and an a degree of their choice. Big Brothers/Big Sisters arts-focused after-school program, as well as a com- provide mentors for the children. prehensive community-based program at five branch locations that serves 7,000 students.

(3) 1 6 "

Organization: Program: Freddie Organization: SHAPE Program: Family 7 Stages Theater Hendricks Youth Community Center Strengthening and

I 105 Euclid Avenue Ensemble of Atlanta 3815 Live Oak Empowerment Program

Atlanta, GA 30307 Year Started: 1 99 Easton, TX 77004 Year Started: 1 969

404-522-091 I Focus: Multi- 713-521-0629 Focus: Multidisciplinary disciplinary Arts Arts & Humanities

Youth Served: 3 I Youth Served: 80

Ages: 7-20 Ages: 5- 1 Budget: $42,000 Budget: $240,000

^^R v Georgia native and theater professional ^^B v ^^^. One of the first programs M WA m Freddie Hendricks started his African- M WA vf ^ developed and implemented ^W^^A ' American youth theater company in ^ A « m W by the SHAPE Community ,^( ^P an effort to engage youth constructively. "^| ^P"" aBv Center was the After-School The Freddie Hendricks Youth Ensemble of Atlanta Program. Created in 1969 as a homework assistance uses theater to help young people explore and express and tutorial activity, the After-School Program has their feelings about the world within them and the become the current Family Strengthening and Em- world around them. Students audition to join the powerment Program (FSEP). This cultural Program

Ensemble, but admission is based on attitude and aims to build self-esteem and pride and to give par- potential, rather than demonstrated talent. Working ticipants the courage and skills to accomplish their at the 7 Stages Theater on Saturdays throughout goals. As part of a strategy to help children and their the year, and on additional days during the summer, families succeed, FSEP offers classes in African participants attend workshops in theater, dance and dance, music, art, crafts, storytelling, dramatic inter- music. Using their own words, young people write a pretation (poetry public speaking, theater arts) and script on such issues as child abuse, drugs and youth foreign languages (including Swahili and other lan- empowerment. The Ensemble tours its play during guages of Africa), as well as African and African- the school year to standing-room-only crowds at American history. Classes are held every day after schools and community venues. "The students are school from 3:15 p.m. to 5:45 p.m. Field trips to art extremely dedicated, and many have stayed with galleries, plays, businesses owned and/or operated the program the entire 5 years it's been in existence," by African Americans and points of interest in the reports Managing Director Debi Frye-Barber. "It was Houston African-American pommunity also are part very emotional for many of them when they had to of the Program. When needed, families receive coun- leave the program to attend college." As a result, the seling services, housing and referrals to other services. youth theater company is training participants in "The Program is helping create more functional fami- management and is encouraging them to study arts lies in which members are able to resolve problems administration or arts law so that they can return better, where kids feel they have support from their and run the Ensemble. parents and are able to participate in school better,

reports Executive Director Deloyd Parker. "Youth are

broadening their worldview and are recognizing

there are things beyond their community to which they can be connected."

P.O.Box 370219 Summer Arts Camp Access Television Year Started: 1 992

Decatur, GA Year Started: 1 979 90 Union Square Focus: Media & Video

30037-0219 Focus: Multidisciplinary Somerville, MA 02 1 43 Youth Served: 80

404-241-2453 Arts & Humanities 6 1 7-628-8826 Ages: 11-18

Youth Served: 1 20 Budget: $72,090 Ages: 5-16 Budget: N/A

^^K V ^^^^ When the Decatur Commu- The Mirror Project, started M 7A mfl ^^ nity Board declared at-risk by media educator Roberto ^Vjfl^ V wM W youth the No. 1 challenge to Arevalo, teaches teenagers '^B ^^ W^^em the community, Soap-stone, how to produce videos a cultural center, responded by developing the After through which to express and reveal the quality of

School Arts Program and Summer Arts Camp their lives. The Project serves low-income, mostly for area elementary and middle school children. In bilingual teens. Each session lasts 4 months. In 1995, the After School Program, students are provided with The Mirror Project took place at Somerville's two transportation from their school. Every student also public housing projects, enabling the program to is provided with homework assistance by a certified reach teens who are most lacking in resources and local teacher. After completing their homework and most in need of attention, development and support. having a snack, students then work with the Soap- Teaching there also integrated the Project into the stone staff in a multidisciplinary arts program. The community. At the start of each session, Arevalo students' final projects are presented to the commu- meets with the participants' families at their homes. nity in a performance and exhibition. Area teenagers Classes take place three times a week and provide can assist instructors and counsel students in the instruction on using a video camera and audio equip- Program. The Summer Arts Camp provides area par- ment and on interviewing and directing. Working ents with a safe and creative place for their children individually with Arevalo, each teen produces a 3- to while they are at work. Its full day of classes offers a 15-minute video. An extra camera documents the more intensive study of the arts and culture than the processes. This footage becomes an edited diary of

After School Program. The Programs at Soapstone the experience for each group of participants. The not only highlight African-American culture, but also Project also conducts field trips to movies and muse- expose children to a variety of international commu- ums. Each session ends with a public screening for nities and customs through performing, visual and the community. The videos are subsequently cable- language arts. Students learn the history of the cus- cast at Somerville Community Access Television toms and arts and discuss current events. Ariel (SCAT). Once teens have passed through the

Williams, the executive director, comments on the program, they receive a diploma and a free SCAT support of the Programs: "Parents see something membership valid until they are age 18. Arevalo also valuable happening in the children's lives and are documents the Project in black-and-white photo- willing to donate their own money and time to see graphs. Using short stories, autobiographies, poetry that the Programs continue." and these photographs, teenagers create an exhibi-

tion for the public screening session. The Mirror Project videos have been featured at national and

international video festivals, and teen-led video

workshops have been held at numerous sites. 9 — 8 1

Organization: Program: Artists Organization: Space Program: Southern Exposure in Education One Eleven City Center Art

40 1 Alabama Street Year Started: 1 989 2409 2nd N. Avenue Year Started: 1 99 San Francisco, CA Focus: Visual Arts Birmingham, AL Focus: Visual Arts 941 10 Youth Served: 450 35203-3809 & Humanities

415-863-2141 Ages: 6- 1 205-328-0553 Youth Served: I 30

Budget: $45,000 Ages: 5- 1

Budget: $ 1 00,000

Southern Exposure's Artists in Educa- City Center Art was started

tion (AIE) program pools community in 1991 by Space One Eleven's resources—artists, students, schools (SOE's) visual artists, who and nonprofit community organizations ran their contemporary art to address contemporary community issues through center out of urban warehouses converted into gal- the visual arts. The program provides opportunities leries and studios. When they noticed neighborhood for students and artists to learn from one another. youth hanging out at one warehouse and asking to

The AIE program takes place after school in day participate, the artists submitted a proposal to a treatment centers, schools and other community- state agency to fund a visual arts program for youth based sites that lack the resources for arts activities. living in the nearby public housing complex. The

"Southern Exposure's Artists in Education program City Center Art after-school program now brings has been tremendously successful in exposing our together groups of 10-15 youth twice a week for students to a wide variety of media within the con- 2 hours in the afternoon. Additionally, an annual text of community activism," notes one site director. 8-week summer camp is held for over 150 children.

Artists go to the sites one to two times a week for Classes are free, but participants must agree to cer-

1- to 3-hour sessions throughout the school year to tain conditions, such as parental and community conduct theme-based programs in photography, mixed involvement. Each class is led by a professional media, videography painting, sculpture and media artist and two artist assistants. The program empha- literacy. Recent youth projects include bus shelter sizes cross-discipline studies and integrates hands- posters, a magazine and photographic documentary on skills, such as painting or sculpture, with visits of life in the Mission District, pinhole photography, to local cultural institutions. During a visit to the found-object sculptures exploring environmentalism Birmingham Museum of Art to see the Ceramics of and recycling and an exploration of media imagery Mexico show, participants learned about the art of and its effect on cultural stereotyping. Programs at different regions of Mexico and discussed ceramic all the sites include field trips and a final project traditions in the United States before creating their such as an exhibition or a student-made magazine. own ceramics. A 5-year commission awarded to the

summer art camp for a mosaic for Birmingham's

Boutwell Auditorium is galvanizing youth and the

community. Participants studied the city's history,

created a model and worked through their ideas with professionals. They are now meeting regularly

with a city planner as they create 20,000 individually made red-clay bricks within a steel infrastructure,

symbolic of the city's former industries.

® 1 1

Organization: SPARC Program: Organization: Street- Youth Media (Social and Public Art Neighborhood Pride Level Video and Live Year Started:

Resource Center) Year Started: 1 976 Wire Youth Media 1992/1995 685 Venice Boulevard Focus: Visual Arts P.O.Box 578336 Focus: Media, Video Venice, CA 9029 Youth Served: 550 Chicago, IL 60637 & Humanities

3 1 0-822-9560, ext. I I Ages: 14-24 312-862-5331 Youth Served: 500 Budget: $303,000 Ages: 5-2 Program: Street-Level Budget: $195,000 Video and Live Wire

For 20 years, SPARC (Social and Public Street-Level Video Art Resource Center) has stood at the and Live Wire forefront of a dynamic public art move- Youth Media ment, creating large-scale murals that (SLV/Live Wire) reflect Los Angeles' diverse ethnic communities. puts the latest communications technology into the

The result is a veritable street gallery that has earned hands of urban youth through courses in documen- the city its title as the "Mural Capital of the World." tary production, computer art and use of the Internet.

The Neighborhood Pride program employs inner-city All classes are free and held at SLY Programs are cre- youth to create murals in troubled neighborhoods ated in collaboration with existing youth centers and across Los Angeles. Working with schools, churches community institutions. Street-Level Video, founded and community service organizations, SPARC meets in 1992, is known for its video training and produc- with local residents to discuss themes and placement tion work with youth. In 1995, a team of media artists of the murals. Young potential participants are identi- and educators came together to form Live Wire Youth fied by teachers, service providers, gang prevention Media, with the belief that urban young people need counselors and SPARC'S community coordinator. to be literate in today's technologies. The organiza-

Artists are chosen by a committee of neighborhood tions recently merged in the hopes of creating a net- representatives, other artists and SPARC associates work of media labs throughout Chicago, bringing through a competitive process. Working with the youth together to share their visions and to rebuild artists over an 8-month period, mural apprentices their communities. Youth are referred to the program receive technical training in wall preparation, design by probation officers, parents, social service agen- application and color mixing, as well as instruction cies or friends who have participated. Current pro- in teamwork and communication skills. This past jects include creation of a video documenting and year, participants from all seven mural sites convened interpreting the history of one of Chicago's most

at SPARC 's historic facility to participate in training diverse neighborhoods for a Chicago Historical Soci-

sessions, to meet each other and the artists and to ety Exhibition. In collaboration with Randoph Street learn about the Mexican mural tradition. With an Gallery, SLV/Live Wire instructors are working with

estimated viewing audience of 1.2 million people youth to produce a video installation on the realities

daily, SPARC murals are recognized both locally and of gang culture. In this project, video is being used nationally as powerful communication vehicles. In as a communication tool to bring rival gang mem-

1995, SPARC co-sponsored a team of young artists bers together on "neutral ground" to address their

whose stylized design, encouraging other youth to differences. SLV/Live Wire can be contacted on its

"Make a You Turn" away from smoking and other self- Web Home Page, http://www.iit.edu/~livewire/. destructive behavior, appeared on 85 billboards throughout the greater Los Angeles region. 1 9

Organization: Program: The Suzuki- Organization: Taller Program: Cultural The Suzuki-Orff Orff School for Young Puertorriqueno Awareness Program

School for Young Musicians 272 1 N. 5th Street (CAP)

Musicians Year Started: 1 98 Philadelphia, PA Year Started: 1 974

I 1 48 W. Chicago Focus: Music 19133 Focus: Multi- Avenue Youth Served: 300 215-423-6320 disciplinary Arts

Chicago, IL 60622 Ages: 1-21 Youth Served: 5 1

312-738-2646 Budget: $380,000 Ages: 8- 1

Budget: $ 1 60,000

^^$^^ Collaborating with a school located in ^^B v Situated in the heart of Philadelphia's ^^>^^ Cabrini-Green, one of the country's most A ! m Latino community, Taller Puertorriqueno m ^p W impoverished public housing communi- ^Q^^^L T is a full-service community center. The ^^3^^ ties, The Suzuki-Orff School for Young '^B ^r Cultural Awareness Program offers a Musicians provides private Suzuki-method lessons wide range of arts programming but focuses primari- in violin, cello, flute, piano and guitar with Orff-method ly on the visual arts. This Program, which runs from group teaching of music theory and note reading 2:30 p.m. to 7:30 p.m. every weekday, attracts children through rhythm and movement activities. The School's from the neighborhood who can walk to the center.

new facility, where classes are taught after school For $1 , students can take 90-minute classes in litera- and on Saturdays, has made the program a stable ture, theater, visual arts or dance. The Saturday pro- community fixture. Students come one or two times gram, which offers classes from 10:00 a.m. to 5:00 p.m., a week and are encouraged to participate in two serves children who cannot get to the center during

17-week sessions and a 6-week summer session. the week. In the summer, a 7-week program is orga- A volunteer group of young professionals, called nized around one theme. During the year, several "Friends," tutors students between music classes. international artists are invited to exhibit their work

One-third of the students attend classes tuition-free, at the Taller Gallery and run 1- to 2-week-long work- and many pay reduced fees, in exchange for which shops for youth who are chosen from the ongoing

The School asks them for a long-term commitment classes. Each year 20-100 students are selected to to The School. Those who show progress can take participate in a year-long project designed to address advanced classes at The School in chamber music, a social issue. Projects have included an AIDS edu- performing orchestra and music composition. cation program in the public schools, using comic

books written and illustrated by Taller youth, and * One-third of the students the creation of educational banners about AIDS. Taller has been able to pay older students who are attend classes tuition-free, and interested in pursuing art as a career to apprentice many pay reduced fees, in ex- with established artists through the Youth Artists change for which The School Program. "We have had an overwhelming response asks them for a long-term from the community," says Johnny Irizarry, director commitment to The School. » » of the center. "The quality of the work is excellent, and parents know that this is a safe place where

their children can explore their abilities."

Organization: Teatro Program: After-School Organization: Program: Latino de Colorado and Community Arts Theater Quest Theater Quest

1 280 Birch Street Program P.O. Box 2559 Year Started: 1 992

Suite 3 1 Year Started: 1 988 Pasadena, CA Focus: Theater

Denver, CO 80222 Focus: Theater 91102-2559 Youth Served: 1 00 303-782-9029 Youth Served: 45 818-449-8761 Ages: 16-20

Ages: 8- 1 Budget: $93,000 Budget: $5,000

In Denver, Spanish-speaking youth In response to riots in Los Angeles,

are producing their own plays through Theater Quest was created to galvanize

the After-School and Community Arts neighborhoods and to give older youth

Program of Teatro Latino de Colorado. a way to channel their talents. Ethnically Anita Arriete-Alejandre, the daughter of migrant and culturally diverse youth meet 5 nights a week, workers, created Teatro to help break down cultural and on Saturdays for 4 hours, to produce a classical

barriers experienced by Latinos and to demystify the play. "Concentrating on classical plays provides a

artistic process. Programs are held in donated spaces, context in which to debate big issues and themes

often in community centers. Twice a week over 16 such as class, race, love and suicide," says Artistic weeks, 15 to 30 students meet for 2 hours to deter- Director Lauralee Mannes. Teens interview prior to

mine the content and form of the production. Work- joining the program to review their thoughts about

ing with Arriete-Alejandre and an artist/instructor, who they are and what they want to do. Once in the

youth are encouraged to try all aspects of creating program, they can focus on acting or backstage tech-

a production. The productions are presented once nical work. Community volunteers offer assistance

during school hours for classmates and after school with sets, make-up, choreography and acting and

for parents and family. Because of their success in serve as mentors to the young people. Recently, the the Latino community, ArtReach, another nonprofit troupe staged a production of Shakespeare's Romeo

organization, approached Teatro Latino de Colorado and Juliet at The Kennedy Center for the Performing

to help develop similar Spanish-speaking programs in Arts in Washington, DC. "The aim is not to train young

surrounding Denver communities. "These produc- people for the performing arts, but for them to see

tions are about neighborhoods, home and families; that there is another economy that can drive a life

they help the kids dream and create a future. It shows inspiration, imagination and creativity," adds Mannes. the ones with low self-esteem that they are capable of great things," says Arriete-Alejandre. " " Concentrating on classical plays provides a context in which to debate big issues and themes such as class, race, love and suicide. ' * Lauralee Mannes -Artistic Director 8 2 1

Organization: Third Lower East Side Organization: Tim Program: Tim Rollins Street Music School After-School Rollins and Kids of and Kids of Survival Settlement Component Survival (KOS) (KOS)

235 E. I Ith Street Year Started: 1 980 89 1 Garrison Avenue Year Started: 1 98 New York, NY 10003 Focus: Dance & Music Bronx, NY 10457 Focus: Visual Arts

212-777-3240 Youth Served: 250 718-542-5303 Youth Served: 1

Ages: 5- 1 Ages: 10-18 Program: MILES: Music Budget: $80,000 Budget: $42,000 Instruction on the

Third Street Music School Tim Rollins and his Kids of Survival (KOS) Settlement has been serving are in high demand. The President's

poor, minority and immigrant inaugural Committee commissioned a

residents of New York's poster commemorating the 52nd Presi-

Lower East Side for over 100 years. MILES builds dential Inaugural, and National Endowment for the upon school-based programs run by Third Street, pro- Arts Chair Jane Alexander recently visited youth in viding motivated youth with the opportunity to take their New York studio. Rollins' program is based on small group music or dance lessons and to perform. an intensive mentoring relationship with youth, par- Each October, students participating in in-school ticularly those with special-education needs. Through

instruction can apply for the program, which involves rigorous visual arts training, exhibitions and immer-

an application and interview with each child and his sion in world art history, students prepare themselves

or her parents or guardians. Students are then matched for long-term involvement in the arts and education. to an instrument or dance form and begin an 8-month Art studios in the Bronx and Manhattan serve as

program of weekly lessons. Each student performs instruction sites for after-school, weekend and sum-

at least three times over the course of the program, mer programs. Youth attend studio classes as often

with special evenings when MILES students perform as 15 hours each week. Field trips to museums,

for parents and the community. Youth attend faculty galleries and site-specific art projects augment the

recitals and have access to tickets for cultural events classes. Earned income from the sale of participants'

throughout New York City. From 30 percent to 40 work contributes significantly to the program's finan-

percent of the MILES participants continue to attend cial independence. "KOS offers an alternative family the School and take small group or private lessons. format when so often male relationships are relegat-

ed to street gangs," says Rollins. "Our all-male group has a close-knit relationship and the active approval of the community." All of the current KOS young people are completing high school and are preparing

for college. Five former students are now in college, and two have had professional exhibitions. 8

Organization: Toledo Program: Community Organization: Program: Latino Drama Symphony Music Lesson Program Touchstone Theatre Workshop/Youth

2 Maritime Plaza Year Started: 1 988 321 E. 4th Street Ensemble

Toledo, OH 48 1 04 Focus: Music Bethlehem, PA 18015 Year Started:

419-241-1272 Youth Served: 63 6 1 0-867- 1 689 1988/1993 Ages: 10- IS Focus: Theater Budget: $41,000 Youth Served: 36

Ages: 9- 1 Budget: $11,185

^^f^^ When a minority advisory committee ^T^A ^^^ recommended that the Toledo Symphony m m m start a music program for inner-city ^W3^^ children, the Symphony listened. It initiated the Community Music Lesson Program to provide city youth with opportunities to improve self-discipline, self-initiative and teamwork skills through the study of a musical instrument. One-on- one, half-hour classes taught by Symphony members and other professional musicians take place weekly year-round at neighborhood community centers.

"The staff is dedicated not just to rigorous music

instruction, but also to the idea of supporting the Learning about the theater provides kids emotionally and academically," says Orchestra participants of the Touchstone Theatre's Manager John Hancock. Many of the participants are Latino Drama Workshop with a chance referred to the Program by the county juvenile court. to focus their creativity and make con-

Sixty percent of the students have been enrolled in nections with others. Through a 4-week, intensive the Music Lesson Program for 2 or more years; par- summer workshop, participants learn improvisation, ents are reporting improvements in behavior; and scene development, playwriting and music. The minority students are going on to become members Youth Ensemble, a troupe developed from the Work- in junior high and high school orchestras. "This pro- shop, allows participants to develop their acting and

gram has been a blessing for both my daughter and performance skills further. Members of the Ensemble

me. I knew this world of music was out there some- meet daily for 6 weeks, working 3 hours a day, and

where, but I never dreamed we would be a part of it," perform their topical productions at schools and

said the mother of one participant. community centers throughout the region. The

Latino Drama Workshop is run in collaboration with

for Spanish-Speaking Organiza- " I knew this world of music Bethlehem's Council was out there somewhere, but tions. Professional actors run both programs at the Touchstone Theatre. "These programs have created I never dreamed we would be a a sense of community and are a safe place where the » part of it. * teens can let down their street masks," says Artistic -A Participant's Director Mark McKenna. "They bring together an

Mother unlikely group of teenagers who might not normally associate with one another and teach them that they can work together as a group and achieve something." Organization: Tucson- Program: ArtWORKS Organization: Program: Synthesis Pima Arts Council Year Started: 1993 United Action Arts Workshop

240 N. Stone Focus: Visual Arts for Youth (UAY) Year Started: 1 978

Tucson, AZ 85701 Youth Served: 1 57 4 1 Iowa Avenue Focus: Multi-

520-624-0595 Ages: 11-21 Iowa City, I A 52244 disciplinary Arts Budget: $155,000 319-3 38-7518 Youth Served: 1,151 Ages: 12-18 Budget: $325,000

Through ArtWORKS, youth are paid to ^£ v United Action for Youth (UAY) is a work with professional artists to design M vA m drop-in center that offers youth and and construct public art pieces for the vH^flL ' their families a wide variety of counsel- community. Young people work 30 hours "^J ^^ ing services and arts-based prevention per week for 7 weeks during the summer in groups of programs. Youth are referred to UAY primarily by local

10, under the direction of professional artists who are shelters, schools or peers. They choose from a month- as culturally diverse as the Tucson area. Counselors ly calendar of arts activities offered through the Syn- are hired to meet with each group once a week to thesis Arts Workshop. In the Workshop, youth have help prevent and resolve conflicts. Field trips through- access to a state-of-the-art recording studio eguipped out the 7 weeks provide information on career options with a range of musical instruments, video cameras, associated with the hands-on skills being learned. television production equipment and animation and Completed projects include darkroom equipment. Additional classes in ceramics, mosaic tiles for streets, exter- lithography, beading, silk-screening and other art ior and interior murals, forms are offered. Participants produced and aired video productions, public claymation videos and their own television programs education exhibitions through the local public access television station. and computer animation Youth in a drama troupe create and perform situa- projects. These projects tional dramas around topics pertinent to the commu- are an educational bene- nity. To participate in the Workshop, teens must fit to the young people. adhere to four rules: Show positive regard for others; When youth build a pub- don't smoke; don't use drugs; don't play drums before lic art piece and present 5:00 p.m. Says Ginny Naso, associate director of the it to the community, program, "The program has given very troubled youth math, science and langu- the opportunity to have positive interactions with age skills become neces- adults, to have a positive impact on their community sary, not abstract, skills. and to change the negative images adults in Iowa

Some youth who participate for City may have of teens." consecutive summers become program assistants.

Because of the success of ArtWORKS, the Arts Council runs similar programs during the school year, including an after-school multimedia project for middle school youth and 8-week, after-school artists-in-residence programs for younger children in parks and recreation sites. ArtWORKS funding comes from many sources, including the state Highway User Revenue

Funds (HURF) and Tucson's Golf Surcharge for Youth Programs. ® Organization: Program: FENCES Organization: Program: Youth University of New Year Started: 1993 UrbanArts Works/Art Works

Mexico Institute Focus: Media & Video P.O. Box 1 658 Year Started: 1 992 for Public Law Youth Served: 500 Boston, MA 02205 Focus: Multi- 1117 Stanford, NE Ages: 12-19 617-536-2880 disciplinary Arts Albuquerque, NM Budget: $103,000 Youth Served: 50 87131 Ages: 12-18 505-277-5006 Budget: $150,000

FENCES uses television as ^£ v UrbanArts' Youth Works/Art Works is a tool to equip and inspire M WA m helping low-income youth in Boston youth to examine, research tcJ^^^L t revitalize their community through the and address issues important "^ ^^ arts while gaining technical skills in to them and their communities. Produced by teenagers photography, writing, videography and urban design. from over 25 different communities in New Mexico, Participants, referred by Action for Boston Commu-

FENCES is a computer-based interactive television nity Development and paid through the Job Training show that incorporates Saturday Night Live-style skits, Partnership Act, progress through three programs, Oprah-like audience interaction and teen-produced taking on more responsibility and receiving higher video segments. Teens are involved in writing, video wages as they progress. The first level program, the production and editing, graphic development, set Apprenticeship, introduces youth to the arts as a design and construction and as advisory board mem- vehicle for building communities. Meeting 5 days bers, audience participants and performers. The pro- a week for 5 hours a day over 8 weeks in the summer, duction process itself focuses youth discussion on teens photograph their neighborhoods, write poems important topics. During each airing, teens get "on- about their community and themselves, develop line" to comment about the subject matter addressed design ideas for local parks or map their communities. in the television program. After the airings, schools In the second level program, the Arts Internship, youth throughout the state use the programs along with work at least once a week after school with visiting a curriculum guide to discuss issues. The program artists on special projects. Youth in the highest level airs on New Mexico PBS and CBS stations. Past show program, Youth Advisors, are paid for approximately topics have dealt with alcohol abuse, verbal violence, 4 hours per week to generate and work on their own teen/parent communication, cultural stereotyping and projects, to help plan and evaluate programs, to work teen activities. According to Executive Producer as teaching assistants and to assist with administra-

Chris Schueler, "Creating TV is a real motivation for tive activities. Most of these youth have been with kids, and they're very willing to stay within prescrib- the program for 2-3 years. "The kids have changed ed parameters if it means being involved." dramatically over the years; they have become so much more responsible and expansive," exclaims Pam

Greene, director of development. "The young people and the community are directly involved in the direc-

tion of the program, and the artwork is of a very high

quality. They trust us because we always follow

through with projects." Organization: Program: Reality Crew Organization: Program: Read

Venture Theater Year Started: 1 992 Vermont Council on With Me: Teen

43 S. 3rd Street Focus: Theater the Humanities Parent Project

Philadelphia, PA Youth Served: 30 RR I , Box 7287 Year Started: 1 994 19106 Ages: 15-18 Morrisville,VT 05661 Focus: Literature 215-923-2766 Budget: $75,000 802-888-3183 Youth Served: 500 Ages: 1-5; 15-19 Budget: $75,000

An unlikely corps of professionals, Every year about 280 young Vermont

including theater artists with social women give birth before their own 18th work and speech pathology degrees, birthdays. Many have not completed businesses and corporations, actors a high school or have low literacy skills. and costume designers, is working weekly, including Building on the research that links school success to

Saturdays, to help at-risk high school students reach whether one is read to as a child and that shows the their full potentials. Venture Theater's Reality Crew importance of conversation to learning, the Vermont program draws youth from around Philadelphia to Council on the Humanities has developed a series of take part in theater training, from performance to literacy classes using children's literature for teen marketing. Reality Crew meets 8 hours a week at mothers and their children. The Council sets up the the Balch Institute for Ethnic Studies. Theater Read With Me: Teen Parent Project; contracts with professionals teach playwriting, acting, voice and trained scholars, including librarians, teachers and speech, movement, directing, stage management, university professors and others, to conduct the ses- costume design and sound and lights. Corporate sions and contracts with the 12 regional centers of business partners provide business training, often the Vermont Department of Health or local parent- using their own operations for field study. Staff child centers to run the programs. It also selects and counselors help teens begin to prepare for college provides the children's books, which participants get entrance or for careers in theater, while a speech to keep. The Council also is working with home visi- pathologist links their experiences on stage to job tors to extend the Project to teens and their children interview presentation skills. A "think tank" session who may not be able to come to the sites and to rein- on Saturdays is an outlet for the culturally diverse force the importance of effective oral reading to child group of teens to meet and talk about what's on their development among Read With Me participants. This minds. "They like meeting students from all over the Project is only one of the new readers series that the city and having the opportunity to regularly work Vermont Council on the Humanities developed as part together," says Executive Director Betty Lindley. of its Connections program.

* * Building on the research that links school success to whether one is read to as a child...the Vermont Council on the Human- ities has developed a series of literacy classes using children's literature for teen mothers and their children. * * Organization: Program: Peer Organization: Program: The Village Vietnamese Youth Resource Group The Village of of Arts and Humanities

Development Center Year Started: 1 989 Arts and Humanities Year Started: 1 986 330 Ellis Street Focus: Multi- 2544 Germantown Focus: Multidisciplinary San Francisco, CA disciplinary Arts Philadelphia, PA Arts & Humanities 94102 Youth Served: 20 19133 Youth Served: 500 415-771-2600 Ages: 14-17 215-225-7830 Ages: 5-15 Budget: $40,000 Budget: $300,000

^^K v The Peer Resource Group uses the arts ^^K V ^^^. "Using the arts as the 'bone M vA m to address personal development and M vA «fl fe structure,' The Village is vjt^I^ ' community issues among its diverse ^^^lL t^ ^M W burldrng an urban communi- '^B ^r constituency of low-income Vietnamese, ~^^^^ aHT ty where members care for Chinese, Filipino, Cambodian and Laotian refugee each other and are interconnected," explains artist youth who live in San Francisco's inner-city Tender- and Director Lilly Yeh. The Village began as a single loin District. After being interviewed, teens who have public art project in an abandoned lot in North Phil- a special interest in community work meet Monday- adelphia. Encouraged by the interest and assistance Friday from 4:00 p.m. to 6:00 p.m. to identify subjects of people inside and outside the community and led around which to create art pieces. Recent examples by her vision of the possibilities for this inner-city include a video about stereotyping Asian Americans; neighborhood, Yeh co-founded The Village of Arts a theater piece about AIDS; a collection of traditional and Humanities with Stephen Sayer, a builder and ghost stories gathered from Asian-American seniors educator. With the help of neighborhood residents, and ceramics installations in the neighborhood. Youth they renovated an abandoned building next to the always present their work to the public, allowing for lot and established their headquarters there. The discussion and feedback. In addition to creating art, Village's primary programs are in park building, edu- youth volunteer their services. The program serves cation, performance and exhibition and renovation. as a model for other youth service agencies and The Village offers a wide range of after-school and attracts former participants back to serve as group summer arts classes for youth, including modern, leaders and mentors for new generations of South- jazz, African and Caribbean dance; theater; painting east-Asian youth. Participation in the Peer Resource and drawing; ceramics and photography; African-

Group is free and ongoing throughout the year. American history and world culture and an after-

school tutorial program. At community festivals and The program serves as a model at conferences, as well as at The University of the Arts and The Drake Theatre, youth in the programs for other youth service agencies display their talents. With support from the govern- and attracts former participants ment and private foundations, The Village's building back to serve as group leaders and renovation program brings Village artists, The and mentors for new generations Village's construction crew and residents together to of Southeast-Asian youth. * * build and restore decrepit buildings and abandoned lots. Park building projects include large mosaic sculptures surrounded by gardens and pathways. 6 2

Organization: Program: Project Organization: Program: Young at Arts

Wajumbe Cultural ACE (Academic and The Wang Center for Year Started: 1 988 Institution, Inc. Cultural Enrichment) the Performing Arts Focus: Multi-

762 Fulton Street Year Started: 1 993 270 Tremont Street disciplinary Arts

San Francisco, CA Focus: Multidisciplinary Boston, MA 02 1 1 Youth Served: 1,100

94102 Arts & Humanities 6 1 7-482-9393, ext. 2 1 Ages: 12-18 415-563-3519 Youth Served: 100 Budget: $422,000

Ages: 6- 1 3 Budget: $200,000

^£ v ^^^^ The Wajumbe Cultural Insti- ^^R v The Wang Center's Young at Arts pro- M vA vfl ^ tution, Inc. has launched a M 7A m gram has transformed this audience- V^^^k * ^M W Pilot program that serves v^^tL f orren ted performance institution into "^B ^^ h^^bv low-income neighborhood ^J ^^ a center for education and community

families and foster families throughout San Francisco. development serving youth from all backgrounds and

Project ACE's (Academic and Cultural Enrichment) from Boston's diverse neighborhoods. Young at Arts

intensive lineup of classes are offered year-round, offers more than a dozen programs in performing,

5 days a week for 4 to 8 hours, with extra sessions literary, visual and musical arts. These programs available on Saturdays. The children are provided encourage youth to take advantage of the Wang

with positive male role models, with a majority of Center by offering tours of the historic building, pro-

African-American male instructors. Each session viding professional development services and free

includes homework assistance and tutorials as well transportation to events, forming partnerships with

as a variety of cultural activities, including Congolese neighborhood organiza-

dance and music; Capoeira, an African-Brazilian tions and offering free

dance; poetry; vocal music; visual arts and storytelling. tickets to those who are

Other sessions offer field trips, computer literacy train- unable to afford the Broad-

ing, math studies, African-American history or career way, dance, music and

. orientation for older children. Health screenings are other professional perfor-

conducted at least twice a year. Parents are involved mances on the Center's

in family days, in workshops with presenters on vari- stages. The Drama Club has had the most success in

ous issues, through committees and as volunteers. engaging at-risk youth. The Club is a series of weekly,

"Parents feel Project ACE is an extension of their after-school theater, music, voice and movement work-

families. A lot of the barriers they face with public shops led by Wang Center theater professionals. Work- school bureaucracies are not there. They're trusting shop participants are interviewed prior to becoming

of Wajumbe's efforts, and that brings them closer to members of the Drama Club, which stages student- the program," says Executive Director Nontsizi Cayou. written material. Members also receive help prepar-

ing for professional auditions and writing resumes and can participate in Camp Kieve, a leadership institute in New Hampshire. "The Drama Club increas-

es young people's abilities to interpret contemporary

social issues and their emotions," points out Associate

Director Cathy Chun. "It opens a dialogue between students from and within diverse communities." Organization: Program: Experimental Organization: Wolf Learning Through Washington State Gallery: Arts Program Trap Foundation for the Arts Historical Society, for Incarcerated Youth the Performing Arts Year Started: 1981

Capital Museum Year Started: 1 992 1 624 Trap Road Focus: Multi-

21 I W. 21st Avenue Focus: Multi- Vienna, VA 22182 disciplinary Arts

Olympia, WA 98501 disciplinary Arts 703-255-1933 Youth Served: 1 1,500 360-753-1998 Youth Served: 700 Ages: 3-5 Program: Wolf Trap Ages: 10-19 Budget: $800,000 Institute for Early Budget: $ 1 08,000

^^K v The Experimental Gallery was founded ^gt v The Wolf Trap Institute for Early Learn- M vA m at the Washington State Capital Muse- M EA m ing Through the Arts teaches preschool

v^^^k um > a branch of the Washington State v^^^k children basic academic and life skills "^B ^^ Historical Society, in 1992 to provide '^ W^ through participation in performing arts learning opportunities for youth experiencing prob- activities and trains their classroom teachers, through lems in their lives. The goal of the Gallery is to teach practical applications, to use the performing arts in responsible citizenship through the arts and the education. Prior to the beginning of each 7-week class humanities. The Gallery developed the Arts Program residency, the Wolf Trap artist meets with the teacher for Incarcerated Youth in partnership with the Wash- to design a curriculum that addresses the needs of ington State Department of Social and Health Ser- the particular group of children and the teacher. The vices and the Juvenile Rehabilitation Administration. Wolf Trap artist goes into the classroom twice a week

Youth in six juvenile detention facilities voluntarily for 45-minute sessions and leads performing arts- take part in the 1-year to 18-month Arts Program, based activities that are designed around an academic developed to conceptualize and mount a traveling or social theme. In the seventh week, the classroom exhibition. The youth choose the themes and manage teacher designs, plans and teaches the last two

lessons with guidance from the artist. Every 3 years,

the Wolf Trap Foundation hosts a national artists

conference for the artists who work in 1 regional Wolf Trap programs across the country and holds

professional development workshops for teachers in

local communities. "Funders are really beginning to understand how the program impacts the lives of

children and adults," explains Miriam Flaherty, di-

rector of the Institute. "Learning Through the Arts helps the children develop effective cognitive and

social skills." For instance, in Prince George's County

in Maryland, the Public Schools Extended Elementary the process. Community arts professionals, including Education Program, the Head Start Program and the

curators, visual artists, videographers and writers, as Special Education Preschool Program, which work with

well as graphic designers and carpenters, serve in a children 3-5 years old who are from low socioeconomic

consulting capacity to provide expertise and guidance. families and/or have low test scores, have participated

The Program pairs recently released youth with artist/ in the Wolf Trap Foundation program. Nationwide,

mentors in their home communities. The Washington sites include public schools, Head Start preschool pro- State Historical Society, Capital Museum will be devel- grams and private child development centers. oping a museum school in one of the maximum secu-

rity facilities over the coming year. 1 1

Organization: Working Program: Working Organization: Yakima Program: Yakima Classroom, Inc. Classroom, Inc. Academy of the Arts Academy of the Arts

2 1 2 Gold, SW Year Started: 1 987 309 Union Street Year Started: 1 989 Albuquerque, NM Focus: Multi- Yakima, WA 9890 Focus: Multi- 87102 disciplinary Arts 509-457-1060 disciplinary Arts 505-242-9267 Youth Served: 85 Youth Served: 350 Ages: 9-2 Ages: 1-21 Budget: $175,000 Budget: $20,000

^^K v Working Classroom, Inc. is dedicated to ^^K v The Yakima Academy of the Arts pro- M vA m promoting self-esteem and the artistic, M VA M vides minority youth with a welcoming F^^^ academic and leadership; potential of ^^^L t space in which creativity is fostered

"^J ^^ youth. It offers visual arts, theater and *^( ^^ and the fear of failure is removed. Class- creative-writing workshops for "historically ignored" es in folk and tap dance, visual arts, voice and music inner-city communities in Albuquerque and encour- meet 4 days a week for VA hours. Children become ages youth to apply their talents to community aware of the creative abilities they possess and devel- development and social change. Year-round visual op employment skills. Participants spend another 3% arts and drama workshops, which run for 6-8 weeks hours at the Yakima Public Housing Authority com- and are taught in both Spanish and English, are munity center, joining a variety of drop-in activities offered free-of-charge to low-income students and that include use of the center's library of classic films. adults. Community projects have included tile and "The program touches the lives of young people in painted murals; The Rubber Band, a tragicomedy many ways," says Program Director Maud Scott. "It about AIDS, which took 2 years to prepare; and pro- provides more than just arts education. In many cases, duction of a line of printed holiday cards. Working it gives youth the opportunity to see and experience

Classroom is member-based, although workshops things they otherwise would not come in contact are open to everyone. Membership is free and based with. The program provides a safety net for its parti- on "points," which are earned through attending cipants." Scott reports that the staff is very commit-

Working Classroom's after-school tutoring program, ted to maintaining the program, even when there is attending cultural and artistic events, achieving a no funding. The participants are committed as well; grade point average of at least 3.0, donating time to some of them have reached the point where they Working Classroom or other community organizations have become teachers in the program. and participating in social action activities or cam- paigns. Those who earn 200 points receive general * " The program touches the membership and can both vote for and be on the lives of young people in many Board of Directors (40 percent of whom are students). ways. It provides more than just Those who earn 500 points are eligible for VIP membership, full college scholarships and priority consid- arts education.... [I] t gives youth eration for paid employment, travel (sometimes to the opportunity to see and experi- Central America) and other special opportunities. ence things they otherwise would not come in contact with. * *

Maud Scott -Program Director Organization: Program: The National Organization: Young Program: Young YMCA of the USA Writers Voice Project Aspirations/Young Aspirations/Young

The West Side YMCA Year Started: 1 990 Artists (YA/YA) Artists (YA/YA) 5 W. 63 rd Street Focus: Creative 628 Baronne Street Year Started: 1 988 New York, NY 10023 Writing & Humanities New Orleans, LA Focus: Visual Arts 212-875-4123 Youth Served: 26,000 70113 Youth Served: 3 5 Ages: 3-18 504-529-3306 Ages: 15-21 Budget: N/A Budget: $426,000

I Vj " ^^^^ YMCAs are being reinvented ^ ^^Sfl fe as cultural organizations, •V ^1 v d W giving a voice to children WRti^SA aAf and youth through the arts and humanities. For the first time in its 150-year history, the arts and humanities have a central place in the goals and mission of the YMCA. This national effort was started at a local Y in 1990 by Jason Shin- der, who offered a program based on writing, reading and critical thinking. There are presently 13 local

YMCAs offering year-round programs as part of The

National Writers Voice Project. They are in Scottsdale,

AZ; Oakland, CA; Fairfield, CT; Tampa, FL; Chicago, Artistically talented inner-city youth

IL; Lexington, KY; Detroit, MI; Minneapolis, MN; are learning the business side of art Chesterfield, MO; Billings, MT; Bay Shore, NY; New through Young Aspirations/Young

York, NY; Silver Bay, NY. Based on community needs Artists (YA/YA). Created for talented assessments, the sites offer a wide array of opportun- youth who attend a local vocational high school, ities, including writing workshops that address social YA/YA partners youth with commercial art instruc- themes, family history projects, public readings in tors for individual instruction in woodworking, paint- which the authors are introduced by children, poetry ing, design and fabric painting. The students come writing, magazine production and comic book writing. every day after school and on weekends to work on

Satellite programs involve many other Ys, too. For large projects and single commissions. They learn example, in Albuquerque, New Mexico, "Poetry Gangs" life and professional skills in a required weekly class are being organized with local gang members; in where they study subjects ranging from conflict res- Sheridan, Wyoming, 500 participants attend a sum- olution to resume writing and portfolio development. mer writing camp. Writers Voice Executive Director YA/YA produces traveling exhibits and art shows. Shinder says, "You can do anything through the use A committee of three students and two adult staff of literature." determine job and travel (domestic and international)

assignments for youth. Gerri Hobody, assistant sec- II You can do anything retary of the Office of Cultural Development for the State of Louisiana, notes, "YA/YA is an exemplary through the use of literature. ii program that demonstrates the usefulness of the

Jason Shinder arts in developing job training programs for youth.

-Executive Director It expands our potential work force for the arts indus-

try while addressing some of the problems that plague our urban areas." 1

Organization: Young Program: Orchestra Organization: Youth Program: Audiences of Indiana Training Program Communications New Expression

3050 N. Meridian Year Started: 1993 70 E. Lake Street Year Started: 1 977 Street Focus: Music Chicago, IL 6060 Focus: Creative Indianapolis, IN 46208 Youth Served: 25 3 12-641-6397 Writing, Design 317-925-4043 Ages: 13-18 & Media

Budget: $ 1 6,400 Youth Served: 95 Ages: 13-19 Budget: $320,000

^^f^^ Young Audiences chapters across Youth Communi- ^P^fl^ the country are well known for provid- cations trains m ^w W in 9 daytime educational performing minority teens ^^3^^ arts programs for school children. But from low-income when Young Audiences of Indiana perceived a need families in writing, photography and illustration as to bolster the public schools' string instruction pro- they produce New Expression, a teen newspaper. gram and to reach at-risk youth, a summer music Published nine times a year, the paper has a circula- instruction program was created in seven distress- tion of 80,000 and reaches youth in public schools ed Indianapolis neighborhoods using City Incentive city-wide. Students entering the program receive

Funds. Initially, students met 3 days a week for 3 hours an orientation that prepares them to write opinion for small group lessons and ensemble practice at and feature stories. Teams of student reporters are local universities, churches and a community center. assigned to various desks: creative writing, graphic

At the end of 6 weeks, the ensemble presented a con- design, photography, college/career, school affairs, cert. The first grant was extended to permit Saturday health, sports, entertainment or editorial. If students sessions during the school year. Subsequent funding desire, they can cross over to other desks. At biweekly was provided by Thomson Consumer Electronics. staff meetings, students get updates on stories for The program now provides an intensive summer future issues and hear presentations by professional camp, designed to solve transportation problems and journalists and other guest speakers. An advisory provide opportunities for youth of different musical panel of journalists and youth service professionals levels to work together. In addition, Young Audiences assists in planning and evaluation. The paper is pro- runs a 9-month program offering individual lessons duced with desktop publishing at the Youth Com- after school at individual schools. "We are dealing munications facility, which also has a photography with students who have other problems in their lives, darkroom for student use. Participants receive free who have little constancy," explains Executive Direc- transportation and become eligible for salaried posi- tor Anna White. "The program focuses on the partic- tions. The paper includes monthly lesson plans and ular needs of the students, providing them with an exercises created to stimulate writing and incentive to excel and to work hard and see the discussion among student readers. results of their hard work." Organization: Youth Program: Organization: Program: Youth Development, Inc. Teatro Consejo Youth in Focus in Focus

6301 Central, NW Year Started: 1 978 1 102 36th Avenue Year Started: 1 994

Albuquerque, NM Focus: Multi- Seattle, WA 98 1 22 Focus: Photography 87105 disciplinary Arts 206-324-4814 Youth Served: 30 50S-83I-6038 Youth Served: 3 5 Ages: 13-17 Ages: 12-20 Budget: $30,000 Budget: $80,000

^^K V Youth Development, Inc. (YDI) opened Walter Bodle, an inner-city school M vA » as an outreach organization for teen teacher for more than 30 years, started ^VjfllL dropouts in the Albuquerque metropoli- Youth in Focus (YIF) to broaden youths' "^..^^ tan area. Today YDI offers a comprehen- vision through photography and to give sive program. YDI services include a crisis shelter, them tools for changing their lives. Under the auspices group homes, residential treatment centers, youth of the Photographic Center School, YIF has built employment programs, alternative education pro- partnerships with several community organizations, grams, health education programs and school-to-work including the American Indian Heritage School and transition programs. In the midst of these services, the Seattle Parks and Recreation Department. Youth

Teatro Consejo provides an artistic forum for self- recruited from alternative public schools, social ser- expression through theater-based activities, including vice agencies and community youth organizations creative writing, acting, dance, stage production, take part in a 10-week summer program that focuses lighting, sound, costume design, puppetry and music. on capturing the strengths of teen culture and com- Youth and theater professionals meet at least three munities through black-and-white photography. Pro- times a week for 3 hours during the school year and fessional photographers and serious amateurs meet continue in the summer on an even more rigorous with teens twice a week for 2 hours to teach them schedule. The core group of approximately 35 youth how to shoot, develop and print photographs. Cam- who comprise the troupe reach 25,000 people through eras are provided for the duration of the course. performances at schools, community centers and Youth can re-enroll and are encouraged to maintain community events. "The program is a source of ener- a relationship with their artist/mentor. Local galleries gy for the community. And it has helped destigma- host group exhibitions of students' work at the end tize these kids," says Executive Director Chris Baca. of the session. These exhibitions give visibility to YDFs 300-seat theater serves as a community gath- some of Seattle's most marginalized youth. Images ering space and a performance venue for continually from the most recent YIF exhibition can be seen on sold-out performances. the YIF Web Page, http://yif.netquest.net/.

" The program is a source of energy for the community. And it has helped destigmatize these kids. * » Chris Baca -Executive Director Organization: Program: Radio Organization: Youth Program: Summer Youth Radio Broadcast Skills Service Project, Inc. Employment Program

1925 Martin Luther Training Program 3942 W. North Year Started: 1 975

King, Jr. Way Year Started: 1 992 Avenue Focus: Visual Arts Berkeley, CA 94704 Focus: Media Chicago, IL 60608 Youth Served: 10

510-841-5123 Youth Served: 1 50 3 1 2-772-6270 Ages: 16-21 Ages: 12-24 Budget: $25,000 Budget: $200,000

^^^ Youth Radio is a multicultural media Each summer for the past 20 years, ^C-^^b training program that is changing the professional artists and small groups "^ T image of youth and, through interaction of teens have teamed up to create site- ^^SL^v with audiences, the image youth have specific murals in the Humboldt Park of themselves. Chosen through a competitive applica- neighborhood of Chicago. Youth and artists work on tion process that emphasizes participation by those the design and then get suggestions from area resi- traditionally shut out of the best jobs in the indus- dents. Next, the team makes a small-scale model try—low-income youth, girls and minorities—parti- to decide on color, materials and construction tech- cipants are offered intensive, hands-on classes in nigues. Originally, the young artists painted the murals. studio operations, on-air announcing, music program- Currently, they are creating tile mosaic and sculpted ming and news reporting, writing and editing. All murals that represent the communities they decorate. classes are taught by industry professionals and peer Calling Forth the Spirit of Peace, Positive Moves in teachers. "Youth teaching youth is an important the Game of Life, and Es Tiempo De Recordar are aspect of what we do," says Executive Director Ellin just a few of the murals created over the past summers.

O'Leary "It really pays Teens work up to 5 hours every day for 8 weeks and off because kids con- are paid through the city youth employment program. nect with their peer The expertise of the artists, with technical assis- teachers." The program tance from local construction and tile companies, is meets twice a week helping participants gain skills in math, measuring after school and on Fri- and drafting and is demonstrating to the youth that days at both the Youth they can effect change. "The murals have changed

Radio studios and at the neighborhoods' perspectives of the kids," remarks rent-ed studios. In 3- Executive Director Nancy Abbate. "These projects month school-to-work show them they have a lot to contribute and allow segments, teens hold them to be a demonstrative part of the community." internships at area stations. The production team airs The Youth Service Project, Inc., a social service a weekly training program, a weekly commercial sta- agency, also runs a wide range of bilingual and tion program and commentaries on National Public bicultural education, job readiness and counseling Radio. The experienced producers also have an programs that reach more than 3,000 young people

opportunity to join a statewide violence prevention each year. Throughout the year, youth visit Chicago program, through which they become involved in cultural institutions and actively participate in arts

media advocacy. "The commitment from the profes- and humanities programs throughout the city.

sionals at media outlets is very important to the program," says O'Leary. "They're helping participants

gain career skills and focus in their lives." ® 8

Organization: Zohco Program: 4000 Middlefield Road IndepenDANCE and Palo Alto, CA 94303 Step-Upi

415-494-8221 Year Started: 1 986 Focus: Dance Youth Served: 300

Ages: 6- 1 Budget: $90,000

IndepenDANCE provides free dance r^PH I

vfl I classes at specific public schools and Boys and Girls Clubs in several Bay Area

communities. The program offers youth twice-weekly classes throughout the school year, participation in master classes and workshops and performance opportunities. Students may travel to the Zohco studio to take additional classes and audi-

tion for Step-Up , a that offers ! program IndepenDANCE veterans more intensive dance instruction and performance experience. All participants receive instruction in a variety of dance styles and are encouraged to experiment in choreography. A funder's report found that participants have improved their grades, attendance and self-esteem. Ehud Krauss, founder of Zohco, states that he doesn't have illusions about turning all the members of his company into professionals. "Most will pass through, and if they put in the time, they will gain the self-confidence that allows them to succeed in whatever field they choose."

Appendix

State-by-State Index

essment

Notes

Acknowledgments

I State-by-State City Hearts: Kids Say Yes to Plaza de la Raza: The School of Teatro Latino de Colorado: the Arts: The Early Years, Performing and Visual Arts, Index After-School and Community Sentenced to the Stage, 126 Arts Program, 138

Youth Arts Diversion, From Precita Eyes Mural Arts Center: Connecticut Alabama Gangs to the Stage, 70 Urban Youth Arts and The Artists Collective, Inc., 48 Space One Eleven: Cornerstone Theater Company: Mural Workshops, 127 Neighborhood Music School: City Center Art, 135 Community Collaborations, La Quinta Arts Foundation: Hill Outreach Program, 118 76 Youth Art Works Educational Arizona Sankofa Kuumba Cultural Arts DrawBridge: An Arts Program Outreach Program, 128 Tucson-Pima Arts Council: Consortium: After-School and for Homeless Children: Art Sacramento Metropolitan Arts ArtWORKS, 141 Summer Arts Program, 131 Groups, DrawBridge School Commission: Late Night

Arkansas Education Project, Traveling Sacramento, 129 District of Columbia

Arkansas Arts Center Art Exhibit, 81 San Diego Symphony African Heritage Dancers and

Museum: Museum School: East Bay Center for the Community Music Center, Drummers, 43

Outreach Programs, 47 Performing Arts, 82 130 Andrew Cacho African

ComerStone Project, Inc.: Eco-Rap: Eco-Rap After-School San Francisco Arts Drummers and Dancers, Inc.:

Creative Expressions, 75 Workshops, 82 Commission: WritersCorps, In-School and After-School

Friends of Photography: 130 Program, 45 California Ansel Adams Center for San Francisco Shakespeare Arena Stage: Living Stage American Indian Photography/Education: Festival: Midnight Theatre Company, 46 Contemporary Arts: In Our Partnership and Community Shakespeare, 131 Corcoran School of Art: Own Words, 44 Outreach, 89 Southern Exposure: Corcoran Art Mentorship Armory Center for the Arts: Fringe Benefits, 89 Artists in Education, 135 Program, 75 High School After-School Greater Golden Hill Community SPARC (Social and Public Art Everyday Theater, Inc.: Program, 47 Development Corporation: Resource Center): Everyday Theater Youth ARTScorpsLA (The Art Army): After-School Cultural Club, 91 Neighborhood Pride, 136 Ensemble, 85 La Tierra de la Culebra, 51 The Hills Project: The Hills Theater Quest, 138 Humanities Council of Bayview Opera House: Project After-School Program, Vietnamese Youth Development Washington, DC: City Lights, Community Recording 95 Center: Peer Resource Group, 95 Studio, 55 Inner City Cultural Center, 97 144 The John F. Kennedy Center for Brava! for Women in the Arts: Japantown Art and Media Wajumbe Cultural Institution, the Performing Arts: The Drama Divas, 59 Workshop, 99 Inc.: Project ACE (Academic Kennedy Center/Dance California College of Arts and KALA Institute: Latin and Cultural Enrichment), Theatre of Harlem (DTH) Crafts: T.E.A.M., 61 American Workshop, 100 145 Community Dance California Lawyers for the Arts: Living Literature Colors United, Youth Radio: Radio Broadcast Residency, 99 Arts and Community 107 Skills Training Program, 151 Latin American Youth Center: Development Project, 61 Lula Washington Contemporary Zohco: IndepenDANCE and Arts for Prevention and California Museum of Science Dance Foundation: I Do Step-Up!, 152 Development, 103 and Industry: Avalon Dance Not Drugs, 109 Levine School of Music: Gardens Curators Kids Club, Colorado The Mexican Museum: Public Housing Orchestra, 106 62 The Cleo Parker Robinson Street SmArt, 112 Central City Hospitality House: Dance Theatre: Project Self Florida Oakland Youth Chorus, 121 Youth Program, 64 Discovery, 72 Bakehouse Art Complex: Pacific News Service: YO! Bakehouse Children's Art (Youth Outlook), 123 Workshop, 54

Previous page: MERIT Music Program of Chicago Boys and Girls Clubs of Chicago Public Art Group Iowa Community Adolescent

Broward County: Creative (CPAG): Youth Training, 66 United Action for Youth (UAY): Resource and Education

Arts Unit, 58 Community Television Synthesis Arts Workshop, 141 Center (CARE): Teen

City of Fort Myers: STARS Network: After School Program, Resource Project, 73 Kansas Program—Success Through 74 Federated Dorchester Lawrence Arts Center: Academic and Recreational Demicco Youth Services: Neighborhood Houses, Inc.: First Step Dance, 105 Support, 71 Northern Horizon Cultural Art Express, 86

Fourth Avenue Cultural Arts Program, 79 Kentucky Inquilinos Boricuas en Accion,

Enrichment (FACE), 88 Department of Cultural Affairs: Administrative Office of the IBA-ETC: AREYTO Cultural

M Ensemble Company, Inc.: GaUery 37, 80 Courts/Juvenile Services: Awareness Program, Video

Summer Youth Employment Free Street: TeenStreet, 88 Theater in Diversion, 43 Training Program, 97

in the Arts and Life Hyde Park Art Center: Appalshop: Appalshop Media The Institute of Contemporary

Enrichment, 111 Gallery, Classes and Outreach Institute, 46 Art: DocentTeens Program, 98

OneArt: Kids Off Streets, 122 Program, 96 Kentucky Humanities Council: ROCA, Inc.: ROCA Chelsea,

Sarasota Ballet of Florida: Katherine Dunham Centers for New Books for New Readers, ROCA Revere, 129 Dance—The Next Generation, Arts and Humanities: 102 Somerville Community Access

132 Katherine Dunham Museum's Television: The Mirror Project, Louisiana Children's Workshop, 102 134 Georgia Arts Council of New Orleans: Marwen Foundation: UrbanArts: Youth Works/ Georgia Museum of Art: Urban Arts Training Program, Community Partnership, Art Works, 142 ArtReach, 90 52 Studio Program, College The Wang Center for the Macon Neighborhood Arts, Louisiana Endowment for the Career Program, 110 Performing Arts: Young at Inc.: Inner Voices, 109 Humanities: Prime Time MERIT Music Program of Arts, 145 Moving in the Spirit: Stepping Family Reading Time, 108 Chicago, 111 Stones, Apprentice Corpora- Young Aspirations/Young Michigan The People's Music School, 125 tion Outreach, 116 Artists (YA/YA), 148 City of Kalamazoo Department Street-Level Video and Live 7 Stages Theater: Freddie of Recreation, Leisure and Wire Youth Media, 136 Maryland Hendricks Youth Ensemble of Cultural Services: Fine Arts The Suzuki-Orff School for Baltimore City Life Museums: Atlanta, 133 Skills Enhancement Program, Young Musicians, 137 Jonestown Community Photo Soapstone: After School Arts 71 Youth Communications: Documentation Project and Program/Summer Arts Camp, Mosaic Youth Theatre of New Expression, 149 Neighborhood Kids Mural 134 Detroit: Youth Ensemble, 115 Youth Service Project, Inc.: Project, 54

Illinois Summer Employment Cultural Arts Institute: Minnesota

Beacon Street Gallery and Program, 151 After-School Program, 76 American Variety Theatre

Theatre: Art Jobs and Company: American Variety Indiana Massachusetts Cultural Heritage Programs, Theatre Company 4-H, 45 Children's Museum of Artists for Humanity: City 55 The City, Inc., 69 Indianapolis: Neighbors' Teens Design Company, 49 Boulevard Arts Center: KTCA-TV: "Don't Believe the Program, 68 Arts in Progress: ACT IT OUT Employment Training Hype," 103 Evansville Housing Authority: Peer Performers, 52 Program in the Arts, 56 Minneapolis Institute of Arts: Dance Awareness, 84 Children's Museum at Holyoke, Chicago Children's Choir: Art Team, 114 Indianapolis Art Center: Inc.: Museum Adventure In-School, After-School and ArtReach Program, 96 Club, Junior Volunteers, Concert Choir Programs, 66 Young Audiences of Indiana: Junior Leadership Incentive

Orchestra Training Program, Program, 68 149

e Mississippi University of New Mexico Henry Street Settlement: North Carolina

Delta Blues Education Fund: Institute for Public Law: Abrons Art Center Youth The ArtsCenter: Carr Court

Delta Blues Education FENCES, 142 Programs, 94 Community Center Artist

Program, 78 Working Classroom, Inc., 147 Jamaica Center for the Residency Project, 50

Youth Development, Inc.: Performing and Visual Arts, Community School of the Arts: Missouri Teatro Consejo, 150 Inc.: Youth Leadership The Neighborhood Arts Center of Contemporary Arts Development and Violence Program, 74 (COCA): Arts Connection, 63 New York Prevention Program, 98 MOTHEREAD, Inc., 116 Guadalupe Center, Inc.: Art in General: Summer The Leonard Davis Center for El Grupo Folklorico Atotonilco, Program With Project Reach, Ohio the Arts of The City College 92 48 Arts Commission of Greater of New York: The City Kansas City Friends of Alvin The Boys Choir of Harlem, 58 Toledo: Young Artists at Work College Art Institute, 105 Alley: AileyCamp, 101 Bronx Dance Theatre, 60 (YAAW), 50 Lincoln Center Theater: Open Opera Theatre of St. Louis: The Brooklyn Children's The Cleveland Music School Stages—The Urban Ensemble, Artists-in-Training, 122 Museum: Museum Team, 60 Settlement: Extension 107 PAKT—Parishes Associated Carlota Santana Spanish Dance Department: Teens in Metropolitan School for the on Kinloch Team, Inc.: Company: Bronx Project, 62 Training, 72 Arts: United In Hope, 112 Color Me Bright, 124 Chautauqua Alcoholism and Cleveland School of the Arts: Mill Street Loft Multi-Arts Substance Abuse Council Youth At Risk Dancing, 73 Nevada Educational Center: (CASAC): Awareness Theatre, Cultural Center for the Arts: Lied Discovery Children's Project ABLE, 113 — 65 Children's Art Connection, 77 Museum: YouthALIVE ! Mind-Builders Creative Arts The Children's Aid Society: Greater Columbus Arts Council: YouthWorks/ArtSmarts, 106 Center: After-School Literacy The Children's Aid Society Children of the Future, 90 Nevada School of the Arts: Through the Arts, 114 Chorus, 67 Karamu House: Summer Las Vegas Children's Choir, MollyOlga Neighborhood The Children's Art Carnival, 67 Scholar Program, 101 119 Art Classes: Tuition-Free The CityKids Foundation: The Ohio Arts Council: Coordinated Sequential Instruction, 115 New Hampshire CityKids Repertory, 70 Arts Program, 121 El Museo del Barrio: Alliance for the Progress of The Dance Ring DBA New York Toledo Symphony: Community The Caring Program, 117 Hispanic Americans: ALPHA Theatre Ballet: Project LIFT, Music Lesson Program, 140 New York State Museum: New TEEN Theater, 44 78 York State Museum Club, 120 Oklahoma New Hampshire State Library: The Door—A Center of El Puente: Leadership Center, The Greenwood Cultural Connections: The New Alternatives, Inc.: Creative 127 Center: Summer Arts Hampshire Reading Project, Arts Program, 80 Rheedlen Centers for Children Program, 91 119 Educational Video Center: and Families, Rise & Shine High School Documentary Pennsylvania New Jersey Productions: The Real Deal, Workshop, 83 Artists Raising the New Jersey Council for the 128 Elders Share the Arts: Living Consciousness of Humanity Humanities: People and Third Street Music School History Program, 84 (ARCH) Productions: Stories/Gente y Cuentos, 120 Settlement: MILES: Music The 52nd Street Project, 86 CityKids Program, 49 Instruction on the Lower East New Mexico Fools Company: Artsworker Asian Americans United: Side After-School Component, Center for Contemporary Arts Apprentices, 87 Asian American Youth 139 of Santa Fe: Teen Project, 63 Harlem School of the Arts: Workshop, 53 Tim Rollins and Kids of The Guilds of the Santa Fe The Bridge Program, 93 Survival (KOS), 139 Opera: Pueblo Opera Program, Harlem Textile Works, Ltd., 94 YMCA of the USA: The National 93 Writers Voice Project, 148 Asociacion de Musicos Latino Tennessee Vermont Council on the

Americanos (AMLA): Boys and Girls Club of Humanities: Read With Me:

AMLA Latin Music School, Morristown: Challengers Art Teen Parent Project, 143

53 and Music, 57 Virginia Boys and Girls Club of Easton: Edgehill Center, Inc.: PAVE Wolf Trap Foundation for the Smart Moves Players Theater WAY (Preventive Arts and Performing Arts: Wolf Trap Arts Ensemble, 57 Video From Edgehill With Institute for Early Learning Brandywine Workshop: Artists and Youth), 83 Through the Arts, 146 Philly Panache, 59 Texas Manchester Craftsmen's Guild: Washington Arts Council of Fort Worth Arts Apprenticeship Training El Centro de la Raza: and Tarrant County: Program, 110 The Hope for Youth, 64 Neighborhood Arts Program, Pennsylvania Prison Society: The Children's Museum: 51 Arts and Humanities Rainier Vista Arts Program, 69 Believe In Me, 56 Program—Youth Arts Program, Ewajo Dance Workshop: Dallas Parks and Recreation 124 After-School Program, 85 Department: Juvenile Gang The People's Light and Pacific Northwest Ballet: Prevention Program, 77 Theater Company: New DanceChance, 123 Department of Arts and Cultural Voices Ensemble, 125 Washington State Historical Affairs: Urban smARTS, 79 Pittsburgh Playback Theatre: Society, Capital Museum: Dougherty Arts Center: Hosanna House, 126 Experimental Gallery: Youth at Arts: Graffiti as Art Settlement Music School: Arts Program for Incarcerated and Texas Young Playwrights Kaleidoscope Preschool Arts Youth, 146 Program, 81 Enrichment Program, 132 Yakima Academy of the Arts, Guadalupe Cultural Arts Taller Puertorriqueno: Cultural 147 Center: Grupo Animo, 92 Awareness Program (CAP), Youth in Focus, 150 Junior Players: Teatro del Barrio, 137 100 Wisconsin Touchstone Theatre: Latino Multicultural Education and Charles A. Wustum Museum of Drama Workshop/Youth Counseling Through the Arts, Fine Arts: Victory in Peace Ensemble, 140 117 Program, 65 Venture Theater: Reality Crew, SHAPE Community Center: Latino Arts: Cultural Arts 143 Family Strengthening and Classes, 104 The Village of Arts and Empowerment Program, 133 Lawrence Arts Academy: Humanities, 144 Enriched Instrumental Vermont Rhode Island Instruction for Hmong Flynn Theatre for the The Music School: The Cultural Children, 104 Performing Arts: Flynn/ Alternatives Program, 118 Milwaukee Repertory Theater: Wheeler School Partnership, TEENWORKS, 113 87

® —

A Note on The findings were primari- student engagement (the to enhance self-esteem, Assessment ly short term and qualita- ability to focus attention stability and socialization. tive. They focused on and participate in ongoing Using adolescent self-

program dimensions and activities) and social par- reporting and observation As part of this survey, staff accomplishments, or participation (the ability to be as evaluation tools, the at the programs were ticipant behavior and self- sensitive to others and to program documented asked to provide evalua- perception. Few provided work in group settings). 1 improvements in young tion materials. Their stud- quantifiable information people's resiliency skills ies were compiled for on changes in the status The Kaleidoscope for managing problems different purposes: to tell a of children and youth. Tes- Preschool Arts Enrichment and situations. When program's story and share timonial evidence, howev- Program at the Settlement compared with program its experience with a wider er, should not be Music School in Philadel- dropouts and a compari- community; to evaluate the undervalued as prelude phia found that their at- son youth group, the par- strengths and weaknesses and complementary to risk preschool children ticipants maintained a of the program for mid- more quantitative made gains in cognitive higher level of course improvements; to approaches. At present, development, language involvement in artistic assess the progress of par- the cost and time involved development and achieve- activities, functioned bet- ticipants individually or as in quantitative research ment above and beyond ter in school and used a a group; to compare cur- is often prohibitive for what was seen in a control higher level of cognitive rent program practices these programs. group of preschoolers not processing in thinking with program goals. in an arts-enriched pro- about and dealing with

3 A handful of studies have gram. It reports the gains life experiences. Most of the assessments begun to document the were maintained as con- were conducted by pro- positive relationship tinued time was spent in The MOTHEREAD, Inc. gram staff, rather than between program partici- the Program and, in all Program for Incarcerated outside evaluators, using a pation and cognitive cases, remained above the Mothers in North Carolina, wide range of tools, development, motivation level that was achieved by one component of the including site visits; case to learn, organization, self- the control group North Carolina MOTHER- studies; journals; focus perception and resiliency. in 2 years. 2 EAD/FATHEREAD literacy groups; rating scales and program, uses children's surveys; school records; For instance, the Wolf Project Self Discovery at literature to enhance media coverage; portfolio Trap Institute for Early The Cleo Parker Robinson mothers' literacy and par- reviews and performance Learning Through the Arts Dance Theatre in Denver enting skills. Participants evaluations, including evaluated children in is a national demonstra- learn to read effectively to video documentation. The Head Start preschool pro- tion program using artistic their children, identify most common formats grams with 7-week arts engagement as a platform child development themes were program-to-date residencies in Arizona, the for transforming the lives underlying the stories and summaries and one-time District of Columbia and of youth in trouble from relate those themes to post-program surveys of Tennessee. It reports that drugs, alcohol and crime. their own lives. The participants, teachers/ preschool children in In this after-school researchers have artists/scholars or parents. these residencies, when program, creative self- documented improve-

compared with children in expression, artistic men- ments in the emotional

"regular" programs, pro- toring, clinical case

gressed in two known management and rigorous

antecedents to learning recreation are combined 4 health of the participating Footnotes Martin, Sandra L., Niki Cotten,

1 Dorothy Browne, Lawrence Kup- mothers. At the end of the Torff, Bruce, 1994, "Evaluation per, Brenda Kurz, and Elizabeth program, the mothers of Wolf Trap Institute for Early Robertson, 1993, "Evaluation of Learning Through the Arts: reported the Program," fewer symptoms Annual Reports 1991-92, MOTHEREAD University of North Carolina at of depression and nega- 1992-93," Harvard Project Zero, Chapel Hill, Chapel Hill, NC. Cambridge, MA, as summarized tive self-esteem and more in National Endowment for the The researchers noted a positive control over their lives. Arts and Morrison Institute for impact on the participants, but These participants also Public Policy, 1995, Schools, noted the following limits of the Communities, and the Arts: A became more understand- study: (a) There lacked a "no Research Compendium, National treatment" comparison group, ing of their children's Endowment for the Arts, Wash- making it difficult to separate the ington, DC, pp. 38-39. needs and less likely to impact of the program from other

2 factors: (b) attrition over the expect their own needs to Coakley, Mary C, 1995, "Mak- course of the evaluation was be completely satisfied by ing a Difference in the Lives of considerable, leaving Children: Final Report of a Four- 4 their children. unanswered its effect on the Year Evaluation of an Arts-Based findings: (c) the size Early Intervention Program," sample was small, thereby limiting the statis- Settlement Music School, Staff at these four tical analysis that could Philadelphia, PA. be programs would be the applied to the data. Although encouraged by the first to point out the findings, the researcher added methodological limits of the following caveats: (a) The their work, including one number of subjects was fairly small, and the group sizes were or more of the following: unequal, which may have weak- small sample size; no ened the ability to detect differ- comparison group or one ences in the control group: (b) the teachers at the Title XX- that was not comparable funded center had less formal to the test group in all education than the teachers at Kaleidoscope, which may have respects; an inability to produced some differences in the separate the impact of the two groups: (c) the Kaleidoscope arts or humanities compo- Program had a more generous funding base, which may have nent of the program from provided children and staff with the impact of other fac- greater opportunities. tors; little or no follow-up 3 Milkman, Harvey, Kenneth over time. Wanberg, and Cleo Parker

Robinson, 1995, "Project Self Discovery: Artistic Alternatives for High Risk Youth," The Cleo Parker Robinson Dance Theatre, Denver, CO. Chapter One 10 18 Notes U.S. Department of Health and Carnegie Council on Adoles- A Changed Environment Human Services, Office of the cent Development, op. cit., p. 49. for Children: A Status Report Page 3 Assistant Secretary for Planning 1 19 Carnegie Council on Adolescent and Evaluation, op. cit., p. 140. Ibid., p. 46. 1 Reale, Willie, 1994, 52Pick-Up: Development, Task Force on A Practical Guide to Doing The- 11 20 Youth Development and Commu- Ibid., pp. 88, 134, 178; Annie Wynn, Joan, et. al., 1987, ater With Children Modeled After nity Programs, 1992, A Matter of E. Casey Foundation, 1995, Communities and Adolescents: The 52nd Street Project, The 52nd Time: Risk and Opportunity in the KIDS COUNT Data Book 1995, An Explanation of Reciprocal Street Project, New York, NY, p. 94. Nonschool Hours, Carnegie Cor- State Profiles of Child Well-Being, Support, Chapin Hall Center for poration of New York, New York, Annie E. Casey Foundation, Introduction and Summary Children, University of Chicago, NY, p. 28. Baltimore, MD, p.19. Chicago, IL. Comments of the 1 Several criteria were in used Youth Committee of the Lilly 2 12 selecting programs to survey. Carnegie Council on Adoles- U.S. Department of Health and Endowment. These criteria were not applied cent Development, 1995, Great Human Services, Office of the 21 rigidly, but functioned as guide- Transitions: Preparing Adoles- Assistant Secretary for Planning Carnegie Council on Adoles- lines. Not all of the programs cents for a New Century, and Evaluation, op. cit., p. 136. cent Development, Task Force on conform to all of the guidelines. Carnegie Corporation of New Youth Development and Commu- Those few exceptions include York, New York, NY, p. 105. Youth are defined as "risk free" if nity Programs, op. cit., pp. 11-12. programs that offer readers they are in school or have gradu- useful insights. 3 Zill, Nicholas, Christine Winquist ated from high school; have Chapter Two Nord, and Laura Spencer Loomis, never had sexual intercourse; Culture Counts: The Case for

The key criterion for selection 1995, Adolescent Time Use, Risky have never used illegal drugs; the Arts and the Humanities in Youth was that the program target at- Behavior, and Outcomes: An have had less than five alcoholic Development risk children and youth. "Risk" 1 Analysis of National Data, Westat, beverages in a row in the past Zill, Nicholas, Christine Win- was denned using a variety of Inc., Rockville, MD, pi. month; have not stayed out all quist Nord, and Laura Spencer socioeconomic indicators. night without permission in the Loomis, 1995, Adolescent Time 4 U.S. Department of Health and past year. Use, Risky Behavior, and Out- The programs profiled are based Human Services, Office of the comes: An Analysis of National in local communities; the few 13 Assistant Secretary for Planning Ibid., p. 282. Data, Westat, Inc., Rockville, MD, national initiatives included all and Evaluation, (draft), "Trends p. iv. 1 4 have community sites. in the Well-Being of America's Population Reference Bureau, 2 Children and Youth: 1995," Wash- 1992, The Challenge of Change: Gardner, Howard, 1983, Frames survey The focuses on programs ington, DC, pp. 11, 43. What the 1990 Census Tells Us of Mind: The Theory of Multiple that operate outside public About Children, Center for the Intelligences, Basic Books, Inc., school curricula jurisdiction. 5 and Luxembourg Income Study, as Study of Social Policy, Washing- New York, NY. They serve young people up to reported in The New York Times, ton, DC, p. 16. 24. 19-24 age Young adults ages August 14, 1995. 3 Gardner, Howard, 1991, The included 15 were because the tran- U.S. Department of Health and Unschooled Mind: How Children sition to the work force is such ° Annie E. Casey Foundation, Human Services, Office of the Think and How School Should an important juncture in young 1994, KIDS COUNT Data Book Assistant Secretary for Planning Teach, Basic Books, Inc., New lives. 1994, State Profiles of Child Well- and Evaluation, op. cit., p. 239. York, NY, p. 149. Being, Annie E. Casey Founda- '" For a program to have an impact, tion, Baltimore, MD, pp. 9-11, Carnegie Council on Adoles- 4 Murfee, Elizabeth, 1995, Elo- youth must be active partici- 158. cent Development, op. cit., p. 50. quent Evidence: Arts at the Core pants over a sustained period of of Learning, President's Commit- 7 17 time. Cultural programs that U.S. Department of Health and Derived from Dryfoos, Joy G, tee on the Arts and the Humani- focus exclusively on exposure to Human Services, Office of the 1990, Adolescents at Risk: Preva- ties, National Assembly of State the arts and the humanities, one- Assistant Secretary for Planning lence and Prevention, Oxford Arts Agencies, Washington, DC, or very time sporadic programs and Evaluation, op. cit, p. 342. University Press, New York, NY, p. 2. are not included. p. 95; Pittman, Karen, and Mar- 5 ° Children's Defense Fund, (pre- lene Wright, 1991, "Bridging the Ibid., p. 8. The programs surveyed focus on publication press edition), 1994, Gap: A Rationale for Enhancing child and youth development as "The State of America's Children, the Role of Community Organiza- an expressed goal. Programs Yearbook 1994," Children's tions in Promoting Youth Devel- concentrating only on pre-profes- Defense Fund, Washington, DC, opment," Center for Youth sional training were considered Introduction, p. 3. Development at the Academy for outside the scope of this survey. Educational Development, Wash- 9 Ibid., p. 19. ington, DC, Table 8. rary Arts of Santa Fe, Teen Pro- School; Rosalie McHale, program ° Loyacano, Laura, 1992, Rein- Chapter Four A Delicate Balance: Bernie Lopez, executive coordinator, Governor's Juvenile venting the Wheel: A Design for ject; Principles and Practices director, Center for Contemporary Justice Committee; Carol Porter, Student Achievement in the 21st of Promising Arts Arts of Santa Fe (Santa Fe, NM, superintendent, Maple Lane Centuiy, National Conference of and Humanities Programs 1995). School; Gary Schalliol, director of State Legislatures, Denver, CO, November 6, 1 For example: education, Washington State p. 27. • Steven Goodman, executive Historical Society; Robert Sotelo, Carnegie Council on Adolescent director, Educational Video Cen- artist/educator, Maple Lane ' Darby, Jaye T., and James S. Development, 1995, Great ter (New York, NY, October 12, School; Derek Valley, director, Catterall, "The Fourth R: The Arts Transitions: Preparing Adoles- 1995). Washington State Historical Soci- and Learning," Teachers College cents for a New Century, • Carol Ochs, executive director; ety, Capital Museum; Susan Record, Volume 96, No. 2, Winter Carnegie Corporation of New Willie Reale, artistic director, The Warner, curator of education, 1994, p. 309. York, New York, NY; 52nd Street Project (New York, Washington State Historical Soci-

NY, October 12, 1995). ety, Capital (Olympia, ° "Corporate America Turns to Carnegie Council on Adolescent Museum WA, November 7, 1995). Center for Tools of Development, Task Force on the Kennedy • Dennis Taniguchi, executive Reform," Mag- Youth Development and Commu- Education Forbes director, Japantown Art and • Nan Elsasser, executive direc- azine, October 17, 1994. nity Programs, 1992, A Matter of Media Workshop (San Francisco, tor, Working Classroom, Inc. Time: Risk and Opportunity m CA, November 8, 1995). (Albuquerque, NM, November 6, " Kenneth the Nonschool Hours, Carnegie Milkman, Harvey, 1995). Wanberg, and Cleo Parker Robin- Corporation of New York, New • Robert Capanna, executive son, 1995, "Project Self Discovery: York, NY; director, Settlement Music 3 School (Philadelphia, PA, October Reale, Willie, 1994, 52 Pick-Up: Artistic Alternatives for High Risk Youth," The Cleo Parker Center for Youth Development 20, 1995). A Practical Guide to Doing The- Robinson Dance Theatre, Denver, and Policy Research of the Acad- ater With Children Modeled After • Dawn Andrews, program direc- The 52nd Street Project, The CO, p. 29. emy for Educational Develop- tor; Nadine Martin, communica- ment, and Chapm Hall Center for 52nd Street Project, New York, tions director; Victor Swenson, 28. 10 Ibid., 31. Children, University of Chicago, NY, p. p. executive director; Suzi (draft), "People, Places, and Pos- Wizowaty, literacy program coor- 4 1 Ibid., p. 42. 1 Interview with Willie Reale, sibilities: Community Organiza- dinator, Vermont Council on the artistic director, 52nd Street tions and Youth Development," The (Mornsville, Humanities VT, Sep- 5 Project (New York, NY, October Academy for Educational Devel- Ibid., p. 20. tember 27, 1995). 12, 1995). opment, Washington, DC; 6 • Eddie Gale, project coordinator, Ibid., p. 38.

-^ Interview with Victor Swen- Dryfoos, Joy G., 1990, Adoles- Vermont Community Foundation; Chapter Five son, executive director, Vermont cents at Risk: Prevalence and Bonnie Griffin, project director, Looking Ahead: A Next-Step Council on the Humanities (Mor- Prevention, Oxford University Youth Wellness Center, St. Johns- Agenda risville.VT, September 27, 1995). Press, New York, NY; bury; Marilyn Magnus, R.N., Youth Wellness Center, St. Johns- 1 Cobb, Nina Kressner, 1995, 13 Collins, Naomi R, "Culture's Heath, Shirley Brice, and Milbrey bury; Vicky Smith, program Looking Ahead, Private Sector New Frontier: Staking a Common W. McLaughlin (Eds.), 1993, Iden- director, King Street Youth Cen- Giving to the Arts and the Ground," American Council of tity and Inner-City Youth: Beyond ter, Burlington; Carol Wageman, Humanities, President's Commit- Learned Societies, ACLS Occa- Ethnicity and Gender, Teachers teen parent service providers tee on the Arts and the Humani- coordinator, Washington * sion Paper No. 15, p. 15. College Press, Columbia Univer- County ties, Washington, DC, p. 4. sity, New York, NY Youth Services Bureau, Montpe- 14 Darby, Jaye T, and James S. lier (Stowe, VT, September 27, The facts at the bottom of each

Catterall, op. cit, p. 315. Schorr, Lisbeth B., and Daniel 1995). page are taken from the text or Schorr, 1989, Within Our Reach: from one of two sources: Annie • Dick Barrett, deputy director, Chapter Three Breaking the Cycle of Disadvan- E. Casey Foundation, 1995, Washington State Juvenile Reha- KIDS Transforming Lives: An tage, Doubleday, New York, NY; COUNT Data Book 1995, State bilitation Administration; Char- Overview of Arts and Human- Profiles of Child Weil-Being, lotte Beale, curator, Seattle itites Programs ^ Interviews were held with: Annie E. Casey Foundation, Bal- Children's Museum; Linda 1 Staff Journal, Voices timore, MD; U.S. Department of New • Dollie McLean, founding execu- Bradley, art educator, Green Hill Ensemble, People's Light and Health and Human Services, tive director, The Artists Collec- School; Abe Dean, student, Theater Company, Malvern, PA. Office of the Assistant Secretary tive, Inc. (Hartford, CT, October Maple Lane School; William Det- for Planning and Evaluation, 4, 1995). mering, principal, Maple Lane (draft), "Trends in the Weil-Being • Manish Gaur, coordinator, of America's Children and Youth: Rainbow Project; Ana Gallegos y 1995," Washington, DC. Reinhardt, managing director;

Carlos Uribe, director of

programs, Center for Contempo-

161 Acknowledgments important information and The President's insight. A special note of Committee on the Arts and the Humanities The President's Commit- and Susan M. Bullock, gratitude goes to April Milander tee would like to thank Joan Shigekawa and Clau- who consistently The President's Commit-

Judith Humphreys Weitz dine Brown, Jane Polin and thoroughly carried out tee on the Arts and the myriad vital to for preparing this report. and Joan W. Harris for tasks the Humanities was created research for this report. Her longstanding experi- their enthusiasm for and by Presidential Executive ence in shaping public belief in this project. Order in 1982 to encour- Ellen McCulloch-Lovell, policies and programs for age private sector support director children and youth and Elizabeth Murfee's editorial executive of the and to increase public President's Committee, her personal background and writing skills were of appreciation of the value deserves in the performing arts great value. We are grate- acknowledgment of the arts and the human- for her critical role in made her an ideal person ful to Jayson Hait for her ities through projects, developing supporting for investigating this detailed review of the text. and publications and meetings. promising subject. Beth Singer Design made this project from start to finish. Youth Working Appointed by the Presi- the text come alive, com- The dent, the Committee com- Randy Cohen, Nancy Lan- municating through design Group of the President's Committee, co-chaired by prises leading citizens gan and Rachel Moore of the vitality of children and Peggy Cooper Cafritz from the private sector the National Assembly of the promise of these pro- and Richard Gurin, who have an interest in Local Arts Agencies inter- grams. provided valuable advice and commitment to the viewed staff at hundreds of and support. humanities and the arts. arts and humanities pro- We would like to acknowl- Its members also include grams for this report. Their edge the expert guidance President's Commit- the heads of 1 3 federal diligence and dedication of the Advisory Group. To The tee thanks the following agencies with cultural pro- are deeply appreciated. the more than 100 organi- grams, such as the zations and public agen- for their sustaining support during this project: National Endowments for Without the support of the cies that supplied the the Arts and the Humani- Anncox Foundation, Committee with informa- Lerone Bennett, Jr., Man- ties, Institute of dell L. and Madeleine H. the Muse- Botwinick-Wolfensohn tion about promising arts Foundation, Gold- um Services, the Foundation, Emily Hall and humanities programs, Berman smith Foundation, Sara Department of Education, Tremaine Foundation, we extend our gratitude. Lee Corporation, Betty R. the Smithsonian Institu- Nathan Cummings Foun- Special thanks go to Esther Sheffer Foundation and tion, the Library of Con- dation, GE Fund and Har- Mackintosh of the Federa- Gallery Warner Bros. gress, the National ris Foundation, this report tion of State Humanities of Art and The John F. would not have happened. Councils and Patricia E. Kennedy Center for the And, finally, to the staff at Special thanks go to Anne Williams of the American the arts and humanities Performing Arts. Cox Chambers, James D. Association of Museums programs both identified Wolfensohn and Jennifer for their extensive efforts for and profiled in this Jacobson, Sally Bowles to identify programs. report, your imagination

Wanda Fleming's paper on and commitment to the children and youth of this child and youth development provided us with country is both appreciated and applauded. m

National Assembly of problems. Institute part- Additional Resources Local Arts Agencies ners include Bravo Cable Federation of State Network; International The National Assembly of Humanities Councils City/County Management Local Arts Agencies 1600 Wilson Boulevard Association; National (NALAA) represents the Suite 902 Association of Counties; nation's 3,800 local arts Arlington, VA 22209 National Association of agencies. A local arts 703-908-9700 Towns and Townships; agency is a community National Conference of organization or an agency Institute of Museum State Legislatures; Nation- of local government that Services al Endowment for the supports cultural organiza- 1100 Pennsylvania Avenue, NW Arts; National League of tions, provides services to Washington, DC 20506 Cities; President's Com- artists and arts organiza- 202-606-8536 mittee on the Arts and the tions and presents arts Humanities and U.S. Con- programming to the pub- National Assembly of State ference of Mayors. The lic. Local arts agencies are Arts Agencies Institute is sponsored in vested with the responsi- 1010 Vermont Avenue, NW part by the National bility to further local cul- Suite 920 Endowment for the Arts, tural and artistic interests Washington, DC 20005 The Pew Charitable Trusts, and ensure access to 202-347-6352 Rockefeller Founda- them. To that end, The tion, the Robert Sterling NALAA, in partnership National Endowment Clark Foundation and the with its field, has devel- for the Arts Emily Hall Tremaine Foun- oped the Institute for 1100 Pennsylvania Avenue, NW dation. For additional Community Development Washington, DC 20506 information, contact: and the Arts. The Institute 202-682-5400 educates local arts agen- NALAA 927 15th Street, NW cies, elected and appoint- National Endowment 12th Floor ed municipal officials and for the Humanities Washington, DC 20005 arts funders about the 1100 Pennsylvania Avenue, NW Phone: 202-371-2830 important role of the arts Washington, DC 20506 Fax: 202-371-0424 as community change 202-606-8400 agents for economic, social and educational WIIHIHIHII PRESIDENT'S COMMITTEE ON THE ARTS AND THE HUMANITIES

Hillary Rodham Clinton Susan Barnes-Gelt Federal Members: Honorary Chair Lerone Bennett, Jr. Jane Alexander Madeleine Berman David Barrum John Brademas Curt Bradbury James H. Billington Chairman John H. Bryan Joseph D. Duffey Peggy Cooper Cafritz Hilario Candela Diane B. Frankel Vice Chair Anne Cox Chambers Sheldon Hackney

Margaret Corbett Daley I. Michael Heyman Cynthia Perrin Everett Fly Roger Kennedy Schneider David P. Gardner Earl A. Powell III Vice Chair Harvey Golub Richard W. Riley

Terry Semel Richard S. Gurin Leslie Samuels Vice Chair Irene Y. Hirano Lawrence Wilker David Henry Hwang Timothy Wirth William Ivey Quincy Jones Executive Director Emily Malino Robert Menschel Rita Moreno Jaroslav Pelikan Anthony Podesta Phyllis Rosen Marvin Sadik Ann Sheffer Raymond Smith Isaac Stern Dave Warren Shirley Wilhite Harold Williams President's Committee on the Arts and the Humanities MTIONAL ASSEMBLY Of 1 1 00 Pennsylvania Avenue, NW —^ Institute for Suite 526 Washington, DC 20506 Community Development and the Arts Phone: 202-682-5409 • Fax: 202-682-5668