Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document

DOCUMENT RESUME

ED 451 428 CG 030 783

AUTHOR Randall, Paula TITLE Art Works! Prevention Programs for Youth & Communities. INSTITUTION La Frontera Center, Inc., Tucson, AZ.; National Endowment for the Arts, Washington, DC. SPONS AGENCY Substance Abuse and Mental Health Services Administration (DHHS/PHS), Rockville, MD. Center for Substance Abuse Prevention. PUB DATE 1997-00-00 NOTE 100p.; Edited by Dian Magie and Christine E. Miller. In cooperation with Tucson-Pima Arts Council. AVAILABLE FROM National Clearinghouse for Alcohol and Drug Information (NCADI), P.O. Box 2345, Rockville, MD 20847. Tel: 800-729-6686 (Toll Free); Fax: 301-468-6433. PUB TYPE Information Analyses (070) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Art Education; Creative Writing; Elementary School Students; Elementary Secondary Education; *High Risk Students; High School Students; *Intervention; *Prevention; *Programs; Theater Arts; Visual Arts

ABSTRACT This book presents model programs that use art in prevention programs for youth. When faced with the serious threats that drugs, violence, and alienation pose for children, communities creatively respond by combining resources and talents. Their lessons are highlighted in this book, and these programs should encourage new collaborations for the sake of young people that extend beyond traditional boundaries. The book begins with two introductions, one by N. R. Chavez and the other by Jane Alexander. Articles included are: (1) "What Is, and What Can Be: Artists Helping Young People" (W. Cleveland); (2) "Tapping Resilience through the Arts"(B. Benard); (3) "The Arts as a. Tool for Prevention: The Evaluation Process"(J. D. Betts and J. Paz); and (4)"Resources and Additional Programs for Arts-Based Prevention Programs for Youth"(D. Magie). The rest of the packet offers articles describing eleven successful programs. These programs are: Project Choki & Old Pascua Youth Artists; Vietnamese Youth Development Center Peer Resource Program; Bronx Council on the Arts, WritersCorp; CHIL'ART Playwrights Program; CornerStone Project NETworks Center; Music Theatre Workshop Under Pressure Series; West Dallas Community Centers, Inc., Rites of Passage; South Dakota Improvisational Theatre; United Action for Youth Synthesis Arts Workshop; Teen Resource Project/New Visions/Nueva Visiones Theater; and Charles A. Wustum Museum of Fine Arts, Victory in Peace. (MKA)

Reproductions supplied by EDRS are the best that can be made from the original document. OF EDUCATION U S DEPARTMENT and Improvement Office of Educational Research INFORMATION EDUCATIONAL. RESOURCES CENTER (ERIC) reproduced as This document has been received from the person ororganization originating it Minor changes have beenmade to improve reproductionquality

stated in this Points of view or opinions document do not necessarilyrepresent official OERI position orpolicy

NATIONAL - - ENDOWMENT Preventio FOR THE ARTS Cover Art:

Escape into Grace Vietnamese Youth Development Center (VYDC), San Francisco, California Front and back cover art, Escape into Grace, is a mural created by staff and youth of the Vietnamese Youth Development Center (VYDC) in San Francisco's Tenderloin District. The mural was created for the Arlington Hotel by public artist Johanna Poethig, VYDC staff member Glades Perreras and youth Gia Hy Chung, Sok ly Ny and Puthara Chuop. Run by the St. Vincent de Paul Society, the Arlington is a residential hotel for people in recovery. The mural team used a series of images that represent the process of recovery, the idea of freeing oneself from addiction to substances and also from other negative influences and behaviors. Youth researched and used figures that symbolize spirits, health, change and movement in Native American, Buddhist and other traditions. A snake represents the process of recovery, starting out poisonous, shedding its skin and transforming into a spiral that represents the cyclical nature of life. The overall message is change requires movement. The mural is a tribute to all neighborhood residents struggling to build positive lives for themselves, one that -speaks to young and old.The Tenderloin's 509 Cultural Center sponsored the mural, and the San Francisco Mayor's Neighborhood Beautification and Graffiti Clean-Up Project funded it.

3 Prevzfir.tiox Pro,reart.Ns -for (opv.pv.whiti-es

Edited by Dian Magie and Christine E. Miller, Ph.D. Written by Paula Randall

This publication was supported by the National Endowment for the Arts and the Center for Substance Abuse Prevention, U.S. Department of Health and Human Services, in cooperation with the Tucson-Pima Arts Council and La Frontira Center, Inc. Acknowledgments

The National Endowment for the Arts (NEA), an independent agency of the federal government, was created in 1965 to encourage artistic excellence and public par- SOO ticipation in the arts. Through grantmaking, leadership initiatives, partnerships, research and advocacy, the NEA fulfills its mission to serve the people of the NATIONAL United States through the arts. For more information on the agency, visit its site ENDOWMENT FOR THE ARTS (http://arts.endow.gov) on the World Wide Web. The Center for Substance Abuse Prevention (CSAP) in the Substance Abuse and Mental Health Services Administration (SAMHSA) is the nation's lead agency for improving the quality and availability of substance abuse prevention services. In SAMHSA addition to the many programs sponsored by the agency, SAMHSA/CSAP serves as Center for Substance Abuse Prevention facilitator of information dissemination, training and technical assistance. In PreventionWORKS! doing so, SAMHSA/CSAP seeks to connect people and resources with effective and innovative ideas, strategies and programs aimed at reducing and eliminating alcohol, tobacco and drug problems in our society. The Tucson-Pima Arts Council (TPAC) is a nonprofit local arts agency that encourages and supports a thriving, diverse, multicultural, artistic environment in Tucson and Pima County, Arizona. Through grants and commissions, TPAC directly At PA assists the arts community in developing and producing art. Programs in cultural TUCSON/PIMA ARTS heritage, media arts, rural arts, arts education and public art and community COUNCILA design contribute to the community's cultural breadth and brilliance. ArtWORKS, a summer and afterschool prevention program in the arts for youth, has reached over 500 youth since 1993. La Frontera Center, Inc., a nonprofit community-based behavioral health center, has been serving residents of Pima County, Arizona, since 1968. The agency currently provides a continuum of mental health, substance abuse and psychosocial rehabilitation services, assisting approximately 6,000 people each year. A particu- OF LA FRONTERA larly important component of the service menu is La Frontera's prevention pro- CENTER, INC. gram, which reaches out to at-risk children in their homes, at school and in neighborhood centers. Prevention services also focus on community development models in both rural and urban settings.

This publication was produced under a cooperative agreement between the National Endowment for the Arts and the Tucson-Pima Arts Council, with support through an interagency agreement between the Arts Endowment and the Center for Substance Abuse Prevention, U.S. Department of Health and Human Services. Content Editors: Dian Magie, Executive Director, Tucson-Pima Arts Council Christine E. Miller, Ph.D., Substance Abuse Services Director, La Frontera Center, Inc. Writer: Paula Randall, Paula Randall Associates Editor: Karen Chatfield, La Frontera Center, Inc. Graphic Design: Lori Lieber Graphic Design/Teri Smith, Lori Lieber Concept/Guidance: Marianne Klink, Federal Liaison, National Endowment for the Arts NEA Staff: Karen Christensen, General Counsel; Keith Donohue, Director, Publications; Andi Mathis, State & Regional Specialist; Carol Warrell, Special Assistant, Administration; Judith Weitz, President's Committee on the Arts and the Humanities CSAP Staff: Joan White Quinlan, Senior Public Health Advisor; David Wilson, Public Affairs Specialist; the Staff of the National Clearinghouse for Alcohol and Drug. Information (NCADI)

To obtain a copy of this publication, contact the National Clearinghouse for Alcohol and Drug Information (NCADI), P.O. Box 2345, Rockville, MD 20847, (800) 729-6686, (301) 468-2600, Fax: (301) 468-6433. Do you see we are all equal and we are all human? 1 0 Dewayne Washington Do you see that I want to play in a world without violence and racism? Vanessa Samuels Do you see that there are more bullets

11 than people? Dewayne Washington Do you see that we got to help each other? Heigy Perguero Do you see me walking and walking into the middle of nowhere? Lourdes Delgado Do you see what happens on the street when young kids do not go home? Irving Hamilton Do you see thalithere is a whole lot of violence in the whole city, not just

the Bronx? )

1 Jirlis Duran Do you see the world changing and people laughing, not crying? Thurraya Amadu When I'm quiet I see there is plenty of hope for you and me Shantel Wilson When I'm quiet I can hear the music from an unseen source. Jeff Taylor

Excerpt from New Settlement Apartments Community-Poem Bronx Council on the Arts, WritersCorps oat The Three Brothers by William Diaz, 12 years old

(Murphy, a police officer, has stopped the car of a man he has just seen buy drugs from a dealer. It turns out the driver is Ben, his best friend in high school. This interaction comes at the end of the play.)

Murphy. Do you want to go to counseling for your problems?

Ben. I don't know, I just told you. Murphy. What are you afraid of?

Ben. I can't say that, I can't say that. Murphy. Just tell me what you're afraid of. Calm down.I won't tell anybody. Remember, we're friends. Ben. Remember when I won first place for long distance running and you won second place? Murphy. Yeah.I remember the time. We were practicing, you fell, you broke your leg in two places. You couldn't make it.Is that when you started doing drugs?

Ben. Yes ... that's when it started. I had nothing good in my life. Murphy. How did it happen? You could have played baseball. Ben. School year was over. Murphy. You were real good at chess.

Ben. I forgot how to play chess. Murphy. You were real good at that. You had another chance to be real good and win. You let yourself down. Ben. Yeah, you're right. (A pause) Murphy. (Quietly) What are you afraid of?

Ben. The day Ibroke my leg ... after that I don't remember anything much. Murphy. Why don't you say it?

Ben. If I ever try anything again I think I will never come back. Murphy. You should never be afraid of what you think you can't do. You weren't scared of doing drugs, so you should not be scared of doing something better than that. You will not die running. Drugs?... you'll never be able to do anything more.

Ben. I might start running again. Murphy. Do you want counseling?

Ben. I guess so. If I'm going to run, I better clean up.

CHIL' ART Playwrights Program-- Contents

Introduction Nelba R Chavez, Ph.D., Administrator 6 Substance Abuse and Mental Health Services Administration Jane Alexander, Chairman National Endowment for the Arts

What Is, and What Can Be: William Cleveland, Director 8 Artists Helping Young People Center for the Study of Arts and Communities

Tapping Resilience through the Arts Bonnie Benard, M.S.W. 14 Resilience Associates

Model Substance Abuse Prevention Paula Randall Programs in the Arts for Youth & Paula Randall Associates Communities Project Choki & Old Pascua Youth Artists Tucson, Arizona 20 Making respect, traditional culture, art and business skills integral parts of the education of Yaqui children and adolescents Vietnamese Youth Development Center Peer Resource Program San Francisco, California 26 Using the arts to develop leadership skills and build community among Southeast Asian refugee youth Bronx Council on the Arts, Writers Corps Bronx, New York 32 Using writing to increase personal and social vision, literacy, communication and community- building skills CHIL' ART Playwrights Program North Brunswick, New Jersey 38 Using playwriting, improvisation and positive adults to increase the autonomy, confidence and communication skills of inner-city youth CornerStone Project NETworks Center Little Rock, Arkansas 42 Employing tutoring, the arts, life skills and community service to build the academic and social well-being of inner-city youth Music Theatre Workshop Under Pressure Series Chicago, Illinois 48 Using music theater drawn from the lives of youth to teach decision-making skills that generate personal and community activism and hope West Dallas Community Centers, Inc., Rites of PassageDallas, Texas 54 Using African-centric humanities, history, life skills, and bonding with adults and peers to develop African American youth into purposeful, disciplined adults South Dakota Improvisational Theatre Pierre, South Dakota 60 Using improvisational theater, processing and team building to increase awareness, belonging and decision-making skills of South Dakotans United Action for Youth Synthesis Arts Workshop Iowa City, Iowa 66 Using youth culture music to help Iowa City teenagers develop artistic skills, self-esteem and positive relationships with adults and peers Teen Resource Project/New Visions/ Nueva Visiones Theater Holyoke, Massachusetts 72 Empowering Latino youth through theater, life-skills training and community involvement Charles A. Wustum Museum of Fine Arts, Victory in Peace Racine, Wisconsin 78 Fostering self-esteem, pride in ethnic heritage and cooperation skills through book arts, visual arts and homework assistance

The Arts as a Tool for Prevention: J. David Betts, Ph.D., and Jua J. Paz, Ph.D. 84 The Evaluation Process Resources & Additional Programs Dian Magie, Executive Director 89 Pucson-Pima Arts Council 8 Introduction 17 Nelda R. (1.,,vizz, Pk.P.

The Center for Substance Abuse Prevention (CSAP) in the Substance Abuse and Mental Health Services Administration (SAMHSA) is the nation's lead agency for improving the quality and availability of substance abuse prevention services. In addition to the many programs sponsored by the agency, SAMHSA/CSAP serves as facilitator of information dissemination, training and technical assistance. In doing so, SAMHSA/CSAP seeks to connect people and resources with effective and innovative ideas, strategies and programs aimed at reducing and eliminating alcohol, tobacco and drug problems in our society.

CSAP is proud to be a partner with the National Endowment for the Arts (NEA) in the creation of this noteworthy publication. It has been the goal of both organizations to continue to expand the involvement of arts organizations in substance abuse prevention programs. We know that the arts give young people better things to do than drugs, and we must all help them learn skills that will last a lifetime. Prevention programs have long used the arts in their activities to reach at-risk youth and promote prevention messages, but these prevention and arts programs also offer opportunities for children and youth to learn new talents and develop a sense of self, well-being and belonging. More importantly, these programs provide stepping stones for a child's healthy development. Whether it be a poster contest organized by a local community center, a Red Ribbon Week dance concert, or a touring professional theater group, the arts have played an important prevention role not only by communicating positive messages but also by involving young people in positive activities that build life-enhancing skills. These activities, or alternative programs, are some of the most widely employed prevention strategies in the nation. CSAP's programs, in collaboration with the arts, will continue to strive, and support others, in making a difference in developing resilient, well-rounded and socially adapted teenagers.

Nelba R. Chavez, Ph.D., is the administrator of the Substance Abuse and Mental Health Services Administration. ANINNmmimi Introduction byje...x.e Atexcofer

Art can save lives.It can turn around a troubled teenager, help a child kick drugs, get young men and women off the streets and into creative and constructive pursuits. Art can change attitudes, build self-esteem and redirect the path of the wayward. Art can prevent despair.

Extravagant claims? I have witnessed the power of the arts to effect these changes in children at programs such as the ones described in this publication. By giving young people alternatives to destructive behavior, the arts channel energy into positive quests for better education, stronger family life and rich community. This book lays out the successful stories and strategies of arts programs across the country that are changing lives.

Every child needs to believe in himself. Picasso said, "Every child is an artist. The problem is how to remain an artist once

he grows up." His notion, I think, is based on observations of children as natural creators and discoverers. Curious from birth, we freely explore the world and seek to express what we see, hear, feel and think. Too often that curiosity is squelched, and despair sets in. The child becomes unmoored, and turns to drugs or violence or promiscuity as ways to escape or feel curious again. Photo by G. Jill Evans We at the National Endowment for the Arts are proud to team up with CSAP Jane Alexander (right) visits to produce this collection of inspirational and informative model programs. children at Celebrations, a Our partnership at the national level mirrors partnerships at the local level by multicultural preschool in Oklahoma City. community organizations that often have not had traditional relationships due to seemingly disparate roles. When faced with the serious threats that drugs, violence, and alienation pose for our children, communities creatively respond by combining resources and talents. Their lessons are highlighted in this book, and these programs should encourage all of us to envision new collaborations for the sake of our youth that extend beyond traditional boundaries.

As I have said before, give a child a paintbrush or a pen, and he's less likely to pick up a needle or a gun. Give a child hope through the arts, and you just may save his life.

Jane Alexander is the chairman of the National Endowment for the Arts. What Is, and What Can Be: Artists Helping Young People Ly 0.evR(c.ht1

Over the past two decades some of this country's finest artists and arts organizations have quietly established a remarkable record of innovation and success in institutional and community settings. These unlikely arts "Acting to me is a better partnerships have been established in factories, jails, condominiums, escape and gives you a probation departments, senior centers, special schools and many other better high than any drug nontraditional sites. This work has not only challenged traditional ideas I know. It makes me feel about the arts in America, it has also created successful models from secure, loved, uncon fused which those providing services to young people can learn a great deal. about my purpose in life My intention in this essay is to share some basic insights and strategies and most of all it makes that have contributed to successful arts programming for young people in me somebody." institutional and community settings. This brief overview should not be taken as a formula for success in this work. It might be more useful to Theater student regard it as a description of how artists and their creative processes can age 16 make a difference with young people who are abusing drugs. A Whole Community Perspective

I will begin by saying that I do not see drug abuse as separate from other manifestations of the social neglect of young people, such as violence, teen pregnancy and academic failure. Nor do I see the sometimes destructive actions of young people as unconnected from the actions of the adults they depend on and the environment they are born into and live in. Given this, my comments related to the issues of drug abuse prevention should be seen in the larger context of how the arts can contribute to the healthy growth of the whole child living in the whole community. Unfortunately, in more and more communities young people, particularly teens, are treated not as a critical part of the whole but as another mar- ginal population segment. This categorization means that some youth, like the elderly or the physically challenged, are considered more as a function of their symptoms and pathologies than by their abilities and potentials. For young drug abusers, who need the support of the larger community to get clean and stay clean, this problemizing often exacerbates their sense of separation and mistrust. Artists, by training and practice, bring a very different and powerful perspective to their work with young people and other marginalized groups. Their focus, as creators, is on what is, and what can be, not on what is missing. This critical distinction sets the stage for young people to discover new ways of learning, communicating, working and behaving. The Field

William Cleveland became the Despite shrinking resources, artists in communities all over the country director of the Center for the are teaching young people new ways to acquire personal power and self- Study of Art and Community discipline and how to engage their communities constructively through the in 1991 after a 22-year history producing arts programs in study and practice of the creative process. This work is demanding for all educational, community and involved. It requires discipline, long-term commitment, respect for tradi- social institutions. tion, a willingness to take risks, and the courage to accept responsibility

r;% for success or failure. It provides young people with a powerful personal voice that allows them to both assert their uniqueness and link to others. Young people also learn that the more you know, the more self-sufficient and powerful you can become. When artists teach these things to people who feel their only option has been to break the rules, hurt others or themselves, the result is often less hurting and less damage.

The Arts and Critical Issues in Drug Abuse Prevention The dramatic impact of these programs has valuable implications for social service providers, educators and community leaders working to address the drug abuse problems faced by young people. Artists working and succeeding with these constituencies have generated a new technology for problem solving, communicating, building self-esteem and much more. The following is a brief overview of various ways the arts can and do address critical issues faced by young people trying to make their way in modern society.

Education The arts offer an alternative for success and respectability for students who struggle academically. In schools where such programs are available, many students experience their first true academic successes through the arts. The discipline these students learn through the arts often carries over to their study of other academic subjects. Getting ThroughYouth to Youth Movement, rhythm, image, sound, color, spoken wordthese are all components of the dynamic vocabulary of the contemporary voice of youth. The performing, visual, literary and media arts are the primary mediums of communication for the transcommunity, transglobal youth culture. Arts- based educational messages about critical thinking and making healthy choices created by and delivered by peers have a significantly greater chance of being heard and making an impact on young audiences. Ownership & Self-Empowerment The arts provide an expanded view of what is possible. Working in the arts provides opportunities for self-directed expression that is not wholly dependent on adults and their institutions. The arts help develop self- sufficiency and increase self-esteem in small, sometimes imperceptible steps. In the words of one young student, "I am building my own way of seeing and talking about the work, andI own the patent." Improved Communication & Socialization Artistic expression helps young people learn and improve communication skills. Artistic collaboration in both the visual and performing arts provides a safe medium for practicing and rediscovering social interaction skills. It also allows participants to be members of a successful collective experience. Making Sense/Coping Tools The arts supply a constructive outlet for dealing with confusion, frustration and anger in a chaotic and unpredictable environment. Making structured contact with the imagination through "artwork" can also provide a lite? A (oyote fke OsterWoe 41 by R. Canos Nakai

Walking my own life- service to others in my "We, the Dine', are still road entails knowing lifetime. I learn through here because we know where Ihave come from my own life experiences where and what we have culturally and genetically. to become my own final evolved out of and where I do this by listening to authority. I learn self- each of us is headed. Our my elders speak about reliance and personal traditional histories have their own and our ances- responsibility for my live-given us the minds for tors' struggles to suc- lihood and welfare. IfI that which we seek." cessfully survive. This apply that which Ilearn history and wisdom offer in my life journey,I may Now, the new native encouragement to go choose to serve others, American children of the beyond where my elders to contribute and interact post-industrial era seek have gone while still usingpositively with the world-to fill an angry void with- the skills and strategies at-large. In attempting toin themselves that was of their life experiences further the well-being of unmindfully instilled in as a guide for becoming others,I am choosing to them by their European a self-respecting and be a functional compo- émigré ancestors. In their self-reliant human being.nent of the world rather zeal to obliterate their former existence abroad As a Dine' (southern than allowing myself to R. Carlos Nakai, Native American become a fearful, self- they failed to replace the flutist and educator Athapascan) I am part of limiting person. old with a newer philo- the leading edge of a long sophic sense of purpose genetic shadow that re- The world we live in in their "new world" of cedes into a mythic ances-today is very different experience. This void tral past. Within my train many ways from that discourages self-respect, ditional community, by of our predecessors and self-identity and the word of mouth, through it will continue to evolve 10 complete self-confidence songs, stories and mater- in the future. The priori- one needs to negotiate ial culture,I continue to ties of life, culture and the world without fear. be taught the dreams, self-definition vary ac- hopes and wisdom of my cordingly. My peers of The knowledge and people, as well as the my own cultural commu- wisdom of my tribal expectations thatI be of nity often remark that elders as well as that of

nonthreatening way out of painful isolation. For mental health and drug prevention professionals the arts can provide a unifying element for disparate or isolated modes of treatment. New Eyes/New Images Artistic accomplishment can redefine a person's self-image and build new bridges to families and loved ones. Public performances and exhibitions help to humanize young people in the eyes of the general public. This reduces isolation and confounds and dispels stereotypes.

Improved Social Problem-Solving Skills Involvement in the arts improves participants' ability to generate multiple and effective solutions, understand and accommodate the perspective of others and control impulses. The skills and work practices modeled by mentor-artists demand hard work, self-discipline and a commitment to excellence. Successful creation also requires taking responsibility for failures as well as triumphs. Art making offers marginalized and damaged individuals a safe place to practice these things en route to taking control of their own lives.

1;14: lcskt ..1,) 1.3 R. Carlos Nakai is an artisan, lecturer and performing artist in the ongoing Indigenous North American culture and music traditions. He is a composer and instrumentalist of new

A music for Plains and Woodlands Native American flute and is a life member of the National Flute Association and the International Native American Flute Association. His education includes traditional studies and apprenticeships in the customs, lifestyles and philosophies of "the people," a B.S. in education, an M.A. in American Indian studies and an Honorary Doctor of Letters from Northern Arizona University. He received the Indie Award in 1992 and was a nominee for the Grammy in 1994. He is also a 1994 recipient of the Arizona Governor's Arts Award and the Lifetime Musical Achievement Award from the First Americans in the Arts.

Nakai and students my peers, colleagues andexpression in music to influences others is be- associates all influence share with others how I yond my comprehension, me to be myself within feel about being here in but I know thatI must my traditional and pro- the world without the use it with respect for fessional communities. politics of spoken lan- myself and for those who I use my gift of self- guage. How my art form came here before me.

Access to Success Art making allows success for people who have been defined as failures. Artists show that struggle is a necessary part of succeeding and that strugglers have what it takes to succeed. The creative process allows an individual to achieve success in just the doing. At the same time, the product of the struggle, the art, is a self-expression that "society" views as valuable.

Cost/Benefits The arts are a low-cost, high-touch, nonthreatening intervention that has produced measurable results, including accelerated reduction of psychopathology, reduced violence and drug use rates among the institu- tionalized, reduced recidivism, improved educational performance and increased self-esteem. In arts training, each succeeding level of expertise demands an increasing intensity of self-study and practice. As expertise is gained, the student becomes less dependent on frequent teacher input as he/she becomes a more self-sufficient learner. IJobs & Increased Employability Arts training offers new, nontraditional career options in a wide range of arts and arts allied fields. Artwork is a tangible and often marketable product that rewards individuality both economically and aesthetically. In addition to technical proficiency, the arts teach valuable work-related skills such as logic, organization, flexibility, insight, creative teamwork, patience and ability to discipline the imagination to solve difficult problems, as well as the knowledge that "failure" is a critical element of discovery and learning. Mentorship The arts embody a teaching practice that has been handed down for millennia. This practice personifies the idea that the best learning is a collaboration between the disciplined passion of the master and the unbridled curiosity and adventurous spirit of the novice. In many cases, student artists will be engaging the most obviously accomplished adult they have ever encountered in the person of their artist-teacher. The attention and high expectations of the mentor-artist have the capacity to move young people out of the cycle of self-defeat. What Works

As Ihave said, there is no formula. But, I know from my work with young people in education, human services and the criminal justice systems, that to be effective the arts must be more than a curricular enrichment or recreational event. The arts are powerful and can produce amazing transformations if artists and their work are treated with respect and the partnership between human service agencies and the artist(s) and/or arts organization is built on trust.

Experience has also taught me that the power of the creative process can be misused or squandered. There are responsibilities that go along with the work, responsibilities that may not be readily apparent because we live in a culture that trivializes and, in some cases, demonizes the efforts of the creative community. Some are taken by surprise by the impact of the arts in difficult and desperate environments. If you are thinking of bringing artists into your work with young people don't take it lightly. Just as there are standards for what you know and do, there are standards of excellence and exemplary practice in this area, as well. Here are a few for you to consider. First, use the best artists. This means artists who exhibit artistic excellence as well as the ability to teach, collaborate with and motivate young people. If you don't know how to find quality artists, seek the advice of the folks who do. Local or state arts councils or associations serving the needs of artists in individual disciplines (dance, theater, etc.) are a good place to start. In many communities there are established arts-in-education or arts-in-community programs developed by local arts councils or community-based arts organizations that place and sometimes train artists for this kind of work. This is a good source for artist referrals and/or for programmatic partnerships.

The veteran artists who do this good work are professionals with Ph.D.-equivalent training and experience. They are not amateurs, or part-timers. Their arts support structure includes arts education in the local schools, the nonprofit arts community,:local arts councils, arts

-41,L patrons, arts consumers, the university system, private arts training schools, public and private funders, state arts councils and the National Endowment for the Arts. It is important for you to be aware, however, that at present the health of this highly interdependent arts ecology is suffering. Without this vital infrastructure, the high-quality work and results I have been describing would not be possible. Next, don't do it on the cheap. It is critical that you pay artists a living wage and try your best to build long-term programs rather than short. Success in this work depends upon the establishment of trustful, productive relationships between the artist and students and between the student and the creative process. As with all effective preventative and intervening strategies, this takes time and commitment. Effective arts programs for young people require consistent, regular, ongoing interaction between artist-mentors and their mentees.

Finally, please understand that if you succeed, you may succeed in ways that are more complex and challenging than you may have anticipated. Trustful relationships between actors or writers or sculptors and young people offer opportunities for new ways of seeing and communicating about a complex and challenging world. They also can open new lines of communication. In the mix, young people not only communicate about their hopes and dreams through artthey also communicate about and investigate their fears, problems and frustrations. In these situations, a trustful, cooperative partnership between the human service professionals and artists working in the same program is absolutely critical. If roles and responsibilities and definitions of success are not clear, good intentions will not be enough to see you through. For this relationship to have the combination of trust and resilience that is needed to succeed in this work, it will require a very high level of attention and commitment from all involved.

SUGGESTED BIBLIOGRAPHY Another Safe Haven, Portraits .Conversations before Staley, Betty. Between Form of Boulevard Arts Center, Then the End of Time: Dialogues on and Freedom: A Practical and Now. Cambridge, MA: Art, Life & Spiritual Renewal. Guide to the Teenage Years. Project Co-Arts, Harvard New York, NY: Thames & Walbridge, UK: Hawthorn Project Zero, 1996. Hudson, 1995. Press, 1988. Cleveland, William. "Bridges, Gardner, Howard. Frames of The Co-Arts Assessment Translations and Change: The Mind: The Theory of Multiple Handbook. Cambridge, MA: Arts as Infrastructure in Intelligences. New York, NY: Project Co-Arts, Harvard Twenty-First Century America." Basic Books, 1983. Project Zero, 1993. High Performance, 1992. .To Open Minds. New Toward a State of Self-Esteem: .Art in Other York, NY: Basic Books, 1989. The Final Report of the Places: Artists at Work California Task Force to Promote Lippard, Lucy. Mixed Blessings: in America's Community and Self-Esteem and Personal and New Art in a Multicultural Social Institutions. New York, Social Responsibility. America. New York, NY: NY: Praeger Publishers, 1992. Sacramento, CA: California Pantheon Books, 1990. .Common Sense State Legislature, 1990. "Our Creative Diversity." Strategies for Artists Working Williams, Jennifer, Hilde Report of the World Commission in Community and Social Bollen, Michael Gidney and on Culture and Development. Institutions. Minneapolis, MN: Paul Owens. The Artist in the London: UNESCO, 1995. Center for the Study of Art and Changing City. London: British Community, 1993. Parks, Sharon. The Critical American Arts Association, Gablik, Suzi. The Reenchant- Years: The Young Adult Search 1993. ment of Art. New York, NY: for Faith to Live By. San Thames & Hudson, 1991. Francisco, CA: Harper & Row, 1986. 16 Tapping Resilience Through the Arts

by 15OhhlIZ 2hco..111 5.1",/.

The increasing emphasis on incorporating the arts into substance abuse prevention is not just the offering of another "positive alternative" among manyto health-compromising behaviors in young people. Rather, it offers the opportunity to meld the uncannily similar paradigms emerging in each of these fields. It has been 60 years since John Dewey wrote the treatiseArt as Expe- rience, in which he advocated the radical idea that artistic creation is not just the special talent of special people but a universal "life factor" all "We have to realize that humans share. In a later book, he wrote, "Creativity...is manifested not a creative being lives just in what are regarded as the fine arts, but in all forms of life that are within ourselves, whether not tied down to what is established by custom and convention. In re- we like it or not, and that creating them in its own way, it brings refreshment, growth, and satisfying we must get out of its joy to one who participates" (Dewey, 1970, p. ix). way, for it will give us no While even today this view of innate creativityand its transformational peace until we do." poweris still the nondominant paradigm in psychology and education M.C. Richards (Sarason, 1990), a growing number of researchersespecially in the neuro- Centering: In Pottery, Poetry sciences and brain-based learning (Pearce, 1992)and practitioners and the Person (Cameron, 1992) are providing powerful evidence that yes, indeed, everyone not only can learn but can create as well. Furthermore, studies 14 sponsored by the National Arts Education Research Center are also show- "Art on all levels is ing us that integrating the creative arts into all learning experiences enhances both academic and social and personal developmental outcomes an expression of the (Ross, 1991). In other words, the arts are good prevention! human spirit."

Viktor Lowenfeld Turning to the field of prevention, a parallel emergent paradigm to that Creative and Mental Growth of universal creativity has been that of human resilience. Growing out of long-term developmental studies of young people who succeeded despite the odds, coming from high-risk environments characterized by parental alcoholism, abuse, mental illness, community violence and poverty, this body of research establishes "the self-righting tendencies that move children toward normal adult development under all but the most persistent adverse circumstances" (Werner and Smith, 1992, p. 202). This research, supported by other studies of psychological, social, moral, spiritual and cognitive development, validates the biological imperative for growth and development that exists in all human beings, including our human capacity to transform and change our experiences and our lives. This body of research concludes that art not only heals deep wounds but also prevents negative outcomes, including substance abuse, that often result when we don't find a positive channel for expressing this drive (Garbarino, 1991). What is converging, then, from not only research and practice in the creative arts but from the prevention field as well is the powerful conclusion that not only does every personno matter their "risk" factors possess this inborn capacity to transform his/her experiences through both Bonnie Benard, M.S.W., has worked in the prevention field creative reframing of one's personal narrative and artistic expression, but since 1982 and is currently a that we have an inborn need, a "life factor" or "human spirit" thatcom- consultant with Resiliency pels us to do just this. Essentially, both fields have arrived at the same Associates in Berkeley, California. essence, no matter what language we use to describe it. It will come as no surprise, then, that, first of all, the positive developmental outcomes identified in resilience research are the same characteristics that the creative arts enhance in youth (Benard, 1991; Phi Delta Kappan, 1994). These characteristics include all aspects of social compe- tence: responsiveness to others, empathy and caring, good communication skills and a sense of joy and humor. Problem-solving skills include planning ability, seeing alternatives, critical thinking and resourcefulness. Auton- omy refers to one's.sense of identity, self-worth, internal locus of control, self-agency and -efficacy, self-awareness and sense of imagination. A last category of positive developmental outcomes associated with both resilience and the creative arts is that of sense of purpose and future. This includes not only goal-directedness and achievement motivation but also persis- tence, optimism, hope, spiritual connectedness and, ultimately, a sense of meaning in one's life. The only logical conclusion one can make is that, clearly, the arts foster the unfolding of our human resilience by meeting our developmental needs and drives for love and belonging, respect, mastery, power and meaning. Furthermore, itis no surprise that the environmental conditions and strategies that research has found to tap this innate resilience are the very principles that art educators and psychologists have found to support creative expression: caring relationships, high expectations and opportunities for participation and contribution.

Tapping Resilience: Principles of Effective Arts Practice Caring Relationships The most powerful "protective" factor emerging from resilience studies is that of the presence of a caring, supportive relationship with someone, somewhere in the child's life (Werner and Smith, 1992). For children growing up in families with alcoholism and abuse, this person often was a teacher, a neighbor, an extended family member or a friend. No matter the role, the characteristics of this caring relationship are consistently described as the message of loving support: of being there for a youth, of trust, of unconditional love. In a study of adults who were sexually abused as children, they tell of the "quiet availability," the "fundamental positive regard" and "simple, sustained kindness" that described their "surrogate" parents (Higgins, 1995). Similarly, Coming Up Taller, a recent report of arts and humanities projects that are effectively reaching young people from high-risk environments (Weitz,1996), concluded that "Positive adult relationships are crucial to success" (Burke, 1996, p. 15). Caring also means being interested in, actively listening to and getting to know the gifts of each youth. One evaluation of the role of arts in drop- out prevention identified as critical the teachers' genuine and personal interest in the students (Center for Music Research, 1990). Alice Miller's account of successful artists who had been victims of childhood abuse and trauma testifies to the healing power of youth being able to express their story to someone who believes them: "The absence or presence of a [sympathetic] witness determines whether a mistreated child will become a despot who turns his repressed feelings of helplessness against others or an artist who can tell about his or her suffering" (1990, p. 60). According to James Garbarino, this acceptance of a child's reality by listening to their stories or reflecting on their drawings is the "starting point for the healing process" (1992, p. 202). Aft% Akisfic i>c,r4/%.ersi.Lp Loaf./Exforce"..ithf by Richard M. Rom ley, Maricopa County Attorney, Phoenix, Arizona

Every day we are con- fronted by reports of young people involved in incidents of drive-by shootings, drug and gang violence, rape, robbery and murder. The number of violent crimes committed by juveniles has jumped dramatically in recent years. What are we going to do to turn the tide against this trend? As the chief prosecutor in Maricopa County, Arizona, whose jurisdiction includes Phoenix and 23 A.P.P.L.E. Corps students design and paint puppet show sets. other municipalities, my main responsibility is theborhoods. It is the front friends we put together prosecution of criminals. end we are going to have the "ANTI-DRUG A.P.P.L.E. The attorneys in this to improve if we are ever CORPS." The A.P.P.L.E. office have a very high going to reduce the num-Corps represents a part- conviction rate that leads ber of people we prosecute nership of artists, prose- to an ever-increasing num- and incarcerate. cutors, private enterprise, ber of criminals being law enforcement, and 16 sent to prison. I'm talking A few years ago Idecid-educators who came about the back end of ed to take a look outside together because we had the criminal justice system.the traditional role of lawa common belief that It's expensive and neces-enforcement at some participating in the arts sary. The front end of thealternative approaches to provides an opportunity system starts at home, inthe so-called front end. for our children to build school and in your neigh-With help from some self-confidence and self-

Consequently, Coming Up Taller recommends keeping art classes small so that a youth worker can (1) get to know what's going on in a youth's life and connect him/her to other needed services; (2) reach and make a personal connection to each youth in art programs; and (3) encourage, through small group process, building youth-to-youth caring connections. According to the arts/drop-out prevention study, the "social interaction and camaraderie" that develops in an arts group or activity was the most frequently mentioned benefit (Center for Music Research, 1990). Another characteristic of caring is compassion, nonjudgmental love that looks beyond the words and actions of a troubled youth and sees the underlying pain and suffering. Educator Herb Kohl talks about "reaching beyond the resistance" and connecting with the inner core of motivation, creativity and health in_every youth (1994). Compassion also implies having patience and being committed for the long haul. Coming Up Taller identifies that "Effective arts programs are committed for the long term: Changing lives takes time and children come to count on these projects. It can be cruel to bring them into a positive environment that cannot be sustained" (Burke, 1996, p. 15).

" esteem that can strength- en individual resolve to turn away from substance abuse. In 1990, with crime prevention and drug demand reduction in mind, I authorized the use of county anti-racketeering monies to provide a grant to the Arizona Commission on the Arts for distribution to five organizations selected by the Commis- sion. These groups had to work up proposals thattors, students and par- criminal activity to Puppeteer Katie Catheart teaches would present arts pro- ents across the state. meaningful endeavors students to make puppets out of they can individually recycled materials in an after- grams with an anti-drug Over 70 afterschool pro- school program. and/or an anti-gang gram sites are currently take pride in. We must theme to at-risk children participating in programsall search for and partici- in afterschool programs. that include dance, mime, pate in innovative crime mural, theater, poetry, prevention programs that The initial success of watercolor, storytelling, will have a positive im- the program encouraged puppetry, mask making, pact on our communities. us to embark on a three- ethnic music, kachina I embrace this concept. year partnership project doll carving, and fiber art. I hope others will explore that provided funding for a partnership with the afterschool arts programs I hope you can see arts in their communities. statewide. In its first fivethere is much that can I know it has been suc- years of existence the be done when we spend cessful beyond any

A.P.P.L.E. Corps reached time on the front end expectation I had. well over 30,000 educa- diverting our youth from

High Expectations At the core of caring relationships is the adult's, in this case, artist- youth worker's belief in the innate creativity and resilience of each youth, followed up by the challenge message: "You can make it; you have everything it takes to achieve your dream/goal; and I'll be there to support you."A high-expectation approach also conveys firm guidance: clear boundaries and structure that create safety and predictability but not rigidity. According to Coming Up Taller, successful arts programs maintain "a delicate balance between flexibility and structure"(Burke, 1996, p. 15). Respect, the conveying of common courtesy and kindness, is named repeatedly by youth as a reason they either stay in or leave a school or program. To acknowledge and affirm a youth as worthy of respect is clearly a prerequisite to successfully engaging him/her in any activity (Meier, 1994). Seeing possibilities and recognizing, mirroring back and building on strengths is critical to working from this high-expectation mode. This 20 means starting with a youth's strengths and gifts and using them to work on new learnings or concerns. Successful arts programs "build on what young people already value" and the strengths they already possess (Burke, 1996, p. 15). Furthermore, as one study of effective neighborhood-based youth-serving organizations found, "Our wizards [the term used for youth workers who successfully engaged troubled youth] avoid negative labels, especially those that mark youngsters as deficient or deviant and concentrate instead on raising expectations and providing settings where youth can gain the attitudes, confidence, and measure of expertise necessary to remove themselves from the inner city's despair" (1994). Helping youth who have been labeled or oppressed to reframe their personal narrativesthe stories they tell themselves about who they areto develop the insight and critical consciousness that move them from seeing themselves as "damaged victim to resilient survivor" is a key strategy of this approach (Wolin and Wolin, 1993). ,Opportunities for Participation and Contribution Resilience research documents the power of "interests and hobbies" like artto bring youth "solace when things fell apart in their home lives" and, as mentioned earlier, to "connect them to a group that became a surrogate family" (Werner and Smith, 1992, p. 205). Therefore, first and foremost, youth must have access to people and places that encourage the development of these interests. Effective arts programs offer young people a place, a "safe haven" where they can experience caring, high-expectation relationships as well as the opportunities to be successful. Like affluent children, poor children should have access to "the best society has to offer" (Burke, 1996, p. 15).

18 Effective arts programs provide the opportunities for active learning and direct participation. According to Coming Up Taller, theyuse dynamic teaching tactics such as hands-on learning, apprenticeship relationships and modern technology " (Burke, 1996, p. 15). They also incorporate reflection and dialogue around both their work and personal and social issues. Thus, these programs are addressing not only different learning styles and multiple intelligences but are meeting youths' social developmental needs as well. "Effective arts programs are shaped by the youth themselves, helping them to make the projects 'not like schools'" (Burke, 1996, p. 15). They give youth the opportunity to have decision-making and problem-solving responsibilities and thus feel ownership of the program. Of most importance, however, to this entire discussion is the transformational power existing in having the opportunity to give one's creative gift back to society, to contribute one's art, to make the world a better place. Otto Rank once stated, "Pessimism comes from the repression of creativity" (quoted in Fox, 1994, p. 21). To not be able to contribute one's gift, according to philosopher/theologian Matthew Fox, is to feel despair, despair whose "violent results can be seen everywhere: in self- hatred, increased crime, the drug trade, fear, alcoholism," etc. (1994, p. 10). And conversely, Fox writes, "To experience our own creativity ... constitutes a rebirth of self that holds the key to the rebirth of all society's ailing and tired structures" (1991, p. 34). The promises the arts hold for preventionfrom reengaging youth in learning to societal transformationare not advocateg frivolously. Rather, they are grounded in a growing number of evaluatioN(Studies and in scien- tific studies of human development. Yet the challen4'es lying ahead are 6?-: 21 great, for "Ours is not a society that highly values or rewards artistic activity and development" (Sarason, 1990, p. 81). However, the "life factor" or human spirit that is both creativity and resilience flows through all of usand is intent on expression. Itis at this level of shared human- ity that we must connect with others in order to build the critical mass that will bring about the healing of our social fabric, the welcoming back of youth and ultimately the saving of our planet. As individuals we can start by believing in the innate creativity and resilience of all beings. We can then infuse in our work the caring relationships, high expectations and opportunities for participation that foster human growth, learning and creativity. And last, we must connect with other kindred spirits to work for the following vision:

"We do not have an inkling of the power that will be unleashed when artists [and we all are artists!] are welcomed back to education, to religion, to the healing arts, to the service of the people... No one can predict what gifts the human imagination has in store for us, for imagination is a thing of mystery, a treasure house of secrets untapped until some genuine invitation comes along to elicit them." (Fox, 1991, p.34)

REFERENCES Benard, B. Fostering Kostelny, and C. Pardo. Pearce, J. Chilton. Evolution's Resiliency in Kids: Protective Children in Danger: Coping End: Claiming the Potential of Factors in the Family School, with the Consequences of Our Intelligence. San and Community. Portland, OR: Community Violence. Francisco, CA: Harper, 1992. Northwest Regional San Francisco, CA: Jossey- Phi Delta Kappan. "An Arts 19 Educational Laboratory, 1991. Bass, 1992. Education School Reform Burke, Tim. "Artists Embrace Higgins, G. O'Connell. Strategy," February 1994. the Art of Youth Work." Youth Resilient Adults: Overcoming a Today 5 (September/October Cruel Past. San Francisco, CA: Ross, J. "Q and A." Education 1996). Jossey-Bass, 1994. Week, September 4, 1991. Canieron, J. The Artist's Way: Kohl, H. / Won't Learn from Sarason, S. The Challenge of A Spiritual Path to Higher You and Other Thoughts on Art to Psychology. New Haven, Creativity. New York, NY: Creative Maladjustment. New CT: Yale University Press, Jeremy Tarcher, 1992. York, NY: The Free Press, 1990. 1994. Center for Music Research. Weitz, J. Coming Up Taller. The Role of the Fine and Lowenfeld, V. Creative and Washington, DC: President's Performing Arts in High School Mental Growth. New York, NY: Committee on the Arts and Dropout Prevention. MacMillan, 1952. Humanities, 1996. Tallahassee, FL: Florida State McLaughlin, M., M. Irby, and University, 1990. Werner, E., and R. Smith. J. Langman. Urban Sanctuaries: Overcoming the Odds: High Dewey, J. Foreword to Neighborhood Organizations in Risk Children from Birth The Unfolding of Artistic the Lives and Futures of Inner- to Adulthood. Ithaca, NY: Activity, by H. Schaefer- City Youth. San Francisco, CA: Cornell University Press, 1992. Simmern. Berkeley, CA: Jossey-Bass, 1994. Wolin, Steven, and Sybil University of California Press, Meier, D. The Power of Their Wolin. The Resilient Self: How 1970. Ideas: Lessons for America Survivors of Troubled Families Fox, M. Creation Spirituality: from a Small School in Rise above Adversity. New Liberating Gifts for the Peoples Harlem. Boston, MA: Beacon York, NY: Villard Books, 1993. of the Earth. San Francisco, Press, 1995. CA: Harper, 1991. Miller, A. The Untouched Key: .The Reinvention Tracing Childhood Trauma in of Work: A New Vision of Creativity and Destructiveness. Livelihood for Our Time. San New York, NY: Doubleday, Francisco, CA: Harper, 1994. 1990. Garbarino, J., N. Dubrow, K. 22 Project Cho ki & OPYA activities. The Ari- zona Governor's Office for Children funded one series of workshops for members, Me lir., resrecf/ frrAciitioxe.( cAtirel AY[ co,c1 LiAsixess skiUs ihterea(staff, their families and friends on traditional prarisofIke sbtivicc.iiohofYe.v.ii cki(cirx 0.xci,...41o(Rscx4s Yaqui approaches to substance abuse prevention, for example participating in the dancing and ceremonies of the Tribe. This Old Pascua is an urban Old Pascua Youth series was taught by village of the Pascua Artists (OPYA) Yaqui elders, educators, Yaqui Tribe. Ten blocks artists and social service square on Tucson's west OPYA is a community- personnel. side, it is home to 625 owned enterprise through persons, 56% under 18 which Yaqui children In 1993, the Western years of age. The commu- design, create, market Regional Center for Drug- nity was founded at the and sell T-shirts, tote bags, Free Schools and Commu- turn of the century by posters, note cards and nities selected OPYA for Yaquis leaving the high- individual works of art. inclusion in An Eagle's lands of Sonora, Mexico, The youth-directed program View, Volume 1: Sharing to escape the genocidal introduces its members to Successful American policies of the Porfirio the free enterprise systemIndian Prevention Diaz regime. The 1990 by sharing profits based Programs. U.S. Census reported on age, production hours 75% of all adults unem- and 50% of the proceeds ployed. Median income for individual sales. Earn for a family of five was 20 ings are also based on $5,032, less than half Native American principles the national poverty level.of cooperation, respect Most families are affectedand support. Behaviors by violence, alcohol and consistent with these other substance abuse. principles can double a Within the community, youth's earnings. Children gang affiliation includes often report spending Crips, Bloods and a home- their money on necessi- grown gang called OP for ties their family could not Old Pascua. Guns, alcoholotherwise afford. and other drugs are readily available. OPYA was started in Deer Dancer 1987 by the San Ignacio Gavi Espinoza, age 11 Multigenerational, multi- Yaqui Council, Inc., Old lingual extended families Pascua's governing body, still value their traditionsand Arts Genesis, Inc., a Old Pascua Youth Artists and pass them on to the local arts organization. Hummingbird & Flowers Contact: Arcadio Gastelum Silas Gallardo, age 13 President youth. Opportunities existThe program includes a San Ignacio Yaqui Council, Inc. for even very young chil- Pascua Yaqui prevention 785 West Sahuaro dren to participate mean- specialist who participates Tucson, AZ 85705 ingfully in community in meetings, field trips Phone: 520-884-8527 religious observances that and sales events, working Project Choki include strong visual, with individual OPYA Contact: Carol S. Kest ler musical, dance and the- members in the Yaqui way. Arts Genesis Inc. ater components, such as At various times specific 1311 East Duke Drive the Pascua Yaqui Easter prevention programming Tucson, AZ 85719 is integrated into other Phone: 520-323-0185 Ceremonies. #Z3 Reuben Roqueni, an artist-educator with OPYA from 1992 to 1994, describes the program's benefits:

"When I go back to the neighborhood now, as an adult of 30 years, those boys I used to run around with aren't there anymore. Sergio is in prison for murder. Michael got out and started drinking himself to death. George got shot in the back in 1986.

"When I go to work with the kids on Mondays and Wednesdays I see myself in these kids.I hear the same things out of their mouths. I see them wanting to draw the same things I did. Same problems on the street and at home. Yes, very similar.I hear the statistics from the neighborhood: 90% never graduate from high school; 30% never even go to high school! And I think of Sergio and Michael and George and I just want to cry because I know a similar fate awaits these kids unless they are offered some kind of alternative. Art has saved me and it is my belief that art has the same potential for these kids.

"OPYA is working. All of the kids in the program who remain in the area are still in school; none of them are pregnant; and only one has been arrested. That is after nearly seven years. When the kids come to OPYA they enter a safe environment that not only encourages them to stay out of trouble but encourages them to excel beyond the limitations of the neighborhood. And they are eating it up.

"Most of these kids won't become artists. But because of the program, their self-esteem is higher, their confidence is booming and they know what their older brothers and sisters may not have known: they can succeed. Art can and does save. With OPYA in their lives, these children are making smart choices, are becoming role models for their younger siblings and examples for the greater Native American community." Richey student performing the Bohai O'Olam old man stance as part of the Pahtorela Posadas,

rb47,,,24 1 a midwinter Yaqui observance. VVVVVVINV In 1996, 50 to 60 have graduated from mem- All education, business youth participated in the bership to staff positions.and prevention program- program, bringing to 160 ming is directed from the total number who Historically only 10% of within the Old Pascua have participated since Pascua Yaqui youth grad- community. Full owner- its inception. Most youth uate from high school. ship for the enterprise remain in the program In the past seven years will pass to the Old three to five years, some the graduation rate has Pascua community as long as eight. Partici- increased to about 15%. in October 1997. La pants range from 6 to 16 All Old Pascua students Frontera Center, Inc., years of age. They receivewho have graduated since a community behavioral 250 hours of programming 1993 have been OPYA health agency, partners annually, meeting after members. The program with OPYA. Sharon Flores, LAIAAAAA school (two afternoons substantially decreases a La Frontera prevention tO Old Pascua Youth Artists from 2:30 to 5:30 p.m.) the danger of members specialist born and raised and during the summer. engaging in destructive in Old Pascua, has worked Pahkola Andrianna Yucupicio, age 11 Evening and weekend behaviors. The environmentwith Pascua youth every workshops in arts and itself is drug, alcohol and afternoon for seven years. prevention, field trips andviolence free and fun. Arts Education Coordinator community sales events As a college student who Paula Yucupicio, a resi- add about 100 hours a participated in OPYA notes, dent of Old Pascua, and year. The adult-to-student it gives youth a safe place her teaching assistants ratio is 1:5-10 depending to go after school, a place guide every OPYA session. on the activity. Five youth where they don't have to Older teens who have worry about gangs or drugs. graduated from OPYA serve as assistant arts education coordinators. Resident staff are joined

--411110.

Photo by Bill Girden ©1989 San Ignacio Yaqui Council Giant puppets for "Bwia Toh," an evening of Yaqui folklore presented by Project Choki by a variety of paid and located in the middle of self-esteem, volunteer Yaqui and other Old Pascua Yaqui Village, self- confi- Native American teaching 50 yards from the social dence and guest artists, such asand ceremonial plaza withand self- recognized Navajo artist its tiny Catholic chapel direction. Glory Tacheenie-Campoy. San Ignacio on the west, Director a fiesta ramada for ritual Kestler Funding for OPYA has dances on the east and says, come from the National community buildings on "Project Endowment for the Arts the north and south. Choki is Expansion Arts Program, dedicated Arizona Commission on The abundant art is to helping the Arts, the Tucson-Pimathe result of Project all Richey Arts Council, the Pima Choki, a school-based art students County Anti-Racketeering program started in 1980 fulfill them- Photo by Mary A. Goodman ©SIYC Fund, the De Grazia by Tucson artist Carol selves in the dominant These young Yaqui boys are Foundation, the Tucson Kest ler that has grown culture without having to dressed for a Deer Dance Community Foundation, into a formal and strong give up their own tradi- performance. The dance is traditionally performed with and a variety of other collaboration between tional cultural roles, lan- backs to onlookers. Deer masks foundations, businesses Richey Elementary, the guages or values. Its role are worn on the back of the and individuals. The San Ignacio Yaqui Councilwithin Richey is in recog- dancers' heads. 1996 budget totaled and Arts Genesis, Inc., nizing, developing and $35,000; $2,500 was the nonprofit community supporting the creative earned by sales. The arts organization directed and artistic gifts and greatest obstacle to the by Kest ler. The Old Pascuatalents of each child." success of this type of Youth Artists program program is financing. grew out of Project Choki. One example of these "When I used to go to Proposal writing goes on gifts is a pencil-and- Richey, we did not have any continuously and funds Before Project Choki, crayon drawing by Monica program like Project Choki. tend to come in small valuing of Yaqui culture Godoy, age 12. The scene There were no Yaqui Cultural increments. and art stopped abruptly is a bedroom with neatly at the door to the school. made bed, pictures on Dancers, no other Native Project Cho lii As Anna Katie Taffs, the walls, television on American artists, and no Choki on-site coordinator, the dresser. In the center other Yaqui artists that made When you walk through says,You went to school of the room an older the children feel proud of the halls of Richey and you did theexpected woman holds a baby. who they are.I am happy for Elementary you are sur- Anglo thing. Nobody cared To the side, a younger the students that they have rounded by a celebration about who you were." woman says, "Thank of Yaqui and Hispanic art Culture and academics you." The caption reads, Project Choki and all the and culture. Children's inside the walls of the "This picture is about my artists that come through drawings line the walls, school were Anglo and Grandma. She is a curan- them. Choikoe Uttesia, glass cases hold their somewhat Hispanic. What dera which means she Thank You." pottery and weaving, Project Choki did was is a person who heals Eulalia Valenzuela and classrooms have art introduce appreciation people. My Grandma Tucson Unified School District centers with works in of the children's cultureheals different kinds of Yaqui language specialist, progress. Richey Elementary values, history and arts people, especially babies." San Ignacio Yaqui Council member serves 250 pre-kinder- and the value of art in and Project Choki parent garten through fifth gradegeneral inside the walls Another example is children drawn from the of Richey Elementary. the Richey School Yaqui Pascua Yaqui community Formally Project Choki's Children's Cultural Dance and the neighboring goal is to use the arts to Group members perform- Barrio Adelanto: 40%, create a community whereing as Deer and Pahkola Native American; 55%, each child feels supportedDancers for the Yaqui Mexican American; 2%, by home, school and Easter Celebration. The African American; 2%, Council, building on Deer Dancer honors the Anglo; and 1%, Asian Yaqui culture to develop spirit of all creatures American. The school is self-actualization skjlls, of the natural world- , ,, 4.26 animals, birds, fish and Yaqui elders, parents, has grown each year insects. Boys apprentice and other community despite continual funding to adult men of the village members participate in obstacles. to learn the dance. Some Project Choki workshops, of this learning now takes plan Project Choki each Yearly evaluation in- place in the school. year through the Communitycludes interviews with Governing Board, and children and adults During 1996, primarily attend the many perfor- involved in the project, "Children, whom I had through artist-educators, mances and exhibitions classroom observations observed in their classroom the project offered more brought to Richey and and questionnaires. behaving like other third- than 800 hours of class- Tucson by the project. Many Because Project Choki graders, were transformed in room instruction and have taught their arts as is run jointly by many teacher, staff, parent and community and guest parties, evaluation is the dance. Bare-footed and community workshops and artists, sharing skills rang-essential to a consensus bare-chested, with legs programs. That number ing from music and dancefor the project. In wrapped in cloths and has grown steadily over through painting and addition Project Choki secured in specific patterns, the past 16 years. All traditional mask making. and Richey Elementary with ankle rattles and belts 250 students participate In 1993 Redbook maga- staff meet at least twice that held the accouterments in a spiral curriculum zine recognized Richey as a year and evaluation made up of music, dance/1 of 23 America's Best information is reviewed of the dance, these very creative movement, story- Schools in parent/commu-three times a year at Arts young boys' entire body pos- telling, puppetry, weaving, nity involvement largely Genesis. ture and demeanor under- sculpture, ceramics, because of Project Choki went a total transformation drawing, painting, mural efforts. The result of this The benefits of Project in the dance. It was spine- making, drama, paper collaboration is mutual Choki are many. The art chilling to observe the con- arts, printing, creative respect and commitment helps teachers understand writing, literature, and to arts education among psychological difficulties centration in these children; humanities, working people with different children are experiencing. they appeared transfixed by intensively in the same backgrounds, priorities Taffs says, "I see these 24 the inner meaning of their medium several times and vocations. It explains special moments continu- ceremonial dance, totally during their elementary in part how Project Choki ally. There was a boy in absorbed in their Yaqui years. Classroom teachers world's rhythms, patterns are enthusiastic about arts education because and meanings. One saw none they have co-created the O of the self-consciousness Project Choki vision. that often accompanies child Each Project Choki artist- performance, but a ceremony educator meets in advance and celebration integral to with the classroom teacher their own culture." and Project Choki on-site coordinator to agree on Friederike Seligmann Arts Genesis, Inc., Board member the topics and key acade- and guest artist-educator mic skills that will inform each unit.

Teachers at the school, who are predominantly Hispanic, bring Mexican American culture into the curriculum. Other traditions are represented as well. For example, children have been introduced to Jewish, West African,

Ecuadoran and Japanese Photo by Mary A. Goodman CSIYC art by guest artists from Fifth grade girls led by Marie Patino and Veronica Valencia perform those cultures. "Corn Dance" by Blue Horizon. fourth grade whose grand- For Kest ler, the thrill father had committed has been watching indi- suicide. Reuben Roqueni viduals develop from had taught Dia de los kindergarten into adult- Muertos, helping studentshood. Old Pascua's current produce shoe box shrines Deer Dancer danced as a for someone in their livesyouth in the first Deer who had died. This boy Dance presentation at started telling me about Richey. A successful his grandfather and how community muralist first he shot himself a year painted on the school ago, 'holding the baby courtyard mural. A suc- because he was tired of cessful mask-carver made life.' Doing the shrine his first mask with Project was a healing thing for Choki in first grade. him. Also,I was able to point him out to the new Project Choki visual art psychologist for some has been seen around the extra support." world. Shows have toured Deer Dancer, Aaron Ruiz, age 11 the United States, Mexico, Prior to Project Choki the Far East, eastern and Project Choki's history led the drop-out rate of Old western Europe and Israel. to the remembering and Pascua middle school Dance and musical per- returning of lost Yaqui students was as high as formances are given culture to the community. 30%. The first class to throughout Tucson. In During 1990-91 Delgado go through six years of 1996 total youth audi- researched, developed Project Choki program- ence for the program was and produced "A ming was also estimated at 85,000. Children's Pahtorela," the first in which every a re-creation of the child, who could be Funding for Project Choki shepherds' part in the traced, graduated from has come from the ArizonaChristmas story. It was middle school. Since Commission on the Arts, the first performance of that time the middle the Tucson-Pima Arts this important ritual in school drop-out rate has Council, the Tucson Arizona in 50 years. stayed below 10%. Other Unified School District, During 1991-92 the positive outcomes for the Stocker Foundation, Pahtorela moved to the Richey School students the Tucson Community Pascua Cultural Plaza and are artistic development; Foundation, and ,a variety by the next year it had academic development, of other foundations, been taken over by the particularly through the businesses and individu- Tribal Council. Members use of "multiple intelli- als. The 1996 budget of of the Dance Group per- gences" and different $45,000 included form widely throughout learning styles; growth $5,500 earned by perfor- the state at museums, in cultural awareness; mances, residencies and schools and festivals improved self-esteem; benefits. Annual benefit while fulfilling key cere- and increased safety in concerts, held since 1985,monial responsibilities Mother and Child Angela Garcia, age 12 the neighborhood. have featured Navajo-Ute within their community. Longtime Richey teacher flutist R. Carlos Nakai. Since 1990 they have Chris White says, "Some- danced for nearly 50,000 times Ilaugh now when In 1990, through the people. The Dance Group

I have to quiet kids down efforts of TUSD Yaqui assures that a new gener- because they're talking educator Frances ation of Yaqui ceremonial too much. Before it was Delgado, Project Choki singers and dancers are that frustration of trying founded the Richey being trained in Old to get them to talk. [Now],School Yaqui Children's Pascua. we have very self- Cultural Dance Group. confident children." This new strand in . Vietnamese Youth Development Center Peer Resource Program

VSLP., (he0.1"(s J¢V¢(01?tec.<1¢1.'SkipSka(Sc.h4C1 COft.Pv.1.4hily c.A.N0h,

SotifkeAs1ASL. reft4Tze yoi.iik Peter H. is a 17-year-old Cambodian youth who is a school dropout. He is illiterate and hangs out with other high-risk youth, many of whom are involved with drugs, alcohol and other illicit activities. He comes to the Vietnamese Youth The Peer Resource Development Center for the employment program. Peter Program (PRP) of San Francisco's Vietnamese becomes involved in the summer leadership project primarily Youth Development Center for the stipend and because he thinks it will be easy. He (VYDC) targets youth begins with apathy and distrust and is initially very withdrawn. from Southeast Asian refugee In fact, he is the outcast of the group. Peter exhibits a natural families grow- talent with a video camera and becomes intensively involved ing up in an in the project. People praise him. He volunteers hours of his 1" environment that lacks tra- time digitizing tape footage on a computer, although it is ditional adult difficult for him to read and write. By the end of the program leadership he expresses interest in volunteering on future projects and structures. maybe in working with younger kids. He sees new possibilities The program addresses that for his future and expresses gratitude to the program for lack of struc- providing him an alternative to life on the streets. ture by devel- 26 oping youth the city and has the high-the ages of 3 and 10. themselves est crime and drug arrest Others are recent arrivals.

' as leaders. rates of any San Francisco Most escaped oppressive Founded in neighborhood. political situations and 1989, PRP have chaotic memories involves life The VYDC, founded in of displacement: being skills and 1978, serves 600 youth pulled out of their homes leadership per year with a wide range at night, fleeing through training, of services. Afterschool the jungle and living in community and summer programs refugee camps in Thailand education and exist for employment or the Philippines, some- advocacy, and training and placement, times for years. One boy intensive work academic assistance, remembers escaping in the arts. educational counseling, Cambodia after his father Photo by Glades Perreras recreation, therapeutic was taken away by the Timmy Hoang, age 16, The VYDC is located in counseling and case man- Khmer Rouge. Usually with video trainer, the Tenderloin, an inner- agement. The employment families were separated Paul Mayeda-Burgess city neighborhood near programs alone serve as by the move. The remain- the downtown commercial many as 200 youth per ing parent, aunt or uncle district. Since the late week, five days a week. often works two jobs to 1970s, it has been dra- make ends meet, leaving Contact: Louella Lee matically transformed by Young people served little time for family, let Executive Director, Vietnamese an influx of Southeast by the Peer Resource alone community involve- Youth Development Center Asian families and Program are 14 to 18 ment. Intergenerational Chairperson, Asian Youth children, most of them years of age. Most are conflicts between Old Substance Abuse Project 330 Ellis Street, Suite 507 refugees. The 49-square- from Vietnam, Cambodia World values and current San Francisco, CA 94109 block area, now 70% Asian,or Laos. Some came to realities are often diffi- Phone: 415-771-2600 is one of the poorest in the United States betweencult. When a bilingual 9 teenager earns more AYSAP, made up of an money than his monolin- Asian outpatient drug gual father, for example, counseling unit and five who is the boss? agencies serving the Chinese, Japanese, Risk factors affecting Korean, Filipino and these youth also include Southeast Asian popula- school failure or dropout, tions of the peninsula, became part of the first delinquency, physical Photo by Sonny Le and sexual abuse Most cohort of high-risk youth Rina Phon (front), age 9, youth in the program are prevention programs and Linda Lam, age 11, not themselves using funded by the Center dance to a folk song, alcohol or other drugs but "Scent of the Flower " have family members who are. Involvement in the ....i111111111111 program usually reveals risk factors that are hid- den for cultural reasons A large number of youth are latchkey children They are in various stages of learning to speak English

The Peer Resource Program grew out of the Asian Youth Substance Abuse Prevention Program (AYSAP). This consortium was founded in 1987 to give visibility to the problems of high-risk Asian youth and "to increase the resiliency/protective factors within the youth, peer groups, families and community to reduce the likelihood that youth [would] use alcohol and other drugs."

30 for Substance Abuse Pre- workshops that give youth project in mind.Keith vention (CSAP, formerly a chance to use construc- Grier's work with the PRP OSAP). tive communication, demonstrates this process. decision-making and An African American problem-solving skillsactor-director, Grier has in their own lives andrun his own theater com- in solving community pany, A Black Box Theater, problems.Perreras since 1972 and has is Filipino and has a worked with youth in the B.A. in communicationTenderloin for 11 years. studies with an em- When he started teaching phasis on cross-cultur- improvisation at VYDC in al communications. 1991, the core group first came up with issues like PRP involves drive-by shootings, drugs training and work in on the street, prostitution theater, dance, visual and conflicts with parents. arts, creative writing Sometimes improvisations and video. To teach were outgrowths of the and manage the vari- life-skills workshop or ous arts components, events and concepts youth the program chooses had been taught about The JungleVietnam The core group of PRP multicultural, multiethnictheir history and folklore. This oil-on-canvas painting at any one time is made artist-mentors who are After a year the group depicts a scene from the youths' homeland. It was created as part up of at least 8 youth well known for creating wanted to do a full-blown of a cultural pride identity project participants, half boys quality public and com- play for the community. consisting of eight canvas panels. and half girls. The programmunity art and who have Following considerable Kay Phou, age 13 sometimes runs two groupsworked previously with research, they brought Hoa Luong, age 14 in the summer, bringing 28 Asian American youth. Grier A Raisin in the Sun the total to 16. Forty For example, Spencer by Lorraine Hansberry, youth have been members Nakasako, a Japanese proposing a Vietnamese- of this core. Young peo- American film and video in-San Francisco twist. ple, recruited from the maker who worked on They mounted this neighborhood, are selected Chan Is Missing and The Joy production at the Exit based on willingness to Luck Club, has worked with Theatre in May 1992. participate and interest PRP teaching video since It was well received by in expanding leadership 1991. According to VYDC the neighborhood and in their community. StipendsExecutive Director Louella the critics. enable some to participate Lee, "VYDC has developed who might otherwise have a long-term relationship During the school year, to work at paid jobs. with these artists and thereclasses and workshops are is a strong commitment on held for only one art dis- Participants meet three their part to keep coming cipline at a time. Theater to five times a week for back." workshops are an excep- two-hour sessions during tion. They meet once a the school year and five Work in a particular art week year-round. The days a week in four-hour form begins with several program uses theater to sessions during the weeks of short-term pro- explore personal, program summer. The program jects and skill building and community issues as uses a leadership/life- with a lot of interaction. well as the communica- skills curriculum pulled A sense of the collective tion, conflict resolution from a variety of sources, experience quickly devel- and problem-solving tech- including CSAP materials. ops. Major projects coa- niques taught in the lead- Glades Perreras, coordina- lesce out of participants' ership/life-skills work- tor of the PRP for five evolving interests and shops. The theater class years, conducts this skills, although the artist- maintains an open-door training in 1-to-2-hour mentor sometimes has a policy. It always includes V: 4.t. 31 the core group but neigh- included stories of teens selves in a 4111111111104 ja,i4 SKIER414, 100111111* borhood youth can drop indropping out of school, variety of whenever they like. The teen relationships, family contexts. intensive eight-week businesses, images of For exam- summer program includes the Tenderloin and how ple, they work on video projects different individuals feel must ask and other media as well. about it. Whatever the permission Usually all youth partici- topic, youth explore signi-to shoot pate in all art forms. ficant themes, often not scenes, those they expected to which involves explaining Escape Into Grace How the arts and a goodexplore. For example, to residents what they are Detail of mural on the Arlington artist-mentor help youth according to Nakasako, doing. Hotel directed by artist Johanna grow in discipline and in "a video on break dancing Poethig and painted by youth in the program. mental clarity emerges ended up being about The VYDC has had good from Grier's account of friendship, about friends success ingetting films working with out to the PRP. He says, public. The "I tell them, agency has At 16, you're featured them closer to being in community adults than forums. Accord- kids, you have ing to Lee, to learn how "We make it to make that a point for transition. If youth in the something is neighborhood expected of to see the you, you have works of their to see it peers." Some 29 through.'" videos have When youth, been broad- whom he says cast on the are often local public "babykids," television walk out on station, and a rehearsal, shown at the storming and Asian American crying, he Film Festival tells them, and the Pacific "You got to be Film Archive. bigger than One, partially that." And funded by the when they San Francisco stay, they work Photo by Johanna Poethig Museum of out a lot of Shrine to the Guardians, multimedia art project created for Modern Art, issues through neighborhood beautification effort was shown performing: authority taking advantage of each there. Nakasako also does issues, family and traditionother, about going after unofficial showings. Last issues, what happened in what you want." The VYDCsummer he had partici- Southeast Asia and how itdoesn't have a video lab. pants set up a television translates here. It rents equipment and monitor on the sidewalk gets in-kind contributions in front of an apartment Nakasako supports for each summer's projects. building and play a video. youth in taking control of Neighborhood kids made the creative process from The videos are shot in fun of it. PRP "youth had concept through final the community and force to defend their premise product. Videos have students to express them- and later examined whether they had presented it as hood need and attempt to and Perreras discussed effectively as possible." meet it in the political the nature of the site Nakasako says, "It made arena. When a recreation with the youth, and how them learn, you made a "The program is there to facility was being built in best to bring it out. The video, you're responsible the Tenderloin in 1992, teens, with adult input, inspire youth so that they can for that video." older adolescents were came up with a series of change destiny as it happens afraid it wouldn't serve images that represent the and feel hope that the com- According to Perreras, their age group. The PRP process of recovery, the munity will be improved "We encourage the notion core group contacted the idea of freeing oneself with their contributions." of community and group San Francisco Parks and from addiction to sub- development rather than Recreation Department stances and also from Thuong Le Prevention specialist individuals developing. and set up a meeting other negative influences Individuals develop on between 100 neighborhood and behaviors. Youth their own." The program young people and public researched and used fig- includes yearly activities officials to ask how the ures that symbolize in community building. City intended to address spirits, health, change Youth produce and lead their needs. As a result and movement in Native one or two teen forums the City's program admin- American, Buddhist and each year. These forums istrator put together a other traditions. In the plan of ser- mural, a snake winds the vices for entire length of the build- older youth. ing. It starts as a poisonous snake, a person Finally, trapped in a bottle of the major negative influences and arts projects behaviors. People shot themselves heroin on the street while have been PRP youth worked on the exercises in mural. The snake becomes \-\ community a wave, shedding its skin building. and transforming. At the The mural end it is a human figure. Escape into The snake, superimposed, Grace, whichhas become a spiral,

0. is featured representing the cyclical on the cover nature of life and eternity. of this book, The overall message is is an example change requires movement. of that work. The mural is a wonderful Photo by Louella Lee Public artist tribute to all neighbor- This Alley Dance was part of have included such issuesJohanna Poethig had donehood residents struggling "Performance in the Gutter as substance abuse, gang murals and ceramics pro- to build positive lives Part II," bringing art to alleys of involvement and sexual jects with PRP since for themselves, one that the Tenderloin. abuse and use either 1989. When the 509 speaks to young and old. drama or PRP videos as Cultural Center contracted the leadoff for discussion. with her to paint a mural Poethig says, "I've seen Turnout for these forums on the Arlington Hotel, the kids go through a lot has numbered 100 teen- she recruited PRP mem- of self-education and agers from the immediate bers Gia Hy Chung, Sokly transformation. Art opens neighborhood. ParticipantsNy and Puthara Chuop to their minds and hearts up advertise their own events help conceptualize, designto what's going on around and get their peers and and paint it. them, to different ways of friends to come. living, and to how they The Arlington is a resi- can own and affect their PRP has also conducted dential hotel for people own environment. They advocacy projects in which in recovery and an inde- see culture is something youth identify a neighbor- pen0eN living site. Poethigthat we make together."

AD; Getting the involvement Lee, "The need of young women in some for this informa- components of the programtion cuts across has been difficult.Many the board for projects are done in the families, whether late afternoons and eve- they are from a nings when girls aren't rural area, village allowed to do things out- or city in South- side of their roles in the east Asia. In family. When girls have addition, work- gone through the program, shops often they have tended to work become a safe together, which staff place for parents encourage. They want to to discuss their tell their own story. fears and concerns without Toubi, a girl from Laos, losing face, for came into the program at example, their 15.After a series of dif- fear that chil- ficult foster homes, she dren are becom- was living with her moth- ing too Americanized. er again but having trou- Such discussions help social skills, assertive- An Easy Day in the Village ble with the relationship. ease tensions and ness and goal-directed This acrylic on canvas depicts She was a natural in improve communication behaviors among partici- a time to relax and reflect in a Vietnamese village. telling stories and was within the families of pants. The program Howard Ly, age 10 very successful in various participants. successfully engaged Christ Trinh, age 13 PRP theater productions. youth who were not origi- Staff encouraged her to CSAP provided all nally invested in their keep going. She subse- funding for VYDC during academic and social lives quently participated in 1996. Of this, $85,781 and provided an incentive high school plays and in went to PRP. The program and goals for greater one VYDC youth forum, has also been supported participation. Bart Aoki, speaking out on the image by the San Francisco AYSAP's evaluator, noted of refugee youth in the Police Department, that once youth felt neighborhood. PRP re- AmeriCorps (Writers- they were part of the cruited her to be a video Corps), the National group, their participation assistant and mentor Asian American Telecom- was sustained. Substance during the summer of munications Association, abuse did not decrease as 1996. Toubi is currently San Francisco Museum of a result of the program, studying psychology at Art and a variety of arts at least not in the short San Francisco City Collegeorganizations including run, since most partici- and now has a good rela- private galleries, theaters pants were nonusers in tionship with her mother. and cultural centers. The the first place. Overall, Justice Council and San Aoki attributed the pro- The program offers Francisco Parks and gram's success to its use occasional parent work- Recreation also fund the of experiential and inter- shops. According to Lee, project and the artists active activities as well immigrant parents tend often bring in their own as to its community ser- to have little idea of the funding. AYSAP is cur- vice piece. He found that pressures their children rently looking for local, youth enjoyed the sense face, both in school and foundation and other of doing something for on the streets. Workshopsfunding sources to main- the broader community help them understand tain PRP. and realized their efforts what their children are ultimately would empower experiencing and encour- AYSAP evaluation of the community to develop age them to become more PRP in 1993 showed linkages and resources involved. According to significant increases-.in from within. BRONX, NEW YORK

WritersCorps

Vsus, wrifix9 io perSoxa(A/4 Socl.ck (ifercy,c, ska(s

Do you see people dying? Shantel Wilson Writers Corps is a three- Do you see the blood stained ground year volunteer project of AmeriCorps, which Presi- at the latest crime scene? dent Bill Clinton signed Jeff Taylor into law in 1993. An Do you see me hoping for no more initiative of National Endowment for the Arts violence? (NEA) chairman Jane Zumar Ortiz Alexander, Writers Corps establishes community- Excerpt from New Settlement Apartments Community-Poem based literary arts programs for underserved away" and homeless program initiatives. BCA's communities. The project youth. Violence and sub- director, Bill Aguado, has is being piloted in three stance abuse are high. In been a community orga- target cities: The Bronx, 1989, 951 young men agesnizer and administrator of Washington, DC, and San 15 to 24 died by acts of alternative schools in Francisco. The Bronx violence, a 14% increase New York City since the Council on the Arts since 1980. In a 1992 early 1970s, and has (BCA), directed by Bill study by the Bronx Boroughworked at BCA since 1978. Aguado, was selected as President's office, 43% ofHis personal mission is to the sponsor for the Bronx Bronx youth ages 7 to 19 empower communities, to component. The Bronx said that they had wit- help people find their Writers Corps has put 25 nessed a homicide. Almostvoices for community and writers to work with schools, half of the schools that the cultural development. art centers and nonprofit New York Education Depart-Aguado says, "Once community organizations ment defines as "Under you feel you are free to helping to promote literacyRegistration Review" for speak, that is one of the and literary skills. their declining perfor- most liberating experi- mance are located in the ences. Then, you don't The Bronx has a popula-Bronx. While the public have to ask permission to Detail from a mural created to tion of 1.2 million: 44% schools struggle to meet express your opinions on display lines from the 1996 Latino (85% Puerto Rican), their needs, underfundingyour neighborhood." He New Settlement Apartments 31% African American, is reflected in students' notes that Writers Corps community-poem. 23% white and 2% other. lack of basic writing skills.gives power to "the voices In 1990 more than 20% of individuals who are not of Bronx families were BCA develops programs frequently heard." living below the federal and services that increase poverty level, compared community awareness and From 1994 to 1996 the to the citywide rate of participation in the arts BCA Writers Corps collabo- 15.5%. In 1993 youth and that nurture the pro- rated with 60 schools, shelters in the Borough fessional development of older adult groups, home- Contact: Bill Aguado served 10,000 homeless performing, visual and less shelters and commu- Executive Director and runaway youth, and literary artists and arts or- nity groups to develop lit- Bronx Council on the Arts 1738 Hone Avenue law enforcement agencies ganizations. Writers Corps eracy and literary initia- Bronx, NY 10461 received 50,000 reported fits under the Council's tives. Collaborating orga- Phone: 718-931-9500 cases of runaway, "throw- education and community nizations and sites have

M1 <3,5 ft,o included Tilden Towers II,and to help them find rent, criminal propensity Citizens Advice Bureau, the common ground that or extremely poor house- Bronx Lebanon Hospital, benefits children. keeping standards. Most C.E.S. 235 Rafael Hernandez, families are headed by a I.S. 183 Paul Robeson During 1995-96 poet single parent or guardian, and Bronx Satellite Academy. Michele Kotler developed with the adult either the Community-Poem Pro-working or actively seeking Writers Corps's writer- ject with youth living in employment. Only a few teachers use their skills the New Settlement blocks from high-crime to improve a community's Apartments (NSA). NSA areas where unemployment future and the sponsoring consists of 893 apart- and drugs are common, organization's ability to serve their clients. Aguado v found that not all writers could function on the community level and not all organizations were ready to work with a literary program even when the BCA had assigned a writer suited to their needs. To be successful, writer- teachers have to find a staff person within the sponsoring organization who appreciates the value of the program. They also have to discover what they can provide that will motivate the participants. Aguado notes, "Writers Corps is not a writer-in-residence program."

During 1996, 1600 individuals participated in ments in 14 buildings, New Settlement Fund has Michael Reyes works on New Bronx Writers Corps activi-clustered in a four-block created and is sustaining Settlement Apartments mural. ties each week; of these area in the southwest a healthy, safe environ- an estimated 900 were Bronx. Formerly unoccu- ment for residents. There children or adolescents. pied and used as crack is a security force. NSA During the project's final houses and heroin shootingruns a domestic violence pilot year, 1996-97, BCA galleries, the buildings prevention campaign. The forces that work against is working with 20 sites, were purchased from the Afterschool and evening fear and separatism are the building community and City by Settlement Housing programs for children and educational infrastruc- Fund, gutted and renovated adolescents are provided creative forces. Writing as tures that support the lit-in 1990-91 as part of free for tenants. Parents a creative act is making eracy needs of the com- Governor Mario Cuomo and need only to sign up their something from nothing, and munity. At some sites thisMayor Ed Koch's 10-year kids. Once people become if a child can learn to write will involve learning the housing plan. Residents part of this community, a story, she can learn to needs of small business are low and moderate they stay and their morale create her life. owners in the area as wellincome, and 30% were is high. as educating them to the previously homeless. Mary Heber Writers Corps instructor value of the writing pro- Buildings are now 100% The afterschool and teen ject. The goal is to make occupied with tenants programs give youth a con- each group in a neighbor- who have been screened structive, fun alternative hood aware of the needs to exclude those with a to the streets. Supervised of every other group record of nonpayment of by Maria Santana, activities include one-on-one While youth at New ipants' lives jump out of tutoring, computers, dance,Settlement are at risk, their poetry. These lines theater, ceramics and bas- those in the afterschool were written by 16-year- ketball. Volunteers from program demonstrate im- old Jeff Taylor: high schools and colleges portant signs of resiliency. I imagine desperately help run all of the pro- All have at least one fighting for my life. Writing has always given me grams. A support group influential adult who has the chance to express who I I imagine saying farewell for teenage girls deals encouraged them to excel to those I can't forget. am and who I want to be.I with health, pregnancy, in school and to avoid I imagine myself being believe that when a young drugs and other issues. negative influences. Most outlined in chalk upon person is inspired to use his Bronx Helpers organizes believe that they have the cold ground and or her voice, he or she is community service projects, positive opportunities being dragged away by such as cleaning up the ahead of them and feel en- less likely to be influenced strangers. neighborhood and distrib- couraged to stay in school. by the negative voices. I imagine drowning in uting fliers for the domes- situations beyond my Writers Corps ensures that tic violence campaign. NSA's Community-Poem control. youth are exposed to the arts A program called Books Project involved creative and have the opportunity to and Baskets requires writing and mural con- One student, Marsha have their ideas heard and young men to participate struction and served 76 Goshine, then spent eight in an academic aspect of youth, 80% of them 7 to hours organizing the re- their vision celebrated. the teen program for at 12 years old; the other Michele Kotler sulting 183 lines into a least one hour a week in 20% were 13 to 17 years 12-page poem, with the Bronx Council on the Arts order to use indoor hoop old. Of these participants, Writers Corps instructor author's name after each courts. In the summer, 51% were African Amer- line. When Kotler passed NSA arranges for a street ican, 49% Latino, 59% out the poem, youth to be blocked off for a male and 41% female. counted how many times camp program, offering The project involved their names appeared workshops (one hour per before they read it. Par- week with children, two 34 ticipants had decided hours per week with ado- early on that they wanted lescents) in which partici-to get their messages out pants, in groups of 7 to to the community in a 15 each, discussed and visual way. They chose wrote about their daily four lines to illustrate on livestheir hopes, fears four 4-by-8-foot murals. and visions for themselves and the community. Using writing, drama, New Settlement Apartments Community-Poem Mural Lines drawing and imagination exercises, Kotler encour- When I'm quiet I hear aged the youth, in indi- the wind wishing and vidual and group writings, the thunder is like drums. to develop X-ray vision with their poetry, to create Thurraya Amadu, age 11 Kiani Henderson works with Bronx games, arts and crafts. and hone images that allow Do you see that violence graffiti artist "Sein" on a section The afterschool and teen the reader to see clearly is no way to solve a of the mural used to share the programs' major substance into the writer's mind. problem? community-poem with the abuse prevention strategy Vanessa Samuels, age 9 neighborhood. is that they provide safe, Lourdes Delgado and If I could change into a stimulating, supervised LaToya Studwood wrote bullet nobody would activities. In addition, line beginnings for the lose their life. youth must be drug free community-poem: Irving Hamilton, age 15 to participate in the I imagine, I imagine drowning in activities. Parents trust If I could change, situations beyond my the programs and check Do you see, and control. to make sure their off- When I am quiet. Jeff Taylor, age 16 spring are attending. The realities of the partic- vpr: 37 -!:$, -I 1 Three of the four murals created to display lines from the community- poem, now displayed in a four- block area of New Settlement Apartments.

-11 I I rrci

9 1 f sk -1'IL

C42,

$ 0

New York City mural young people that their she worked on a Nomadic and graffiti artist Darwin thinking, decisions and Pictures' documentary on "Sien" Bharath worked voices are powerful tools at-risk Chicago youth for two months with NSA for social change. called "No Time to Be a Excerpt from youth to paint the lines Child." She first used the of poetry into life. Kiani Kotler is a poet from a community-poem method Dream: Henderson, Michael Reyes, working class background.to create text for this Children's Rites and sisters Malorie and She grew up in Flushing, documentary. Kotler also by Mary Heber

Nina Echevarria put the Queens, New York, and consults on community- . . . children write on an most time into this effort. went through the public poem projects outside of open book Each board features a school system when the WritersCorps. She is cur- children write on the separate line and has a first series of budget cutsrently working with stu- border of pictures drawn had eradicated arts from dents in East Harlem, New edge of their seats by the younger partici- the schools. When a York, and Killington, Ver- in the cafeteria platform with pants expressing their sixth-grade teacher gave mont, bridging the per- a train careening hopes and fears. The youth her an anthology that in- ceptions of youth in urban off the edges children write all wanted a mural on cluded Langston Hughes's and rural communities. do you see me do you see their block.Instead they poetry, it changed her we are not passengers, we will hang in four differentlife. She recalls that she Kotler used the NSA sites in a four-block thought, "Wow, this man requirement for academic are the train? radius of NSA. An indi- is writing in his own activity to recruit young From not black and white: vidual must walk or drive voice." She started writing, males into the writing/ inside words from the Bronx WritersCorps through the community got a scholarship and poetry program. She walked to see all of the lines, worked her way through on "the hoop courts" and a community-building Sarah Lawrence College, got the boys: "It was action in itself. The earning a B.A. in liberal hard. They didn't know murals let the community arts with a focus on cre- me. They are constantly hear what their young ative writing. While work- encouraged by society to people are thinking and ing on an M.F.A. from the use their bodies and not feeling. It also shows the University of Michigan, their minds. Why should I S'E 38 work with her? was the initial reaction." All through the project she challenged the boys with the phrase, "People say, I like getting my ideas out. 'Basketball play- ( ers write poet- I liked knowing other people ry?!'" In fact, she would listen. It was fun observes, "Kids working on something for with extremely From left: Michael Reyes, Kiani Henderson, Bronx graffiti artist "Sein" who guided the community. It was fun poor reading process, Malorie Echevarria and Michele Kotler, Bronx WritersCorp writer-teacher because it had to do with levels, whether they creating, drawing and work- played ball or not, wrote Meanwhile, Bronx partic- York State (NYS) Depart some of the most beauti- ipants were amazed to ment of Education, and ing hard. It gives poetry a ful lines in the world." learn that their words made NYS Council on the Arts good look.I believe it will sense to youth 3,000 miles Foundation funding was influence my community in Youth involved with away and were happy to received from Greentree a good way. the project are now more know they were not alone Foundation, American Kiani Henderson, age 12 knowledgeable of the in their aspirations for a Express Foundation and About working on the NSA process of change, that it better life. JM Coplan Fund. The NE4 community-poem and mural involves making a commit- evaluation process require ment and honoring that As a result of the Writers-each writer-teacher to ke( commitment. The com- Corps project, NSA now a journal, to submit writ munity-poem and mural sees poetry in a new light.ings by the recipients al alone took six months. Before the community- to compile quarterly anc Last year Kotler had to poem, staff didn't see howannual reports identifyit 36 round up her troops. This writing could make a dif- successes and problems year they are at the build- ference. "Now," Kotler says, individual project sites. ing, waiting for her. The "they see that creative project has made them writing strengthens basic Bronx WritersCorps's conscious of their com- writing skills. And they see successes are many. In munity as a place that how incredible our kids' 1996 BCA produced the they can change. They havevisions are, how badly theybook not black and whit learned how to encourage want to institute positive inside words from the their peers to speak out. social change." Staff are Bronx WritersCorps (Austi They have also realized printing the community- Texas: Plain View Press) that art represents a lot of poem in its entirety in the The book is a compilati( thinking and doing, and NSA newsletter, 10 lines of writings by WritersCor finally, that it is practicalat a time. The newsletter teacher-writers and corn and useful. is hand delivered to all munity member-student! 893 apartments. of all ages. Editor Mary Writing has been ex- Hebert notes that the changed by NSA youth and The 1996-97 budget forbook "is a work of the participants at the Wash- the Bronx Council on the heart ... itis the heart ington, DC, and San Arts was $1,278,923; its the Bronx that we tried Francisco WritersCorps budget for the WritersCorps connect with and evoke. sites. Participants at the program was $125,500. The beliefs and method! San Francisco South of Government funding was of the teacher-writers Market site were intriguedprovided by the National shine through pieces the by the familiarity of manyEndowment for the Arts, students felt inspired al images and ideas in the the New York City (NYC) supported to write. Bronx writingbullets, Department of Cultural killing, drugs, but also Affairs, NYC Department Because of P.S. 122's n kids wanting change. of Youth Services, New spect for jennifer jazz [sic ; 39 its Writers Corps-assigned writer, the school has invited BCA to be a part Chain of Thoughts of its redesign team for by Joshua R. from the Bronx Satellite Academy the literacy and visual arts plan of its new Board- Being a person of color means a lot to me. . . ordered education com- I still have a lot to learn about my family. . plex. As a spin-off of and background to help me identify myself. . . Writers Corps, BCA opened It's hard for my sisters and brothers to What I try to teach my stu- The Bronx Writers Center achieve certain. . . dents is not necessarily to be in May 1996. Housed at goals, the Westchester Square a writer, but to be a person getting an education, Branch of the New York who thinks. If you think Public Library, it provides taking care of a family, about what's going on with or even playing a role in society. . . private work space for you constantly, and deal with people are feeling that they are oppressed writing professionals. Its it, then you can start looking resource library includes but not using their knowledge to escape for options and figure out volumes on how to teach from their enclosure. writing to young people. how to deal with the next Be strong to overcome this cruel but level.

Many of the youth who overzealous world. . . Steven Sapp participated in the Only your choices and actions will determine Writers Corps instructor Community-Poem Project your future. have an improved attitude toward academics, and a wider vision of who they are and can be. Lourdes The Way a Candle Light Burns Delgado, the young woman by Pedro C., middle school student in the who helped design the South Bronx line beginnings for the 1995-96 community- The way the wick of a candle poem, wrote then, "Do burns you see me walking and is the way the walking into the middle inside of my heart burns Having lived on this planet of nowhere?" This year As I see the way the death of a loving mother for a while, what I've learned she isn't around the teen can go out program as much. She as a human being is that life has realized that she has so quick is a contradiction, that there a mind and that people just like the way the candle flame are going to be challenges respect her when she goes out so quick and obstacles.So I write to uses her mind. She's at confront life, to keep myself home studying. Kotler The pain is burning inside me from going crazy. ... I would says, "It takes so little,it seeing a loved one takes so little to motivate die is like seeing a candle hope that these kids have them." As the community- burn out learned how to listen to poem asks, what's inside them, and to It is hopeless and empty "Do you understand?" what's going on around I wish my mother could live forever them, and not take things just like I wish a candle for granted. would never burn out Ana Ramos Pedro C.'s Writers Corps instructor

es 40 NORTH BRUNSWICK, NEW JERSEY

families, who have developed coping methods and survival skills as they struggle against poverty, (1St. p(C.Ineral Pi/ IMDYOv.SAGoh A/4 poSat.ve 0.(1140S economic and cultural dis- advantage and poor living fo6..(reASef keco.4(oxon,..71 cox-fL.(12xC-e conditions. Overall, however, positive adult role skiffs of6.0RYCay70t4lk models who touch the lives of the young people are sorely missing. The CHIL' ART is a summer sites and reached a one- social environment has playwriting program that time youth audience of taken its toll on the par- serves children living in 125. Since the program's ticipants. Self-esteem is low-income housing pro- inception, 175 to 200 low. Many use intimidation jects in Perth Amboy and youth have participated inand force to extricate Sayreville, New Jersey. It playwriting workshops andthemselves from problems. was founded in 1990 as 750 children have wit- Peer pressure is by far a Local Arts Development nessed productions of the most influential in project of the Middlesex their works. their lives. County Cultural and Heri- tage Commission (MCCHC). Participants of CHIL' MCCHC was established It is co-sponsored by ART are all economically as a department of County Middlesex County Economic disadvantaged. Unemploy- government in 1971. It is Opportunities Corporation ment is high among their responsible for the County (MCEOC), which administers families. Many youngsters Museum/Cornelius Low the program. come from one-parent House, which offers exhi- households or families bitions and educational Middlesex County was in crisis. All have wit- programming on New Jersey 38 incorporated more than nessed alcoholism, drug history; the Folklife Pro- 300 years ago and has use, domestic violence, gram for New Jersey, which among the most diverse street crime and gang preserves ethnic cultural populations in the state. activity. With parents at expressions; and technical In Perth Amboy, at 49,000 work, young people "on assistance to local histor- residents, Middlesex their own" during the sum-ical societies. MCCHC also County's largest city, mer are prime targets of provides technical assis- 55% are Latinorepre- drug dealers. A number oftance to Teatro Café, a senting 17 Spanish- the youngsters perform local Latino community speaking nations, 28% Young Sayreville participant poorly in school and test theater, and the Latino holds a T-shirt created for the are Caucasianmostly below their grade level. Arts Task Force, which summer program. from Eastern European Others are in English-as-a-seeks to provide for some countries, and 17% are second-language programs, of the cultural needs of African American. with Spanish or another Latino residents in central language spoken at home. New Jersey. CHIL' ART targets chil- According to Anna M. dren entering the fourth Aschkenes, MCCHC exec- MCEOC is a private, non- grade. Some children utive director, in one of profit community action return from one summer the cities it is obvious agency with a mission to to the next, so ages rangethat the public schools promote the economic and from 9 to 14: The pro- are advancing students to social self-sufficiency of gram averages 60% higher grades when they low-to-moderate-income Contact: Anna M. Aschkenes female and 40% male do not have basic reading residents of Middlesex Executive Director participants; 50% Latino, and comprehension skills. County by operating pro- Middlesex County Cultural and 30% African American grams, building coalitions Heritage Commission 841 Georges Road and 20% Caucasian. Most youngsters experi- and mobilizing resources. North Brunswick, NJ 08902 During 1996 CHIL' ART ence the support and MCEOC is the largest pro- Phone: 908-745-4489 served 56 youth at two encouragement of their vider of child care services ;41 in Middlesex County and its inception. John Pietrow-artistic director and five established the first pedi-ski and Jim Peskin have community volunteers. atric dental facility in theworked most frequently state for Head Start fami- with the program. Pietrowski The program runs eight In 1991, the first year of the lies. In addition to oper- is Playwrights Theatre's weeks, meeting three Perth Amboy project, the ating 14 centers through- producing artistic director times a week, three hours concluding play reading was out the County, it has pro- and director of drama at per session. From the attended by a member of the vided training to residents Far Brooks School in Short first day, youth improvise Housing Police, who stood in of public housing. MCEOC Hills, New Jersey. He and write scenes. Working the back of the auditorium so has also developed a com-helped develop the cur- as a group, children cre- he would be unobtrusive. He prehensive teen parentingriculum for the New Jerseyate a two-to-three-page had planned to exit before the support network to com- Department of Correctionsstructured scene that one post-performance reception plement its drug elimina- Division of Juvenile child records and several began. But before he left, he tion efforts. As part of itsSystems' playwriting pro- youth perform. Later, the expressed his disbelief that service delivery and anti- gram, and is a professionalgroup is broken into four these were the same kids he hunger networks, the actor and director. Peskin writing teams, and then dealt with every day. He agency also provides food has an M.F.A. in directing into pairs. Many youth wondered how they could to support soup kitchens from Yale University. He eventually demand to write have written such moving and and food pantries. Anita helped create the New alone, an important mile- poignant words. The plays, he Orio coordinates the agen-Directors Project at the stone because doing so said, gave him new insights cy's Community Services New York Theatre Work- helps them find their into their emotions and lives Division, which includes shop and was the founding individual voices. and he had a newly found the CHIL' ART program. director of the New Jersey respect for their capabilities. MCEOC is the key agency Young Playwriters Program. Students are encouraged in the delivery of social Both playwrights have to write about what they services within the public experience with youth and know best: themselves, housing communities. adults at risk. their lives and those Carroll H. Thomas, execu- of friends and tive director for MCEOC, For every family Because 39 says that the organization 25 to 30 playwriting Professional actor G Rodney has incorporated CHIL' ART students, employs Owens works with youth preparing as a permanent part of there are for a CHIL' ART performance the community action two play- agency's anti-drug efforts. wright- teachers, Playwrights Theatre of one New Jersey, a professional nonprofit organization dedicated to the development of new plays and writers for the stage, has provided the playwright- teachers for CHIL' ART since

V and realize that the play- 'wanted a daddy.' Some wrights are "cool" and youth had been emotion- nonjudgmental. The ten- ally abandoned by their ants associations work to families. Others had sup- ensure that a positive portive and caring family interaction occurs at home members but at 9 and 10 by having an adult family member sign a form pledg- ing support for the child's efforts in the program. The parents also promote and attend the concluding play reading. Actresses Geneva Ortiz (left) everyday language and the and Jojo Sydenham (right) language of the streets, CHIL' ART addresses consult with playwriting youngsters who might have substance abuse preven- youth. difficulty writing prose tion by being a viable find playwriting accessible alternative to drugs and and relevant. The last twothe behavior that might weeks of the program, put youth in contact with youth write toward a publicdrugs. It improves self- evening performance, for esteem by reinforcing a which young-looking pro- "can do" attitude; listen- fessional actors are hired.ing to and respecting the CHIL' ART youth watching The plays are read at the thoughts, opinions and rehearsal of one of their local high school and are life experiences of the plays. attended by friends, family,young people; providing years of age had already residents of the projects, opportunities for decision yielded to the pressures Housing and Urban Devel- 40 making; and valuing the of the inner-city culture opment representatives, accomplishments of the and had rejected their local officials and, of participants. Finally, stafffamilies, choosing instead course, the young play- from MCEOC's Drug and to make other 'children of wrights themselves. Alcoholism Network con- the street' their extended "I can see what it's like duct sessions on drugs family." Parents in each housingand life choices. my own work up on stage. development's tenants CHIL' ART is a low-cost, It feels good. Last year one association select partici- Aschkenes says CHIL' ART's portable program. In 1996 lady (in the audience] was pants each summer, takingstaff were not prepared it operated on $7,000, crying. Wow, I really did recommendations from for the combination of including $3,500 in fed- that!" the Public Housing Police.street smarts, toughness, eral monies, $3,000 in They choose youngsters Nicole Santana, age 13 anger, frustration, inno- Public Housing funds and who are considered "edge cence and lack of primary $500 from United Way kids," at high risk for educational skills exhibit- of Central New Jersey. "It's better here. It's a place being influenced by nega- ed by some youngsters: Funding has changed over where you can express your tive factors in the social "No matter how much we the past six years and has feelings, write what you wantenvironment. No young expected it, we were still included monies from the to write about, without peo- person is turned away if overwhelmed at times by Middlesex County Board ple laughing at you." they exhibit a desire to the life experiences of of Chosen Freeholders and participate.The kids do the kids: they had lived a Community Development Manny, age 12 not know this, however, the lives of adults and Block Grant. Funding from and selection is perceivedwere not yet teenagers. the New Jersey State as an honor. Fifteen to 20One boy wrote about drug Council on the Arts helped kids start the program at pushers and pressures to inaugurate the program. each site at the beginningfrom the drug culture on of each summer. Others the streets. When asked Evaluation has been in- join, once they see what to write about his one formal. Agency staff meet their friends are doing wish, he wrote that he each summer with youth e for a jam session and with the playwrights for de- briefing. CHIL' ART partners believe the number- of letters of support and the verbal testimonials are all that they need to know the project is important and valuable. Professional actors give a For John Pietrowski, the Love Is Unconditional play reading of student essence of CHIL' ART is by Nicole Santana, age 12 works. captured by an experience Jackie, 14, daughter, responsible, too old for her age he had with Muhammad Josh, 18, brother who cares but his life is too busy in 1993:One day, while we were working on his Angie, 35, mother, drug addict, self-absorbed play, he started picking Pedro, 37, boyfriend, drug addict, bully at the hair on my arm. He Melissa, 1, baby sister said, 'Am Iever going to Opening scene. "One quiet, street-smart boy, have hair on my arms?' I Jackie. I'm tired of doing everything in this house. Muhammad, entering fourth said,Has anybody ever Everybody else sits around and does nothing. grade in the fall, was found talked to you about this?' Angie. Shut up! Stop complaining. Go and get your to be unable to write a sen- He didn't have a trusted sister, she's crying. tence. Was he receiving help adult to ask that ques- Jackie. Watch! One of these days I'm going to get tion. We stopped working at school?(It turned out out of here! Watch! on the play and just talked that he was not.) He was Angie. That will be the day when Isee you with a about puberty for half an highly creative, though, and job and an engagement ring on your finger. hour. You start off working had much to say. A volunteer with the play and the craft Jackie. No, because Ican't live like this for a was assigned to him, to write 41 but other issues come up. couple more years, kill myself. You begin to form these Angie.Yeah, o.k., right, sure. Hurry up and go get down his words as he spoke close bonds and you begin your sister. them. Every night the young- to talk about these other Jackie. Why do you do this to me? You always make ster took that day's writings important things. That was me feel I have no life. All I do is your part. home. The next day he the one thing he, truly Angie. And what exactly is my part? returned with his script in needed to know that day Jackie. Watching after your child, a helpless baby. his own handwriting, a and he finally had the Caring for her the way you're supposed to. courage to talk about it." painful, jarring print. Each Angie. Go get your sister, she's crying. Now! evening he would carefully Jackie. No, you go get her, she's your daughter. Muhammad has endured copy every stroke of each She's crying. You go and get her for once. many trials in his family. character, every word, that I'm tired of this. His parents are separated, had been written by the aide several family members Angie. I said go get your sister. on his behalf, so that each have serious drug abuse Jackie. All you do is sit around and get high with problems and his sister that man in there. I'm tired of this. story and each play would truly be his own." recently ran away from Angie. I said NOW! home. At 14, he does what Angie slaps Jackie in the face. Jackie runs to her Anna M. Aschkenes he can to help his family. room to get her sister. Angie turns around, in Executive director Muhammad learned to Middlesex County Cultural shock. She goes to her room. and Heritage Commission read while at CHIL' ART. Angie. I can't believe what's happening. (Pause) Now a freshman, he is It's nothing to lose sleep over. I'll just do doing well in high school and is interested in going the usual to calm myself down. to college. He continues Angie gets high. to participate in many of (The play goes on to show common experiences in the housing project's the life of the responsible child in a family where recreational activities. the adults abuse drugs.) -44 Corner Stone Project Thousand Points of Light in 1991 and winner of NETworks Center the Gould/Wysinger Award of Outstanding Juvenile E P.,p(oyix, orioil Ike p.rfs, (tfesAa((s con,"0.1.4r.ay sgrvice Delinquency Prevention from the U.S. Office of o L,t4i(ci Ike accodetv.ic co.ci so c. waff-Leix, of ifr.r.er-CITY yowa Juvenile Justice in 1992.

CornerStone operates out of a renovated post office. The immediate The NETworks in Corner- one of the first profes- inner-city neighborhood Stone Project NETworks sionals in Little Rock is 75% African American, Center stands for "Neigh- to stress the need for 23% Caucasian and 2% borhoods and Education collaboration and to pull Hispanic. Youth who Together works." Colla- the community together attend the program have boration among around this concept. significant obstacles to a wide variety Several comprehensive overcome. Gang, drug and of communityprograms in Pulaski Countycriminal activity in the organiza- and Arkansas are spin-offs area put all children at tions to of the CornerStone network risk. Over 50% of youth provide com- model. Betty Lou Hamlin served by CornerStone prehensive was a Junior League mem- live in poverty; 60% func- youth ser- ber who served on the tion below grade level in vices at Board of Directors. As school; many have poorly the neigh- CornerStone's second developed social and com- borhood director, Hamlin provided munication skills. Some level stability to the organiza- kids lack the confidence, is the tion at a difficult time grades or resources to essence and expanded the organi- participate in extracurric- of this zation's funding base. ular activities at school program, Laveta Wills-Hale, the but feel more secure, which serves organization's current more welcome and more mainly African director, volunteered at able to do so within their American youth CornerStone and received neighborhood. in Little Rock. training from Dennis Beavers in 1989. Wills- Most youth come from CornerStone Hale continues to expand single-parent homes or was started in and diversify the organi- homes with a stepparent. 1987 by the zation's funding base and Often they are children Pulaski County to build local partnerships.of drug- and/or alcohol- Coalition, a broad- abusing parents and are based coalition of CornerStone's goal is to victims of abuse. Usually organizations look- increase academic and if there has been abuse, ing for a better way overall life success of- children are living with CornerStone students Kristen and to provide high-risk neighborhood youth and grandparents who provide Bryant address the block party youth with opportunities reduce the likelihood that loving homes. The adults introducing the "Chill!" media to reach their full poten- they will use alcohol or in these families are campaign. tial. CornerStone's other drugs. Strategies hardworking people. Many founder and first director, include tutoring, homework work second jobs, leaving Dennis Beavers, was a help, life-skills training, latchkey children. About social worker with a 1960sthe arts, community ser- 60% of participants are Contact: Laveta Wills-Hale sense of social responsi- vice and emotional sup- referred by the schools; Executive Director bility who advocated a CornerStone Project of Little Rock port. The organization hasthe other 40% are brought 4323 W. 29th holistic rather than a patch-received numerous awards. in by parents and other Little Rock, AR 72204 up approach to working It was the 536th of community organizations. Phone: 501-664-0963 with youth. Beavers was President George Bush's Families encourage participation in the program, series of arts often for the tutoring and organizations, the safe, nurturing environ- Creative Expressions ment. Children overall arepiece has provided encouraged to achieve one-hour classes success. in music, art, jazz and modern dance Corner Stone serves 12- twice a week year- to-18- year -olds during the round Currently school year and 8- to -12- the Little Rock year -olds in the summer Arts and During 1996 a total of Humanities 125 youth attended the Commission program, including 55 supplies who attended afterschool artist- activities. Corner Stone instructors has served approximately to teach 700 students since its inception. Of these, 97% have been African American, 2% Hispanic and 1% Caucasian A staff person from Arkansas Repertory The afterschool program Theatre helps with set meets from 4:00 to 8 00 construction for Pieces p.m. Monday through of a Dream. Thursday. At Corner Stone academics take prece- dence over everything 43 else. Each day involves one hour of tutoring by paid tutors. In addition, volunteers supervise and help with homework, and youth cannot join other activities until their homework is done Points for grades, program atten- "Without CornerStone, I'd dance and positive behav- be deadIt's a safe place ior can be exchanged at to be" the Center's Excel ler Damion Ellis Store for donated goods 17-year-old student such as clothes, shoes, 6-year participant games and radios

Corner Stone provides many of the cultural benefits upper and middle class Americans routinely provide their children but that are beyond the reach of lower income families Through partnerships with a 46 the properties for Lips wrote the scene in which Together, Teeth Apart, Bokeesha tells her boy- they helped. friend, who is with his buddies, that she is preg- According to Scarborough, nant. He tells her, "Take "OnceI was able to accli-care of it yourself," and mate them to the theater, the gang members laugh they saw possibilities. and make fun of her. By the time they did their Whe'n Bokeesha goes to own show, they had a cheerleading practice, she whole repertoire of refer- is kicked off the squad. ences and ideas. My task When she gets an AIDS was just to hold their test, she is told she'll ideas and give them feed-have to wait six months back and support." In and come back. The show 1994 youth used what ends with Bokeesha telling they had learned to write, the Furies she does not choreograph and produce want to go through this a one-hour show called experience and calling Don't Get Caught Slippin'her friend with different in which the Furies repre- advice. The Arkansas Chapter of the oil and acrylic painting sent critical issues in the Public Relations Society of and music theory, and to lives of the characters. Scarborough says partic- America helped CornerStone par- develop a Corner Stone ticipants develop the "Chill!" Don't Get Caught Slippin' ipants were tremendously HIV/AIDS prevention campaign for choir. opens with a teenager excited backstage the inner-city youth. named Bokeesha talking night of the production. One major arts produc- on the phone tion is done each year in with her girl- the afterschool program, friend about usually a theater piece. whether the Fred Scarborough was girlfriend director of Creative should have Expressions from 1992 sex. Bokeesha to 1994. Scarborough, advises her, a director, professional "Oh, go ahead. stage manager and mem- Do it. Have ber of Actors Equity fun." That Association, set out to night the expose youth to a whole Furies awaken range of arts activities Bokeesha and before asking them to show her what create something on their her own life own. He arranged story- would be like telling workshops. He if she made took them to 22 produc- that choice. tions of the Arkansas The scene, Repertory Theatre (ART) which shows in three years, including her fear of talkbacks with actors. He telling her had a touring company mother she is perform Shakespeare for pregnant, was them. He read to them based on from classical literature. monologues He introduced them to that girls in the Furies in Aeschylus's the program Oresteia. When he got a wrote. Boys in Actors from Arkansas Repertory Theatre's The Young Com, freelance job constructingthe program perform Pieces of Eight for CornerStone youth. 47 4

"CornerStone has helped me to achieve most of my goals."

Michael Hammonds 16-year-old student kr 4-year participant

CornerStone's cast of Don't Get Caught Slippin' One young woman who During 1996-97, with The summer program, had never been in a pro- funding from the Arkansas which runs from 8:00 a.m. gram before said, "My Department of Health, to 12:00 noon Monday mom's never seen me in Curtis Tate, a professionalthrough Thursday, features anything. I can't believe actor and artistic director a daily educational hour we're really doing this." of Umojo Studios, an devoted to reading and Parents were also thrilled African American theater arithmetic. Once a week with the production. group, is working with thevolunteer primary teach- Scarborough believes center's teenagers to cre- ers lead an arts and Mask of one of the youth carried this experi- ate a play on the effects crafts day that involves Furies on the set of ence of success into their and prevention of HIV/AIDS. beginning artwork, such as Don't Get Caught overall lives. A young Youth are again creating making collages and neck- Slippin' woman who played one of the script, choreography, laces and drawing simple the Furies is now a juniorset design and lighting, pictures. in psychology at the Uni- and will advertise the versity of Tulsa, with an play, The Patchwork Professionals run optional interest in international Quilt, when they stage structured support groups affairs and plans to visit it in early 1997. Among for participants each Africa during the summer their arts-related field Thursday during the school of 1997. She is a vibrant trips in 1996 were seeing year. Volunteer teachers young woman whose growth the ART's Peter Pan and and social workers, many began to manifest in this Jacob Lawrence's series from the neighborhood as project. of paintings on migration.well as graduate students 48 in child psychology, teachevents like dances, and tomajor arts project. This problem-solving skills anddiscuss student behavior was a mass media piece related life-coping skills. and other issues. The pro-funded by the U.S. Center Curricula include Other ject appoints youth with for Substance Abuse Choices/Other Chances leadership potential to Prevention with technical (by The Alternative the Committee each fall, assistance and additional School, Little Rock, and itis open to anyone fund-raising by the Public else who Relations Society of wants to join.America (PRSA), Arkansas The Junior Chapter. PRSA executives League of worked with youth to Little Rock develop the public rela- funds and tions and design skills runs the required to produce Chill! program's You Have a Choice, an community HIV/AIDS prevention service piece. campaign for inner-city League mem- youth. The campaign bers take youth produced a 30-second on bimonthly television public service outings announcement that has to clean an aired hundreds of times adopted park, on four stations, a bill- for example, board displayed at 45 or to decorate sites and a T-shirt classrooms ofdisplayed on the chests special needs of 500 teens. The mes- students for sage was "Chill! You have 46 the holidays. a choice. AIDS is not worth the risk." Corner- Michael Hammond, a four-year funded by the Arkansas The Center conducts Stone youth served as student in the program, created Department of Corrections),parent workshops once actors and models for the this pencil drawing in art class. Growing up Black and a month using activities campaign. When partici- Proud (by Peter Bell from Marilyn Steele's pants invited the City's through the Johnston Strengthening African teens to a block party to Institute) and Personal American Families. Work- launch this campaign, 400 Achievement Skills Trainingshops teach skills in em- turned out. (Arkansas Department of powerment, self-esteem Vocational Education). building, discipline and In 1992 the U.S. These groups, which 80% effective communication Center for Substance of participants attend, and give parents an oppor-Abuse Prevention (CSAP) "I and three children had a give youth a chance to tunity to discuss their selected Corner Stone's very rewarding and positive talk about peer pressure, experiences and concerns. afterschool program for problems at school and Because so many parents a four-year demonstration experience with Corner Stone. other concerns. Corner- work second jobs, turnout project to reduce sub- Because of Corner Stone, my Stone's comprehensive tends to be small. Parents stance abuse, juvenile children have participated in program also includes oneare significantly involved crime, school failure/ many recreational and educa-meal a day. as Center volunteers, dropout and teenage tional activities that they however: serving dinner, pregnancy among high- otherwise could not have Youth experience owner-assisting in art classes risk 13-to-18-year-olds. ship and develop leadershipand acting as chaperons enjoyed due to my limited The Psychiatry Department and community-building on outings. of the University of finances." skills by participating in Arkansas Campus of Cassandra Anthony the Center's Ad Hoc Com- In 1995 Angel la Savage, Medical Sciences devel- Parent of three participants mittee for Center Enrich- the current program coor- oped the evaluation comment, which meets once dinator, initiated and ponent. A final report is a week to plan special coordinated Corner Stone'sdue in',early 1997.

iti 1411 4°' The Junior League of Little Rock has supported AIDS' IT'S NO Corner Stone from Day 1 -DO RISK. and helped establish the Ifou NueWORTH THE organization's local fund- KITCHEP ing base. That broad base of support has included the Robert Wood Johnson Foundation, Sturgis Foundation, Arkansas Community Foundation and the Winthrop Rocke- feller Foundation. The corporate community has J made substantial contributions. First Commercial Bank and Entergy (formerly Arkansas Power and Light) have made contributions that support tutoring and creative expressions at Corner- Stone. The Levi Strauss Corporation provided funding to build Corner- Stone's capacity to recruit, manage and retain volunteers in 1995 and CornerStone students staged a donated six computers in block party to launch their "Chill!" 47 1996. Laid law Transpor- media campaign and 400 teens turned out for the festivities. tation transports youth to the Center after school, hilleAIDS,I and the Little Rock You HaveWORTHITFTES RISK School District funded ( CORNERSTONE PROJECT, INC. the stipends of certified pihoice. teachers to tutor the youth for several years. The Arkansas Arts Center, supported Corner Stone students from very diffi- the City of Little Rock's through two $50,000 cult circumstances who, Arts and Humanities grants made possible with the assistance of Council, and the Arkansasthrough a half-cent sales loving family members Repertory Theatre have tax, called Ensure the and the structure and been the major contribu- Children, that funds pre- support of CornerStone, tors to the arts component vention, intervention and have gone on to realize providing art instructors, treatment programs withintheir full potential. Some free art classes and tick- the City of Little Rock. are in college, some are ets to local plays. BaptistThe City of Little Rock's selecting a college, Health provides the meal Education Commission others are beginning to during the school year. awarded Corner Stone a understand the impor- Besides CSAP, government $10,000 grant in Novembertance of education and support has come from of 1996 to fund tutors, improving their grades. the state of Arkansas provide incentives to the through the Arkansas youth and to purchase Department of Health and educational software. the Arkansas Department of Human Services. The Over the years, Corner- City of Little Rock has Stone has attracted

".- 50 CHICAGO, ILLINOIS Music Theatre Workshop writing and Performance Workshops and the New -Under Pressure Series Arts Intervention Program. During 1996 the Under vs6,, thec.,4,te clre.wx fvo ike (wgs of 7ot4t1. 4o (e4.(1. (112C!.S Pressure Series served 15,000 youth and adults: SklUS ,exer.(e persoh.(c,),(1 c.1.ore70% low income, 40% African American, 30% Hispanic, 29% Caucasian, 1% Native American and Asian, 60% male and The Music Theatre Work- shot with a gun, beaten 40% female. Actors and shop (MTW) serves young up or mugged. And 75% staff are multiethnic so people who live in Chicago'shad witnessed one or more that they reflect the poorest communities and of these events happen client group. attend some of Chicago's to someone else in their worst schools. The students community. The centerpiece of each deal on a daily basis with Under Pressure program MTW's programs involve is a short contemporary the creation and presen- play or musical written tation of original theater by MTW's playwright and works, by both professional current artistic director, artists and young people, Meade Palidofsky, and that reflect the real-life Claudia Howard Queen, stories of people from the MTW's composer. These diverse communities MTW four productionsCaptain serves. Throughcritical Clean, Happy Birthday thinking exercises, partic- To You?, Amazing Grace ipants develop decision- and Someone You Can making skills and become Trustaddress critical aware of supportive re- social issues that young sources available in their people confront. The communities. Since its themes and plots of pieces founding in 1984, MTW are based on extensive has created or guided the interviews and workshops creation of 20 new theater with children and adoles- works and brought them cents on the realities of Photo by Rita Kaltman directly to communities their lives and include Sammy (Omar D. Brancato) poverty and overcrowded that are often denied the causes, experiences uses his father's gun to scare an housing. Most of the youngaccess to the arts. MTW's and effects of violence, apology out of Easy (Sal Foto) as people live in single par- Jamal (Daniel J. Bryant *) and professional acting com- teen pregnancy, gang in- Cookie (Kelly Ann Clark*) look ent homes, or with grand- pany has performed worksvolvement, dysfunctional on in MTW's performance of parents who are their in more than 300 schools families and substance Someone You Can Trust. guardians because their for more than 100,000 abuse. Amazing Grace, *Actors appear courtesy of Actors Equity parents are unable to young people and their for example, dramatizes care for them due to sub- families. The group has a young girl's grief and stance abuse or criminal also toured throughout anger when her mother activity. When LaRabida Chicago, its suburbs and dies and she must go to Children's Hospital and the state of Illinois, and live with her grandparent. MTW surveyed program has performed at numerous Part of the message is participants in 1994 on local, state and national the grief process and their exposure to violence, conferences. how to move through it. Contact: lacqui Ulrich 40% said they had been Characters are composites Program Director Music Theatre Workshop chased by gangs, sexually MTW accomplishes its of youth interviewed, and 5647 North Ashland Avenue assaulted, attacked or mission through three remarks made by teens Chicago, IL 60660 stabbed with a knife, seri-initiatives: the Under often become lines of Phone: 773-561-7100 ously wounded in a fight, Pressure Series, Play- dialogue or lyric. For

51 example, one boy's remark,into separate "boys" and in Captain Clean, a show "Live like a gangbanger, "girls" groups. Arranging that deals with the conse- die like a gangbanger," students in a circle, quences of drug use and became a thread and cho- actors establish a feeling trafficking, an actor asks rus line in the production of inclusiveness. To a student to hold his Someone You Can Trust. demonstrate that individ- drugs until the actor- "When you see the action, uals can say what they principal has finished you can understand more." The purpose of the truly think and feel, the searching lockers. If the Maurice Mitchell, Under Pressure program actors begin by asking student agrees, he is 16-yearold, on watching is to use drama as a tool each student to complete immediately caught by a Music Theatre Workshop to increase young an open-ended statement the actor-principal and production people's knowledge and relevant to the show's must decide whether to understanding of the topic (e.g., "I feel most tell the truth or take the choices they face, under pressure when ..."). rap for his friend. to stimulate students to start talking about Then, always staying Staff do not teach the the pressures they feel, in character, the actors answers to problems pre- to guide students guide students to talk sented or tell students toward counseling and about the choices the they have made a good other support services, characters made in the or bad decision but rather to foster interest in play and other choices help students realize how the arts as a method of they might have made. and why they made each

self-expression. MTW's actors follow choice and examine its Photo by Rita Kaltman up every choice students consequences. Conse- Barn Bam (Anthony Diaz Perez *) Productions are most suggest by acting out the quences always include orders his gang (Dexter Warr* and frequently performed for consequences of that feelings; for example, Cynthia Suarez*) to get revenge for 50 to 100 students. Each choice with a student "how do you feel when the killing of their buddy Easy in production is immediatelyvolunteer. For example, your friend pressures Someone You Can Trust. followed by role-playing you?" Using this process, *Actors appear courtesy of Actors Equity 49 and discussions in students begin to under- smaller groups. For stand why they do more honest, forth- things or end right discussion, up in situa- students in sixth tions that grade and above are broken

52 contract with family services agencies to provide follow-up counseling to student participants who request services. Schools often see the need for social workers and counseling staff and hire additional staff or make first- time links to community agencies as a result of the program. Longer residencies in schools often include follow-up art activities and a curriculum coordinator to train Photo by Rita Kaltman teachers in their use. A The Captain (Leslie Holland*) they otherwise would by an MTW actor and the typical activity has stu- stops a fight between Wilson believe "just happened." school counselor in which dents envisioning and (Paul Oakley Stovall*) and Angel By talking about the char- (Anthony Diaz Perez*) over drugs the actor as student comesthen creating a peaceful, in MTW's Captain Clean. acters instead of them- to the counselor with a ideal neighborhood out of *Actors appear courtesy of Actors Equity selves, students feel saferproblem. The adult em- paper. As a result of the in expressing their views phasizes the positive step program, students often and more objectively see the student has taken by express a new interest in the situations they them- asking for help and stress-the performing arts. selves face. es the confidentiality of (School districts fre- the visit. quently use Under Pres- Youth typically use role- sure as part of their playing to act out situa- MTW's ideal situation is 50 Drug-Free Schools Week.) tions that trouble them, to be in a school a week sometimes coming to addi- or more, performing the Whenever possible, tional shows to ask if they program twice a day for Under Pressure includes can act out a particular different groups of stu- a community night. In Someone You Can Trust scenario. Typical of the dents. This time frame schools where parents Lyrics by Meade Palidofsky benefits of the method is allows the company to be-typically don't come out, Music by Claudia Howard Queen the instance of a high come an integral part of MTW fills the auditorium. (Sung by Grandma to Jamal) school girl attending Cap-the school. Students (Many students want to Sure you're feelin' angry, tain Clean, which depicts approach the actors aboutsee the production one You want to slam the door. a youth and his alcoholic issues and problems they But before you just start runnin' last time but can only Know what you're runnin' for. father. When an MTW were reluctant to bring upcome to the community actor randomly selected during the role-playing night production with a Ev'rybody gets mixed up, the girl to role-play the and discussions. MTW parent or guardian.) They don't always do what's right. child of an alcoholic par- actors listen carefully and Productions help educate If you cannot see the way out ent, the girl at first compassionately, then parents, teachers and Let someone hold a light! refused. When the actor refer students to school other professionals and Oh, when you're feelin' lonely said, "Don't walk away and agency hot lines, community members to And you think you're gonna bust, from me," the girl counseling and other re- understand the challenges You got to raise your voice 'n' unleashed a tirade of sources. Most programs youth face. They point cry out feelings about her own involve collaborations out that, contrary to the For someone, someone you can trust. alcoholic mother. She waswith local mental health popular stereotype of From the musical Someone You Can Trust able to speak about her agencies as well as Boys adult-youth antagonism, ©1993 Palidofsky /Queen feelings to a counselor and-Girls Clubs, City Parkschildren and teenagers after the MTW session, and Recreation Depart- need and want adults to and later joined an Ala- ments and other organiza-be there for them with teen group tions that offer youth sup- support and moral guid- Each production closes port and positive alterna- ance. For example, with a scene role-played tives. Some districts Someone You Can Trust is a story of a community do community night some-and fights, torn apart when one ado- times half of the kids are also requested lescent murders another. singing along." Second, a special ver- Lies, drugs and gang seeing a problem acted sion of the retaliation threaten to out lessens fear of the show, with perpetuate the violence situation and of asking for discussion that until the adults in the help. Palidofsky says, highlighted community finally help "So many kids think they issues of race their children untangle are the only one with an relations and the situation and take alcoholic parent, or the friendship. responsibility for their only one with their set actions. Mentoring pro- of problems." Under OSIA3131oisnw grams often have informa Pressure tion tables at community MTW selects its profes- residencies '011, night performances for sional actors and artists often result those adults who are through interviews as in community rJ inspired to become more well as auditions. During action. At St. involved with youth. rehearsals, staff train Charles High actors in affective learning,School, freshmen request- Students create artwork as part of The Music Theatre Work- role-playing techniques ed that weekly lunchtime MTW's Someone You Can Trust shop was founded by and methods of connectingsessions be established program. Palidofsky, Queen, Dan youth to school and com- for students to discuss Markey and Elbrey Harrell munity resources. An in- further topics brought as an organization through service at the beginning up by Captain Clean. which new theater works of a residency instructs Someone You Can Trust might be created. The teachers in MTW's discus-ends with the full chorus Under Pressure model sion and role-playing singing, "Take back the and social mission devel- methods and suggests how streets and schoolyards, oped over the years as the content of the play they belong to you and staff listened to students can be related to the cur- me/We refuse to be the talk about their lives and riculum. After observing victims in our own com- what the plays meant to role-playing and discus- munity." During 1994, them. Role-playing was sions schoolwide, MTW following a Someone added because it worked recommends follow-up residency at Pulaski with behavior-disordered activities and further dis- Community Academy, youth. Next, evaluation cussion topics. Staff also teachers and parents put forms were introduced meet with school and together a committee to and returned frequently agency counselors to raise funds for a play- with anonymous suicide facilitate follow-up of ground for students. notes. MTW then added students asking for help. the final scene of an Funded by the U.S. "Wherever we go, the kids actor-student asking a MTW has collaborated Department of Education, are the same; they've got the counselor for help. With extensively with organiza- Loyola University of that addition, the suicide tions in the Chicago area. Chicago's Children and same problems, and they're notes stopped and the In 1992 special perfor- Family Center studied the searching for the same number of requests for mances of Captain Clean effectiveness of MTW's answers." help burgeoned. were done for high-risk, theater program from MTW actor Ricardo Caro, first-generation Russian 1989 to 1992. Loyola who plays the drug dealer Palidofsky believes the and Eastern European found that students and Angel in Captain Clean power of the MTW model youth at Niles West High teachers rated MTW's comes from a number of School with a special eve-original dramas and dis- its aspects: "Music sticks ning show and expanded cussions higher than the in your head. You go awaydiscussion for their for- federally funded Drug-Free remembering lines of eign-born parents and Schools Program, DARE, music in a song better grandparents. In 1993 in two out of six categories, than you remember dia- Curie High School, after and equal to DARE in logue in a play. When we a year of racial tension the remaining four. The of 4. fit ' Photo by Rita Kaltman Actors interact with youth at the end of the MTW production Captain Clean. *Actors appear courtesy of Actors Equity

The Boy You're Going to Find program scored high in disorder found in Vietnam based curriculum allowed Lyrics by Meade Palidofsky helping students resist War veterans. LaRabida's Music by Claudia Howard Queen students to (1) review the peer pressure, talk about medical research team incidents they had wit- Darrell. their feelings, realize the joined MTW on a tour of nessed and experienced, Spread the colors of your daydreams With the paintbrush of your mind. importance of seeking Someone You Can Trust in(2) examine strategies for Put all of your desires help and knowing where April 1994, documenting conflict resolution, (3) Into the shapes and lines. to get help. During the the level of exposure to explore coping abilities Then step into this vision Loyola study and every violence of children in and support systems, and And leave the past behind. year since then, 15% of three schools. Children The greatest work of art (4) discuss strategies Is the boy you're going to find. participants have signed filled out a national stan-for staying safe. LaRabida up to talk to someone dardized test as well as and MTW staff met with He's strong and brave and smart after participating in the a checklist of symptoms parents and teachers on And talented and kind. program. The figure is for PTSD. Results of the a regular basis. LaRabida He goes his own way higher when the program And he knows his own mind. tests showed that 20% of psychologists met individ- I know it's kind of scary is performed for high-risk students in third through ually with the young peo- But your heart is never blind. youth, reaching 55% for eighth grade tested posi- ple and provided them If you look deep inside you high-risk African American tive for PTSD. MTW and with counseling. The ini- That's the boy you're going to find. fourth graders. Students LaRabida then began a tial findings showed the involved in the criminal Jamal. pilot of the New Arts program to be effective How can I be strong and justice system most readily Intervention Program, in changing the children's talented and kind? request help. (Teachers which was designed to behavior, but that program I'm afraid of dreaming, also report stronger assess- help those children de- sessions would have to be Afraid of what I'll find. ment and problem-solving velop coping strategies. conducted more frequent- skills among students Darrell. The program's goal was ly for radical change to You create the vision exposed to more than one to determine if arts activ-occur. Art exercises did And hold on to it tight play/discussion.) In 1992 ities with counseling help the students gain When choices seem impossible the U.S. Department of would lower stress levels personal autonomy, ex- And nothing's going right. Education named MTW's in children exposed to press their feelings and Paint yourself a picture theater program one of Of a boy who's going to shine violence and assist them establish connections Then look deep inside you the country's top three with school performance. with one another. The art That's the boy you're going to find. substance abuse programs exercises also were good From the musical Someone You Can Trust for outcome evaluation. The pilot for New Arts diagnostic tools and laid C1993 Palidofsky/Queen was conducted with 200 a foundation for art as From 1994 to 1996 MTWstudents in two Chicago therapy. Final evaluation and Chicago's LaRabida schools. The group that of the program is underway. Children's Hospital and tested positive for PTSD Research Center completed met once a week and par- MTW has conducted a two-year model program ticipated in arts exercisesPlaywriting and Perfor- serving young victims of and lessons developed to mance Workshops since post traumatic stress dis- help children alleviate 1991. In these workshops order (PTSD), the same fflefi stress. The arts- youth write, produce and perform their own dramas Detail from backdrop for with music. Fifteen works Excerpt from Til Death Do Us Part "Dreaming Among Friends," a have been created to date. playwriting/performance workshop by City Girls conducted by MTW for Temporary The program has been Coach. They say you're using drugs. Could that be part Lockdown Vat the Cook County especially successful with of it? Juvenile Detention Center. youth incarcerated in the Michelle. I'm not using. Cook County Juvenile Tem- Coach. Stop lying to yourself, Michelle. You know you're porary Detention Center; using drugs. You know you have a problem. And residents of Interventions/ City Girls, an adolescent you know your family cares about youotherwise, drug treatment center; and they wouldn't be here looking for you. Michelle, students in alternative what happened to all of your dreams? I thought high schools. For many of you wanted to play in the championship game. I the incarcerated youth, thought you wanted to be in the ABL. You know involve ment in MTW has the game's coming up. been their first opportuni- Michelle. Who says I won't be in the game? ty to work intensively and Coach. The way you're going, you won't be, you haven't without interruption in been to practice in Lord knows how long. developing ideas, skills Michelle. You're exaggerating. and products that awaken Coach. I didn't come here to argue with you.I came here them to their positive to try to help you. potential. Michelle. I'm fine. Under Pressure's annual Coach. How can you say you're fine? You're sitting here budget for fiscal year high as a kite, you ran away from home and who 1995-96 was $165,000. is this Karl!?! A phenomenal 49% was Michelle gets up and starts to walk away from her. She softens. earned from contracted Coach. I know how you feel, Michelle. I've been in the services and admissions. same predicament. Leaving homegetting kicked Of the 51% in donated out at an early age.I used drugs funds, 94% came from Michelle. You used drugs before?! foundations and corpora- Coach. Yes .. . I admit, I did ... but you don't have to tions in the Chicago area, go through what I went through. You have a including the Lloyd A. Fry chance to make a change. If you just be open- Foundation, Polk Brothers Foundation, Kraft Foods minded enough to go with me now so I can get and Sara Lee Foundation. you some help. Can you at least please go to one The Chicago Department of my meetings? of Cultural Affairs provided Michelle. (Hesitates, assents) All right, I'll go. But after the the program's only gov- game, I'm not going home. ernment funding. Coach. Could you at least talk to your family? Michelle. At the game. If they show up. Coach. They'll be there. I'll see you there. I'm betting on you. 01996 Music Theatre Workshop & City Girls

rA 56 4./1.1:411' es as ommumy hours are 1:30 to 9:30 p.m. during the school year and 10:00 a.m. to 6:00 p.m. Centers, Tne., Rites of Passageduring the summer. Youth VsLh, Afkcco..-ceh(kc (j.eskiUs A.(1boxthh, attend interest groups from 3:00 to 9:00 p.m. wak coch4(45 0.).(1 peers (c. 41.ev.e(op Africco, yowa Computers are accessible at all Centers, allowing pt.srpose-ft4(1 tiLsctp(o.eti 0.(it4((s

Rites of Passage (ROP) is Hispanic, 8% a community-based pro- Caucasian and gram of West Dallas Com- 1% other. The munity Centers (WDCC), Inc. area suffers the The organization's mission social and eco- is to develop youth who nomic depriva- have dignity and self- tion of an urban respect and who are pre- ghetto. Accord- pared to meet life's en- ing to the 1990 counters in a happy, rea- U.S. Census, sonable manner. WDCC 80% of West helps West Dallas youth Dallas Housing function in society at Project resi- their highest potential. dents have less The agency believesthe than a high irresponsibility and apa- school educa- ---angiqmpr "well thy which exists among tion; 49% of many African American Rites of Passage youth performance at a cultural event 54 households are youth is a direct result of headed by women; and youth time for use outside the lack of clear goals 78% of households live inof school. All WDCC pro- and a clear and correct poverty, having a median grams help build youth philosophy of life, the lackfamily income of $4,999. leadership by involving of knowledge of their un-Low self-esteem, damagedthe young people in the limited potential and self-concept, depreciated planning, development and the absence of strong character, cultural incom-implementation of the meaningful tradi- petence, psychological programs they use. All tions." Through Ritesscars and reactionary programs are also cultur- of Passage, a tightly behavior are some of the ally based and education- structured, intensive high-risk characteristics ally focused. Thomas program, WDCC staff, par-that contribute to the Lewis, project director of ents and community mem-self-destructive behavior WDCC's Positive Directions bers work with a select of African American youth Program, notes, for in- Katricia Linthecum number of youth for sev- living in the area. stance, that some youth eral years at a time, filling in a model car group these gaps through the WDCC was founded by learn basic automotive and study and practice of Afri- people in the community business skills in shops can and African American in 1932. Its Centers cur- owned by African and history, the arts and life rently serve 1300 to 1500 Mexican American auto skills. youth each year. Edgar mechanics and car dealers. Ward, George Loving and In all special interest Contact: Hannah Marsh West Dallas is located Elmer Scott Centers serve groups, youth learn how Associate Executive Director in the northwest region ofyouth in the housing pro- they might make a living West Dallas Community Centers, Inc. Dallas County. It is an jects; Bataan and Joseph pursuing that interest. Rites of Passage 8200 Brookriver, Suite N704 inner-city neighborhood McMillan, those in resi- Part of the message is be Dallas, Texas 75247 whose population is 62% dential areas of the neigh- all you can be but also Phone: 214-630-6281 African American, 29% borhood. Each Center's know that you can make a 57 decent, legitimate living ifCreative Arts Program as cation minor from Prairie you don't, for example, go a child. Through the en- View A&M and has worked on to college. couragement of friends at WDCC for 28 years. The and staff, she attended 1988-89 program was so Youth are recruited into Dallas Arts Magnet, now successful that parents the Centers by word of Booker T. Washington High asked the agency to find mouth and community School for the Performing funding for a program activities and are referred and Visual Arts. She went for both boys and girls. "The opportunity that God by the schools. Although on to earn a liberal arts WDCC's executive director, sends does not wake up him WDCC emphasizes youth degree in dance and the- Leonard C. Long, M.S.S.W. development, not recre- ater at Texas Women's from the University of who is asleep." ation, billiards and other University, then returned Texas, secured a five-year African proverb used in the games are used to attract to her community to give demonstration grant from Rites of Passage curriculum some youth. Once in a something back to the the U.S. Center for Sub- Center, youth are guided youth. Harrison combines stance Abuse Prevention to educational groups by freelance dance and the- (CSAP) in 1989. With the youth specialist. With ater work with her job at Zachary Thompson as pro- males who say they want WDCC. gram director, the agency to play professional foot- began phase two of ROP. ball or basketball, work- Hannah Marsh, WDCC's ers talk about the reali- associate executive direc= The agency investi- ties of professional sportstor, developed the agency's gated various and the need to look at original Rites of Passage African-cen- Female alternatives. for girls in 1988. Marsh tric models initiates has a degree in health for its ex- Many WDCC staff grew and physical education panded ROP, up in the West Dallas area with an elementary edu- most notably and participated in the those of program, so they under- Dr. Eugeni stand participants' life Perkins, experiences. They pro- president vide youth with role of the models of positive Association efforts and accom- for the plishments in school, Positive the workplace and Development the community. of Black Youth and director of Kim Harrison, Family Life Center WDCC's full-time at Chicago State creative arts University, and Dr. director, coordi- Nsenga Warfield- nates the arts Coppock. program, which includes classes in African dance, folkloric°, ballet, tap, jazz, theater, music, visual arts, computer graphics and crafts. Harrison herself participated in WDCC's their goals. Youth process the lesson by discussing what they have learned. The evening closes with the recitation of a motto and the extinguishing of the candle.

Eight activities describe African and African Ameri- can history in considerable depth, exploring how various experiences shaped the African socially, physically and spiritually, and applying lessons from this history to the initiates' present lives and immediate concerns. Quoting from slave narratives, "The Rites of Passage participants Warfield-Coppock wrote Class begins with a can- Struggle for Literacy and step a dance that African Transformation, a rites of dlelighting ceremony and Education" lesson shows warriors danced in their tribal passage manual for Afri- the recitation of a pledge the great risks African groups in the 1400s. can American girls, and of commitment. Next, staffAmericans took under Perkins wrote Harvesting lead youth through dia- slavery to learn how to a New Generation and the phragmatic breathing and read. The lesson explores African-centric workbook, meditation to help them the importance and place Bringing Black Boys to focus mentally and presentof reading and intellectual Manhood. The first year one of seven principles 56 activity both during and of the CSAP grant, staff of Kwanzaa, an African after slavery and chal- attended trainings led by American holiday that lenges initiates to take these resource people and incorporates African responsibility for their additional conferences spirituality, customs and own education. and workshops on African symbols. and African American his- An activity on the post- MCC staff and mentors expe- tory, humanities and cul- Lesson two of the cur- Civil War period, when rienced the value of the pro- ture. As Lewis notes, "We riculum, "To Be an Indivi-southern blacks were con- gram along with the youth. had first to deprogram dual Is to Be Part of a sidering various economic Creative Arts Director Kim ourselves of what we had Family," introduces the and political options and Harrison hadn't previously been taught about our Kwanzaa principle facing the rise of the known much African dance: history, and what we had Kujichagulia, "to define sharecropping system and "That was a cornerstone for missed." ourselves, name ourselves the onslaught of white me. It was therapeutic for me and speak for ourselves, terrorist groups, teaches to seek out and learn African From 1989 to 1993, instead of being spoken various methods for with- dance." staff and consultants de- for by others." The lesson standing pressure and veloped WDCC's compre- tells each youth that he handling stress. It defines hensive Rites of Passage or she "is a gifted child stress and emotional Curriculum for African- of God with a reason for health, points out that American Youth, which being." It explores the human beings always ex- consists of 24 lessons, concept of self-determi- perience problems, and each with enough activi- nation, helps youth explore explores introspection, ties to keep youth busy their talents, skills and courage, positive friends for many weeks. Each les-interests and feel pride and music as ways of son is circumscribed by in their achievements. managing stress. The rituals designed to build Activities include re- lesson connects the solidarity and a sense of searching African Ameri- pressures the children's personal responsibility. cans who accomplished ancestors felt with the 59 pressures they will feel from their peers, for example, to take drugs. The curriculum is holistic, interactive and highly motivational.

Information on substance abuse was integrated into group discussions and overseen by WDCC staff like Lewis, who has a bachelor's degree in social work and an M.A. in counseling from the University of Texas at Arlington; he ROP's arts component because the dances Rites of Passage female mem- is also a licensed chemicalincluded dance, drumming require precision, the bers with West Dallas most important skills they Community Centers' executive dependency counselor. and theater. Participants director, Leonard C. Long (far had to be involved in at taught the youth were left); associate executive direc- Youth enter ROP between least one art discipline self-discipline and coop- tor, Hannah Marsh (far right the ages of 8 to 12 and and most cycled through eration. Troupe members rear); and one of the mentors. can stay until they grad- all three. Local consul- would help someone who uate from high school. tants taught the arts. An was having trouble with a After the first year of the African living in Dallas, step so the whole group CSAP program, retention Serge Quaye, taught drum- would look good. was 60%-70% from one ming. WDCC African year to the next. The CSAPDancers taught some of Drumming lessons in- program served 200 young the dances. Classes were cluded the history of the people. Referrals were made scheduled for one-and-one- drum beats and how they by parents, the schools half to two hours, and were used to communicate and the African American Harrison says the youth between villages. Youth Advisory Council, commu- "would get so excited we also learned the folk art "I don't have a father in nity business and profes- would run over the time." and purpose of Swahili my house, but if I go to the sional advisors to the pro-During the first year, a songs that accompanied Center I have someone to gram. No attempt was madeweekly karate class helped the drumming. to choose high-risk children, youth develop body aware- look up to. If I had a prob- on the premise that all ness and concentration. In the theater group, lem with anything, I would inner-city African Ameri- initiates researched tradi- feel free to go to talk with can children are at risk. The dancing and drum- tional African American one of them. If I had a playwrights and writers This premise was borne out ming were critical to the problem with a teacher at as mentors gradually dis- program because of the like Leroi Jones, Maya school, they would go with covered, for example, thatplace movement holds in Angelou, Ron Milner and children who were doing African and African Ameri- Joseph A. Walker, as well me to find a solution." well in school often had can cultures. Youth learned as African folktales like Roderick Bivin, age 15 difficult home situations. a variety of traditional "Ananse the Spider." They In addition, WDCC wanteddances from East and Westdid numerous readings and a variety of kids from the Africadances of welcome, occasionally staged pieces West Dallas area. celebration, unity and pur- for the community. ROP pose. The young women youth Katricia Linthecum, The initiates met at Elmer mainly learned the more Michael Thomas and Brent Scott Center every Wednes- expressive dances. The Wilson performed in a day from 6:00 to 9:30 p.m., young men learned to local production of Rites of for the core curriculum. step dances and sing Passage by Houston play- Classes in the arts, entre- chants African warriors wright Thomas Meloncon. preneurship, hair braiding executed in their tribal The theater activities and other components met units in the 1400s. particularly helped youth throughout the week. Harrison believes that Who were very shy.

-At 6 0 ROP took youth on cultural field trips, for example, to the African Ameri- can Museum in Dallas and to movies dealing with African American figures and life. Issues and behavior in each movie were

One participant's account of the Rites of Passage business enterprise, African-Centric Designs: "In the summer we developed our economic development program. We all came together and thought about different ways we could make money. Once we narrowed the list, we had two choices, buttons and African pillows. We didn't Roderick Bivin stitches pillows for African-Centric Designs. know how to sew and our mentor didn't know how in the real-life skills and to sew, so we asked the senior citizens in our Staff then approached experiences of running a those adults named community to teach us. It helped them and they business. Initiate Roderick ministers, Sunday School helped us. If our little product wasn't good, Bivin participated in the teachers, unclesand they'd make us take it apart. If it was good, they component all of the five asked them to serve in would praise us. We went to Harumbe Festival years he was in ROP and the program. Lewis says, with the pillows and made $100 in profits. has continued with the because of the method Everybody was happy. The next year we made enterprise through Positive used,we got great partic- $150. We were showing improvement slowly. Directions. He is now an ipants" and they tended honor roll student at L.G. 58 Money was going into our savings accounts. It to stick with the program. Pinkston High School in Many mentors filled in for wasn't much but it was something. In April West Dallas and wants to absent fathers. Mentors 1996, at the National Association of Black start his own business as met weekly in their own Social Workers conference in Houston, we made an adult. African-Centric education and support $1200. We were the first youth group to run a Designs currently has an group. table at Kwanzaa Fest and also at the NABSW office at Positive Direc- conference. People would say, 'You should have tions where youth sell ROP staff acted as an adult at that table,' but we ran the whole handmade pillows and advocates for youth with quilts. operation. It teaches us responsibility, with their schools when parents were unable to do so. orders to fill and it helps us with our grades. ROP paired a mentor They also supported par- Before we made the pillows, we got our homework with each youth. They met ents in becoming more done. We had personal business cards for future with mentees once a weekinvolved in the school sales and an advertisement." to discuss their goals, system, something that Roderick Bivin, now 15, five-year participant positive and problematic was difficult for parents behaviors and other issues,who had had negative and had daily contact with experiences themselves discussedFor example, the youth, sometimes a as students. if youth laughed when a phone call. Often the man slapped a woman in most important sharing ROP parents met monthly the movie, the morality ofoccurred outside of the in an education and sup- that behavior was later organized activities. Someport group. Ashira Tosihwe, examined. mentors came from the co-owner of Black Images African American AdvisoryBookstore, one of the ROP's economic devel- Committee. Other mentorslargest black bookstores opment component, Afri- were identified by asking in the Southwest, taught can-Centric Designs, in- the youth whom they ad- parents the same informa- volved 10 youth per year mired in the community. tion the youth learned, so 61 they could dialogue with step group, has come back their children about the to WDCC to work with the program's current topics. Buffalo Soldiers Program. Some parents were con- Katricia Linthecum now cerned initially that lessonsattends the Booker T. in African culture and Washington High School spirituality conflicted for the Performing and with their religion. In the Visual Arts. Once very shy, w. group, staff answered she is now an outspoken, questions about the pro- take-charge person. She gram, helping these par- tutors youth at WDCC, does ents to better understand choreography for dance its philosophy and meth- groups there and at her ods. It also provided a church, and is a member place for parents to dis- of the National Honor cuss more openly their Society. In 1996 she was overall concerns about one of four youth chosen parenting. from 300 contestants to receive Southwest Bell's and youth learned the Rites of Passage initiates point at A parent-initiate group Youth in Action Award. content of the curriculum their African-centric products on and of the substance consignment in Dallas West met twice a month. The ROP also raised the expec- Shopping Center. staff member or mentor tations of teachers, prin- abuse activities. Not assigned to each family cipals and the community enough information was regularly facilitated com- in general for black youth collected on drug use to munication between parentin West Dallas. report outcomes. and child. According to Lewis, bonding occurred Evaluation was measured WDCC is currently orga- both when family members using a combination of nizing the third wave of learned more about one observations, structured Rites of Passage. Forty- 59 another's beliefs, feelingsand open-ended instru- five new initiates will for- and preferences and whenments. For pretesting, for mally start in the summer the child accepted his/herexample, students were of 1997. Because ROP has Maulana Karenga says, responsibility to the parentoriginally interviewed been so successful, the "The struggle is a long and and other family members. using the Family Interview agency is trying to ensure difficult one, therefore we Form and the Oral Historythat the community is must mask no difficulties, A group called "The Guide, and information never again without an tell no lies and claim no Council of Elders" formed was collected from staff ongoing program. WDCC easy victories." West Dallas another community re- observations. An attempt staff consult with organi- Community Centers' Rites of source for the program. was made to locate ethni-zations around the country Passageits youth, staff, These were retired profes-cally, educationally and on starting and running parents and communityis sionals from the commu- economically appropriate rites of passage programs. writing an important chapter nity and other older indi- evaluation instruments. The agency's curriculum in the African American viduals who served as life- None could be located. and video on Rites of history of traditional values, experience counselors. A variety of other factors Passage are available spirit, survival, community They developed rapport impeded the evaluation upon request. and excellence. with youth, gave historical effort. Pretesting was not perspective on the com- consistently collected. WDCC's original ROP munity and told their trueThis lack of data subse- program for girls was de- life stories. quently reduced the veloped with a grant from instruments and analyses the Dallas Women's Foun- Youth blossomed in ROPthat could be used for dation. From 1989 to 1993 in large and small ways. posttesting. Descriptive the program was funded Many ROP graduates are data did show that rela- by a $1.5 million CSAP excelling at their studies tionships between youth demonstration grant. The and remain involved in the and parents improved, agency is currently seeking community. Brent Wilson, school attendance and funding from United Way who helped lead the ROP performance increased, for the ongoing program. 62 Jy PIERRE, SOUTH DAKOTA oath Dakota ational Theatre Vsu, itv,provisrafioxeJ (kerACer, processi, co4 i>1.4a(161 (0 L#.0*%ec.54t

cWAr¢h-¢SSI I)/L(0)%9Lh, AX(I (IR( oT)i/IncAkLO., SKIMS Of $014(k 14.kOlcoS

Alcohol continues to be Playing off this model, the drug of choice in she started South Dakota South Dakota. In 1996, Improvisational Theatre 81% of individuals receiv- (lmprov). Since that time, ing treatment in-state 2,700 young people have reported alcohol as their had the Improv experience. primary substance of abuse. According Improv trainees come to the 1995 South from all backgrounds, Dakota Youth-Riskfrom the most advantaged Behavior Survey, to the most deprived. Arriving at camp 39% of youth Troupes are sponsored by had drunk at least schools, parent/teacher/ Trainees are at lower risk five drinks in a row student associations, as of destructive behavior in the past 30 days,well as County Extension than statewide averages 30% had operated offices, boys and girls but are at risk neverthe- a motor vehicle clubs, correctional facili- less. For example, during after consuming ties and treatment pro- a pretest at the beginning 60 alcohol and 23% had grams. During 1996, 230 of the 1996 training, 10% carried a weapon. Within students-24 troupes of indicated they had seri- "Trust the Process" is one of the slogans that guides lmprov. the past year, 35% had five to eight youth and ously considered attempt- Staff and participants alike find been in a physical alter- one adult advisorwere ing suicide in the previous that sticking with the program cation and 11% had been trained in lmprov's con- 60 days; 5% had gone so brings insight, resolution and a raped on a date. Forty-sixcepts and methods. They, far as to make a plan. In stronger sense of both individual percent are trying to lose along with 20 previously the previous 60 days, 17% well-being and community. weight and as a part of trained troupes, reached had physically fought. In that effort, 6% have several thousand children, the 30 previous days, 27% taken laxatives and/or adolescents and adults had used alcohol, 18.5% purged themselves in the throughout the state with had ridden with someone past 30 days. hundreds of performances who had been drinking and discussions. Of the and 7.6% had operated a In 1985, to help deal ninth through twelfth motor vehicle after drink- with these problems and graders entering the pro- ing. Among examples of their underlying causes, gram, 69% are female, their resiliency, all are Donna Fjelstad, assistant 31% male, 90% white and still in school, many to the state superintendent 10% Native American. possess leadership skills for the South Dakota De- and all have the support partment of Education, Improv troupes are of an adult in the organi- introduced improvisational selected for training based zation that sponsored Contact: Jeff Mc Dorman theater to the state. on a mix of age, gender, their participation. Prevention Specialist Fjelstad had seen Lori ethnicity, culture, risk South Dakota Department of Hargraves's program, Teen level and experience with Improv is a program of Human Services, Division of the South Dakota Division Alcohol and Drug Abuse Improvisational Theater the program, as well as 3800 East HWY 34 Training, Inc., of Bounti- their organization's com- of Alcohol and Drug Abuse, Pierre, SD 57501 ful, Utah, showcased at a mitment to support lmprovwhich receives funding Phone: 605-773-3123 youth-at-risk conference. ii`:throughout the year. from the federal government fly; txrj 8'2 for the prevention, inter- the public school drop- violence and other types vention and treatment of out rate for the state of destructive behavior as alcohol, tobacco and otheris 2.53%. In 1993 South symptoms of much bigger drug abuse in South Dakota was 38th in per problems . . . people Dakota. The Division, a capita income, at problems." The program's part of the South Dakota $17,879. At 63.1%, primary objective is to Department of Human Shannon County on the teach participants to make Services, serves all citi- Pine Ridge Reser-vation healthy lifestyle decisions zens of the state. in southwest South and to heighten knowledge South Dakota is a state Dakota has the highest and awareness of the of small towns and rural percentage of persons issues facing young people areas. Only 13 communi- living below the poverty in the community as a ties have populations line in the entire country. whole. The program's exceeding 5,000. The methodology always takes ethnic breakdown is According to Jeff into consideration 91% white, 7.9% Native Mc Dorman, a certified individual American,0 5% African prevention specialist who attitudes and American, 0 5% Asian/ coordinates Improv at the beliefs, as Pacific Islander, and 0 2%Division, "South Dakota well as the other Most European Improvisational Theatre isinfluence Americans are of German, a form of psychosocial of family, Scandinavian and Irish drama that treats peer group Two members of the descent, Native substance and cul- Takini School troupe Americans are abuse, ture pose with their primarily of tribes newspaper and within the Sioux masking tape bridge, an Improv team- Nation According building activity. to the South Dakota 61' Department of Education, I

..f=1 The Wagner-Marty troupe makes plans during "Bridge Building," a team-building exercise.

"We had Improv from Monday The Improv experience abuse, codependency and them a nonviolent and to Thursday. They had a begins with a five-day decision making; work- safe community where thing on Tuesday that was training camp. Two campsshops on theater skills; people can be who they are conducted every June called Family Sculpture. It talent shows; time for really are." Mc Dorman in retreat settings: one each troupe to create and says it as well"We try was a play that had to do in Lake Poinsett in easternperform a scene for the to display with our staff with the family. In the familySouth Dakota and one in entire assembly; and and in the way we con- there was a dad who was an Storm Mountain in the opening and closing activi-duct ourselves that no two alcoholic. It was like they Black Hills. Camps have ties. Training includes a people are completely were acting out our family. also been held at the two-hour workshop on alike and that, rather Lamont Youth Development They had the same problems processing that teaches than dwelling on our dif- Center in Redfield, a cor-participants the purpose ferences, we celebrate that we have.I started crying rectional facility for girls,and natural evolution of our similarities and learn really bad.I had to leave thethe State Training School processing and gives them from our differences." room. When I left I had a in Plankington, and the practice in the facilita- Camp norms don't allow Youth Forestry Camp near tion of processing. Each 62 talk with Ms. Be ly.I got so violence in any form, much out that day that Custer. The summer ses- troupe member and leaderincluding teasing. Training sions are preceded by a should have been let out a receives a training manu- camp includes several two-day training of trainersal with resource materials. other non-negotiables: no long time ago.I shared my for the youth workers, alcohol, tobacco or other feelings with my group that chemical dependency At Improv training, drugs, no exclusive rela- day.I feel so much better counselors, educators, men-youth and adults share the tionships, and respect for about myself now. I made a tal health personnel and common bond of spendingone another's property. goal for myself. The goal is health care workers who a week together creating serve as staff. Each troupe to become sober and to stay a positive environment and Youth come out of the comes with an advisor discovering where their camp better understand- sober." sometimes a school coun- talents lie. John Beranek, ing the concept and prac- Lamont correctional resident selor, sometimes a parent formerly with the South tice of respect for others to the "Outside" and is assigned one Dakota Department of and for themselves. This adult trainer and one peerCorrections, is a longtime includes the ones Beranek trainer. Camps include an theater trainer with Improvcalls the silent voices. advisor track that provides and a consultant on the They have learnedthat information on maintainingneeds of youth. He believestheir voices are reason- an Improv troupe, target- the heart and soul of the able, that they have ing audiences, schedulingprogram is making kids something to say." And performances, seeking feel they belong some- knowing this helps them support and facilitating where and belong to some-become more active and troupe meetings and one: "Kids are allowed to more constructive mem- performances. be who they are for that bers of their families and week. We have a saying, communities. "I think it's Altogether, Improv train- 'Once you are part of the a lifelong memory for ing for youth includes Improv family, you are these kids." Part of the information sessions on always part of the Improv teaching is also the con- issues such as substance family.' We also show cept thatI am a part of

65 this community and I find places to perform. One boy named Tom was need to be willing to give Over the years, with very overweight, intro- back for the benefit of increased communication,verted, not good at sharing the community. Youth are schools have clustered his feelings. When he asked to think about and together to share resourcescame back, the first thing One Improv training at Lamont observe "how a communi- and performance venues. he did was hug his grand- Center included a dance. There ty happens" at Improv so A troupe's scenes might mother, who he was stay- were several girls crying in they can carry that range from one on drunk ing with. I also saw a the recesses of the gymnasi- knowledge and behavior driving for a Fourth of transformation in my um. One 16-year-old girl said, to their troupes back July celebration to one ondaughter and other kids "I've never been to a dance home. generation gaps at a to stay away from alcohol where I wasn't drunk and high. retirement home. Among and tobacco. For them I don't know ifI can do it." The training teaches other topics are: nothing the norm became being Then, with support, she did it. individuals how to take to do in this town, my good role models." healthy risks of all sorts. Karrie J., a young woman at Lamont, writes to the guidance ti counselor of her hometown high if school: "Improv was one of the best experiences I have ever had in my entire 17 years. I experienced things I never thought I 63 would be able to do.I was actually able to get up in front of a group of people and per- A dance during Improv training at Lake Poinsett form effectively. I didn't look and talk at friend drinks too much, All Improv dramas end the floor or hang my hair racism, moving away, without resolution, at a in my face. I stood up eating disorders, environ- high point in the action, straight, pulled my hair mental concerns and with the audience invited back and did it.It was decision making. to discuss what they think such a magical feeling." will happen as a result of The Watertown Boys and the characters' attitudes Back home, Improv Girls Club troupe has been and decisions to that groups vary considerably active since Club director point. Basically the audi- in the number of perfor- Linda Schoepp first intro- ence writes their own mances they put on, in duced a group to Improv ending or endings. For part because of varying in 1986. That first year example, in the scene My support from sponsoring Shoepp, who has an M.S. Chauffeur, a sober driver organizations. Some put in counseling and consid- picks up kids who are on a single performance. erable drug and alcohol drinking. While he stipu- Others put on many per- education, enrolled her lates, "No drinking," they formances. The remote daughter, three first-time sneak in alcohol, pass it locations and small size offenders from a diversionaround and throw cans of many South Dakota group and several other out the car windows. The schools and communities teenagers. She says, "I scene breaks for process- have often proven diffi- couldn't believe the trans- ing by the audience as cult to troupes trying to formation in the kids. a kid in the backseat is 66 The Custer Troupe arrives at camp for a five-day training session initiating their Improv experience.

The drug-free norm of Improv looking in the mirror saying, communicate, handle con- has to face is their own members creates a peer group "Oh, look at the pretty flict and find help when classmates. According for all youth in the community red light," and the driver they need it. to Shoepp, itis out of who want to be alcohol and is moaning, "Why me?" confrontations with class- drug free, including youth In evaluations of Improvmates that some troupe returning home from treatment On the road, troupes performances, parents saymembers choose to totally or the correctional system. In frequently perform for they learned what is going end their drug use, so the past in South Dakota, when students in the afternoon on with youth in their they won't have to hear, such youth came home ready 64 and parents at night. Day- community, including the "Who are you, pretending to make changes, often the time performances are ones Beranek says "we're to be Goody Two Shoes?" only teenagers who would sometimes done without willing to throw away." He welcome them back were the teachers so youth feel believes this is one of Shoepp has led Water- ones they got in trouble with freer to share their opin- Improv's greatest values, town parents in supporting originally. !moray gives these ions and experiences. that it begins to educate youth with drug-free activi- youth a positive peer group to Troupes are trained to adults to what young peo- ties. Once, when Improv connect with and the support handle discussions by ple are saying with their peer trainers came to town, to stay clean and sober. starting with informational behavior as well as their parents of the Watertown questions and proceeding words. For example, he troupe borrowed an old lim- to those that involve be- says, "many girls are at ousine for the youth to use. liefs and are more emo- Lamont for running away They stayed up all night, tionalmoving from "whatfrom home. Those girls she says, "acting crazy and did you see?" to "what do are running away and keep having fun without drugs." you think the character running away from home did afterward?" to "how for a reason. No one wants Among several slogans else could this situation to take a close look be- that have arisen around have been handled?" cause they might have to the Improv program is Troupe members often act. Young people know "trust the process." face hostile peers as well what they need if adults Improv trainers have dis- as adults bluntly asking are willing to listen to covered that it is equally them questions they would them." He believes the true for staff who fear like to be asking their own program helps adults see their troupe is "not getting childrenwho are some- that "we have to take care it" the first day or two of times sitting next to them. of our own kids in our training and for perform- Audience and troupe mem- own community." ers having a hard time bers explore and discover discussing an issue with their own answers, as well Often the hardest audi- an audience. Insight, as ways to respectfully ence the Improv troupe resolution and a stronger

- 6 7 sense of both individual initiative and the lost skills, 42% felt their well-being and community money was replaced from ability to make healthy are generally the outcomes the state's general fund. decisions had improved; when individuals stay with According to Mc Dorman, 58%, their ability to the program's methods. in South Dakota, "so many manage stress; and 55%, people have come to be- their ability to communi- The total budget of the lieve in the program, we cate. In addition, 65% Division of Alcohol and haven't had to fight a reported they had ad- Drug Abuse for 1996 was losing battle to keep it vanced in their theater $5.5 million. Of the alive. There are state leg- skills. The Division plans $70,000 Improv budget, islators who have kids to interview a sampling $43,000 came from the involved in the program of Improv trainees going federal government's and who have personally back to 1986 about the Substance Abuse Preven- witnessed the difference difference the program tion and Treatment (SAPT) Improv can make." has made in their lives. Block Grant, with the balance recovered through During 1996 the South Dakota Improv's troupe registration fees. Division began formal success has jumped its

"I used to be heavy into alcohol. I used to drink all the time, 2-3 times a week, even weeknights. Last summer it was all the time. I quit during football season, but slipped a little during basketball and track and 65 prom and graduation, but haven't for over a month and don't plan to. Improv showed me that you can have fun just being yourself without any alcohol or anything." Wyatt S. 1995 Improv participant

Storm Mountain Center in the Black Hills is one of two Improv summer training camp sites. Several treatment and evaluation of knowledge, borders. The model has prevention programs withinattitudes and behavior of emerged in the neighbor- the state lost 20% of lmprov's youth partici- ing states of Nebraska, their budget in FY1995 pants. Baseline data from Minnesota and North due to a decrease in the this evaluation are reflect- Dakota. Improv troupes SAPT Block Grant. How- ed above in the descrip- from the Lamont Center ever, one of the greatest tion of youth trained in performed at the State indicators of the program's June 1996. Evaluation Corrections Association success was the continued design includes a pretest Conference in 1994 and support of the Division on the first day of training, at the 1996 South Dakota Hard work takes its toll. and some of the individu- a posttest on the last Governor's Conference on als involved. Many Improvday of training and a six- Substance Abuse. The trainers agreed to waive month follow-up. While program was also featured their stipend for the June the last-day evaluation is in the May/June 1995 sessions. The Division not interpreted to mean issue of CSAP's The designated Improv as a participants experienced Prevention Pipeline on priority prevention program lasting change in these prevention and the arts.

Z04:1:,) e iA c ion orou and fun to young people in the area since 1979. Synthesis Arts Workshop SAW provides lessons on the guitar, bass, key- 7o4k t4(rePle.L4S C40 kR(TI/DWG.(ay 4eei.c.9ers ti.eve(op ArsGc boards, voice, drums, recording and sound mix- skiils, se(f-esCce", co,(1 posave re(c,Goxsk(*ps wifk cs

12-to-18-year-oldsthe styles of music but I and their families. know how they're done, These include how to get the audience short-term coun- of kids who are into a seling, runaway particular style." services, support and advocacy ser- The Center is open year- vices for those round, Monday through who have been Friday 3:00-5:00 p.m., Alyssa Bowman standing by part of the mural she helped paint inthe sexually or physi- Tuesday through Thursday Youth Center basement. cally abused. 7:00-9:00 p.m. and five surrounding counties Support extends through Saturday noon-5:00 p.m. in eastern Iowa. Johnson the court process when Youth can drop in, use County's population was necessary. UAY's Drop-in the music studio, partici- 96,119 in 1990, a 17.6%Center, which includes pate in an art activity, Contact: Stu Mullins increase over the 1980 the Synthesis Arts Work- play games, talk to a Youth Center Coordinator United Action for Youth, Inc. Census, which makes it shop (SAW), has provided counselor, volunteer for 410 Iowa Avenue the fastest growing county safety, appreciation, posi- one of two peer counsel- Iowa City, IA 52240 in the state. The names tive adult/youth relation- ing phone lines or just Phone: 319-338-9279 are mainly European ships, counseling, music socialize. During 1996 69 "United Action for Youth has opened many very important doors for me. I started to hang out here when I was 13 and the positive environment was a greatly welcomed change from Risk factors include the stress of junior high and its problems. I saw teenagers in peer relationship difficul- Erin Egli of "The Nesses" bands and it really inspired me and opened my eyes to all of ties, school conflict, academic failure, the creative opportunities and outlets that are available. I've child abuse or met other young musicians here and now I have a band of my other family own. With the help and advice of UAY's helpful, caring staff dysfunction, their own or a I've developed my own expressive music. The staff of UAY is family mem- the greatest. Kids are treated with the utmost respect and are ber's sub- encouraged and helped in truly positive ways. I can come here stance abuse, to talk to someone when I have a day where everything has economic dis- advantage, lack gone wrong because there will always be a caring heart to of employment listen patiently to me." opportunities, Grace Sinclair, age 15 racial conflict, discrimination an estimated 900 young Before she went to play a and homelessness. people used the Center's gig in a high school in a Some of the youth facilities overall. Typicallysmall town he told her, who play music 20-25 youth, mostly males, "You're going to be a are very high come in on a regular rota-great role model for those achieving, tional basis to jam or young women." record. Tuesday night is jam night. There are four Mullins tries to send all or five recording sessions groups home with a tape a week. Another 50 musi- of their music. Over the cians come in periodicallyyears, hundreds of tapes to record. Occasionally a have been made. Many band from one of the out- have been printed and lying counties comes in sold or given to radio to use the studio. Concerts,stations and record dances and plays spon- labels. sored by the Center reached an audience of The Center directs 400 during 1996. itself toward all youth and those who use its Historically the number services fall along of young women involved the whole continu- in music at SAW has beenum of risk and low but it is increasing resiliency each year. Currently 10 factors. girls are taking music lessons. One young woman, Grace Sinclair, class of 1998, founded two bands, Mr. Blanding's Dreamhouse and an all-women band, the Ripped Half Slips. She writes music, does guitar and vocals and according to Mullins, "looks awesome being up there, being in charge."

"Ci."-eriff have a positive family life Varied personal styles another in other settings, and use the Center simplyare an important part of get along. Other rules are as a resource and support the atmosphere of the no drugs, confidentiality system. With these, staff Center. It attracts youth on the part of staff, and may only say, "Hey! You into gothic (black dress, policies for scheduling white face and use of studios. The paint), heavy program holds on to metal, punk recording equipment by with spiked telling youth the program hairwho is theirs, and when equip- Mullins says ment disappears it doesn't "scare adults get replaced and the stu- downtown but dio suffers. Staff also keep are great kids" close track of equipment. folk as well as Mullins believes one key to preppy. Mullins the program's success is notes that Iowa "the sense of ownership City, at 50,000, that youth feel for the pro- is a "big city in grams and equipment." a small frame." The orientation also covers all UAY services, both to The Center educate youth to communi- provides a place ty resources and to educate where young them to the idea that every- musicians trying one needs help at times. Stu Mullins, Youth Center sound good." Others are to make sense of them- coordinator, and Kylie Budin, struggling and not doing selves and their world can All SAW staff have both Youth Center counselor, run well. Similarly, those explore their music and the music studio at UAY. art and counseling skills youth who use nonmusic 68 their message without as well as the ability to services run the gamut. censure. According to establish rapport with At the high-risk end Mullins, "Music is might be a girl who self- something they can mutilates and has deep get a hold of their troubles at home. Mullins whole life with." Staff says adult staff make it a address attitudes ex- point to check in with pressed in the music every teen who comes in that are destructive. "Music is just a tool for every day, but with high- Mullins says, "Music working with kids, a place risk individuals the is a wonderful door to develop skills, a positive check-in is sometimes: to get into the issues outlet but also one that "On a scale of 1 to 10, like negative attitudes always leads to more diverse how suicidal are you toward women but in today?" During the 19 a low-key fashion, relationships with adults." hours a week the Center like 'Well, what about Stu Mullins is open, four or five staff your mother? Isn't she members are on duty. a woman?'" Staff double on kids who are especially needy. Kids Staff give each new- get dispersed around comer an orientation several adults, so they to the Center. The aren't isolated in one adult-practice of Uncondi- counselor relationship. The 'tional Positive Regard, main form of recruitment as itis spelled here, and referral into the pro- is the first rule. It gram is word of mouth Dave Rogers, youth employee and helps the differing styles, major contributor/organizer of the among youth in the who are sometimes an- Fountain of Youth tape, plays with community. tagonistic toward one Mr. Blanding's Dreamhouse.

f'xi;i1,46 youth on a quick basis. The arts program, other than the music component, has varied over the years based on the arts skills of current youth workers. It has included drama, mural painting, silkscreening and bead- ing. The Center has a video studio with Super 8 animation, video camera and editing facilities and a 33mm black-and-white photography lab. The music is integral, though. When kids come in they always check what's going on in the music studio.

Like the rest of the Center's programs, counseling is often informal, Youth created this hanging mural at the Youth Center. at the end of a recording session or while painting these a teen must go is the compilation tape "As a parent, my respect a mural. But regular ses- through a 20-hour train- Fountain of Youth that 40 for UAY is personal and sions are set up as well. ing in peer counseling, Iowa City High musicians deep. At a critical and Formal substance abuse listening skills and produced in 1996. Dave difficult juncture in her prevention or life-skills community resources. Rogers, a Center youth 69 workshops are not a regu- There are also academic staff member and member early adolescence, my lar part of the program tutoring and parent sup- of several local bands, daughter found a place but are provided inform- port services for both got the idea as a Class which she describes as ally as the need arises. teenage and adult par- Council fund-raising 'full of love . . . (a place The program teaches and ents. Recreation activi- event. He organized the where she feels] totally models positive life skills ties include various 18 bands represented. All comfortable and accepted.' based on individual needs.sports, outings in nature had their start at UAY. For some kids that is the and a ropes challenge SAW provided support andAs a teen line volunteer, encouragement to persist course. The Dating Cellos,technical assistance for she found direction, self- two or three months with a performing drama troupe the tape. The bands used confidence and connection. the unromantic hard work consisting of high school SAW facilities to do all of She was given skills and of getting a song ready to students, write and per- the recording. The tape opportunities to use and record. With the serious form for area schools, has hip-hop, punk, blues, develop them. As an individ- ones it might be the in- community and profes- funk, grunge, rap, rock struction, "Today we are sional groups on prob- and alternative rock. "Be ual, she found nurturance, going to have fun and lems faced by children the One," written and support and respect. UAY is enjoy life." Youth are fre- and teenagers such as played by Dave Rogers able to serve young people quently referred to pro- teen relationships, and Dustin R. Busch, as well as they do because grams in the rest of UAY dating issues, parent/ conveys a piece of SAW's they know kids, like them, and at other agencies. teen communication and wisdom: "I know there and value them." substance abuse. The isn't anything anywhere Janet Peterson The Drop-in Center runsgroup started in 1984 to if I don't try." Parent and coordinator, Johnson noncrisis phone lines for explore dating violence County Decategorization Project elementary and high school and was originally called UAY's budget for 1996 youth staffed by trained the Dating Violins. totaled $730,663, with peer helpers and backed $35,000 going to SAW. up by staff who handle A concrete result of the Funding for SAW came crisis calls. To work on Synthesis Arts Workshop in approximately equal

:/tIct- ,.1003 0

1:7

"I am a Youth Center staff member here at United Action for Youth. I have been working here for about eleven months, and before that, hanging out for about a year. When I was offered the job, I saw it as a good way to meet people and learn about them. I have made new friends here, teens and adults, and I feel that this has made a major impact on my life. Every once in awhile I wonder where I would be without UAY. Would I be going to parties every night and getting drunk and 70 smoking pot, or would I be

sitting in front of the T. V. The Dating Cellos drama troupe rehearses at the Youth Center. all the time? I am happy to say that I am doing neither, amounts from State Crime instruments that measure and that I spend sixty per- Prevention, State Compre-self-esteem and resiliency hensive Substance Abuse cent of my free time here skills. No results are Prevention, the City of available as yet. However, at UAY. The rest I spend Iowa City and Johnson youth and parents often practicing guitar (which I Cbunty. The agency often comment on the value of learned to play here) and collaborates with other the program. Mullins says, enjoying life." 'agencies and organiza- "They'll come back after tions. For example, this several years, walk around Phil Ochs, age 14 year's State Crime Preven-the Center and say, 'This

tion moneys came through was the place where I felt a community collaboration the safest, where there to engage youth that in- were some adults who volved many youth agen- cared.'" Or they'll say, ".I.... cies and the schools. "I wasn't doing that well Adults in the community when we were doing that who used the program as tape. That was the only adolescents periodically thing positive in my life put on musical benefits at that time, that we to earn money for addi- were friends." Jesse Pelkey of Mr. Blanding's tional studio equipment. Dreamhouse

UAY recently began eval- uating SAW and Drop-in Center programs using From a recent performance of the Dating Cellos drama troupe:

Four high school friends are revisiting their childhood games of truth or dare. The discussion soon turns to a more adult tone of answering truth questions about their personal feelings.

Youth 1. Seriously, what's your biggest and worst fear?

Youth 3. My biggest and worst fear,I am not telling you that. That's way too personal.

Youth 2. How about we all do it then.

Youth 3. Fine, I'll go first then. Okay, my biggest fear would be that when I go into public and people United Action for Youth's family service house are going to laugh at me, like I'll do something wrong and say something wrong and they're just gonna laugh at me and make fun of me and hurt my feelings.

Youth 4. Oh, it's my turn. My biggest fear is that people won't accept me unless I'm just like them and that I'm going to have to change myself so that I can do what I want to do.

Youth 2. Okay, my biggest fear is that I won't allow myself to feel because I'll be afraid of getting hurt.

Youth 1.I guess my worst fear would have to be not being able to fulfill all my hopes and dreams and aspirations because they mean so much to me that I feel I'm nothing without them.

Rebecca Goss drew the cover art for the Fountain of Youth UAY music compilation. S HOLYOKE, MASSACHUSETTS eenesource rropc ew v isions

Enlowerix, LcJixo yotst& arotik astaCer, (ife-skiUs EYAlhlhq A.xci COMPv.I.thay ihVO(V-ePv.thi

New Visions Theater/Nueva Visiones writes and performs plays that explore and illuminate issues that involve being a teenager and Latino in Holyoke in the 1990s. These plays educate the young theater members, their peers and the community-at-large on poverty, violence, teen pregnancy, substance abuse, HIV/AIDS and family issues. Among the program's objectives are helping youth to develop higher self-esteem and a sense of belonging, and Teen actors react when a tragedy occurs in Colors: Tales from the Flats. to learn decision-making skills. turn on their lack of Eng- New Visions is a pro- lish language and literacy gram of The Care Center, Holyoke, located in skills. which was started in western Massachusetts, 1986 to deal with teen is a city in transition Gangs, teen pregnancy, pregnancy in Holyoke. It and a city in trouble. substance abuse and operates an educational Ethnically the community dropping out of school are center for young families, of 44,000 is 65% white rampant among Holyoke's providing licensed day mostly older; 34% young people. The teen care for children and, for Latinomostly Puerto birth rate is the highest parent, GED and life- Rican and younger; and of any Massachusetts skills classes in English 0.5% African American. community and has been and Spanish, counseling Almost two-thirds of more than twice the na- and referral services, and Latinos in Holyoke live tional average since 1985ways to overcome other A gang member from the play, below the poverty level. in 1993, it was 13.8% obstacles to staying in Colors: Tales from the Flats Many of the adults came in comparison to 6.8% school that young parents to the area 20 years ago nationwide. Holyoke's high encounter, such as lack to work in tobacco fields school drop-out rate for of transportation and and paper mills that no 1994 was the third highest homelessness. It also longer exist. A majority in the state. The pregnancyworks in Holyoke schools of families who live in rate is related to the high with at-risk teenage poverty do not have the drop-out rate among parents who have returned Contact: Daisy Jimenez support or educational teenage females but with to school under Massachu- Program Director Teen Resource Project tools to help themselves a twist: in one study, 60% setts's state welfare 136Suffolk St. out, often because of of young women dropped reform plan. Finally, the Holyoke,MA 01040 their lack of educational out of school before they Center is the lead agency Phone:413-532-6350 achievement based in became pregnant. for the Holyoke Youth 75 Alliance, a community school program. In addi- wide festivals and sharing alliance of youth, parents tion, TRP conducts pre- space with churches in and agencies seeking to vention workshops in the the area. The team in- prevent teen pregnancy. middle schools for youth cludes Daisy Jimenez, who are at high risk of program director for the The Care Center opened dropping out of school. TRP, Juan Rivera, New its Teen Resource Program Visions artistic director, (TRP) in 1988 with a The majority of TRP andand Elsie Reyes, theater Governor's Challenge Fund New Vision's staff mem- coordinator. Daisy Jimenez grant, expanding its mis- bers are Puerto Rican andhas worked with pregnant sion to the prevention of live in Holyoke. They haveand parenting teens at first pregnancies among developed strong program The Care Center for 10 adolescents. TRP operates ties with the Latino and years. She helped create a two-hour afterschool Anglo communities, serv- the agency's day care program that provides ing on community program, and has worked prevention activities such boards, helping both as a transition as games, writing activities put on city- counselor and cen- and teen court. Pregnancy ter coordinator prevention in both The Care Center and TRP focuses on decision-making skills and uses The Teen Resource Project Curri- culum, which was written in 1988 by The Care Center's first executive Program members have fun director, Ellen Edson. This with creative art projects curriculum has chapters on the physical and emotional changes of puberty, emotions and relationships; choices, values and peer pressure; dealing with school, drugs and sex; and planning for education and employment. TRP recently added tutoring and help with homework to its after- TRP's afterschool program includes three Excerpt fromDreams "clubs" that adolescents who attend prevention Ivette:In the way? What do you mean in the sessions three times a way? You're going to have his baby. No week can join: Community matter what his dreams are you're going Organized Peer Educators to be in his way. So what are you sup- (COPE), NewVision posed to do? Take care of the baby by "My daughter is in New Visions Theater, and the News- yourself? Theater and as a parent I'm very letter Club. All three Iris: No ... yes ... I don't know. I'm so con- proud of her. I see a lot of good clubs are structures fused I don't know what to do.I want changes in her. She used to be through which adoles- him to go on with his dream butI want very shy and didn't do much cents bring information him to be here with the baby. on high-risk and high- talking. Now her self-esteem has Ivette:Well, I'm your best friend and I'll help resiliency behaviors boosted up so much that she is a you take care of the baby, even if it to area youth. COPE much happier person. She also conducts "Safety Net" means not going to college. has high values and stands by her parties in houses, com- Iris: No! What are you talking about now? I beliefs. Every time she performs I munity rooms in apart- won't let you ruin your life for me! nudge the person next to me ment buildings, and other Ivette: Just by not going to college?I can still (whether I know that person or community-based locales. get a job and work. These parties use games not) and say very proudly, 'That's Ivette moves to one side of the stage while Iris similar to Family Feud to moves to the other. my daughter.' Conceited? Maybe. help teens learn the dan- You judge!" gers of unprotected sex Ivette: Why Iris? Her dreams, her future all dis- Jenny Whitley and other essential appearing. I'm not going to let her down, Parent information. even if I have to stay here with her. Adam's going to the army and she'll be 74 Current artistic director here all alone. I'm one of the only people Juan Rivera started New she's got, her parents won't understand Visions in 1992. As a and I'll be there right beside her. Ivette TRP youth worker, he Torres the Star, movies, autographs, that regularly talked with was just a dream. Now, who knows? I'm teens about relationships, peer pressure and other gonna be the baby's godmother. issues that concerned Ivette looks at Iris and leaves. them. He started to bring a camcorder to the group, Iris: Remember all the dreams I wanted to having participants work have? Well, you probably know right now, out skits and role-play they're ruined. Why does it have to hap- situations addressing pen to me? I'm always the unlucky one.

identified issues. And Just like the college thing. Yeah, I got quickly saw how the accepted to a college but Ivette got theater-like activities gave accepted before me andI had to be the young people an opportu- one to come out pregnant and not being nity to express their feel- able to go to college. Ifeel really bad for ings, fears and hopes, as Ivette because she wants to take care of well as a safe place to have fun and spend time me and not go to college 'cause my with their peers. Rivera boyfriend's going to the army.Idon't want himself has acted in her to ruin her life because of me. I did school, church and com- this to myself and it wasn't supposed to munity theater produc- affect nobody but me. tions in the area and Iris exits stage. serves on the Advisory Board of the New World Theater in Amherst. 7 ep id

Party of Life is a play about the HIV/AIDS virus and how risky behavior can lead to death.

It was the youth them- the ability to take risks, playwriting, acting, stag- selves who first talked to work well in teams, to ing and set design. They about putting a play to- speak their minds and to also guide and support gether. Their first produc-see the humor in situa- each production from tion, The Downfall of tions, abilities that make start to finish. Carlitos, was a 20-minutethem resilient to destruc- scene about a young man tive influences in the The process for each who turns to drugs as an community as well as production, which runs 30 escape from the alcoholismsuited to theater work. to 45 minutes in length, and lack of support in hisTo participate, students is to talk about personal family. It premiered in must be doing well in and social issues that 1993 in the Skinner school or show improve- concern the youth and to Community Center in Holy- ment in their studies. choose the one that most oke and was an instant The program monitors interests them. Youth re- success. The performance academic achievement. search the topic by talking led to numerous invita- to individuals in the com- tions to appear at com- The troupe meets on munity, arranging guest munity events, including Saturdays year-round for speakers from community "New Visions gives me a Holyoke's annual Teen two three-hour sessions. agencies such as the chance to give something Empowerment Conference If the group is preparing Massachusetts Society for before an audience of for a performance they the Prevention of Cruelty back to my community. I'm more than 300 people. may work through the to Children, and reading able to change what goes on weekend. Youth remain articles. The group then by performing on stage plays New Visions' 24 mem- in the program for up to brainstorms ideas for about community problems. bers are mostly Latino four years, on average characters, plot and mes- I've grown up a lot because young people from the two years each. sage. Youth choose and of the group. I've become Holyoke/Springfield area, make their own costumes ages 13 to 19, 13 females In 1994 New Visions and help choose the very responsible and I've and 11 males. Over the formed an alliance with music. Besides providing learned how to work with years the group's ethnic New World Theater to theater training, New World the group." breakdown has been 90% provide all theater training. provides opportunities for Leida Latino (almost all Puerto New World, which oper- New Visions youth to meet 17-year-old student Rican), 9% black and 1% ates out of the University theater professionals and 4-year participant white. Youth enter New of Massachusetts in see professional theater Visions from other TRP Amherst, is the first pro- companies in action. activities or because they fessional theater for peo- have witnessed a New ple of color in the Holyoke In the drama Dreams, Visions performance and area. Brenda Cotto and the message is how badly want to participate in the Gloria Celaya, New World teen pregnancy interrupts role the theater plays in playwrights, conduct a girl's dreams for her- the community. Many workshops with New self. Iris, the heroine, enter the program with Visions youth and staff in may continue to pursue

7 8 her goals but it will be much harder. Dreams also addresses the reality of going to college, that it's not all fun, that you "There are a lot of problems have to leave some things in the community and in behind, often including their personal lives. They friends. Finally, the play feel discriminated against. casts a skeptical eye in general at the promises They are pressured by gang of success this society members. Often they're makes. Adam, Iris's boy- afraid. For them to live in friend and the father of this environment, be in the her child, following the group and try to do some- slogan, Be All You Can thing positive, they are the Be, joins the military. He is killed in action. heroes. They have to work hard to stay on track. We Colors: Tales from the guide them but they decide Flats (an area in Holyoke) to grow with it. The bottom was the first play New line is that if they were not Visions youth created strong enough to come and with the guidance of New World Theater. It Afterschool program participant does his homework. work with us, we couldn't is a gang-related play, During 1996 New Visionswith the guidance of pro- do it." written out of the troupe gave 10 performances in gram advisors. Perhaps Juan Rivera members' own experi- Holyoke and surrounding the strongest indication Founder and artistic director ences. The play takes communities that reached of the group's effect in of New Visions Theater the perspective of Peter, more than 500 youth. They 76 the community is the a 16-year-old Puerto performed at several high reason young people give Rican immigrant who schools, at Worcester for wanting to join. Elsie doesn't yet speak English. Community Center and the Reyes observes, "I now Peter hangs out with the University of Massachusetts. have two new members in New Visions theater In 1995 they performed the theater who saw the group. In school and in Colors at the three-day group do a show. They the group his more accul- Hispanic Family Festival, liked the way the group turated Puerto Rican which reached several works in teams and the classmates make fun of hundred people. Dramas message they bring to the him and reject him. are presented in English community. They called Wanting to belong some- and/or Spanish to suit the me and said they wanted where, to have attention, needs of each particular to join. When New Visions respect and affection, he audience. When the brings a message to the joins a gang. He realizes sponsoring organization community and one or two his mistake when gang provides the time, perfor- youth listen, it's powerful." members kill the little mances are followed by Rivera adds, "Holyoke has brother of one of his discussions with the a bad reputation for drugs friends. With difficulty audience on issues raised. and violence. They want he gets out. The theater As a result of their suc- to show people not every- group tells him, We cess, the group has one in Holyoke is violent loved you but you never received funding to developor involved in gangs. They saw it." However, group prevention works on HIV/ want to be a different members also realize theyAIDS and substance abuse role model and they want must break through their issues. to have fun." The group's prejudice and take very existence says you responsibility for their Current members of the don't have to belong to a own behavior in the New Visions group screen gang to have fun and feel community. and select new members supported. a New Visions members who had started to experiment with drugs while they were members of the group. All had problems at home such as domestic violence, parents using drugs, and living in foster homes. All gradually talked to staff about their personal use, stopped using and continued in the theater program. One young man is now in college and two are getting ready to enter college in the fall of 1997. The fourth is a sophomore in high school.

Parental involvement in the program is low, primarily because of cultural Learning how to work on computers. assumptions. In Puerto At the instigation of theto work better with the Rico, itis assumed that group new members must group. According to in programs run by adults now sign a contract that Rivera, "that reflected in for children, there is no commits them to atten- her way of thinking about need for parents to be dance at practices and the future. She was in involved. Many parents performances. Parties, vocational school and had are aware of the program's dinners and outings like never said anything about value in their children's roller-skating and going going further. After two orlives, however. to a local park to picnic three years in the program, are all used to help retainhowever, she decided to Teen Resource Project's group members. When attend the University of 1996 budget was $120,000, funding permits, stipends Massachusetts, to pursue with $33,000 supporting are given at the end of thea degree in nursing with aNew Visions. A Massachu- year for consistent atten- minor in theater." Rivera setts Department of Public dance at training work- observes, "I've seen them Health Challenge grant, shops and performances. grow and become more through the Governor's mature in many ways. Office, provided $23,000. What youth gain from They become more open- The Massachusetts Health New Visions is a long-term minded and accepting of Research Institute, Greater mentoring relationship differences. When they Massachusetts Prevention with positive adults, both did a play about HIV, for Center, Massachusetts staff and theater profes- example, they learned Cultural Council and sionals. Participants build about HIV, but they also Peace Development Fund knowledge, skills and learned about people with all foundationsprovided confidence by creating different sexual orienta- $8,800. Corporate funding small projects that help tions and they became amounted to $1,500. them succeed in larger more accepting of gay projects in their lives. and bisexual people as a One member who started result." young had a very short temper. Through rehearsals One of the greatest suc- and meetings she learned cesses of the program has to control her anger and been the outcome for four ar es x. w us um Lvluseum o Fine Arts, Victory in Peace FOSCerh, SR(i-eStest"Ni Pride ir.Rafro.LCk-eri co.(' COOpRro.Goo. SLUS arOlik Look co-4s, ,..swc.,( cAs co,<1 koh,,zwork c,sssiekxcR

Victory in Peace (VIP) is 10% nationwide. The City'scame wearing pagers. As a gang-diversion program location along Interstate a group, however, they for high-risk children in 94, the corridor between objected to the original Racine, Wisconsin. For theChicago and Milwaukee, name, Gang Diversipn children it provides home- makes it highly accessible Program, and chose the work assistance, life-skillsto crime and gang intik name Victory in Peace. training, social issues tration, especially by the groups, recreation and artsGangster Disciples, Vice All VIP participants live activitiespredomi- Lords and Latin Kings in Racine's inner city. nantly visual arts andfrom Chicago. In the sum-Taylor Home and Urban bookmaking. For mer of 1996 there were League vans provide trans- their parents, it six gang-related killings. portation, with the drivers provides coun- While overall juvenile routinely tracking kids seling and arrests in Racine remaineddown in the neighborhood support. stable from 1990 to 1994,if they aren't at home. VIP is arrests for violent crimes Families of many partici- administered increased by 600%; for pants move frequently, by the Taylor drug-related incidents, by but Taylor Home is usually Home and 300%; and for weapons successful in keeping Education violations, by 60%. them involved as long as Center and is an they live within the city ongoing collaborative During 1996 VIP served limits. Including trans- effort by four Racine 45 youth; since the pro- portation time, the pro- organizations: Taylor Home,gram's inception, more gram keeps participating Nigerian Dance Troupe member The Urban League of than 300 have participated.youth off the streets from Olabayo Olaniyi in a 1996 Racine, the Racine Council The children, 6 to 12 3:00 to 7:00 p.m.the cultural event performance on Alcohol and Other Drugyears in age, are mainly prime time for getting Abuse (Racine Council), from single-parent families. into troublenine months and the Charles A. WustumStructure is often lacking of the year. Some youth Museum of Fine Arts in the home, either behave dropped out of the (Wustum). cause the parent is workingprogram, then called and or is using drugs. Many asked to return because Racine is a metropolitan youth have older siblings they recognized their need area of 130,000 people who are gang members. for structure and con- with 85,000 living within Youth are referred to the structive activity. Ethnic the city limits. Its ethnic program by Racine Unified breakdown for participants makeup is 68% white, School District counselors is 67% African American, 18% African American, and social workers, the 31% Hispanic and Latino 8% Hispanic, 1% Native police department and and 2% white. American, 1% Asian or other human service Contact: Donna A. Newgord Pacific Islander and 4% agencies. From the pro- Taylor Homefor most Curator of Education other. In 1994-95 Racine's gram's beginning in 1993, of its history an orphan- Charles A. Wustum Museum of high school drop-out rate Fine Arts children were aware of itsagewas established in 2519 Northwestern Avenue over four years was 12%. purpose. In fact, when 1867 out of the estates Racine, WI 53404 Racine's teen pregnancy the program started, someof Isaac and Emerline Phone: 414-636-9177 rate is 13% compared to with gang connections Taylor. Isaac, orphaned in 4040' k.;764 81 England in the early 1800sSince the late 1980s it sion program into which and mistreated as a has run residential treat- VIP children can graduate, "bound-boy," decided, if ment programs for adoles-provides tutoring and dis- he ever had the money, tocents. It also conducts a cussion groups on topics build a refuge where chil-day treatment program in such as sexual activity dren would be treated cooperation with the and venereal disease, pre- "The VIP program gives the compassionately. Eventually Racine Unified School pares adolescents for the he ran away, came to District and the Racine job world and helps them children something to look America, and made moneyCounty Human Services get jobs. Dr. M. Sathya forward to.I like the creative in the lumber business. Department and a family Babu is the executive aspects of the program, support program for fami- director of Taylor Home, especially the art component. lies of at-risk children, and Alice Portis, a mas- Over the years, Taylor The children painted a mural Home has been through ages 6 to 11. Teen ter's-level social worker many metamorphoses. Challengers, a gang-diver-with a private practice, on the wall and it is so is program director. beautiful. The homework assistance offered is really In 1993, at 11 years of age, Pleschette Robinson created The Wustum Museum helpful and beneficial to the her first book, Harriet Tubman: A Story by Pleschette was founded in 1941. Its children.I feel this program Robinson (Racine, WI: th (Taylor Home] Press). Pleschette is collection focuses on 20th- keeps the children off the from a traumatic home situation and has primary responsibil- century crafts and "works on paper," including streets." ity for her two younger siblings. Pleschette's writing and drawings, prints, photo- Wendy Gomez bookmaking skills have blossomed with the program. Working graphs and book arts. The Parent of a VIP participant one-on-one with Wustum's associate curator, Caren Heft, she collection originated with has written and produced a whole series of books, including works done in the 1930s by a book about angels that appeared on the Christmas East Coast tree at the White House in Washington, DC She Works has gone from writing simple to complex 79 sentences and from printing her books to setting the type Pleschette is now in VIP youth Brook Robinson uses the printing press during the 1996 VIP ninth grade, has maintained her grades Book Project Workshop and is playing basketball, in spite of the hardships she experiencesShe has won awards for her writing Pleschette is a very intelligent young woman with leadership ability As Amos Paul Kennedy, Jr, notes, "Those are the children we can lose to the streets faster than the child who is shy or less intelligent Gangs want someone who is smart and articulate " t-

"Victory in Peace" mural project at the Taylor Home

The Rain Stick Progress Administration activities together. Each Wustum's art instructs artists. Wustum believes session begins with a Tricia Blasko, also con- The Rain Stick sounds like a that encouraging creativity snack. Urban League ducts visual arts and cre aids people of all ages in waterfall, youth workers, assisted byclasses with VIP youth self-expression, communi- teen peers hired by Racinetwice a week. In individi Like rushing waves, cation and problem solving.Council, conduct home- and group projects, Blasi Like rain hitting a puddle, The museum's Special Edu-work assistance daily. who has a B.A. in art hi Like a rainforest during cation Program for ChildrenChildren must complete tory, sees her main obje showers, provides Outreach 4, whichtheir homework before tive as "bringing to the Like a hard rain coming off enables all Racine fourth they can join other sched-children a sense of prid graders to tour a Wustum the leaf of a tree, uled activities. Youth self-fulfillment and self exhibit and do a hands-on workers visit the schools expression, as well as Like a toilet flushing. art project in the art medi-weekly to monitor the feelings of togetherness um they have just seen. 80 behavior and academic and teamwork." When The rain stick sounds like a Wustum also sponsors an performance of partici- they first come to Taylo chicken frying, annual Children's Fine pants. The VIP program Home, many youth don' Like the machine that countsArts Festival with partici- also helps parents more want to participate in tl patory art workshop sta- money at the bank, knowledgeably participate art component. Blasko tions, an art therapy pro- in their children's educa- says, "They don't think Like the candy that fizzes in ject with young women tion, for example, inter- art is cool." However, th your mouth, incarcerated at Southern preting specific test re- are sparked by the enth Like the whirl of the wind. Oaks Center, and work- sults and accompanying siasm of peers who hav( shops for children housed parents to parent-teacher been in the program long When the bird the rain stick at Women's Resource conferences. and, once they have exi Centera local Center becomes rienced an art project th for battered women and Taylor and Urban League enjoy, want to participa flies through the woods, their families. Donna A. staff provide one-hour further. I see a rattlesnake Newgord is the museum's groups twice a week on and a nail falling on linoleum,curator of education and life skills and social and Since the summer of Like a snake slimmering all primary VIP contact. minority issues. These 1996, youth have worke the way home. groups cover family issues,intensively on a mural f Victory in Peace is a gangs, substance abuse Taylor Home. This work Catalog-poem consisting of simile lines year-round program. Chil- and school behavior. The has involved planning tl by various VIP student writers, arranged (with the line at the end dren meet at Taylor Home children are taken on various sections, doing added) by David Steingass every weekday, 4:30 to adventures about once a preparatory drawings, 6:30 p.m. during the month. These outings have experimenting with colo school year and 1:00 to included horseback riding, and then finally paintin 3:00 p.m. during the boat rides, movies, sled- The mural, "Victory in summer. Students are ding at the Police Winter Peace," is modeled on divided into age-appropri- Carnival, skating, bowling, the World War II victory ate groups of 10 to 12 and Christmas and summergardens and expresses I each and cycle through parties. idea of working together for survival. The border is annual Fair Housing Poster made up of self-portraits Contest. She didn't think of the younger children. it was good enough to Ethnic groups from around enter. Out of 700 pieces the world are shown livingfrom across the state, it and working together in won first prize in her cat- harmony. Green vegetables, egory. Winning made her flowers and trees grow in feel more confident in abundance. Youth have herself and her abilities. incorporated symbols of She came to class willing peace such as people to do more. holding hands and an angel overlighting the scene. VIP youth participate According to Blasko, the every year in Racine's mural gives youth a chance Festival of Trees, a winter to envision a peace that event that involves deco- ti they often don't experiencerating trees for a downtown at home. It also teaches site. In 1995 VIP's offering them the importance of was "Angels Watching Over working together forming Me" and featured ceramic a cohesive statement angels and a quilt the chil- piece by piece, and that adren had made. According group effort needs and to Donna Newgord, besides survives only with the validating the youth, these wholehearted participation exhibits let the community of each individual. know how creative and

productive the children o dr: Wustum plans many VIP can be when given proper projects that are publicly direction and adequate 81 displayed and often adju- support for their efforts. dicated, believing both Newgord takes care to get exhibit and,and, when the VIP youth Shed James news coverage for budget permits, are taken (left) and Antoine Dixon (right), with Wustum art various projects and on art-related day trips instructor Tricia Blasko, cre- I .1 0, to share it with the out of the City. In Chicago ate their contribution for youth. they have visited The Racine's 1995 Festival of Mexican Fine Arts Museum, the Trees. 11 Many children have The Art Institute of Chicago not been taught and Field Museum. The their cultural her- program seeks to build a 11 1161M11;11111111.111tilep-sA.,!ntS itage at home and lifelong interest, not only 111111i1111 '').)T1111111[2. projects are includedin the arts, but in attending that help them learnand supporting museums. about and develop "I like the VIP program L pride in their ances- Cultural programs that because it helps me stay in try. A Nigerian involve hands-on partici- school. It also helps me to tpa Dance Troupe has pation are arranged for stay focused in general. performed for VIP the families, too. In 1994 The program is fun and I youth twice, involv-children and parents like it a lot!" ing them in the call-attended a sandstone and-response chants sculpture workshop led Shed James Jennifer Bell won the statewide 1995 Fair 14-year-old participant Housing Poster contest in her category. that accompany theby Mr. Imagination, a dance. Regular Chicago-based artist. Mr. processes help participantsmuseum tours introduce Imagination (born Gregory realize that their artwork children to the artwork of Warmack) begins his work- is valid. In 1995 Quiana many different cultures. shop by telling his own Gardner worked hard on Children are taken to the story of hardship, survival her entry to Wisconsin's Wustum to view each new and commitment to VIP youth work on a mural project.

following his calling, retelling of a Yoruba folk-of 5, they meet for three which is working with tale; A Charmbook, a book to four hours a day to make found objects and materi- of African proverbs in the paper from scratch; print als people usually throw shape of a snake that is the text; illustrate, usually away. Blasko reports that worn as a necklace; and with monotypes; assemble; 82 the youth are inspired by Strange Fruit, a book pro-and bind their own books. him. In these workshops, testing the lynching and As a group the children I walk around Racine Mr. Imagination says the burning of Negroesall and teacher go to the seeing people. adults complain they published by Jubilee Press public library and present can't make things but in Milwaukee, Wisconsin. I walk around Racine and a copy of each book for that, in the end, "some- Each of the past three the library's collection. smell the inside of a new thing is always created. years he has created Some have never been to book. The families work together Children Don't Count, a the public library before, I walk around Racine and in a hands-on fashion and memorial installation and get library cards hands-on art is wonderful smell hall polish. piece on children under while they are there. The therapy." the age of 14 murdered book program promotes I walk around Racine tasting in Chicago. Kennedy is literacy and reading. Once burgers. Since 1993 the art pro- also working on an M.F.A. a child makes a book, he gram has included a five- at the University of reads that book, and then I walk around Racine hearingday book art workshop Wisconsin in Madison. is more interested in cars. each summer by African reading other books. VIP's I walk around Racine touchingAmerican artist Amos Paul Counselors and the art bookmaking project has Kennedy, Jr.A systems instructor choose 10 youth bikes. been explored in depth by analyst and programmer for the book art workshop Karl Young in "Off the Nikki Tolliverwho quit his job to make based on interest in art Streets and Into the age 12 books, Kennedy creates and writing and likely Book" (Bookways: A limited editions on Negro benefit to the youth. The Quarterly for the Book and African folklore and workshop is usually sched- Arts, No. 10, January 1994). conducts artist-teacher uled in conjunction with a residencies in bookmaking poet or writer, so children Most VIP parents have nationwide. He is the have written their stories or have had a drug problem author of How Wisdom or poems before Kennedy or have a close family mem- Came to the World, the arrives. Then, in groups ber with a drug problem. 2 85 Taylor therapists do One of Pleschette family counseling in the Robinson's books has home, assist parents with been on interlibrary loan needed drug and alcohol from Northwestern to UCLA. treatment services, provide legal information and sup- The Taylor Home and port, and help with job Education Center admin- hunting, food and clothing isters funding for VIP. The needs. Racine Council program's 1996 budget of conducts alcohol and drug $100,000 was provided education sessions for by the Wisconsin Depart- parents at Taylor Home onment of Health and Social Thursday nights, twice a Services, Division of Youth month. The sessions in- Services. Taylor Home in clude a 35-minute lectureturn contracts for services and discussion period for from the collaborating parents and then a fun organizations. Wustum hands-on activity for the contributed $10,000 in the family support compo- VIP student Jeremiah Gonzales with whole family. Family pho- art instruction, supplies nent, Taylor House attrib- Book Project Workshop instructor Amos P. Kennedy, Jr. tographs were taken at oneand other services, not utes this outcome to the session and each family included in its allocation fact that children were made frames at the next from the state. safely and constructively session. Jane Valenti, VIP occupied until 7:00 p.m., coordinator and therapist,An evaluation of VIP con- allowing parents to take a notes that communicationducted in 1994 found thatwider variety of jobs and is a weak spot in many 71% of youth improved in feel confident being away families. When they sit academic performance from home. down and work on a solu- and 66% improved in tion together including school attendance. Over 83 the solution to an art pro-33% of VIP parents gained Products of 1996 Book Arts ject, the family begins to employment. Besides Workshop: unidentified example function better. of handmade paper art cover (left), The Adventure of Fro Man by Jeremiah Gonzales (middle front), During 1996 Changes I Go Through by Brook well over 10,000 Robinson (middle) and Running youth and adults to Kenosha by Luther Patterson viewed VIP books (right) and other artwork at Wustum, public schools in Racine, the Cardinal Stritch College in Milwaukee and other museums across the United States. Books created by VIP youth have been sold to major library collections of rare fr--) and handmade books at ----- Northwestern University, Chicago's Newberry Library, University of North Carolina at Greens- boro and University of Wisconsin at Madison. 86 THE EVALUATION PROCESS The Artsas aTool for Prevention: The Evaluation Process by7. 1,c,v(1 Bet(s/ Pk.D., Pc z, Pk.P.

The Arts as a Tool for Prevention Arts programs in the substance abuse prevention field are rapidly growing. The arts programs presented here are evidence of this trend. The integra- tion of arts programs and substance abuse prevention programs is natural. Both focus on the development of positive social skills, life skills, good decision making and resiliency. Both require the development of self- regulation and self-assessment. Substance abuse prevention programs focus on changes in attitudes, beliefs and behaviors regarding drug use. Meanwhile, dance, theater, music, visual or media arts stimulate the young person's innate creative ability in ways that promote personal growth. Art is a part of human psychology. Getting together to "do art" as a group is a natural social activity. Whether individuals discuss art, silently reflect on art or actually create art,it all comes from the same shared characteristic of human communication. That is, the ability to take a concept from one medium and express it meaningfully in another, and to understand the expressions of others. Art taps innate feelings and emotions and promotes their expression in culturally significant and accepted ways. Artistic experiences stimulate people to better understand their feelings as they strive to express them in various media. Art also promotes understanding the feelings and emotions of others.

Student in trumpet workshop at Arts programs are uniquely suited for helping youth learn new attitudes, Bank One Tucson International accept new beliefs and learn new ways of living that prevent them from Mariachi Conference, a benefit of using alcohol, tobacco and other drugs. Self-discipline is a valued life La Frontera Center, Inc. skill that results from active engagement in arts programs. In theater, for example, students have to learn to work individually and as members of a team. Actors develop discipline to carry out their own responsibilities and have to learn the responsibilities of their fellow actors in order to develop a play's plot. Other crew members contribute to creating a set, organizing props, providing adequate lighting and creating costumes. All of this culminates in the play's performance. The effective performance of valued social roles contributes to the development of a positive self-concept, the ability to interact with others effectively and the development of positive problem-solving and decision-making skills. Each artistic medium has the potential to do the same. In dance, a dancer often has to perform solo, in duet, and with a corps de ballet. In painting, the painter may work individually or in a team to create a mural or a monument. J. David Betts, Ph.D., is an assistant professor, Department of Arts activities benefit both individuals and the culture of the community Language, Reading and Culture, in which they live. Such activities mirror the culture of a community. College of Education, University of Art is intended for an audience. Spectators, fans and aficionados connect Arizona. He also is a consultant in arts and technology for the with the artist when they listen, witness and demonstrate outward Tucson-Pima Arts Council. appreciation for an artist's work. In such a way, the artist and the audience create meaning and share common understandings of art. Juan Paz, Ph.D., is an associate professor, School of Social Work, In a complex and diverse society such as ours it is not uncommon to find com- Arizona State University. peting artistic values. In such cases, the artist and the larger culture's artistic !0* 87 values may be in conflict. For example, street theater used by Teatro Campesino in the grape boycott by Cesar Chavez was initially frowned upon by the traditional theater community. Over time their work slowly became accepted by the larger society. Generally, however, when the community and the family are part of the appreciative audience, a connection will be possible and disassociation and alienation that youth feel will be lessened.

Measuring Alcohol, Tobacco and Other Drug Abuse

When planning and implementing an arts/prevention program itis neces- Knowing what the sary to have a realistic picture of the levels of alcohol, tobacco, and otherparticipants were like drug use among youth in the community. This information can often be obtained from school principals or the local school district.If data are before entering the not available, surveys can be conducted to measure the levels of drug use program and measuring in the schools. The local police department may also have statistics on their changes in attitudes, the levels of drug use in the community. Such sources are useful in docu- beliefs and behaviors menting levels of drug use in the larger community, as well. after participating in the It is necessary to collect these data in order to measure and document program are basic to the effectiveness and efficiency of the arts/prevention program and its understanding how well impact on youth. Knowing what the participants were like before entering the program works. the program and measuring their changes in attitudes, beliefs and behaviors after participating in the program are basic to understanding how well the program works.

What to Measure How to Measure Change in Attitude Pre-/Post-Questionnaires/Interviews Standardized Questionnaires/Surveys Change in Knowledge 85 Change in Behavior Archival Data/Records Monitoring Change in Skills Ratings/Observations Program Goal Attainment Focus Groups Client Satisfaction Client Goal Attainment Changes in Perceptions Evaluation The initial step in the evaluation process is to clearly outline the mission or purpose of the arts/prevention program. What is the program trying to The Evaluation Process do? If the focus is prevention, its goals would be to reduce alcohol, Outline the mission tobacco and/or other drug use among youth. The second step is to establish goals indicating how the arts/prevention program is going to reduce alco- Establish the goals hol, tobacco and other drug use. While the central point of the program Identify the tasks may be to use the arts as a preventive tool, itis necessary to include education, treatment, support services and community change strategies as parts of a prevention program. Once the mission statement and goals have been established, the next step in the process is identifying the tasks necessary to achieve them. A key question to ask is: Are we reducing the use of alcohol, tobacco and other drugs by using the arts as the central point of our prevention activities? Are the goals identified being accomplished through the use of education, treatment, support services and community change projects? The success of a program can be determined by measuring the output and outcome of a program's activities. Outcomes are measured by 8 collecting and tracking data from program activities. This may include activities like attendance at workshops, progress on a project or learning new information or skills. It will be necessary to have an internal monitor of process data collection. The outcome measures include indicators that a young person is progressing. They may consist of subjective and objective measures of changes in the level of drug use by youth. It may be necessary to interview youth face-to-face or by phone.

What to Collect How to Collect Program Goals Logs and Counts Community Needs Targeted Qualitative Descriptions, Journals Target Population Client Intake/Background Client Demographics Questionnaires Program Output Numbers of Clients Served Client Referral Process Staffing Some of the more traditional evaluation designs used for program evaluation include the one-shot evaluation, the simple pretest and posttest design, and the experimental group design. The one-shot evaluation is one that seeks to document the impact of a particular intervention, with the knowledge that it will not be repeated. The pretest/posttest design measures changes before and 86 after participating in a particular program. In such a program, information collected is An empowerment approach used to develop future programs. In the to evaluation looks at risk experimental design, a random group of youth undergo a program designed to help and protective factors that them acquire knowledge and learn specific enhance positive change skills. An experimental design, of course, within the community and calls for a comparison group and a random promote individual growth sample. Simple one-shot programs and among youth. pretest/posttest designs often include a purposive or convenience sample, that is, Instructor and student at workshop orientation not a random sample. (For a more in-depth jam session, Bank One Tucson International discussion of sample design, see Greene's Mariachi Conference article in The Handbook of Qualitative Research.) In many agencies, evaluation is seen by agency directors and staff as a tool to justify the existence of their current program. In the current body politic, evaluation is necessary in order to justify the existence, continua- tion or reduction of funding for programs. For prevention programs, evaluation refers to an organized system of collecting information linked to attaining the mission and goals of a program. This is measured by estab- lishing shared values that provide data on level of effort, efficiency and effectiveness. One of the most recent developments in the field of substance abuse prevention is the infusion of the concept of empowerment into program evaluation. It emphasizes individual and community capacity building. "Empowerment evaluation is the usegbevaluation concepts, techniques, and findings to foster improvement and self-determination" (Fetterman, Kaftarian and Wandersman, 1996). An empowerment approach to evaluation looks at risk and protective factors that enhance positive change within the community and promote individual growth among youth. Such an approach is useful because it recognizes environmental influences in the lives of individuals. In the arts, empowerment processes are intended to help individuals gain an understanding of their environment and cultural heritage, develop artistic skills, and develop independent problem-solving and decision- making skills. The measurement of outcomes in empowerment evaluation analyzes the results of the Art WORKS youth in front of mural com- processes put into action. In sum, empowerment evaluation has a value pleted in summer 1996 on inner-city soup kitchen. Artist Harold Gabbitch orientation, it seeks to promote self-determination and is self-affirming worked with youth over a five-week through self-evaluation and reflection. period. Social relationships are also very important in evaluation. The traditional approach where an evaluator strives to be removed from a program in order to be objective is viable but does not allow for the collection of qualita- 87 tive data. When planning a program evaluation, individuals who are stakeholders in the planning and results of an evaluation often represent different ideologies and value systems. In addition, the diversity that the arts bring into the prevention field requires that evaluators have some knowledge of the creative process as well as know a particular art form. In empowerment evaluation, the evaluator is more of an expert or facilitator who utilizes a participatory approach. A participatory approach is one in which the participants, clients, staff and evaluators are seen as stakeholders actively involved in all aspects of the evaluation process. The evaluator hears from the stakeholders about their goals for the program and their understanding of their responsibilities. Benchmarks for arts skills and social skills are identified and evaluation tools are discussed. In such an approach no one individual is entirely responsible for the evaluation. Programs that serve youth Programs that serve youth must understand that what is learned is must understand that what often not what is taught. It is important for staff to model and pattern is learned is often not what constructive, collaborative behavior throughout the program. Successful programs set up a high level of engagement and interaction and let indivi-is taught. duals define their own pace and skill level. Each youth, as a stakeholder, brings something different to the program. If they, in partnership with the staff and the evaluator, are responsible for the program and negotiate its goals, strategies, documentation, time lines, evaluation, etc., then they will have a degree of ownership and be better able to respond to the program's demands. Given the opportunity to exercise their highest level of responsible behavior in an arts activity and a chance to set the goals and evaluate the outcome, youth awfrcouraged to behave responsibly. Arts Evaluation Although the successful prevention of substance abuse is the primary focus of the program, an overall appraisal of the artistic outcomes is also important. Are the participants engaged? Do they show collaboration? Is their work expressive? Does it show multiple ideas? Do participants demonstrate mastery of the media? Can youth recognize positive changes they've experienced? The progress of individuals in the program can be observed, their understanding of the processes involved in the arts disciplines noted and their products evaluated in their cultural context. The amount of collaboration that takes place can be recorded. Surveys can be taken of changes in attitudes and per- ceived self-efficacy (how well they think they are doing) related to the program. These evaluative program elements are part of successful programs that put the time and energy into self- reflection and accountability for outcomes. Key planning questions to be addressed are: How does this particular arts and prevention program contribute to the acquisition and expression of arts skills? Of useful life skills? How does it take into account the cultural con- The Tucson-Pima Arts Council text of the youth involved? How will evaluators gauge the program's effec- Art WORKS team (from left): tiveness: through observation, participation or self-report? To whom does Cristine Cardenas, ceramacist and teacher; Joshua Ramos, Sergio this evaluation matter most? Salas and Zachary Dobson. These high school students worked with The key question is: Are arts/prevention programs making a difference Cardenas to design and construct with youth? The arts in the substance abuse prevention field are a vital four mosaic murals for the Barraza tool to build on their strengths. The overarching goal in empowerment 88 Parkway sound barrier wall. The evaluation is to determine whether these programs have changed the project was completed in just seven weeks with funds from Pima youths' perception of their empowerment. Do program participants view County Highway Revenue User themselves positively? Do they feel positively connected to their communi- Funds. ty and culture? Or in the words of the Reverend Jesse Jackson, do they acknowledge that "I am somebody"?

REFERENCES Cronbach, L. Designing Fetterman, D. M., Tripodi, T., P. Fellin and Evaluation of Educational S. J. Kaftarian and I. Epstein. Differential and Social Programs. San A. Wandersman. Program Evaluation. Francisco, CA: Jossey-Bass, Empowerment Evaluation Itasca,I L: F. E. Peacock 1982. Knowledge and Tools for Publishers, 1978. Self-Assessment and Eisner, E. W. "Taking a Accountability. Thousand Second Look: Educational Oaks, CA: SAGE Connoisseurship Revisited." Publications, 1996. In Evaluation and Education: At Quarter Greene, J. "Qualitative Century, edited by M. W. Program Evaluation." McClaughlin and D. C. In The Handbook of Phillips. Chicago, IL: Qualitative Research, University of Chicago edited by N. Denizin and Y. Press, 1991. Lincoln. Thousand Oaks, CA: SAGE Publications, 1994. For Arts-Based Prevention ResourcesPrograms for Youth & Additional Programs

Resources used, who is eligible to receive grams that offer financial and Many resources are available to the grant, and under what con- related assistance to state and identify funding for programs ditions. There are three types local governments and non- for youth that partner arts and of grants: block, formula and profit organizations of all substance abuse prevention discretionary. Block grants go types. It is organized into gen- from both the public and private directly to the states, allocated eral topic area chapters, such sectors. Successful applicants on the basis of a statutory for- as Social Services, with a help- and programs are based on a mula, and states are given dis- ful index and detailed descrip- clear mission, measurable goals cretion in use of funds. Formula tions of each funding pro- and objectives and outside grants are usually based on gram's key elements, including evaluation. Both fieldsarts population, unemployment important information such as and substance abuse prevention levels, census data or other "Flow of Funds," "Eligibility" require extensive profession- demographic indicators with and "How to Apply." It is here al training and experience; most going directly to state that you will find the official therefore, programs that demon- agencies for ongoing services name (and acronym) of the strate a partnership between through block grants or categor- funding program, and the established programs in each ical programs. Discretionary administering federal agency. area offer youth the best of grants, sometimes called pro- both. Sustainable programs ject grants, usually support Another publication, Prevent- must have a diverse base of research, evaluation and ing Crime and Promoting 89 support from a variety of fund- demonstration projects or ser- Responsibility: 50 Programs ing sources. vice projects. They are award- That Help Communities Help Help Create A Masterpiece ed for specific periods of time, Their Youth (1995), was com- Federal Government usually one to five years, and piled by The President's Crime Public service announcement Resources & Funding announced by federal agencies Prevention Council. This publi- developed by CSAP and the NEA cation includes a helpful sum- The prevention of substance through the Federal Register. mary matrix, listing programs, abuse among youth has been The funding cycle for discre- fiscal year funding, population targeted at the federal level and tionary grants for initiatives served, providers and objec- is supported in the budgets of may receive only limited funding, such as the two-year, tives of the program. Each many federal departments, program also has a full-page including Justice, Labor, Edu- 1994-96, "Pathways to Success" program of the Office of Juvenile description with contact cation, Housing and Urban address and phone number. Development, and Health and Justice and Delinquency Pre- vention and the National Human Services. As federal Endowment for the Arts. The May/June 1995 issue of funding is increasingly funneled The Prevention Pipeline, a bi- to the states in block grants, monthly publication developed accessing these programs at In Print by the Center for Substance the local level may require In print, the most user-friendly Abuse Prevention (CSAP) and research and tracking. To iden- resource to identify specific disseminated by the National tify the point of contact for a programs within the federal Clearinghouse for Alcohol and local program, you need to budget is the Guide to Federal Drug Information (NCADI), know the name of the program, Funding for Governments and focuses on the arts and how the federal department (HUD, Nonprofit Organizations. It is participation in the arts may Wan Magie has been executive HHS, etc.) and the flow of published annually, with regu- prevent alcohol, tobacco and director of the Tucson-Pima Arts funds. other drug problems. The issue Council for nine years. She has lar updates tracking current published and spoken nationally Federal funds are often federal grant programs and features model programs and on funding for the arts. distributed through grants. their appropriations. The a collection of public service Program legislation directs the Guide provides descriptions of announcements (PSAs) devel- allocation mechanism to be more than 370 federal pro- oped for the arts community by

.1; 1f7, Public, college and university NEA is the web site of the libraries offer computer access National Endowment for the to the Internet and trained Arts. The web site provides staff who will help you search descriptions of grant programs, for targeted federal program applications and guidelines web sites. and a monthly magazine called The Federal Register is the arts. community. most useful of the general web http://arts.endow.gov/ sites for researching what grant Specific web sites for federal opportunities are currently departments relative to this available. It is the official pub- subject include the following: lication for presidential documents and executive orders, U.S. Department of as well as notices, rules and Agriculture/Cooperative State proposed rules from federal Program: agencies and organizations. Children, Youth and Families at Risk National Initiative http://www.access.gpo.gov/ http://usda.gov/ su_docs/aces/aces 140. htm I The Catalog of Federal U.S. Department of Education Domestic Assistance (CFDA) is Programs: the annual government-wide Safe and Drug-Free Schools and compendium of federal pro- CommunitiesState and Local grams, projects, services and Formula Grants Grace The Life Of A Child CSAP and the National Endow- activities. It contains financial Safe and Drug-Free Schools ment for the Arts. Copies of the and nonfinancial assistance and CommunitiesNational Public service announcement publication and PSAs are avail- programs administered by Programs http://www.ed.gov/ developed by CSAP and the NEA able through NCADI by phone, departments. 1-800-729-6686. http://www.gsa.gov:80/fdac/ U.S. Department of Health and The Drug Information and Human Services (HHS) Strategy Clearinghouse is a ser- Program-specific information Substance Abuse and Mental Health vice of Housing and Urban De- on substance abuse prevention Services Administration (SAMHSA) 90 velopment (HUD), providing a and arts can be found in several Center for Substance Abuse series of publications relating sites, including the following Prevention (CSAP) to substance abuse prevention primary sites: Programs: programs and funding in pub- Knowledge Development and The National Clearinghouse for lic housing. The Clearinghouse Application Programs (KDAs) Alcohol and Drug Information can be contacted by phone, Community Schools Grants/ (NCADI) site is a service of the 1-800-578-3472. Substance Abuse Center for Substance Abuse Substance Abuse Prevention The Office of National Drug Prevention (CSAP), a division Block Grants Control Policy, a part of the of the U.S. Department of Smoke-Free Kid Executive Office of the Presi- Health and Human Services. It High-Risk Youth Projects dent, has produced relevant contains extensive information Community-Based Family publications including on drugs and drug prevention, Resource Program (CBFRP) Responding to Drug Use and including surveys, articles and Community Partnership Violence: Helping People, prevention programs, along Demonstration Program Families and Communities with a link to the Prevention Child and Family Services (CFS) (1995), a directory and re- On-line bulletin board PREVIine. Programs: source guide to public and http://www.health.org/ Community Services Block private sector drug control Grants ArtsNet provides funding grants. Publications can be Youth Education Demonstration information including the Family Preservation and Support accessed through the National ArtsNet Development Data- Runaway and Homeless Youth Criminal Justice Reference base of grant awards made by Drug Abuse Prevention/Education Service (NCJRS) by phone, state arts councils and other Youth Gang Substance Abuse 1-800-851-3420. organizations. ArtsNet also Prevention maintains links to web pages Community Schools Youth Web Sites of local, state and national arts Services and Supervision Public Health Service On-line Internet access to in- funders. Program: formation on federal programs http://artsnet.heinz.cmu.edu/ DevelopmentResources/ Preventative Health and Health and funding can be tracked Services (PHHS) Block Grant through a variety of web sites. http://www.health.org/

*" ea 93 U.S. Department of Housing and State Government Library of Congress Internet Urban Development (HUD) Resources & Fundillg Resource Page for State and Programs: Local Governments Public and Indian Housing Drug State government funding for This resource provides Meta- Elimination Program programs in arts/prevention for Indexes for state and local govern- Community Development Block youth can be accessed through ment information with links to individual state pages. The quantity Grants (CDBG) (1) state funding of substance and quality of information by state Federally Assisted Low-Income abuse programs for youth, (2) vary with the rush to participate in Housing Drug Elimination state legislative allocations to the computer information delivery Youthbuild state arts organizations, and system. AmeriCorps (3) state administration and http://www.loc.gov/global/state/ Public Housing Youth Sports distribution of federal block stategov.html Program (YSP) http://www.hud.gov/ and formula grants. The process and state funding lev- Local Government U.S. Department of Justice els vary from state to state. Several resources provide the Funding & Resources Office of Juvenile Justice and method and point of contact Delinquency Prevention (011DP) Many city and county govern- for state programs that allocate ments are funding arts pro- Programs: federal block grants and pro- Weed and Seed Programs grams that are also drug and grams funded through alloca- Juvenile Justice and Delinquency crime prevention programs for Prevention Block Grants tions by your state legislature. youth. The revenue stream for Juvenile Justice and Delinquency these programs may be federal, Prevention Formula Grants National Association of State state or local with the point of Community-Based Gang Alcohol and Drug Abuse Directors contact through city or county Intervention (NASADAD) departments for nonprofit Gang-Free Schools and Director of Prevention Programs Communities agencies at the local level. An 444 North Capitol NW, Suite 642 Juvenile Mentoring Program example is the HUD Community Washington, DC 20001 (JUMP) Development Block Grant Phone: 202-783-6868 Community Policing (CDBG) Program administered This service agency can track how Correctional Options Program and allocated through a city specific federal programs are being Drug Courts Initiative administered in each state, and and/or county government Drug Abuse Resistance Education state-legislated funding in this area. process for local projects. The (DARE) in Bureau of Indian Affairs Community Services Depart- 91 Safe Futures Partnerships to National Assembly of State Arts ment of your city or county will Reduce Youth Violence and Agencies (NASAA) have information on CDBG Delinquency (Safe Futures) http://www.ncjrs.org 1010 Vermont Ave. NW, Suite 920 grants and other federally Washington, DC 20005 funded, but locally decided, U.S. Treasury Department Bureau Phone: 202-347-6352 programs. Your county attorney of Alcohol, Tobacco and Firearms This service agency for state arts can provide information on agencies, and publisher of Part of Department of Justice grants Program: the Solution: Creative Alternatives and possible RICO (Anti- Gang Resistance, Education and for Youth (1995), has a database Training (GREAT) of arts programs reaching at-risk Racketeering Revolving Fund) http://www.a If.treas.gov/ youth that are programs of, or substance abuse prevention funded by, state arts agencies. program funding. Your public U.S. Department of Labor http://www.artswire.org/Artswire/ library should have a public www/nasaa/nasaa.html Programs: record of the adopted city and county budgets that can be Year Round Program for Youth/ National Conference of State reviewed to determine revenue Title II-C Legislatures Summer Youth Employment and distribution to specific pro- Training Program/Title II-B Program Director, Arts, Tourism grams from the local tax base. Youth Fair Chance (YFC) and Cultural Resources Art Works! Prevention Programs http://www.dol.gov/ Program Director, Health and Human Services for Youth & Communities was 1560 Broadway, Suite 700 Centers for Disease Control designed to provide informa- Denver, CO 80202 and Prevention tion on programs in cities Phone: 303-830-2200 nationwide that can serve as a HIV/AIDS Projects This service agency for state legis- guide for program development lators tracks programs that impact in your community. Publica- Program: both arts and substance abuse Information and Education/ prevention. Publications, including tions and an extensive data- Prevention Services Creative Solutions for Funding the base detailing local programs http://www.cdc.gov/ Arts (1995), compare the programs can be found through the and funding mechanisms in states. following resource. http://www.nc I s.org/ Americans for the Arts (Formerly the National Assembly of Local Arts Agencies and American Council for the Arts) Institute for Community Development and the Arts 927 15th Street NW, 12th Floor Washington, DC 20005 Phone: 202-371-2830 The service agency for local arts agencies, Arts for America published Untapped Public Funding for the Arts and maintains the database for the more than 214 programs profiled in Coming up Taller: Arts and Humanities Programs for Children and Youth at Be Vocal Risk (1996), published by the Public service announcement developed by CSAP and the NEA President's Committee on the Arts the most thorough and user- Grant$ for Mental Health, and Humanities. Monthly mono- friendly resources for identify- graphs focus on specific program Addictions and Crisis Services areas with examples of local coming program-specific funding (1994/95), The Foundation munity programs and funding from foundations and corpora- Center. sources. The Institute's database tions, and include indexes by This book lists 2,591 grants of provides important information on state and topic. $10,000 or more, with a total value program descriptions, funding http://fdncenter.org/ of over $216 million, made by sources and other information on National Guide to Funding in 576 foundations. It covers grants local arts programs. Substance Abuse (1995), The for a variety of services, including http://www.artsusa.org Foundation Center. addiction prevention and treatment. Index by state and subject. This book contains entries for 530 ISBN 0-87954-582-8 grant-making foundations and 75 Private Corporate & direct corporate giving programs, Foundation Resources representing more than $91 million 92 in support, that have shown a sub- Conferences & & Funding stantial interest in substance Private corporate and founda- abuse. Index by state and subject. Workshops tion support for local programs ISBN 0-87954-602-6 Annual conferences and work- that target arts/substance abuse Grant$ for Alcohol and Drug shops are supported by most of prevention programs for youth Abuse (1994/95), The the federal agencies included in is available. Your local United Foundation Center. this resource section. Calen- Way and Community Foundation dar information through the This book covers 854 grants of should be contacted for de- $10,000 or more, with a total value agency's web site should be scriptions of program eligibility of more than $95 million, made by sought for conference topics, and grant deadlines. The local 360 foundations to nonprofit orga- dates and locations. arts agency in the community nizations in the area of substance abuse, including prevention and may also offer grants that CSAP provides conference treatment. Index by state and support these programs. subject. support grants (for information, ISBN 0-87954-565-8 contact NCADI, 1- 800 -729- Foundations and corporations 6686). An example of relevant often fund only within certain Grant$ for Health Programs for conferences sponsored by geographic areas, so a search Children and Youth (1994/95), CSAP is the annual "Storytelling by state and topic will target The Foundation Center. for Prevention" conference realistic resources. To identify This book lists 2,576 grants of sponsored by the Wheel Council foundations or corporations $10,000 or more, with a total of Arizona. The National Asso- that have a history of supporting value of over $231 million, made ciation of Prevention Profes- specific programs in your re- by 549 foundations. It includes sionals and Advocates (NAPPA) topics of adolescent drug and alco- gion, contact your public library focused on the arts for their hol abuse prevention and treat- 1994 conference, "Arts Em- for a state foundation directory ment programs. Index by state that chronicles the giving with- and subject. powerment: The Artist Within." in your state. Guides compiled ISBN 0-87954-574-7 by The Foundation Center are

.95 Additional ArtWORKS in Neighborhoods The Boys Choir of Harlem Tucson-Pima Arts Council 2005 Madison Avenue Programs 240 N. Stone New York, NY 10035 Tucson, AZ 85701 Phone: 212-289-1815 In addition to the eleven pro- Phone: 520-624-0595 FAX: 212-289-4195 grams featured in this publica- FAX: 520-624-3001 tion, the following are exam- Recognized by President Clinton in ples of arts programs for youth The Arts Council collaborates with January 1997 with the Medal of Arts Award, The Boys Choir of that involve prevention strate- neighborhood associations and centers in low-income neighbor- Harlem is a holistic program of gies that can be adapted in hoods to identify a project that will education, counseling and per- your community. benefit the community. Ten resi- forming arts that has established dent youth receive a salary for an amazing success record since Anti-Drug A.P.P.L.E. Corps working with an artist in a seven- the Choir was founded by Dr. Walter Program week summer program to complete Turnbull at the Ephesus Church of Harlem in 1968. The majority of Arizona Commission on the Arts the project. Funded with city and county youth initiative and trans- the members, ages 8 to 18, are 417 W. Roosevelt portation support, a counselor pro- from Central Harlem, which is Phoenix, AZ 85003 vides weekly sessions dealing with known for art, culture, ethnic Phone: 602-255-5882 team building, conflict resolution strife, crime, violence and drugs. A FAX: 602-256-0282 and prevention. During the 1996 comprehensive music education is A partnership of artists, private summer, 135 youth worked on 11 augmented by a sound academic enterprise, prosecutors, law projects from design and construc- education, counseling and tutoring enforcement and educators, tion of park signage to design and with a resulting 98% of the stu- A.P.P.L.E. Corps was designed in manufacture of individualized tiles dents going on to college. The 1989 to facilitate and support for benches in a neighborhood Boys Choir receives funding from artistic programs that help park. the New York State Office of children, families and communi- Alcoholism and Substance Abuse ties throughout Arizona to reject Awareness Theatre for prevention services that include drugs. To accomplish this, the AOD education, values clarification Chautauqua Alcoholism and A.P.P.L.E. Corps awards grants to and strategies for resisting peer afterschool programs statewide to Substance Abuse Council pressure. fund guest artist residencies. (CASAC) 2-6 E. Second Street Children of the Future Jamestown, NY 14701 Arts Apprenticeship Training Greater Columbus Arts Council 93 Program Phone: 716-664-3608 55 East State Street FAX: 716-664-3661 Manchester Craftsmen's Guild Columbus, OH 43215 1815 Metropolitan Street Two troupes of youth, ages 14 Phone: 614-224-2606 Pittsburgh, PA 15233 through 18, are recruited at the FAX: 614-224-7461 beginning of every school year to Phone: 412-322-1773 perform scenes about alcohol and Selected in 1994 as an Ameri- FAX: 412-321-2120 substance abuse before student Corps grant recipient, Children of For the past 29 years, Man- audiences throughout the county. the Future's 26 AmeriCorps participants work with youth ages 5 to chester Craftsmen's Guild has In performance, youth and peers been working with inner-city youth, talk about substance abuse and 12 in one of eight recreation centers in inner-city neighborhoods providing cultural activities and alcoholism, creating an interactive educational programming through- and sometimes experiential pro- and public housing sites, providing daily afterschool arts activities, as out the year. Classes are conduct- gram involving both performers well as weekend programming fea- ed in disciplines of ceramic art, and audience members. Since its turing visiting artists. Each center computer imaging, drawing and inception in 1985, the theater offers programs in dance, creative photography. Through mentored troupe has performed more than writing, music, theater and visual training in the arts, young people 1,500 times for more than 70,000 arts, depending on the facility. The participate in experiences that people, while more than 200 program started as a way to reduce capture the essence of life-skills young people have been perform- crime and drugs in housing com- development, arts and cultural ers in the troupe. The Theatre munities and has grown to become awareness. Each year 350 stu- receives county funding and state a safe haven for youth. It is a part- dents from all 12 Pittsburgh pub- funding from the New York Office nership between the Department lic high schools enroll in this pro- of Alcohol, Tobacco and Substance gram, which has college placement Abuse Services. Instructors and of Recreation and Parks, Depart- ment of Public Safety, the rates of 74% to 80%. View performers receive ongoing training. Metropolitan Housing Authority Manchester Craftsmen's Guild student exhibition on the Internet. and the Greater Columbus Arts Council. The program also receives http://www.artsnet.org/mcg funding from HUD. Evaluation is conducted both in -house and externally.

16 Everyday Theater, Inc. Grupo Animo and El Grupo Kid Konnection Folkloric° Atotonilco 65 IStreet SW, Room 115 Oregon Coast Council Washington, DC 20024 Guadalupe Cultural Arts Center for the Arts Phone: 202-554-3893 1300 Guadalupe Street P.O. Box 1315 FAX: 202-488-9209 San Antonio, TX 78207 Newport, OR 97365 Phone: 210-271-3151 Everyday Theater, Inc., is a sum- Phone: 541-265-9231 mer, in-school and afterschool pro- FAX: 210-271-3480 FAX: 541-265-9464 gram targeting African American Grupo Animo is a multidisciplinary, Approximately 100 youth in five youth ages 14 to 21 using an issues-oriented theater program for afterschool sites in Lincoln County, Afrocentric model that includes youth 13 to 18 years of age. ages 7 through 11, meet with African literature, role playing, Coordinated by the Guadalupe artists to learn circus skills of tum- music, dance and theater. Cultural Arts Center, and run by bling, juggling, balancing and Participants develop original dra- and for the El Barrio community, clowning in a weekly two-hour ses- matic productions that are then the program focuses on public sion. On "Super Saturday" once a performed before their school housing, latchkey children, drugs, month, family members and men- peers. Prevention topics include violence and school dropouts. tors join in an improvisational the- drug abuse prevention, HIV/AIDS Youth work with a playwright five ater (problem solving); learning new prevention, pregnancy prevention to seven days a week during the action songs, mime and clowning and violence prevention (including summer to write and produce a activities are part of the menu. gang and domestic violence play. During the school year, the Youth are identified by coalition prevention). Everyday Theater play is performed at 12 to 15 partners in the program, including is a featured organization in the community sites. the Lincoln County School District, President's Committee on the Arts Lincoln County Human Services, and the Humanities publication, El Grupo FolklOrico Atotonilco Children's Services Division and Coming Up Taller: Arts and teaches Latino children and youth Juvenile Services. Preference is Humanities Programs for Children ages 3 to 21 abdut their culture given to youth who meet one or and Youth at Risk (1996). and history through dance. Youth more of four criteria: have been practice from one to five times a subject to protective services; are First Step Dance week and perform at festivals year- currently served by Chapter 1 or round throughout the country. other at-risk services; parents are Lawrence Arts Center being served by a substance abuse 200 W. 9th Inside-Out program; or clients have self- Lawrence, KS 66044 selected their families into com- Phone: 913-843-2787 The Children's Museum, 94 bined case management services. FAX: 913-843-6629 Seattle Leadership skills are also part of 305 Harrison Street In a collaboration between the the curriculum through a partner- Seattle, WA 98109 Lawrence Arts Center (LAC) and ship with Lincoln County First Step House (FSH), a Phone: 206-441-1768 Extension. halfway house for recovering, FAX: 206-448-0910 chemically addicted women, First The Seattle Housing Authority and Pasos Ade lante Step Dance was created to give The Children's Museum, Seattle, La Frontera Center, Inc. the women and their children ways have established a partnership to 502 W. 29th Street to work on violence and addiction provide comprehensive arts and Tucson, AZ 85713 prevention through the arts. Prairie humanities education to young Phone: 520-884-9920 Wind Dancers, a LAC resident residents living in two of Seattle's dance company, provides weekly public housing communities, FAX: 520-792-0654 classes for women and separate Rainier Vista and Holly Park. The Pasos Adelante, a CSAP-funded classes for the children in creative programs operate year-round after project, combines an early child- movement designed to foster posi- school and during summer and hood education component with an tive feelings, explore emotions and school breaks, providing instruc- intensive parent education and build self-esteem. Prairie Wind tion on various art mediums and advocacy program set in several Dancers creates choreographic multicultural themes. Sessions are substance abuse treatment centers works that deal with addiction conducted by a staff of trained in Tucson. Parents and children issues. These are performed in educators who teach a curriculum attend together twice a week for three annual concerts for the resi- that has been specifically devel- 12 weeks with the option to con- dents, staff, family and friends of oped for the programs by The tinue into the next 12-week cycle. FSH and in community concerts Children's Museum. The staff work Children and parents utilize the and schools throughout Kansas. in conjunction with local artists, arts as a cultural expression. Each actors, musicians and dancers to cycle a mural is made that depicts provide discipline-specific classes. the spirit of the group's members The program receives funding from and their cultures. The project has HUD's Public Housing Drug utilized local artists as a way to Elimination Program. enhance curriculum content. Project Director Christine E. Miller, Ph.D., wanted a project that would prepare children of substance 97 abusers, many of whom were drug personal growth sessions over a 12- SETT exposed, with the resiliency skills week period. The cost of conven- Self-Expression Teen Theater needed to enter first grade on par tional treatment and/or correctional with their peers. placement far exceeds the per Institute capita expenses of Self Discovery 1001 Indiana Avenue Toledo, OH 43607 Project ABLE in a community-based setting that uses art, psychology and adven- Phone: 419-242-2255 Mill Street Loft ture-based counseling to transform FAX: 419-242-3152 20 Maple Street the lives of high-risk youth. Students Working from a model of peer Poughkeepsie, NY 12601 who successfully complete the education through the arts, SETT's initial 12-week intervention phase Phone: 914-471-7477 strategy is to train groups of teens may elect to participate in a 12- FAX: 914-471-7507 and preteens, 12 to 18 years of week graduate program followed by Mill Street Loft, a multi-arts edu- age, to serve as peer educators. In an additional 12-week mentorship cational center, established Project this capacity they create and per- experience in which they assist ABLE (Arts, Basic education, Life form social dramas in schools, teachers in the initial phase of the skills, and Entrepreneurship) in churches, conferences, penal insti- program. 1994 as an arts-driven job skills tutions, public housing projects, training, employment and preven- parks and other places. Four days tion program for economically dis- Public Housing Orchestra and a week during the school year and advantaged at-risk youth ages 14 Project DAISY five days a week during the sum- to 21 from the multicultural city of Levine School of Music mer, the youth perform and tour Poughkeepsie. The program pro- 1690 36th Street NW 35 to 50 shows annually to more vides training in product design, than 10,000 other youth in the Washington, DC 20007 carpentry, public art, technology, community to provide awareness, Phone: 202-576-6171 portfolio development, and information referral, peer interac- retail/entrepreneurship skills. FAX: 202-576-6178 tion, guided discussion, conflict Project ABLE is also a crime and Teenage residents of a Washington resolution and decision making Orchestrate A Small Miracle substance abuse prevention pro- public housing complex attend through drama, and serve as a vital link between services that already gram, with a strong life-skills com- small group lessons once a week ponent that includes training in exist among the youth who need Public service announcement during the school year, and twice a conflict resolution, leadership and them most. Funding for the developed by CSAP and the NEA week in the summer, to prepare for communication skills, teamwork program comes from the Ohio and cooperation, problem solving three annual Youth Orchestra per- Department of Alcohol and Drug and decision-making skills. Youth formances. The Youth Orchestra is Addiction Services, City of Toledo, also engage in understanding one component of a larger program corporate and general donations. social issues through role playing, funded by a HUD Drug Elimination SETT is a recipient of a CSAP 95 mediation and group discussion. In Grant to the Washington, DC, award and is recognized statewide Project ABLE, youth are employed Housing Authority. Project DAISY for its effective substance abuse to "earn while they learn." The uses music to improve the atten- prevention work among African American and other at-risk youth. program operates year-round and tion spans and learning capabili- serves approximately 75 youth per ties of preschool children who year. South Dade Development Program were prenatally exposed to drugs. Greater Miami Local Initiatives Project Self Discovery Ragtime Roadsters Support Corporation (LISC) The Cleo Parker Robinson 16201 SW 95th Avenue, Clark County Department of Dance Theatre Suite 303 Parks and Recreation 899 Logan, Suite 207 Miami, FL 33157 2601 E. Sunset Denver, CO 80203 Phone: 305-254-8181 Las Vegas, NV 89120 Phone: 303-830-8500 FAX: 305-254-4119 Phone: 702-455-8200 FAX: 303-830-8420 FAX: 702-455-8275 Artist-attorney Xavier Cortada, Harvey Milkman, Ph.D., a psychol- LISC director, believes art builds a ogist and drug prevention coun- The award-winning Ragtime sense of history and context often selor, teamed with Cleo Parker Roadsters program, which receives lacking in communities. The power Robinson, artistic director of funding from the Nevada Bureau of of art reaches still further into the The Cleo Parker Robinson Dance Alcohol and Drug Prevention, sends fabric of community life when Theatre, in 1991 to formally art teachers into public housing blended with an economic agenda. integrate the arts and music into communities to use dance and In South Dade, the LISC is part- drug prevention work in a program music programs as a means of drug nering with Centro Campesino CDC and the Metro-Dade Cultural called Project Self Discovery. First- and alcohol abuse prevention. The time offenders, teen parents and Affairs Council to establish an "art classes build on learned skills that other at-risk youth between the trailer" where gang members and culminate in a talent showcase at ages of 13 and 18 pick an arts others can go to create and sell discipline for their focus from the end of 10 weeks. Participants their arts and crafts. visual arts, drama and movement. gain valuable life skills, including an The arts programming is comple- understanding of teamwork, endur- mented with cognitive behavioral ance, flexibility and leadership.

.11 Teatro Consejo City of San Antonio Departments of Arts and Cultural Affairs, Youth Development, Inc. Community Initiatives, and the 6301 Central NW San Antonio Independent School Albuquerque, NM 87105 District. Phone: 505-831-6038 FAX: 505-843-7727 Youth Theater Project Harambe Youth Development, Inc. (YDI), is Pittsburgh Public Theater a comprehensive program offering Allegheny Square an array of services including prevention programs, treatment Pittsburgh, PA 15212 services, a crisis shelter, group Phone: 412-323-8200, ext. 270 homes, residential treatment cen- FAX: 412-323-8550 ters, youth employment programs, Former gang members, substance alternative education, health edu- abusers or youth from troubled cation and school-to-work transi- homes sign one-year contracts in tion programs. Teatro Consejo pro- which they agree to be punctual, vides an artistic forum for self- attend all classes and rehearsals, expression through performing arts refrain from alcohol and drug use, activities including choir, creative cease all gang activity and commit writing, acting, dance, stage pro- to personal transformation to par- duction, lighting, sound, costume ticipate in theater productions of design, puppetry and music. The the Youth Theater Project. The youth and performing arts profes- subject matter of the productions sionals meet at least three times a focuses on such teen problems week for three hours during the as pregnancy, drug use and living school year and continue in the with chemically dependent summer on an even more rigorous parents. schedule. Instructors, who must have previous professional experience, receive ongoing training. The program is funded through the City after an initial seed money grant from HHS. 96 Urban smARTS San Antonio Department of Arts and Cultural Affairs P.O. Box 839966 San Antonio, TX 78283 Phone: 210-222-2787 FAX: 210-228-0263 Urban smARTS is an arts-based comprehensive afterschool prevention program that operates from January to May in seven inner- city middle schools for four days a week. The program is designed to divert at-risk youth from the Juvenile Justice System, utilizing a combined arts-centered and case management approach. The smARTS team consists of three artists, four caseworkers, and one teacher per school. In addition to its diversion goals, the program seeks to improve student academic achievement and attendance, and address behavioral problems. The program strengthens protective factors that counter the effects of risk in youth. Positive emphasis is placed on education, family, community and social responsibility. Support for the program is provided by a partnership between the

OS 1

0 4, l o a I *yr

U.S. Department of Education OffiCeof Educational Research and Improvement (OERI) National Library of Education (NLE) ERIC Educational Resources Information Center (ERIC)

NOTICE

Reproduction Basis

This document is covered by a signed "`Reproduction Release (Blanket)" form (on file within the ERIC system), encompassing all or classes of documents from its source organization and, therefore, does not require a "Specific Document" Release form.

This document is Federally-funded, or carries itsown permission to reproduce, or is otherwise in the public domain and, therefore,may be reproduced by ERIC without a signed Reproduction Release form (either "Specific Document" or "Blanket").

EFF-089 (3/2000)