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Outcome Evaluation of the Summer 2017 Program
Program of Heritage Works 313.496.4000 || [email protected]
Program Funders Program Funders Erb Foundation City Connect Detroit Knight Foundation Engaging Dance Audiences | Dance/USA Kresge Foundation Erb Foundation MichiganProgram Council offor ArtsHeritage & Cultural Works Affairs Michigan Humanities Council Doris Duke Charitable Foundation 313.496.4000 | [email protected] Dresner Foundation External Evaluator Mission Lift Knight Foundation External Evaluator Mission Lift 313.320.4850 || [email protected] Kresge Fondation 313.320.4850 | [email protected] Michigan Council for the Arts and Cultural Affairs October 20, 2017 National Endowment of the Arts November 2017 Table of Contents
Acknowledgements 3 Introduction 4
Program Overview 4 Evaluation Methods & Tools 4 Findings 5
Participation 5 Program Activity Highlights 5 Knowledge Gain 11 Job Readiness 11 Positive Youth Development 12 Professional Development 14
Artistic Development 14 Two City Intensive: Deeply Rooted Dance Theater 15 Intensive Fountain of Youth Event 13 Conclusion 21
Recommendations 23 Appendix 24
Picture on cover: Movement Study from Nia Keli - A Gift of Life. Choreographer Kevin Iega Jeff, 1982. Deeply Rooted Dance Theater Summer Intensive Final Performance, July 2017. Reva and David Logan Center for the Arts, Chicago, IL.
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Acknowledgments
A special thank you to the project’s funders: City Connect Detroit, Doris Duke Charitable Foundation, Engaging Dance Audiences | Dance/USA, Erb Foundation, Dresner Foundation, Knight Foundation, Kresge Foundation, Michigan Council for Arts & Cultural Affairs, and National Endowment of the Arts.
A special thank you to the project’s partners: Deeply Rooted Dance Theater, Charles H. Wright Museum of African American History, NKSK Events + Productions, Ponyride, and Freedom House.
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Introduction Program Overview This was the third year of the Work Arts Youth Ensemble Program, funded City Connect Detroit, Doris Duke Charitable Foundation, Engaging Dance Audiences | Dance/USA, Erb Foundation, Dresner Foundation, Knight Foundation, Kresge Foundation, Michigan Council for Arts & Cultural Affairs, and National Endowment of the Arts. Work Arts hires youth and young adult ages 16-24 for a summer internship to receive intensive technique and ensemble training in Modern, Hip Hop, and West African dance, percussion, and culture at three sites: Charles H. Wright Museum of African American History, NKSK Events + Prodocutions, and Ponyride as well as various field trip sites. Participants had the opportunity to work throughout the summer and gain art industry experience.
Evaluation Methods & Tools To evaluate participants in the 2017 Work Arts Youth Ensemble Summer Program, seven assessment tools were utilized (tools used varies by site – not all tools were used at every site) to capture a comprehensive picture of youth participants’ professional and personal development. All tools are described below and are in the Appendix.
Evaluation Instruments & Tools When Completed Who was What was Instrument Tool Description Completed By Assessed Measured Professional Positive youth End of 14 indicators scored from 0 Development Instructors Youth development program (poor) to 4 (exceptional) Skills Rubric indicators 4 categories scored from 1 Dance End of Drum and dance Instructors Youth (below avg.) to 4 Technique Rubric program technique (advanced proficient) Knowledge Beginning African dance; 8 multiple choice questions Pre & Post and end of Youth Youth personal / artistic on pre and post; 8 add. Assessment program growth / learning questions on post Integrative Strengths and End of 8 open-ended questions Knowledge Youth Youth weaknesses; key program for reflection Portfolio Process learning moments Two City Intensive End of Satisfaction with and 8 open-ended questions Youth Program Survey Chicago trip impact of trip for reflection Two City End of Program Satisfaction with and Instructors 17 open-ended questions Interview Protocol Chicago trip & youth outcomes of trip
End of Completeness of 7 items to check off Portfolio Checklist Instructors Youth program portfolio checklist
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Findings Participation There were 44 participants initially in the 2017 Work Arts Summer Program, and 31 by the end of the program – 6 at the Ponyride site, 18 at the Charles H. Wright Museum of African American History site, and 17 at the NKSK Events + Productions site. Two youth also went to Deeply Rooted Dance Theater in Chicago for a four-week intensive. Program participation decreased by the end of the summer. For example, one student was accepted to a band program that came with a scholarship so this student left program early to participate. Another student resigned when she was asked to leave because she was unprepared, unengaged and drawing focus with inappropriate behavior. A third student received a paid, year-long plumber apprenticeship which is an in-demand career track. DRDT Intensive Roommates in Park Program Activity Highlights A variety of artistic and professional development activities occurred throughout the summer. Some of the activities are highlighted below.
Orientation & Training The summer session 2017 began with a combined orientation training for youth from June 27-29. Forty youth participated. Example activities included youth developing their personal mission statement and then using a Venn diagram to find connections between their personal missions and their employer’s mission. They also identified six important group values and created value statements for each. Below are two values: Creative and Change Agent.
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Speed Interviewing Event Youth employees met with professionals on August 2 from different fields for a round of speed interviews. For ninety minutes, youth were interviewed for seven minutes, given feedback on their responses and skills for two minutes, and then they rotated to the next interviewer. Afterwards they networked and shared their 30-second elevator speeches.
Photo Shoots Participating youth worked with a professional photographer to develop corporate head shots that they can use when seeking a job. Ensemble youth also developed technique shots based on their artistic genre (e.g., Modern dance). Photoshoots were done on July 25 and 26 and August 10. Youth helped with the photo shoot planning and worked in the studio with a professional photographer. Ensemble youth took a corporate headshot, dance headshot, technique shot, and historical figure / dance hero photo.
Corporate Headshots Dance Headshots Technique Shots
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Essay and Photo of Dance & Historical Heroes Participants wrote an essay about their historical and/or dance heroes. Excerpts from essays are provided below. In essays about Janelle Monet, Pearl Primus and Diana Ross, youth identified their personal passions and traits they admire.
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Fountain of Youth Event For their final project, youth at the NKSK Events + Productions site chose to produce an event called Fountain of Youth at the Water Station. It featured youth under 30 only as entertainers, producers, and vendors.
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Gardening & Meal Swap Youth worked in the garden with Freedom House residents and did a meal swap with residents, which provided an opportunity to share food traditions that tie with African movement traditions and to interact with people seeking asylum in the United States and Canada.
Mentorship with Art Professionals In both Detroit and Chicago, youth were mentored by professionals in the art industry, thus having a variety of education and work experiences that provided insight into career opportunities for them. Specifically, students worked with professional mentors including the Heritage Works’ event coordinator to help with the preparation, operations, and management of the African World Festival. Other students helped the summer social media staff person to manage the Heritage Works’ social media and online presence and take photos at events. In addition, youth were very receptive to the choreography support and mentoring received from the staff at Deeply Rooted Dance Theater and from Idy Ciss, the master artist who worked with youth in Detroit and Chicago.
Chicago Field Trip As part of this summer program, two youth went on a field trip to Chicago with Idy Ciss. While there, students visited Grant Park, Lincoln Park, Navy Pier, DuSable Museum of African American History, the Taste of Chicago Festival, and AMC Chicago, and went on a boat tour of downtown. They also attended the final performance by “Seniors” and a choreography session with Idy Ciss.
Performances in Detroit Students participated in two performances in Detroit – one as performers at a board fundraising event, with approximately 60 audience members (see photos below) and the other, Soul Revolution, as stagehands (approximately 105 audience members). In commemoration of Detroit 67, Heritage Works provided a celebration through movement of the role of faith-based institutions to the African American community.
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African World Festival Youth had the opportunity to attend, perform, and work at the African World Festival. This summer was the 35th annual African World Festival, with more than 150,000 people attending, located at the Charles H. Wright Museum of African American History. This 3-day festival had performances, poetry, arts and crafts, and African drumming and dance that youth participated in.
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Knowledge Gain Ensemble members at the Heritage Works Ponyride site (only site this test was relevant for) completed questions related to the Maane African dance. According to the pre- and post-assessment scores, overall participants improved their knowledge on the Maane dance, but no statistical test was performed due to the small sample size.
Percent answering correctly African Dance Knowledge Pre (n=5) Post (n=1) Gain 1. What is the traditional purpose of the Maane dance: A. A 100% 100% 0 fun celebration for young girls 2. From which ethnic group does Maane come? B. Susu 40% 100% 60% 3. What is the general translation of the Maane song? C. Make 80% 100% 20% room for me 4. What does the word Yankadi literally mean? C. “It’s better 60% 0% -60% here.” 5. A Yankadi celebration was traditionally done during: B. Full 0% 0% 0 moon 6. African American’s transformation of JonDon-Wollossodon from dances of two caste system of Mali to dances that are 80% 100% 20% associated with slavery and freedom is an example of ethnocentrism. True 7. What is the start position for many West African dances? C. Feet parallel and shoulder width apart, legs, bent, torso 100% 100% 0 leaning forward, eight on balls of one’s feet 8. What is the purpose of the drum break? D. All of the above 100% 100% 0 ENSEMBLE MEMBER AVERAGE SCORE 70% 75% 5%
Job Readiness Participants had the opportunity to do a professional portfolio. The checklist included 1) a video spot, 2) resume, 3) biography, 4) head shot, 5) artist statement, 6) job application, and 7) stats sheet. There were 31 participants who had at least one item in the portfolio checklist portfolio: all participants had their headshot taken and 10 participants had at least a resume and headshot.
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Positive Youth Development Youth completed a four-page reflection activity that first involved writing down all of their knowledge, skills, and strengths they could think of (n=8). All responses are listed below (the size of the word indicates the frequency it was a response among youth – ie the most common responses were understanding, leader, creative, and math).
Self-Reported Knowledge, Skills, and Strengths of Youth
Participants then identified their important learning moments and applicable knowledge and skill areas used. Specifically, they identified three experiences when they created something or provided some kind of support to help others reach their goals and three experiences when they learned something that changed how they thought about themselves, others, or the world, and they changed as a result.
Important Learning Experiences of Youth Part 1 Learning Experience What was learned Knowledge & Skill Areas I had trouble learning things in I learned that not only could I got it, I Asking for help, class at first then I went home could help others believing results, pushing and practiced through difficulty
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Teaching younger girls was hard After learning this, I made them a better self-identity, personal because I wasn’t as tough as I team and more disciplined responsibility, leadership needed to be, so I became a and planning harder coach Sitting alone with myself in my I really taught me how to love, cherish Self-assessment, self- basement behind my drums and respect myself awareness Listening to John Coltrane’s A After listening to it recently, it changed Critical thinking Love Supreme fills me with my perspective so that everything has insight meaning, depth, and definition Going to college fall semester I learned going to college doesn't Humility, research, and freshman year necessarily make one person better than evaluation another I learned that I need to have less I controlled my temper Conflict resolution attitude
Next, participants reflected on important learning moments by explaining three experiences when they had overcome an obstacle, failure, challenge or resistance in order to accomplish something important to you and/or to others and 3 experiences where they learned something that changed how they saw things; and/or applied a concept, idea, or tool learned in one place to an entirely different situation (n=8).
Important Learning Experiences of Youth Part 2
Learning Experience What was learned Knowledge & Skill Areas
My imagination being so vivid, I want my I learned imperfection is ok, Problem solving art to come out perfect, but it never does and to not give up I learned about energy and channeling it I learned to and be asked to tell Being curious, into my everyday life others about what I learned communication skills In 8th grade, I learned that you can't mess And I used that to apply for Developing goals up your one chance to opportunity dual enrollment I took a series of dance classes at an It taught me not to compare Self-assessment intensive in Chicago myself to others
Participants organized their skills and learning moments together to match the skills with the appropriate learning experiences and indicated what learning areas they enjoy the most and the least, and the ones they would like to develop further. Lastly, participants reflected on what else they noticed or learned when doing this exercise. One participant noted: “Every day it seems like I want to better myself because everything I do is to better myself and my future.”
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Professional Development Instructors scored students on a variety of professional and positive youth development indicators at the end of the program. The highest possible score a student could receive Highest Scores on each indicator was a 4 (exceptional) and the lowest was a 0 (poor). With 14 indicators, the highest possible total score was a 56. Students scored an overall average score of 42.4 out of 56 (n=30). The students’ average score is
provided for each indicator.
1. Prepared for work (3.6) The indicators that students scored the 2. Cooperated with others (3.4) highest, on average, were 1) being 3. Showed up on time (3.3) prepared for work and 2) cooperating 4. Showed appropriate workplace behavior (3.3) with others. Students, on the other 5. Improved in techniques (3.2) hand, scored lowest on their leadership 6. Positive attitude toward others (3.2) skills and independent thinking. 7. Appreciated learning about heritage (3.2)
Artistic Development 8. Gave input to help create work product (3.1) At the end of the program, participants 9. Effort in contributing to the group (3.1) at the Ponyride site only were also 10. Contributed to decision-making process (2.8) scored on drumming and dancing 11. Communication skills (2.8) technique by their instructor. Scores 12. Problem solving skills (2.7) ranged from 4 (advanced proficient – 13. Independent thinking (2.6) exemplary) to 1 (below average – 14. Leadership skills (2.5) needs improvement). On average, youth scored highest on rhythmic clarity (n=4). The four indicators with the average student score include: 3.5 Rhythmic clarity 3.4 Spatial awareness Lowest Scores 3.3 Professionalism 2.9 Movement integration
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Two City Intensive: Deeply Rooted Dance Theater Component Two of the Work Arts youth participated in the four-week intensive trip to Chicago. Both participants were female, African American, and between the ages of 16-20. One of them has been associated with Heritage Works for two years and the other student for one year. Students were provided with work experiences at a professional performing arts company including the following activities.
Activities Accomplished 1) Two classes a day – Ballet, Horton, Graham, and African-Pyragramic techniques and body conditioning and contemporary movement 2) Attendance of a Black Girl Magic/Black Girls Dance one-day conference 3) Rooming with youth from Pittsburgh, Pensylvania and Miami, Florida 4) Opportunities to see Chicago (ie visited the “Bean”) 5) Repertory workshop – bridge for technical application (applying techniques), understand what coaching is, paying attention to detail, and working with each other 6) Continuum process (a three-step process of self-awareness and growth) – connects to repertory workshop: artistic voice, getting their spirit and being into the work, life skills, creativity (channel creativity in some way) 7) Specific administrative duties working in the office, working on different tasks the administrative staff required, and working with production team 8) Participation in two culminating performances (675 total tickets sold for 2 events)
Participants expressed the most and least satisfying activities of the Deeply Rooted Dance Theater (DRDT) Intensive.
The final performance because (2 responses): Most Satisfying -It was fun and I put a lot of hard work into it -I got to display all of my hard work to an audience of family and Activities for friends Youth Participants The master classes (1 response): -My favorite was the modern class The beginning of the ballet course (1 response): Least Satisfying -Closer to the end, I began to enjoy it a lot
for Activities The placement audition because (1 response): Youth participants I came early so I ended up being number three in the audition, this meant that I was first to do every combination and exercise.
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Most Moving Moment The most moving moment of the intensive for youth participants was (2 responses): ▪ Watching the other dances and learning what I had to do to improve my dance. ▪ Having time to talk about what’s going on in life and with us personally (called continuums) and I got a chance to connect with others around me.
Three staff at Deeply Rooted Dance Theater also participated in the evaluation. They expressed what went well and what can be improved next year for students and the program.
Efficiencies & Improvements According to Deeply Rooted Dance Theater What went well Improvements to make ▪ Students always came to class ▪ Ticket requirement* ▪ Students getting the knowledge they (expectation that selling tickets is a needed to move forward requirement, not an option was not clearly ▪ Staff speaking with students about relayed to students) their needs and choosing a technique ▪ Get better understanding of requirements and ▪ Students’ desire to move forward with expectations administratively training (Making sure all paperwork is in and everyone ▪ Students getting techniques down knows what requirements and bylaws are) they were not confident in ▪ Staff meeting with students to talk ▪ Better communication between DRDT and about how to structure the class, how Heritage Works to do the class towards the audience, (get better understanding of program coming and how to rearrange the class based together and relationship – learn what is on the room needed on both sides – be better prepared ▪ Although difficult at times, things for next year) worked out and a great outcome ▪ Be more fluid with continuation process – occurred. This includes making sure communication between everyone students make it from out of town and (including students – playing catch up with getting housing for students. artistic needs) ▪ The 10-ticket requirement was ▪ Know what students need and want to get out daunting in their mind but staff were of the program part of process to help them
*Having the ticket requirement helps pay so the program can be as cheap as possible, which is critical to the mission – it instills value and opens up the door for accountability because artists have to be engaged with promoting and selling their work. There is a financial component to being an artist and the ticket requirement supports their work. (These statements are based on DRDT’s input).
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One staff member at Heritage Works participated in the evaluation. They also expressed what went well and what can be improved next year for students and the program.
Efficiencies & Improvements According to Heritage Works What went well Improvements to make* ▪ Final performance that youth Planning time and communication participated in – real alignment ▪ Longer planning timeline and earlier start time between organizations’ values ▪ Start communication and defining January – August and goals for the project. timeline (e.g., auditions, acceptance, housing, ▪ Relationships – youth loved the registration, early ticket sales, assignments, staff and instructors commitment letter) in October or November ▪ Continuum – staff rapport with ▪ As soon as youth are accepted and committed, youth youth find housing well before payment deadlines ▪ Growth of students ▪ Have early start time for selling tickets (early May); ▪ Having chefs in the kitchen – Have DRDT set up online ticket sales process earlier people in leadership at DRDT so youth can sell them in their home community that wanted it to happen, were ▪ Communicate better with students: Heritage Works committed to agreed-upon includes tickets sales in their commitment sheet; outcomes and delivered despite meeting with parents and students about late starts and stops. commitment, housing, deposits, etc.
*Due to a number of factors, the program was being developed and implemented simultaneously (building the plane as we flew it). Heritage Works did not receive funding confirmation until late April / early May, which did not give much time to prepare and accomplish all logistics. First, finding housing in Chicago was a substantial undertaking since the Chicago housing market requires an early start for someone needing 3+ bedrooms, safety, public transportation, and affordability. By the time the program secured housing, paid registration and secured a chaperone, it was early June – two weeks before the start date. Other planning aspects like roommate agreements, deposits, daily transportation (program ended daily at 11 PM) were then compressed achieve in that amount of time.
Much was learned in the first year of implementing this intensive. Both organizations feel strongly in continuing the partnership and the intensive and feel confident in the success of the intensive in the future, especially when implementing the lessons learned from the pilot year.
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Staff at DRDT noted outcomes that occurred as a result of the program.
Outcomes Observed According to Staff (DRDS & Heritage Works)
Individual (Student) Level Career Path: More aware of natural passions and interests, connecting them with career paths
Employable: Learned about exfluence and acquiring work in the field, including how to make themselves more employable – be the product they want to hire
Opened up: Once student realized they don’t know it all, they then opened up more to take in knowledge (was shocked and timid at first). She dug into personal part of herself and explored new / deepened current approaches. She was courageous
Blossomed: Once student spoke with staff (even teared up), she felt more comfortable and opened up. She really connected with new teacher. Once she figured out she needed to go with the flow (afraid to at first), she blossomed
Personal Growth: Needed to combine emotional power and spirit and build a bridge with herself. She became more comfortable each day with this and transformation to speak up occurred
Empowered: More competitive and empowered to succeed professionally in their field of interest – more aware of their possibilities
Motivated: One youth worked on her solo over and over again, was up before everyone and went to sleep after everyone – her internal motivation and hard work showed
Appreciation: Greater appreciation for the arts and art industry careers
Skills: Increased job performance knowledge and skills by transferring what they learned, working together, and paying more attention to detail
Technique: Growth in technique and confidence in pathway to professional dance; youth know more about and have greater awareness of different techniques and styles of dance (e.g., Horton)
Organizational Level Program Practices: Clarity around Heritage Works’ need to develop alignment between program practices and activities and values from top to bottom – possibilities of using the continuum process at Heritage Works
Partnerships: Deepening partnership – art director from DRDT is coming to Detroit to speak with Heritage Works about a long-term partnership
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Community / Societal Level Growth: Students come from Detroit, so they bring what they learned in Chicago back to their community and spread it to others – process keeps moving and growing in other communities.
Connections: It is set up to have ongoing impact throughout the year with master class relationship and having check in points throughout the year – make sure students who come back to Detroit check in with DRDT and make connections with one another.
Teaching: Detroit dancers may become more empowered to teach – students teaching students- important things to put in place.
Relationships: Establishing relationship between performing arts industry in Chicago and Detroit.
Change in Participants Youth participants explain how the intensive changed them (2 responses): ▪ The way I dance in a good way and the way I think about music and concepts. ▪ I've become more aware and connected to my energy source.
What participants will implement (or already have) in their lives as a result of the intensive (2 responses): ▪ I will always remember all my corrections from class. These are things I didn't notice I was doing wrong or wasn't doing at all. ▪ I've learned to not compare myself to other dancers and artists. As a result of the intensive, I have become more confident.
DRDT Intensive youth in Studio
DRDT Intensive Roommates in Park
2017 Work Arts Outcome Evaluation | Heritage Works 19 | P a g e Recommended Change What participants recommend doing different for future intensives (2 responses):
▪ One thing I would do differently was the scheduling. It was a little confusing at times, but it worked itself out. ▪ I would make sure that the schedule would be updated daily for the students, and I would allow time for lunch breaks
Both students would recommend a friend to participate in the Heritage Works’ DRDT Intensive program.
Staff recognized that it was expected not everything would function perfectly – just starting the program was a major accomplishment. Having an evaluation to learn from year one and how to make things better is important. Recommendations, according to staff, include: ▪ Having everything written out so everyone knows what each side is looking for. ▪ Develop a memorandum of understanding (MOU) between Heritage Works and DRDT.
Another issue to be aware of in the future is how having back-to-back experiences (Chicago and Detroit) impacts students and the Heritage Works program. As a result of the Chicago Intensive, there was an unintended comparison among students, followed by devaluing. Thus, Heritage Works is determining strategies that will counteract these reactions if they occur again in the future.
“We [Heritage Works] “Such a blessing to “I really enjoyed think DRDT is the best – have [Heritage Work myself and the people around me. This was can’t think of a better Students]. Such a one of the best place for our youth to blessing to partner experiences I've been with Heritage Works.” go to.” through.” -Heritage Works Executive -DRDT Artistic Director Director -Intensive Participant
2017 Work Arts Outcome Evaluation | Heritage Works 20 | P a g e Conclusion Participants had the opportunity to increase their job seeking tools (e.g., bios, resumes, head shots). Youth participants who developed a portfolio have tangible tools to portray their skills. The portfolio helps students become more employable and gives them language to talk about their own skills. Participants increased their job readiness, performance, and artistic knowledge and skills as a result of their experience in Work Arts as demonstrated by student and instructor observations. Through self- reflection and instructor feedback, it was indicated that participants are more aware of their natural passions and interests.
One student completed the following post-assessment questions, indicating agree or neutral for each statement (options ranged from strongly agree to strongly disagree).
Agreed with each statement ▪ I have a chance to learn about my heritage in this program. ▪ The students in this program learned about cultural competency. ▪ I feel I am a better communicator as a result of this summer program. ▪ Learning about West African dance and drum is form a communication. ▪ Learning about dance helps me work as a team. ▪ I have a chance to learn more about my interests in this program.
Neutral for each statement ▪ I learned job skills that will help me in the future. ▪ My instructors give me extra help when I need it. ▪ I set a goal during this summer program.
African World Festival
African World Festival
2017 Work Arts Outcome Evaluation | Heritage Works 21 | P a g e Lessons Learned by Youth Youth indicated what they learned after participating in program workshops. The following are their responses: “Today I learned…” o How to construct questions on an interview. My strengths within the workplace, things that I’m good at that I don’t really enjoy. o I can always learn something about myself. o I don’t like asking for help because I want to assess the problem and fix it myself. o That you identify what your strengths are in order to give a full description of who you really are. o How to use experiences to narrow my skills and how they helped me develop as a person. o To be independent and my communication skills is one of my many strengths. o Some questions to ask the employer. I also learned the self-assessors sometimes are not good with asking for help. o Assessing one’s own skill set is empowering. I learned I needed to place more value on my experiences. o I’m pretty good at interviews. I like talking about myself and letting others get to know the real me. That’s something I don’t do a lot, so getting asked these questions that require an in-depth answer was fun for me. o I am not afraid to try new things. o How perceptive I can be. This skill is invaluable. I know it was a quality I possessed but reassurance is necessary. o How to ask better questions and how to listen better in order to understand what’s the problem and what’s going on. I also learned there’s no such thing as a dumb question. o I learned that people can tell how you are with certain situations off of a simple story and something you did. o I have good time management skills. o I’m a very self-improving person who will do anything to move closer to their goals. In my case, I want to be a very educated person who inspires others but also humble with the knowledge I obtain. o There’s different types of listening to a problem or story. o It’s hard for me to listen. I often look for a part to interject. Listening is different from hearing. o There are three different types of listening and in interviewing or being interviewed, you have to know which ones to use and at what time. o There are multiple ways of listening. Listening + asking questions can help you get to know a person better. o It’s different ways to listen, what type of listener I am, that I apply 1-3 with friends but didn’t know it was a name, more about GDYT: NKSK.
2017 Work Arts Outcome Evaluation | Heritage Works 22 | P a g e Recommendations For Detroit Work Arts, incorporate exercises that focus on the following professional development qualities among youth since youth scored lowest on these: decision-making process, communication skills, problem solving skills, independent thinking, and leadership skills. For artistic development, movement integration should be focused on since this was where youth struggled most.
For Deeply Rooted Dance Studio, there needs to be more communication and more time for planning. There should be more clarity in requirements, roles, and expectations between Heritage Works and DRDT, between youth and Heritage Works, and between youth and DRDT. This includes better communication via the youth commitment letter and by developing a memorandum of understanding (MOU) between DRDT and Heritage Works. Additionally, having a timeline where everything starts earlier will make the process much smoother for all parties involved. In regard to participants’ time there, it is important to assess what students need and want to get out of the program.
Photos from the African World Festival
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