2009–2016 Report to the President a Legacy of Action President's

President’s Committee on the Arts and the Humanities

2009–2016 Report to the President A Legacy of Action Letter from the First Lady

September 1, 2016

As First Lady and Honorary Chair, I take great pride in recognizing the President’s Committee on the Arts and the Humanities for their outstanding work throughout this Administration.

Since my family moved to Washington, I’ve made it one of my top priorities to celebrate the fine arts at the White House. I firmly believe that every young person deserves opportunities to learn, grow, and reach their fullest potential, and I know that the arts play such an important role in that development.

Too many youths across our country did not have the support or the resources they needed to access centers for culture and the arts. However, with the efforts of this committee—as well as those of hundreds of artists, mentors, and teachers—more young people are now using their creative talents to explore the world around them. The President’s Committee on the Arts and the Humanities worked tirelessly to make the arts more attainable, increasing programming in schools and furthering community engagement for those students who need it most. Today, as we celebrate these successes, we must also recommit to advocating for the role of the arts and humanities in civic life and in education so that all our Nation’s students are inspired to “We must recommit to advocating for the role of the arts create and succeed. and humanities in civic life and in education so that all our Again, thank you to the President’s Committee on the Arts and the Nation’s students are inspired to create and succeed.” Humanities, and I wish you the very best. —First Lady Michelle Obama Introduction: Chairs

e set out in the early their legacy. As the President wrote in We have also initiated two highly days of the Obama his 2010 proclamation, “Our strength successful new education programs— W administration to ensure as a nation has always come from our Turnaround Arts and the National that the President’s Committee on ability to recognize ourselves in each Student Poets Program that both the Arts and the Humanities would other, and American artists, historians, stressed the critical need for equity and play a leadership role in the cultural and philosophers have helped enable access to the arts for young people life of our country. The President us to find our common humanity.” across the country. These projects invigorated our effort by appointing an were made possible through the unprecedented number of important Though the priorities for each individual and collective creativity and American artists to the Committee, Administration vary, each President’s energy of our members and staff. This including Chuck Close, Jhumpa Lahiri, Committee on the Arts and the was particularly true of Turnaround Yo Yo Ma, Kerry James Marshall, Humanities has a shared commitment Arts, the largest and most successful Thom Mayne, Kalpen Modi, Edward to educating our youth for the future; program created by this President’s Norton, Sara Jessica Parker, Kerry stimulating philanthropy from the Committee. The seed for this new Washington,Forest Whitaker, Damian private sector for the Committee’s program was firmly planted in the Woetzel, George C. Wolfe, Alfre programs; creating international soil of the arts education field, but Woodard, and John Lloyd Young. understanding through cultural the program became a catalyst in the diplomacy; and honoring this nation’s much larger school reform movement. The President’s Committee on the greatest artists, scholars, and writers. Turnaround Arts has significantly Arts and the Humanities has always The members of this Committee improved student performance, been a respected advisor to the sought to protect this legacy and to attendance, and discipline. This White House and federal cultural build on it—becoming an important program has unquestionably agencies. The Committee and its resource for the White House transformed the culture of our schools predecessors share a belief that the and our partners and a catalyst for for our principals, teachers, students, In 2009, President Barack Obama already had a comprehensive platform on the arts arts and humanities are the engines change at the national level. We and their families. of this nation’s creativity, diversity, have continued to support the and the humanities. The President and his Administration see the arts and humanities and its collective imagination. Our National Arts and Humanities Youth We are honored to have been invited members took their lead from our Programs Awards begun in the to serve a President and First Lady as critical to competitiveness in a global economy and artists, performers, and thinkers Honorary Chair, First Lady Michelle Clinton Administration and sustained whose leadership endorses the arts as a valuable resource for conveying American values and ideals. The Administration Obama, and President Obama, a significant presence in cultural and humanities as a necessity, not a whose commitment to the arts and diplomacy, launching important luxury, for every American. supports greater arts and humanities resources, increased cultural diplomacy, and humanities is part of the bedrock of projects in Haiti and Cuba. policies putting the arts and humanities into our education system. This comprehensive platform served as the guiding principal for the President’s Committee on the Arts and George Stevens, Jr. Margo Lion Mary Schmidt Campbell the Humanities throughout the Obama Administration. Co-Chair Co-Chair Vice Chair “It’s not enough to make the argument once or to make it twice President’s Committee on the Arts and the Humanities Members or to make it even three or four times. It is the kind—if we George Stevens, Jr., Co-Chair Margo Lion, Co-Chair believe in this, it is a kind of ongoing advocacy over time where Mary Schmidt Campbell, Vice Chair we have to be prepared to continually compile the research, Megan Beyer, Executive Director make the argument, and reach the necessary constituency. Private Members J. Ricky Arriola Victoria S. Kennedy Ken Solomon —Mary Schmidt Campbell on the release Reinvesting Arts Education Paula Boggs Jhumpa Lahiri Andy Spahn Chuck Close Anne Luzzatto Caroline “Kim” Taylor Richard J. Cohen Yo-Yo Ma Jill Cooper Udall 2015 National Arts and Humanities Youth Program Awards Ceremony; the First Lady with attending Committee Members Paula Crown Liz Manne Kerry Washington Stephanie Cutter Kerry James Marshall Andrew Weinstein Christine Forester Thom Mayne Forest Whitaker Fred Goldring Kalpen Suresh Modi Damian Woetzel Howard L. Gottlieb Olivia Morgan George C. Wolfe Teresa Heinz Kerry Edward Norton Alfre Woodard Pamela Joyner Eric Ortner John Lloyd Young Janet Keller Sarah Jessica Parker Public Members William “Bro” Adams, Chairman, Kathryn Matthew, Director, Institute of National Endowment for the Humanities Museum and Library Services Jane Chu, Chairman, Earl A. Powell, III, Director, National Endowment for the Arts National Gallery of Art Carla Hayden, Librarian of Congress Deborah Rutter, President, Sally Jewell, Secretary of the Interior the John F. Kennedy Center for the Performing Arts John Kerry, Secretary of State David J. Skorton, Secretary, John King, Secretary of Education Smithsonian Institution Jacob J. Lew, Secretary of the Treasury Dan Tangherlini, Administrator, General Services Administration “An Unambiguous Place in the Curriculum” —Reinvesting in Arts Education

ne of the first meetings of the President’s In an initial, successful effort, the Committee worked Committee on the Arts and the Humanities closely with the U.S. Department of Education on O was a briefing at the White House with Pres- developing the Promise Neighborhoods grant program. ident Obama about his arts and humanities priorities. This collaboration resulted in grant application guidelines Arts education was one of the topics of discussion and that included a competitive preference for applications got the Committee thinking about how to play a role. featuring arts education programming. The Committee supported this change by collaborating on a speech for From the outset the President’s Committee entered a then Secretary of Education Arne Duncan, in which he national conversation on arts education and promoted called access to arts education in high poverty schools the role of the arts and humanities in school achievement. At the time, arts education was on decline. Many “an equity and a civil rights issue”—the first Secretary of national foundations that had funded arts education just Education in the country’s history to do so. years before had ceased that support. Early research In the process of exploring an innovative concept called showed little arts education was reaching lower income Artist Corps, the Committee began to capture ideas out- communities—the children who needed it most. lining the challenges. The resulting report, Reinvesting in As the President’s Committee surveyed the landscape Arts Education: Winning America’s Future Through Creative early in the term, there were strong advocacy organiza- Schools, was the first federal report in more than a decade tions valiantly carrying the message for the arts in public to document the benefits of arts education and best prac- education, thousands of arts teachers in schools doing tices in the field. This report confirmed that the arts could the work each day, and many high-quality arts educa- be a contributor to broader education reform. tion organizations making a real difference in individual The Committee pivoted from the Artist Corps idea to schools. But federal leadership and action on the issue a more robust engagement on education reform. The was lacking. widely read report was both a catalyst and a platform for The President’s Committee set out to place the arts as the President’s Committee to raise the visibility of arts central to education. The Committee determined to education in America. The Committee hosted several begin with a report and eventually create a pilot pro- “Arts Education Conversations” for local and national gram to illustrate the need for the arts. education, government, and business leaders. “Change will not come if we wait for some other person or some other time.” —President Barack Obama

s part of this engagement effort, the President’s Results from Reinvesting in Arts Education: Winning Amer- Committee showcased extraordinary principals, ica’s Future Through Creative Schools positioned the arts A superintendents, and organizations working in as a tool in broader education reform. To demonstrate arts education in a White House Champions of Change this premise, the Committee launched Turnaround Arts. Arts Education roundtable. Led by Committee Vice Chair The approach would be provide in depth, arts-based Mary Schmidt Campbell, then Dean of New York Univer- transformation to a cohort of the nation’s most struggling sity’s Tisch School of the Arts, the roundtable of educa- schools—middle and elementary schools in the bot- tors and advocates showcased exemplary arts education tom 5% performing in their state. These schools, each programs raising academic performance in low income in “turnaround” status, would teach all classes through schools. The White House Domestic Policy Council and the arts, provide artist engagements in the schools, and the U.S. Department of Education participated and in- ensure all students received arts education classes. In formed this discussion. The report, along with the Com- 2012, the curtain was raised on a pilot program in 8 mittee’s outreach efforts, revealed its new arts education selected schools. strategy: leveraging the arts to support transformation in Many esteemed artists volunteer as Turnaround Artists to engage America’s highest needs schools. individual schools, bringing new hope and possibility to each.

Paula Abdul Carla Dirlikov Canales Whoopi Goldberg Jason Mraz Russell Simmons Trombone Shorty Silk Road Ensemble Jack Johnson Graham Nash Chad Smith Marc Anthony Jesse Tyler Ferguson Rashida Jones Johnny Nuñez Esperanza Spalding DJ IZ Jane Fonda Mic Jordan Edward Norton Jacqueline Suskin Elizabeth Banks Paula Fuga Barbara Kruger Sarah Jessica Parker Kerry Washington Joshua Bell Frank Gehry Nigel Lythgoe Kal Penn Forest Whitaker David Blaine Citizen Cope Yo -Yo M a Usher Bernie Williams David Brooks Josh Groban Kerry James Marshall Tracy Reese Damian Woetzel Jackson Browne Herbie Hancock Larisa Martinez Lil Buck Alfre Woodard Chuck Close Taylor Hawkins Dave Matthews Tim Robbins John Lloyd Young Misty Copeland David Hockney Irvin Mayfield Smokey Robinson Ledisi Autumn de Forest Valerie June Thom Mayne Doc Shaw Cameron Diaz Elton John Keb’ Mo’ Jake Shimabukuro creative writing, and music in all their classes. Science class students made up stories about superheroes based on the periodic table. At the end of the year all the schools were re- quired to do a stage performance, for some it was the first school play.

The First Lady and Turnaround Artists came through with incredible support for Turnaround Arts students. First Lady Michelle Obama hosted widely acclaimed White House Talent Shows. Hundreds of students were part of preparations for these shows. For two full days, they could be seen playing on the South Lawn, chools received art supplies Woetzel, Alfre Woodard, and John rehearsing dance moves in East Wing from Crayola, musical instru- Lloyd Young, led songs, directed plays, salons, and getting a chance to know ments from the National Asso- organized photos shoots, and became S the White House pets. Aside from events and made a visit herself to a students who, like many of the artists Booz Allen Hamilton produced a ciation of Music Merchants (NAMM) part of the school community. opening up the White House, the Turnaround Arts school. themselves, could be saved by the arts. Summary of Key Findings in the 8 and artist mentors who would take a First Lady would often invite groups Alfre Woodard, who made her first pilot schools that became part of the special interest in their school. Pres- of students to come for special Artists opened their hearts in much urnaround Arts set out to visit to the Rachel B. Noel School in discussion around education reform. ident’s Committee member artists the same way. Citizen Cope brought achieve success that aligns Denver in the fall of 2012, explained The report showed Math proficiency were deployed to Portland, Oregon; a class of his students to Washington, with broader school reform the effect. We are “not just trying to T scores up on average 23 percent, Bridgeport, Connecticut; Lame Deer, D.C. paying for all costs and adding a goals outlined in the Elementary and grow artists, but we are expanding Reading up an average 13 percent. Montana; Des Moines, Iowa; New dollar to the price of each of his per- Secondary Education Act. Each school the students minds and horizons. Metrics for student attendance, parent Orleans, Louisiana; Denver, Colo- formances for additional music supplies underwent a thorough evaluation. By We are unfolding citizens, helping to engagement, and community involve- rado; Boston, Massachusetts; and for students. Josh Groban organized the end of the pilot program, com- create innovators.” ment all improved while suspensions Washington, D.C. Throughout the a crowd source campaign for a mural plete integration of art into the cur- and other discipline indicators went program, artist members of the Com- built at his school in Chicago. Misty riculum of underserved schools was Like all the pilot schools, Noel School down. In addition, the Turnaround mittee, including Chuck Close, Thom Copeland got tickets for the students at found to improve student academic re-engineered teaching approaches Arts schools outperformed schools Mayne, Edward Norton, Sarah Jessica the school she is mentoring to come to achievement, student attendance, and and the curriculum through a rigor- that had received similar amounts of Parker, Kal Penn, Kerry Washington, the ballet to see her perform. The gen- parent and community engagement. ous instructional approach. Students additional federal assistance. Forest Whitaker, Yo-Yo Ma, Damian there incorporated song, dance, erosity is born of a passion for helping Turnaround Arts grew over the next five years into a national program that included 68 schools in 16 states. An impressive coalition of partners supported the program, including the U.S. Department of Education, the National Endowment for the Arts, the National Endowment for the Humanities, the AOL Charitable Foundation, the Aspen Institute, Booz Allen Hamilton, Crayola, Deloitte, the Ford Foundation, Google, the Herb Alpert Foundation, Inktel, iThe- atrics, JCPenney Cares, the Keith Haring Foundation, Playing for Change, Little Kids Rock, Music Theatre International, the National Association of Music Merchants Foundation, the Robert Rauschen- berg Foundation, the Rosenthal Family Foundation, SKDKnicker- bocker, the Steven and Alexandra Cohen Foundation, the Laird Norton Family Foundation, Americans for the Arts, and the Arts Education Partnership. In 2015, it branched out to include a focus on early childhood education with the U.S. Department of Educa- tion and the Wolf Trap Center for the Performing Arts.

In May of 2016, Turnaround Arts released a powerful music video of artists and students, teachers, and principals, singing Every- day People, bringing all schools together to share the message of possibility and success that Turnaround Arts capably embodies. The video was estimated to have had 300 million initial impressions on social media, spreading the word on this creative approach to education reform.

Looking to the future, the Committee has positioned Turnaround Arts for further expansion and to serve as a resource for every school district with an interest in this approach. The Committee has invested in greater public awareness of Turnaround Arts’ approach, has created a strategic partnership with the John F. Kennedy Center for the Performing Arts, and has ensured the program’s financial future into the next Administration. Turnaround Arts is developing an online toolkit to bring its work to any school in the country. It contin- ues to enjoy support from core funders and new partners. “Today I am proud to sign a law that is going to make sure that every student is prepared to succeed in the 21st century.” —President Barack Obama

In 2015, after years of the Committee bill’s description of a “well-rounded demonstrating the importance of the education.” The bill now makes funds arts in education reform, President available at the state and local level Barack Obama signed the Every for arts integration and arts education Student Succeeds Act, making the programs that advance education arts and humanities central to the reform: programs like Turnaround Arts.

dive into humanistic themes in these or an occasional Academy Award, as Film Forward films introduces a new generation to did 20 Feet from Stardom, nor for a n 2006, when AFI Project: 20/20 other cultures and new ideas, dispelling Film Forward artist to win a Nation- was launched as a film-based diplo- misconceptions. al Humanities Medal, as did Stanley Nelson. Imacy effort, the core purpose of the Film Forward discussions and exchang- program was to support filmmakers es are not just between audience and As filmmaker Stacy Peralta summa- and their films by creating opportunities filmmaker, but also between films rized, “We all want to believe that art for audiences and filmmakers to share themselves, which creates a multiplicity bridges divides, crosses boundaries common stories, insights, and values. of views on a subject. Like the 2014 and connects people, and in this wired By launching a new partnership with Detroit visit, which created a multi- digital age, with everything at our the Sundance Institute in 2010, the faceted conversation on the conse- finger tips, this crazy street level idea President’s Committee leveraged the quences of violence as experienced in called Film Forward, with a mandate assets and experience of this predeces- three different films—Fruitvale Station, to culturally hop fences and cross pol- sor program to broaden its outreach to Dancing in Jaffa, and Valentine Road. linate people with people, ended up young and diverse audiences, as well as Over the program’s lifespan, films have working. At least for this filmmaker it emerging filmmakers. ranged from highly-regarded indepen- did—and I believe it worked for all of The programs’ multicultural roster of dent features, such as Beasts of the those I met along the way and for our independent films challenge its audienc- Southern Wild, to lesser known doc- entire team. It was non-digital, totally es to examine, reflect, and experience umentaries that address racial justice, analog, down and dirty, and carried the impact that stories can have on artistic freedom, or family violence. And out on the most basic gut level; eye to individuals and societies. The deep it’s not unusual for these lesser-known eye, hand shake to hand shake, and documentaries and films to win Emmys hug to hug. And it worked.” “We see opportunities to place the arts and humanities at the forefront of cultural diplomacy overseas.” —Committee Co-Chairs Margo Lion and George Stevens, Jr.

n the absence of a U.S. Cultural Ministry, and with repre- International Trade Association for Broadway, and the When President Obama made his historic visit to Cuba, discussed with the Cuban government during the trip, sentatives of every cultural agency as members of the Pres- Broadway Community. These private funders made it it was the President’s Committee that led the first official and many were announced on the final day of the dele- Iident’s Committee on the Arts and the Humanities, the possible to take steps immediately with federal funding visit, just one month later. The cultural mission to Cuba in- gation at a bilateral press conference at the Gran Teatro President’s Committee plays a role in U.S. cultural diplomacy. and support to follow. cluded the National Endowment for the Arts, the National in Havana. These included the NEH announcing a grant Endowment for the Humanities, and the Smithsonian. It to bring art conservation exchange to Cuba and the NEA When the 2010 earthquake threatened cultural heritage The Haiti Recovery Project helped the two nation’s gov- concluded with the public announcement of seven bilat- announcing dedicated funds for artist exchanges between in Haiti, the Committee responded hand in hand with ernments to assess, recover, and restore the cultural and eral collaborations, the first government-to-government the U.S. and Cuba. The Secretary of the Smithsonian read the Smithsonian and other cultural agencies to begin the historic materials damaged by the earthquake. A building initiatives to advance the policy of normalizing relations a joint statement about future collaboration with his Cu- work of preservation. The Smithsonian Institution and the in Port-au-Prince that once housed the United Nations with Cuba. ban government counterpart. The Committee announced President’s Committee collaborated to create the Haiti Development Program was leased as a temporary con- several opportunities to highlight Cuban successes in out- Recovery Project. It included the Committee, the Nation- servation site where objects retrieved from the rubble The itinerary of the Delegation included both lively schol- of-school time youth programs, resulting in conferment al Endowment for the Arts, the National Endowment for could be assessed, conserved, and stored. It also became arly and artistic events and exchanges, as well as meetings of a National Arts and Humanities Youth Program Award the Humanities, and the Institute of Museum and Library the training center for dozens of Haitian nationals, who with Cuban government officials and directors of cultural upon Cuba, as well as possible artist exchanges taking Services, with support from the Broadway League, the would eventually take over this conservation effort. institutions. Several ongoing cultural exchanges were Todos Somos Americanos By Committee Member Kal Penn

he flight from Miami to Havana actors, authors. We watched films to- The new US/Cuba relationship allows is just over 200 miles, about the gether, played music and danced togeth- these artistic conversations for the first T same distance as New York to er, discussed at length the challenges and time. We’ll preserve histories, advance Washington, D.C. We touched down rewards of producing art in Cuba and in ideas together, and build a more lasting at Jose Marti International Airport in less America. We wanted to know if Cuba’s peace than that achieved through tradi- time than it takes to make a pizza, and incredible system of arts schools is an tional paradigms. And change has come. in so doing became the first official U.S. actual meritocracy. (It is.) They wanted What a wonderful time to celebrate Cultural Delegation to Cuba. There to know why despite having world-class understanding through art. have been wonderful, detailed accounts films and musicians, our public fund- of this historic visit, and its function ing for arts & culture is so abysmal (it’s (cultural diplomacy), nature (friendly and complicated). collaborative), and outcomes (artistic We experienced what President’s and financial commitments), so I won’t Committee Co-Chair George Stevens rehash those here. What I’ll focus on in- called, “the shock of recognition” that stead is the immeasurable component of happens, “when creative people from art itself in the rebuilding of relationships place in schools in each country. on the Arts and the Humanities; Throughout the eight years, the different worlds come together.” I’ll at a people-to-people level. Press coverage of the Delegation Megan Beyer, Executive Director President’s Committee was called never forget the incredible pianist Mi- appeared in the Washington Post, of the Committee; and Committee upon to participate in diplomatic pro- The opportunity to share the universal guel Ángel De Armas Junior, who I met New York Times, Huffington Post, members Rick Arriola, Stephanie gramming during official state visits. joys and struggles of family life, of putting next to the art collective Fabrica de Arte food on the table, of love and loss, of Cubano. He worked his way through the Miami Herald, and National Cutter, Fred Goldring, Pamela Joyner, When Nordic leaders and the Prime great friends—with an entire country some spotty English, and my Spanish Public Radio. Eric Ortner, Ken Solomon, Janet Minister of Singapore made official that has been estranged for decades— is nonexistent, but there we were, Keller, Anne Luzzatto, Kal Penn, visits to Washington, the Committee Members of the 2016 U.S. Cultural that is something truly significant. The communicating for hours through this Alfre Woodard, John Lloyd Young, presented a program and perfor- Delegation included Jane Chu, Chair arts nourish the soul and unify the hu- “shock of recognition” about how we Liz Manne, Kim Taylor, Jill Cooper mances by Turnaround Arts students of the National Endowment for the man spirit. Thanks to the work of Presi- approach the subtexts of emotion and Udall, and Andrew Weinstein. Artist and National Student Poets. National Arts; William Adams, Chair of the dents Obama and Castro, the beginning joy towards a global audience in much members of the delegation included Arts and Humanities Youth Program National Endowment for the Hu- of this relationship between the United the same way. Wow, all of these years Joshua Bell, Adele Chatfield-Taylor, Award winners were often called States and Cuba is now. of prohibition, and here we are, two manities; David Skorton, Secretary Martha Clarke, John Guare, DJ IZ, upon to perform at events as were artists younger than the embargo, rec- of the Smithsonian Institute; George In Havana we met with our artist coun- Lourdes Lopez, Larisa Martinez, the National Student Poets. ognizing the same humanity between Stevens, Jr. and Margo Lion, Co- terparts: musicians, dancers, filmmakers, Dave Matthews, Smokey Robinson, our audiences, our societies. chairs of the President’s Committee and Usher. Haiti Recovery Project

he Haiti Recovery Project was materials and it rescued 20,000 historical and Richard Kurin, Under Secretary developed in response to the artifacts, dating back to pre-Columbian for History, Art, and Culture, with T 2010 earthquake, which dev- times. It also trained dozens of Haitians the Smithsonian Institution. Traci Slat- astated the island killing over 250,000 in conservation to assume the work er-Rigaud, Director, Coming Up Taller and claiming the homes of 1.5 million. once the relief teams departed. Program, also attended. Supporters Amidst the destruction, Haiti’s cultural who joined the delegation included Paul Members of the Haiti Recovery project heritage was in jeopardy. The Commit- Libin, Chairman, and Nina Lannan and included Margo Lion, Co-chair of the tee and its partners stepped in to help. Charlotte St. Martin with the Broadway President’s Committee; Mary Schmidt League, Bill Hillman with Affirmation Actor and Committee member, Forest Campbell, Vice Chair of the Committee; Arts, and filmmaker Jonathan Demme. Whitaker described the situation this Rachel Goslins, Executive Director of the way, culture is what “made them defeat Committee; Committee Members Rick In total, the Haiti Recovery project both Napoleon, achieve independence, and Arriola, Pamela Joyner, Olivia Morgan, saved thousands of priceless Haitian cul- abolish slavery. And it’s kept them going Ken Solomon, and George C. Wolfe; tural assets and helped equip the nation in a very, very impossible situation.” Marsha Semmel, Acting Director with to maintain and continue the work. the Institute of Museum and Library The Project assessed, recovered, and Services; G. Wayne Clough, Secretary, restored over 500 cultural and historic

“This is the beginning of a love relationship.” —Smokey Robinson, 2016 U.S. Cultural Delegation to Cuba “We tell each new class of National Student Poets that hen 14-year old poet out a handful of the best high school Student Poets Program (NSPP), the Moira Bass read one of student poets writing original work. nation’s highest honor for young they are leaders and their voices can contribute to W her poems in the East Besides nurturing self-expression, poets (grades 9-11) presenting Room of the White House before this program would also engage original work. Since its inception, national and community discussions, on every stage and a couple of hundred guests in the schools, libraries, museums, com- First Lady Michelle Obama has been spring of 2011, she became the in- munity writing programs, and a host both a fan of, and an inspiration for at every table in the nation.” spiration for a new Committee arts of other community partners to help its growth and expansion. education venture. showcase, nourish, and support —Olivia Morgan, Member of the President’s Committee She remarked to the Class of 2014 these young writers as they engaged Moira and 80 of her peer young during their appointment ceremony, with their peers and others around Credit: Official White House Photo by Amanda Lucidan poets participated in a workshop as “[W]e started this program because their passion for poetry. part of the First Lady’s first poetry we wanted to nurture the passion event at the White House. Esteemed Initially, the President’s Committee and creativity of our young peo- poets who led the workshop and partnered with 826DC, founded by ple. And we wanted to help them also read their work at the White writer Dave Eggers, to bring writing engage with their communities, and House included Aimee Mann, Rita into the lives of youth, to host a se- we wanted to do our part to share Dove, Common, and Billy Collins. ries of poetry workshops for teens. the gifts and wonders that poetry This electric event galvanized several Ultimately, in November 2011, the offers with a new generation.” ideas into a broader vision for Com- Committee, the Institute of Muse- The core of the program is a poet- mittee member Olivia Morgan, who um and Library Services, and the ry ambassadorship carried out by took the next steps in shaping a new nonprofit Alliance for Young Artists the five poets, who each represent program. & Writers launched the National

After the release of Reinvesting in Arts Education Report, Morgan said she was, “looking for a role for us in showing young Americans the importance of writing in the Twitter age and the power of refining their voices and sharing them with confi- dence.” Her subsequent work with Moira in getting her ready to read at the White House revealed what this role might look like in the form of a new program that would single different regions of the country. for peer writers from Russia, Ar- from Birmingham to Boise. Two key elements define the year ab-speaking countries, and the U.S. The White House has for these young poets—creating a Throughout these years, the Bern- invited poets to read for community service project and doing stein Family Foundation has support- foreign dignitaries, intro- events during National Poetry Month ed a scholarship for each Poet. duce the President and First in April. Each class has added some Lady at poetry events and Since the inception of NSPP, poets new dimension to the program: The participate in workshops have taught teachers how to present Class of 2012 set the bar for the with notable poets like Billy poetry; poets have done workshops program’s two core programmatic Collins and Q Tip. Each with women inmates; and poets components—the community service Save America’s Treasures class has been immersed have led creative writing workshops projects and the events during April’s in contemporary poetry s one of the most successful permanently authorized, so the with veterans and middle-school National Poetry month. The Class of through workshops led historic preservation pro- Committee continued its role in sup- students on a reservation. The pro- 2013 was the first class invited to the by leading poets like Ed A grams in American history, porting the program and enlisted the gram has showcased poets in venues Aspen Ideas Festival, which is now a Save America’s Treasures stimulated American Architectural Foundation Hirsch, Terrence Hayes, manities. The Ambassadors program as prestigious as the National Book fixture of the program, and provides understanding among citizens and as the program’s new private partner and Claudia Rankin. They interacted selects five exemplary young spoken Festival and Lincoln Center, to a rural the poets with unique leadership de- public officials about the role and to tell the story of these projects and and learned from poets at the presti- word poets for a year of communi- school with a student population of velopment experiences key to their contribution of these treasures to the build on the program’s success. gious Dodge Poetry Festival and the ty outreach events, addressing key American experience. Almost 1,300 38, and in libraries and museums humanistic issues in partnership with role as ambassadors. And the Class Prior to the suspension of its fund- Poets Forum. All the while engaging grants totaling $318 million went of 2014 incorporated new partners ing, SAT helped to save such crit- with other young adults sharing their scholars. Like the National Student toward the rescue, rehabilitation, and like the Poetry Foundation, which ical American artifacts as the 9/11 passion for poetry, particularly with Poets, these Ambassadors host reuse of this nation’s most significant Museum’s “Last Column” and the Jim events in local communities bringing brought the National Student Poets structures, artwork, documents and spoken word poets during their time Crow Railcar, one of the centerpieces spoken word and dialogue to under- together with their spoken word artifacts. This body of work reflects a at the Aspen Ideas Festival. At Aspen, of the new Smithsonian Museum of counterparts and Google, which new vision of preservation that em- poetry was both a bridge between served communities. African American History and Culture. helped broaden the reach of these braces both the tangible and intangi- young writers of different perspec- Also during this time, Save America’s The Committee arts education young leader poets through social ble expressions of this nation’s genius tives, cultures, and life experiences Treasures preservation grants made initiatives—Turnaround Arts and the media. In addition, in 2014, the pro- and values. and a force for creative collaboration it possible in part for the Sewall-Bel- National Student Poets Program— gram added opportunities for alum- as they collectively forged an original The Committee oversees the overall mont House to be designated as a proved that there is no one model ni to continue their role as poetry poem and performance. management of the program with National Monument in 2016 and for of arts education which works. It leaders through a collaboration with the National Park Service, on behalf Frank Lloyd Wright’s buildings to be A peer program to the National also proved that greater recognition, the University of Iowa’s International of the White House. Awards under nominated as a group for World Her- Student Poets, the National Spoken collaboration, empirical research Writing Program and its “Between this Committee were made from itage Designation in 2015, with six Word Ambassadors program was and integration of arts education the Lines” program for young writ- 2009-2010 until funding for SAT was of the ten structures in this collection created in partnership with key de- across sectors were key elements in ers. Here, two NSPP alumni served suspended in 2011. Yet its function, receiving SAT awards. cision makers of NSPP, as well as the transforming an emerging national as mentors and workshop leaders purpose and guidelines remain National Endowment for the Hu- community of practice. our story is enough, and it writing instruction, literary analysis, and ence provided concrete strategies “These outstanding programs are expanding horizons, matters. So tell it, and tell one-on-one mentoring with intensive for NAHYP winners to leverage their changing lives, and helping young people fulfill their dreams.” “Y it well.” writing and creative self-expression. award for effective communications and improved fundraising outreach. It was not until André Massey Jr. In 2010, the Committee reinvigo- —First Lady Michelle Obama joined the Savannah-based literary rated the awards program that was The next step in NAHYP’s trans- Credit: Steven Purcell organization, the Deep Center, that previously known as “Coming Up formation was summarized best by he was told, for the first time, his Taller” by rebranding the honor Committee member Vicki Kennedy, words were important. There, An- and naming it the National Arts and who described NAHYP as a “mighty dré finally found encouragement and Humanities Youth Program Awards. award [that] could serve as an anchor mentorship to confidently explore his The program took on a new graphic and a catapult or a catalyst beyond the creativity and embark upon a per- identity, a new logo and web site, White House ceremony.” From the sonal journey of discovery through and a redesign of the annual awards beginning, the President’s Commit- literature and writing. He explains, publication. To introduce the new tee’s leadership role through NAHYP “I joined Deep and found out things brand, NAHYP’s official media helped to advance the field of creative about myself I never knew. I can sponsor, Ovation TV, created public youth development (CYD). In col- write poetry. I released my emotions service announcements about the laboration with the National Guild for in my writing, and I felt free.” program and about the awardees. A Community Arts Education and the newly restructured summer confer- Massachusetts Cultural Council, the In 2015, the Deep Center was award- ed the National Arts and Humanities Credit: Lou Jones Youth Program Award (NAHYP) by First Lady Michelle Obama, the nation’s highest honor for afterschool arts and humanities programs that reach youth with great potential, but limited opportunities. Like the other honorees, the Young Author Project is a national model for using the arts and the humanities to develop skills and improve academic success, as well as help improve the social, civic, and emotion- al wellbeing of these students. Unique to this program is its project-based learning curriculum, which merges President’s Committee commissioned thought leaders, practioners, funders, is one of the founding leaders of the a research study to gather, synthesize, and policy makers from across the CYD movement. By recognizing ex- and begin to organize priorities and country to discuss and formulate a na- ceptional CYD programs at the high- ideas for a strategic agenda. Building tional policy agenda, encompassed in est level, adding muscle and capacity on interviews and focus groups with a report, Collective Action for Youth: An to the field of practice, and contribut- youth and adult leaders, a national sur- Agenda for Progress Through Creative ing to the creation of a coalesced iden- vey subsequently gathered additional Youth Development. In brief, the report tity and strategic agenda for CYD, the empirical data from practitioners and articulated the purpose and value of President’s Committee is an anchor policymakers in the CYD field on the creative youth development; asserted for this field of practice. The Commit- impact and defining qualities of these its place as central to ensuring young tee has solidified these efforts through programs. The resulting report, Setting people’s academic, professional, and a formal Creative Youth Development the Agenda, became the framework personal success; and identified five National Partnership with the National for the first National Summit on Cre- key imperatives for CYD programs Guild for Community Arts Education, ative Youth Development. nationwide to amplify the effect of the Massachusetts Cultural Council, their programs on students, families, and Americans for the Arts, which col- Organized by the Massachusetts Cul- The National Arts And Humanities Medals and and communities. lectively works to advance this com- tural Council, the President’s Com- munity of practice and increase access mittee, and the National Guild for Given the Committee’s sustained sup- White House Cultural Events to CYD organizations for children and Community Arts Education, the Sum- port of NAHYP, throughout 18 years youth across the United States. he President’s Committee on of many of these White House cultural mit convened more than 200 CYD and spanning three Administrations, it the Arts and the Humanities events is the Committee’s support for T is proud to sponsor various hundreds of school children from across special initiatives that recognize artists the country to study in the afternoons and scholars, broaden arts awareness with the master artists, the same danc- and celebrate this nation’s cultural life. ers, singers, and performers, who The President’s Committee has orga- perform in the evening. nized and supported numerous cultural The President’s Committee also events at the White House, including launched the first evening celebration “A Broadway Celebration” to honor the of artistic and scholarly achievement of arts and demonstrate the importance of the recipients of the prestigious Nation- arts education, produced by Committee al Medal of the Arts and the National member George Wolfe and Committee Humanities Medal presented by the Co-Chair Margo Lion and the first White President each year. House Dance Series created by Co- Chair George Stevens, Jr. and member Damian Woetzel. One of the key feature “American artists, historians and philosophers have helped enable us to find our common humanity.” —President Barack Obama

hen the Committee was the Committee was ready to make cultural constituted in the fall of 2009, diplomacy a first response. Awards were W members were uniformly op- made to preserve the creative genius, places, timistic, with a “Yes We Can” approach. But and history of the nation. Artists and scholars times were difficult. The recession had begun were showcased and honored at numerous in earnest, taking a disproportionate toll on White House events, and the amount of the non-profit arts and humanities sector. funds the Committee raised increased Private giving was down and falling further. dramatically for arts and humanities projects Arts education, after eight years of federal programs, organizations and nonprofits. policy narrowing the curriculum and severe The value of a strong arts and humanities budget cuts at the local and state level, was at sector may be more important today than in an historic low. After a decade of diplomacy most periods of our history. Civilizations of- couched in largely military terms, there was ten turn to the arts and humanities in times of less attention to the power of culture to great change. As we are challenged by new bridge boundaries and win hearts and minds. economic and technological changes, envi- When faced with these challenges, this ronmental threats and dynamic geopolitical Committee exerted leadership through conditions, the arts and humanities serve as a its private partners and public members guidepost and a lifeline. Those in the arts and to reinvigorate this nation’s cultural sector. humanities fields sense the same pull today. Children and teachers were encouraged, Through promoting greater arts and human- supported, and lauded for hard work ities resources, increased cultural diplomacy, towards educational achievement in and and policies putting arts and humanities through the arts, and films and filmmakers into our education system, the Committee engaged audiences here and abroad around worked to enrich our cultural life and address ideas and issues of the day. From Haiti’s the issues of our day. disaster response to carrying the President’s policy to normalize relations with Cuba, Acknowledgements

We wish to thank the following individuals, agencies, and organizations for their support of this work over the term of this Administration.

The Members of the President’s Committee on the Arts and the Humanities Our Federal Partners: The White House The U.S. Department of Education The National Endowment for the Humanities The U.S. Department of State The National Endowment for the Arts The National Park Service The Institute of Museum and Library Services The U.S. Department of Commerce The Smithsonian Institution

Our Private Supporters: Our Program Partners: Perpich Center for Arts Education American Airlines 826DC The Poetry Foundation Anonymous Academy of Urban School Leadership ReNEW Schools AOL Charitable Foundation Alliance for Young Artists and Writers Save the Children Bernstein Family Foundation American Academy of Poets Sundance Institute Booz Allen Hamilton Americans for the Arts Turnaround Arts: California The Broadway League American Architectural Foundation Urban Word Crayola Arts Education Partnership Youth Speaks Deloitte Asia Society The Ford Foundation The Aspen Institute The Staff of the President’s Fox Audience Strategy Bridgeport Public Schools Committee’s Programs: GMAC Financial Services Broward County Public Schools John Abodeely Google Des Moines Public Schools Anthony Barbir The Herb Alpert Foundation District of Columbia Public Schools Lindsey Clark Inktel Found Sound Nation William Conner JCPenney Cares Friends of FOKAL Kimber Craine The Keith Haring Foundation Inter-American Foundation Jonae Davis The Laird Norton Family Foundation The John F. Kennedy Center for the Performing Arts Kathy Fletcher Libra Capital Little Kids Rock Cat Frost Louis Vuitton Massachusetts Cultural Council Anjali Lalani Ovation Mid Atlantic Arts Foundation Joelle Luongo The NAMM Foundation Milwaukee Public Schools Katy Mayo Hudson The Steven and Alexandra Cohen Foundation Music Theatre International Emily Pytell The Strauss Foundation National Assembly of State Arts Agencies Beth Sharp The Robert Rauschenberg Foundation National Guild for Community Arts Education Traci Slater Rigaud The Rosenthal Family Foundation New York City Fund for Public Schools Surdna Foundation North Dakota Department of Public Instruction Playing for Change President’s Committee on the Arts and the Humanities 400 7th Street, SW • Washington, DC 20506 www.pcah.gov