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President's Committee on the Arts and the Humanities 


f» -Tli' 

Coming Up Taller 

Arts and Humanities Programs 
for Children and Youth At Risk 


Jessica Davis 

Research Associate 
Project Zero 
Harvard University 
Graduate School of 
Cambridge, MA 

Diane Frankel 


Institute of Museum 
Washington, DC 

Marianne Klink 

Federal Liaison 
National Endowment for 
the Arts 
Washington, DC 

Wayne Lawson 
Executive Director 
Ohio Arts Council 
Columbus, OH 

Frances Lucerna 

Artistic Director 
El Puente 
Brooklyn, NY 

Ellen McCulloch-Lovell 
Executive Director 
President's Committee 
on the Arts and the 
Washington, DC 

Karen Pittman 

Director of U.S. Programs 
International Youth 
Takoma Park, MD 

Nancy Rogers 

Acting Director 
Division of Public 

National Endowment 
for the Humanities 
Washington, DC 

William Strickland 

Executive Director 
Manchester Craftsmen's 
Pittsburgh, PA 

Ruby Takanishi 

Executive Director 
Carnegie Council on 
Adolescent Development 
Washington, DC 

Nancy Welch 

Senior Research Analyst 
Morrison Institute for 
Public Policy 
Arizona State University 
Tempe, AZ 

Halima Williams 

Co-Artistic Director 
Living Stage Theatre 
Washington, DC 

Lynn Wright-Kernodle 

Development Program 
North Carolina 
Humanities Council 
Greensboro, NC 

Coming Up Taller 

Arts and Humanities Programs 
for Children and Youth At Risk 

by Judith Humphreys Weitz 

President's Committee on 
the Arts and the Humanities 

With the National Assembly of 
Local Arts Agencies 

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

April 1996 

Photos on the cover are from the following organizations: 

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

Manchester Craftsmen's Guild, Bakehouse Art Complex. 

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

Fourth row, left to right: MERIT Music Program of Chicago, The Wang Center 

for the Performing Arts, Washington State Historical Society, Capital Museum. 

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

Settlement Music School, The Brooklyn Children's Museum. 

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

the Humanities. 

Copyright ©1996 President's Committee on the Arts and the Humanities 

Editor: Elizabeth Murfee 

Design: Beth Singer Design 

Printing: Cavanaugh Press 

Profile Research: National Assembly of Local Arts Agencies 

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

Copies of this report can be ordered from the 
President's Committee on the Arts and the Humanities 
1100 Pennsylvania Avenue, NW, Suite 526 
Washington, DC 20506 
Phone: 202-682-5409 • Fax: 202-682-5668 

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

Willie Reale, artistic director of The 52nd Street Project, 
describing the impact of a theater program on youth 
living in "Hell's Kitchen," a neighborhood in New York City. 1 

Table of Contents 



A Changed Environment for Children: A Status Report 


Culture Counts: The Case for the Arts and the Humanities 
in Youth Development 

I I 



Transforming Lives: An Overview of Arts and Humanities Programs 



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



Looking Ahead: A Next-Step Agenda 



Two Hundred Plus: Profiles of Arts and Humanities Programs 



State-by-State Index 
A Note on Assessment 


The Dance Ring DBA 
New York Theatre Ballet 

Introduction and Summary 

Coming Up Taller is a report 
filled with hope, a narrative 
about youth learning to 
paint, sing, write plays and 
poems, take photographs, 
make videos and play 
drums or violins. Here are 
stories of children who learn 
to dance, mount exhibi- 
tions, explore the history of 
their neighborhoods and 
write and print their own 

This report documents arts 
and humanities programs 
in communities across 
America that offer opportu- 
nities for children and 
youth to learn new skills, 
expand their horizons and 
develop a sense of self, 
well-being and belonging. 

Coming Up Taller is also an 
account of the 
men and women 
who share their 
skills as they help 
to shape the talents 
of children and 
youth and tap their 
hidden potentials. 
These dedicated individ- 
uals, often working long 
hours for little pay, are 
educators, social workers, 
playwrights, actors, 

poets, videographers, 
museum curators, dancers, 
musicians, muralists, 
scholars and librarians. 

The President's Committee 
believes strongly in the 
importance of including the 
arts and the disciplines of 
the humanities in the 
school curriculum. This 
study looks at what hap- 
pens to young people when 
they are not in school — 
when they need adult 
supervision, safe places to 
go and activities that 
expand their skills and offer 
them hope. 

The individual programs 
described in this study take 
place in many locations, 
some unusual, in their com- 
munities. Children, artists 
and scholars come together 
at cultural centers, muse- 
ums, libraries, performing 
arts centers and arts 
schools, to be sure. Arts 
and humanities programs 
also are based at public 
radio and television sta- 
tions, parks and recreation 
centers, churches, public 
housing complexes, teen 
centers, settlement houses 
and Boys and Girls Clubs. 
In places unnoticed by 
mainstream media, acts of 
commitment and achieve- 
ment are evident every day. 


In September 1994, 
President Clinton announced 
the new members of the 
President's Committee on 
the Arts and the Humanities. 
He and First Lady Hillary 
Rodham Clinton, who 
serves as Honorary Chair of 
the President's Committee, 
charged the Committee to 
explore ways to enhance 
the availability of the arts 
and the humanities to 
children, especially to 
those at risk. 

"Too often today, instead of 
children discovering the 
joyful rewards of painting, 
or music, or sculpting, or 
writing or testing a new 
idea, they express them- 
selves through acts of frus- 
tration, helplessness, hope- 
lessness and even violence," 
noted Hillary Rodham 
Clinton in remarks to the 
President's Committee. 
"We see too clearly how an 
erosion and a breakdown of 
our most cherished institu- 
tions have resulted in a 
fraying of the whole social 
fabric. We know that the 
arts have the potential for 

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

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995 Drama CUb 


1995 Drama CluB 



1995 Drama 




obliterating the limits that 
are too often imposed on 
our lives. We know that 
they can take anyone, but 
particularly a child, and 
transport that child beyond 
the bounds that circum- 
stance has prescribed." 

The First Lady encouraged 
the Committee to offer con- 
crete ideas "about how we 
can provide children with 
safe havens." She noted, 
"The arts and humanities 
have the potential for being 
such safe havens. In com- 
munities where programs 
already exist, they are pro- 
viding soul-saving and life- 
enhancing opportunities 
for young people." 

As a first step, the Presi- 
dent's Committee produced 
this report to identify 
community programs in 

the arts and the humani- 
ties that reach at-risk chil- 
dren and youth and to 
describe the principles and 
practices that make these 
programs effective. 


Coming Up Taller calls 
attention to the variety and 
vitality of promising arts 
and humanities programs 
for children and youth. It 
also describes common 
characteristics that these 
programs share. 

A* Perhaps the most 
distinguishing aspect of 
these programs is their 
ability to take full advan- 
tage of the capacity of the 
arts and the humanities to 
engage students. 
Beginning with this 
engagement, programs 

impart new skills and 
encourage new perspec- 
tives that begin to trans- 
form the lives of at-risk 
children and youth. 

B. Community arts and 
humanities programs pro- 
vide crucial "building 
blocks" for children's 
healthy development. 
These programs: 

• Create safe places for 
children and youth where 
they can develop construc- 
tive relationships with 
their peers. 

• Offer small classes with 
opportunities for youth to 
develop close, interactive 
relationships with adults. 

• Place a premium on giving 
youth a chance to succeed 
as a way to build their sense 
of worth and achievement. 

Above Left: Settlement Music 
School. Above:The Wang 
Center for the Performing 
Arts. Lower Left: Lula 
Washington Contemporary 
Dance Foundation. 

• Use innovative teaching 
strategies such as hands-on 
learning, apprenticeships 
and technology, often giving 
youth concrete job skills. 

• Emphasize excellence and 
expose children to quality 
staff and programming. 

• Build on what youth 
value and understand and 
encourage voluntary partic- 

• Establish clear expecta- 
tions and reward progress. 

• Maintain sustained, regu- 
lar programs upon which 
children can count and 
provide youth with oppor- 
tunities to be valued com- 
munity members. 

Through arts and humanities programs, youth tap hidden potentials and deuelop new skills. 

C. The programs not only 
provide youth with experi- 
ence in the arts and the 
humanities, but also deliver 
needed support services. 
While establishing inde- 
pendent relationships with 
participants, they include 
and work with parents. 

D. These arts and humani- 
ties programs teach youth 
how to navigate other net- 
works and advocate for 
youth with other communi- 
ty institutions. 

E* No two programs are 
alike. Each program 
reflects its creator's mis- 
sion and its community's 
specific circumstances. 
The individuality of each 
program is testimony to 
this field's ingenuity. 

Fa The arts and humani- 
ties programs in this report 
are located primarily in 
large cities. Many of them 
were created in the mid- 
1980s. Most programs 
operate with diverse but 

Manchester Craftsmen's Guild 

limited staff and on small 
budgets. Technical assis- 
tance efforts, perhaps sup- 
ported by the corporate 
sector, community founda- 
tions or local arts and 
humanities councils, are 
needed to strengthen their 
administrative and 
fund-raising capabilities. 

G* Most program staff are 
trained, primarily by more 
experienced program per- 
sonnel. Only one-third of 
the programs provide on- 
going training. Initiatives 
should be developed to 
enhance training and staff 
opportunities. For example, 
staff could learn from and 
train at other programs. 
Travel grants, paid sabbati- 
cals, staff mentorship pro- 
grams and performance 
exchanges could enrich 
existing programs. 

H* Partnerships provide 
critical support, allowing 
limited staff to obtain 
much-needed resources. 
Most community arts and 
humanities programs 
described in this report 
were initiated by arts or 
humanities organizations. 
However, they operate in 
partnerships with other 
institutions such as 
schools, universities, youth 
organizations, churches, 
businesses and health, 
housing and social service 
agencies. Strategies to 

improve linkages among 
cultural programs and 
other community institu- 
tions would enhance coor- 
dinated responses to inter- 
related problems. 

I* These arts and humani- 
ties programs provide vivid 
testimony on the difference 
they make in children's 
lives. These programs doc- 
ument their activities, 
assess program strengths 
and weaknesses, track the 
progress of individual par- 
ticipants and compare 
their goals with actual 
practices. A few programs 
have documented, with 
some caveats, the positive 
correlation between pro- 
gram participation and 
cognitive development, 
interest in learning, moti- 
vation, organization, self- 
perception and resiliency. 

J* With increased compe- 
tition for fewer resources, 
the pressure to demon- 
strate results is increasing. 
However, assessment takes 
time and money: commodi- 
ties in short supply in 
these programs. 
Community arts and 
humanities programs need 
financial support and guid- 
ance to develop assess- 
ment tools that measure 
impact and improve pro- 
gram practices. 

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

K. Ninety-five percent of 
the programs report that 
they have more than one 
source of funding; most 
programs report that their 
donors are local. City gov- 
ernment supports 58 per- 
cent of the programs; local 
foundations provide support 
to 55 percent; local corpora- 
tions, to 50 percent; and 
individuals, to 40 percent. 

L. Government agencies — 
city, state and federal — are 
the most common source 
of funds, though most pro- 
grams receive significant 
private contributions, 
including foundation 
grants. While 43 percent of 
the organizations have 
received or currently 
receive support from the 
National Endowment for 
the Arts, National 
Endowment for the 
Humanities or Institute of 
Museum Services, many 
also receive funds from 
other federal departments, 
including the U.S. 
Departments of Health and 
Human Services, Housing 
and Urban Development, 
Justice and Labor. 

M. These community pro- 
grams face their greatest 
challenge as potential gov- 
ernment funding cuts make 
their financial futures more 
tenuous. While private 

foundations cannot assume 
total responsibility, their 
leadership and decisions 
are pivotal. Strategies for 
building support, including 
sustained general support, 
as well as identifying and 
generating new resources 
are urgently needed. 

Coming Up Taller demon- 
strates the value of sup- 
porting these arts and 
humanities programs and 
promoting their prolifera- 
tion. The President's 
Committee hopes that this 
report will mark the begin- 
ning of a renewed effort by 
national, state and local 
leaders in the public and 
private sectors to support 
and expand community 
arts and humanities pro- 
grams for children and 
youth at risk. We urge 
leaders to tap the creativity 
and energy of these 
programs to improve the 
prospects for the children 
and youth of this nation. 


The arts and the humani- 
ties programs examined in 
this study were identified 
by a broad range of organi- 
zations and agencies: the 
Federation of State 
Humanities Councils, the 
American Association of 
Museums, Project Co- Arts 
at the Harvard University 

Vermont Council on the Humanities 

Graduate School of 
Education, the U.S. 
Conference of Mayors, the 
National Recreation and 
Parks Association, the 
National Endowment for 
the Arts, the National 
Endowment for the 
Humanities, the Institute of 
Museum Services and 
approximately 90 other 
public and private agencies 
that work with youth. 
These agencies include 
arts organizations; national 
arts and humanities service 
groups; national networks 
of community institutions 
such as Boys and Girls 
Clubs, libraries, museums 
and parks; national youth 
and social service agen- 
cies; foundations and gov- 
ernment agencies. Each of 
the 600 identified programs 
was screened to select 
those working primarily 
with at-risk children, offer- 
ing sustained arts and 
humanities programs out- 
side of the school curricu- 

lum. In addition, the 
selected programs focus on 
youth development 
through the arts and the 
humanities as one of their 
expressed goals. 

Staff at the 218 programs 
that met these criteria 
were interviewed at 
length, providing the basis 
for the program profiles in 
Chapter Six. The inter- 
views collected the follow- 
ing information: 

• Why a program was 

• What arts and humani- 
ties activities are offered 

• What community condi- 
tions and resources exist 

• Who the program serves 

• How services are 

• Whether staff, including 
artists and scholars, are 


There aie common characteristics that contribute to these programs' success with youth. 

• Who the program's part- 
ners and supporters are 

• What the impact is on 

• How effectiveness is 

The conclusions about 
what makes programs 
effective are based on 
these interviews and on 
visits to nine sites: 

• The Artists Collective, 
Inc., Hartford, Connecticut 

• Educational Video Center, 
New York, New York 

• Experimental Gallery: Arts 
Program for Incarcerated 
Youth, Washington State 
Historical Society, Capital 
Museum, Olympia, 

• The 52nd Street Project, 
New York, New York 

• Japantown Art and 
Media Workshop, San 
Francisco, California 

• Kaleidoscope Preschool 
Arts Enrichment Program, 
Settlement Music School, 
Philadelphia, Pennsylvania 

• Read With Me: Teen 
Parent Project, Vermont 
Council on the Humanities, 
Morris ville, Vermont 

• Teen Project, Center for 
Contemporary Arts of 
Santa Fe, Santa Fe, New 

• Working Classroom, Inc., 
Albuquerque, New Mexico 

These programs have 
existed from 2 to 26 years 
and accumulated 99 years 
of experience. Seven of the 
nine have received or cur- 
rently receive support from 
the National Endowment 
for the Arts, National 
Endowment for the Hu- 
manities and/or the 
Institute of Museum 
Services. They operate in 
both urban and rural areas, 
serving youth as demo- 
graphically diverse as the 
U.S. population. Some focus 
their programs on specific 
disciplines, such as graphic 
design or literature; others 
offer a variety of disciplines. 
The humanities represent 
the core of one program and 
are integrated into several 

Oakland Youth Chorus 

others, especially those that 
focus on a specific culture 
in American society. 


This report is structured in 
six chapters. 

1. A Changed Environ- 
ment for Children 

describes the context in 
which these programs 
operate, presenting both 
disheartening statistics and 
the evidence of resiliency 
that children can display in 
the face of seemingly insur- 
mountable odds. 

2. Culture Counts reviews 
the value of the arts and 
the humanities for youth. It 
suggests that arts and 
humanities programs are 
crucial components of any 
community strategy that 
seeks to improve the lives 
of children and youth. 

3. Transforming Lives 

provides an overview of the 
highly varied cultural 
programs surveyed for this 

4. A Delicate Balance 
summarizes the principles, 
policies and practices found 
in promising programs. 

5. Looking Ahead recom- 
mends continued examina- 
tion of these programs and 
discusses their need for 
increased technical and 
financial support. 

6. Two Hundred Plus con- 
tains the 218 individual 
profiles of arts and humani- 
ties programs for children 
and youth at risk. 


We hope this report will mark the beginning of a renewed effort to support and expand these programs, 

A Changed Environment for 


Children live in a different 
world today from that of 
their grandparents. In some 
ways, it is a better world. 
More children today are 
better fed, better educated 
and free from dangerous 
childhood diseases. 
However, this progress is 
not shared egually by all 
children. Today's children 
face new hazards that were 
not even imagined by pre- 
vious generations. 

Changing family life pat- 
terns have affected today's 
children. Having a parent 
at home full time, a given 
30 years ago, is now the 
exception to the rule. 
Studies show that many 
young people spend 40 
percent of their time with- 
out responsible adult 
companionship or supervi- 
sion. 1 It is ironic that while 
technology can give 
America's youth member- 
ship in a global community, 
many are alienated from 
the communities outside 
their doors. 

The Carnegie Council on 
Adolescent Development 
now reports, "The experi- 
ence of growing up in 
American communities has 
changed significantly in 
recent decades. For most 

young adolescents, the feel- 
ing of belonging to a com- 
munity that offers mutual aid 
and a sense of common pur- 
pose, whether it is found in 
their families, schools, neigh- 
borhoods, houses of worship, 
or youth organizations, has 
been greatly compromised. "* 

Child poverty rates are the 
most widely used indica- 
tors of child well-being. In 
1993, almost 14 million 
children in the United 
States were poor.' 1 Their liv- 
ing conditions are reported 
as worse than those of poor 
children in 15 of the 18 

Among today's 10th grade 
students, for example, less 
than one-third attend reli- 
gious activities once a 
week; while only a fifth 
participate in youth groups 
or organized recreational 
programs or take weekly 
classes outside of school in 
art, music, language or 
dance. One in 8 takes 
weekly sports lessons out- 
side of school, while 1 in 14 
volunteers or performs 
community service. 3 

Western industrialized 
countries, by the Luxem- 
bourg Income Study. 5 
These children are the 
most likely to attend inade- 
quate schools and to face 
danger in their neighbor- 
hoods and communities 
and the least likely to have 
access to recreation and 
support services. 

The 52nd Street Project 


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

Federated Dorchester 
Neighborhood Houses, Inc. 

Almost 4 million children 
are growing up in severely 
distressed neighborhoods, 
areas that have high levels 
of at least four of the fol- 
lowing risk factors: poverty, 
unemployment, high school 
dropouts, female-headed 
families and family reliance 
on welfare. 6 These children 
are in double-jeopardy for 
they are surrounded by 
mirror images of their 
own vulnerability. 

Almost one-third of all 
households with children 
report that their neighbor- 

hood quality is "poor" 
or "fair." This negative 
response rises to just 
under one-half from house- 
holds with only one 
adult present. 7 

For some children, the rise 
in violence has created a 
brutal reality. In the United 
States, a child dies from 
gunshot wounds every 2 
hours, 8 and 3 million chil- 
dren each year are reported 
abused or neglected. 9 In 
1993, over one-third of 
male high school youth, 
and nearly 1 in 10 of female 
students, reported that 

they had carried a weapon 
(a knife, razor, club or 
firearm) at least once dur- 
ing the previous 30 days. 
One in 7 male high school 
students reported carrying 
a gun within the last 
month. 10 

Other alarming indices 
show that the teen suicide 
rate, youth violent crime 
arrest rate and the unmar- 
ried teen birth rate are all 
rising. 11 Using a cumula- 
tive risk index, the U.S. 
Department of Health and 
Human Services reports 


Almost 1 out of S fourth graders matches 6 01 more houis of TU each day 

that in 1992, only 45 per- 
cent of 15-year-olds, 31 
percent of 16-year-olds, 
24 percent of 17-year-olds 
and 16 percent of 18-year- 
olds were "risk free." 12 

For those children who 
survive and graduate from 
school, the job market they 
enter is tighter, more com- 
petitive and highly special- 
ized. A high school gradu- 
ate as well as a high school 
dropout is unlikely to 

secure a decent-paying job 
that can support a family. 
Today, one-third of all male 
workers earn less than it 
takes to lift a family of four 
out of poverty. 13 

This generation lives in an 
increasingly diverse soci- 
ety, one that can provide 
an enormous opportunity 
for cultural richness — or for 
distrust and resentment. In 
three states and the Dis- 
trict of Columbia, "minori- 
ty" children already make 
up the majority of the child 
population." Consider, also, 
that with the "graying of 

America," growing num- 
bers of elderly will depend 
on the productivity of 
working adults for their 
economic support. Among 
those future working 
adults are today's minority 
children. 15 


All children and youth face 
some adversity as they 
grow up; most adjust and 
thrive. However, research 
indicates that when prob- 
lem behaviors occur, they 
often cluster in the same 
young people. "Those who 
drink and smoke in early 
adolescence are thus more 
likely to initiate sex earlier 
than their peers; those who 
engage in these behavior 
patterns often have a history 
of difficulties in school. 
When young people have a 
low commitment to school 
and education, and when 
teachers or parents have low 
expectations of the children's 
performance, trouble lurks. 
Once educational failure 
occurs, then other adverse 
events begin to take hold. "" 

These problem behaviors 
have common roots and 
feed on unfortunate cir- 
cumstances in children's 
lives: insufficient parental 
support and guidance; low 
grades and schools with 
low expectations; few 

opportunities and chal- 
lenges for growth or contri- 
bution and poor and over- 
crowded neighborhoods. 
Children facing these cir- 
cumstances show an 
inability to resist the influ- 
ence of unhealthy behavior 
in peers and are drawn to 
those who already have 
become risk-takers" 

There are ways, however, 
to prevent such circum- 
stances from mushrooming 
into damaging behavior. 
Many experts have identi- 
fied what children need to 
grow up healthy, skilled 
and optimistic. The 
Carnegie Council on 
Adolescent Development 
summarizes the basic 
conditions children need to 
successfully complete the 
transition from childhood 
to adulthood: 

"They must have sustained, 
caring relationships with 
adults; receive guidance in 
facing serious challenges; 
become a valued member of 
a constructive peer group; 
feel a sense of worth as a 
person; become socially 
competent; know how to 
use the support systems 
available to them; achieve a 
reliable basis for making 
informed choices; find con- 
structive expression of the 


More than 2 out of 5 fourth graders score below basic reading levels. 

curiosity and exploration 
that strongly characterizes 
their age; believe in a 
promising future with real 
opportunities; and find ways 
of being useful to others." 18 

In short, children and youth 
need caring families and 


Most of us understand how 
children in stable families 
with good schools and safe, 
enriching neighborhoods 
are able to succeed. But 
how does a child who does 
not have these supports 
thrive? And why is it that 
even when the indicators 
seem to signal "doomed life 
ahead," some children sur- 
mount adverse circum- 
stances, growing and 
excelling? How do youth 
find ways within and out- 
side their families to meet 
some of their basic needs? 

A portion of the answer is 
found in the results of an 
investigation by child psy- 
chologist Emily Werner, of 
the University of California, 
and her colleague Ruth 
Smith, a clinical psycholo- 
gist. Werner and Smith 
tested, over a span of more 
than 30 years, a sample of 
children born in 1955 in 
Kauai, Hawaii, into trou- 
bled and impoverished 
families. The researchers 

discovered that one-third 
of the high-risk children 
were vulnerable but 
resilient throughout the 
study, becoming successful 
in school and later at work. 
The study's authors 
described them as "compe- 
tent, confident, caring 
adults." The other two- 
thirds developed emotional 
and behavioral problems, 
which included teen preg- 
nancy and mental health 
problems and delinquency. 

Werner and Smith identi- 
fied three clusters of pro- 
tective factors separating 
the resilient group from the 
other adolescents: certain 
temperamental characteris- 
tics and engaging social 
skills; strong relationships 
with parents or parental 
substitutes, including sib- 
lings; and a community 
support network. 

Of those children in the 
Werner and Smith study 
who did succumb to their 
at-risk environment, be- 
coming problem teenagers, 
a portion matured to 
become successful young 
adults. Key to their ability to 
pull their lives together 
were pivotal experiences 
with supportive people in 
situations that structured 
their lives. For example, 
problem teenagers who 
joined the military or a 
church group, went to col- 

lege or developed a stable 
and close relationship with 
a spouse were more likely to 
become successful young 
men and women. 19 

While the theory of resilien- 
cy is not entirely under- 
stood, other studies sup- 
port the findings of Werner 
and Smith. The capacity to 
be resilient challenges the 
notion that impoverished 
environments doom a child 
to a dismal future. 

However, as a member of 
the Youth Committee of the 
Lilly Endowment asserts, 
"While children can, and 
often do, make the best of 
difficult circumstances, 
they cannot be sustained 
and helped to grow by 
chance arrangements or 
makeshift events. Some- 
thing far more intentional 
is required." 20 

Community youth organi- 
zations now play an 
increasingly vital role in 
making "something more 
intentional" happen. 
Nationwide, more than 
17,000 such organizations 
offer community programs 
for youth. These include 
large, national groups such 
as the YMCA of the USA 
and Boys and Girls Clubs of 
America, as well as local 
community organizations 

such as churches, muse- 
ums, libraries and perform- 
ing arts, recreation and 
youth development centers. 

Such programs address 
children's needs for adult 
support and provide role 
models, often making an 
impression on youngsters 
who might otherwise sur- 
render to hostility and 
hopelessness. They be- 
come locations in which 
youth "hang out," forming 
friendships with peers and 
adults while taking an 
active role in constructive 
activities and learning 
new skills. 

As noted by the Carnegie 
Council, "[Y]oung members 
socialize with their peers and 
adults and learn to set and 
achieve goals, compete fair- 
ly, win gracefully, recover 
from defeat, and resolve dis- 
putes peaceably They 
acquire life skills: the ability 
to communicate, make deci- 
sions, solve problems, make 
plans, set goals for education 
and careers. They put their 
school-learned knowledge to 
use, for example, by working 
as an intern in a museum. ' m 
Experiences such as these 
can offset adverse circum- 
stances and lead youth 
toward productive lives. 


Many young people spend 40% of their time without responsible adult companionship or supervision 

Culture Counts 


Organized youth activities 
can deter risky behavior in 
adolescents, according to a 
recent national study. 
Students who participate 
in band, orchestra, chorus 
or a school play, for exam- 
ple, are significantly less 
likely than nonparticipants 
to drop out of school, be 
arrested, use drugs or 
engage in binge drinking. 
Unfortunately, this same 
study also notes that 
today's most vulnerable 
youth spend less time in 
activities like these and 
are therefore deprived of 
their benefits. 1 

Quality youth programs, 
whether organized around 
the arts and the humanities, 
sports, science or outdoor 
exploration, are a crucial 
source of supportive 
relationships and vital 
experiences. Arts and 
humanities programs are 
particularly potent in pro- 
moting youth development. 
We see this most clearly in 
educational settings when 
the arts and the humani- 
ties are fully integrated into 
the curriculum. 

Several integrated educa- 
tional models currently 
exist in the United States. 
The Duke Ellington School 
of the Arts in the District of 
Columbia provides its high 
school students, most of 
whom come from disad- 
vantaged backgrounds, 
with the chance to attend 
a school where academics 
and the arts share the 
school day equally. In 
Kansas City, 7 public 
school districts, 11 arts 
organizations and 35 
donors have banded 
together across state lines 
to form Arts Partners, an 
initiative to integrate com- 
munity arts resources into 
the school curriculum. 
Schools benefiting from this 
approach have seen the 
transforming effect of the 
arts and the humanities on 
the quality of education and 
on student achievement. 

While humanities disci- 
plines such as history, liter- 
ature and language have 
long been accepted as part 
of the standard school cur- 
riculum, the enlightened 
educator who understands 

the value of the arts has 
had insufficient educational 
theory and research upon 
which to base his or her 
insight. In the last several 
years, this gap has begun 
to close. 

Studies are exploring the 
role of arts education in the 
development of higher 
order thinking skills, prob- 
lem-solving ability and 
increased motivation to 
learn. Other studies are 
finding correlations 
between arts education 
and improvements in acad- 
emic performance and 
standardized test scores, 
increases in student atten- 
dance and decreases in 
school drop-out rates. 

Youth Radio 



More than 350,000 babies aie born each year to unmarried teenagers 

Center of Contemporary Arts 

The following points 
elaborate on the important 
ways culture counts in the 
development of children 
and youth. 

The arts and the humani- 
ties draw upon a range 
of intelligences and 
learning styles. Experts 
belreve that people do not 
possess a single general 
intelligence, but several 
different kinds: linguistic, 
musical, logical-mathemat- 
ical, spatial, bodily-kines- 
thetic, interpersonal and 
intrapersonal. 2 Schools by 
and large focus on linguis- 
tic and logical-mathemati- 
cal intelligences. In so 
doing, America's educa- 
tional institutions may 
consign many children to 
under-achievement and 
failure. As eminent psy- 
chologist Howard Gardner 

notes, "[S]tudents with 
strengths in the spatial, 
musical, or personal 
spheres may find school far 
more demanding than stu- 
dents who happen to 
process the 'text-friendly' 
blend of linguistic and logi- 
cal intelligences." 3 

The arts and the humani- 
ties provide children 
with different ways to 
process cognitive infor- 
mation and express their 
own knowledge. Using 
processes different from 
traditional approaches, the 
arts and humanities provide 
children with unique meth- 
ods for developing skills 
and organizing knowledge. 
Each arts and humanities 
discipline has its own 
distinct symbol system, 
whether it is nonverbal, as 
with music or dance, or 
uses language in a particu- 
lar way, as with creative 
writing or oral history. 
Exposure to these alternate 
systems of symbols 
engages the mind, requir- 
ing analysis, synthesis, 
evaluation and application. 4 

The arts have the poten- 
tial to enhance academic 
performance. The arts 
give youngsters a richer 
reservoir of information 
upon which to draw in pur- 
suing other subjects, such 
as reading, writing, mathe- 
matics and history. 
"Drawing helps writing. 
Song and poetry make 
facts memorable. Drama 
makes history more vivid 
and real. Creative move- 
ment makes processes 
understandable. " 5 

By honing nonverbal skills 
such as perception, imagi- 
nation and creativity, the 
arts also develop vocabu- 
lary, metaphorical lan- 
guage, observation and 
critical thinking skills. 6 The 
elements of sound, move- 
ment, space, line, shape 
and color are all concepts 
related to other subject 
areas such as math and 
science. The concepts 
taught in the arts permeate 
other scholastic disciplines, 
and a child's comprehen- 
sion of an artistic concept 
can extend across the aca- 
demic curriculum. 

Furthermore, the teaching 
methods used in many arts 
and humanities programs 
provide alternative 
approaches to learning. For 
example, some children 
can process and retain 
information more effective- 
ly when they learn by 
doing, engage in appren- 
tice-like relationships and 
use technology such as in 
computer graphics and 
videography. 7 

The arts and the humani- 
ties spur and deepen 
the development of 
creativity. By their very 
nature, the arts and the 
humanities place a premi- 
um on discovery and inno- 
vation, originality and 
imagination. As such, they 
can be powerful vehicles 
for stimulating creativity in 
young people, a valuable 
trait throughout their lives. 

Businesses today increas- 
ingly look for workers who 
can think and create. 
Clifford V. Smith, Jr., presi- 
dent of the GE Fund, is 
typical when he says, 
"Developing business lead- 
ers starts in school. Not in 
assembly-line schooling, 
but rather through the 
dynamic processes that the 
arts-in-education experi- 
ence provides." 8 

More than 1 out of 3 male high school students reports carrying a weapon within the preuious month 

The Brooklyn Children's 

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

Teenagers struggle with 
issues of identity, indepen- 
dence, competency and 
social role. The arts help to 
mediate this confusion. 
"Creative art activity allows 
the adolescent to gain mas- 
tery over internal and exter- 
nal landscapes by discover- 
ing mechanisms for struc- 
ture and containment that 
arise from within, rather than 
being imposed from outside. 
The artistic experience 
entails repetition of actions, 
thoughts or emotions, over 
which the adolescent gains 

Ouei 11,000 youth, ages 15-10, die each yeai fiom homicide, suicide 01 accidents. 

"The arts provide a safe container for every 
person or every culture or every group to 
express things about coming into being as an 
adult, dealing with hardship, dealing with a 
sense of beauty. No other activity provides us 
with that. [The arts and humanities] allow us 
culturally, individually to say things and do 
things we might never get to do." 

Carlos Uribe 
Director of Programs 
Center for Contemporary 
Arts of Santa Fe 
Teen Project 

increased tolerance or mas- 
tery. While providing a 
means to express pain and 
unfulfilled longings during a 
distinct maturational phase, 
the arts simultaneously 
engage the competent, 
hopeful and healthy aspects 
of the adolescent's being. " 9 

Similarly, the humanities 
encourage youth to read, 
write and express them- 
selves in a disciplined way. 

Changes in body image 
may be expressed through 
movement and dance. 
Drama offers the opportuni- 
ty to explore identity by 
integrating childhood roles 
and experimenting with 
future possibilities. Music 
expresses emotional disso- 
nance and volatility. The 
visual arts provide a vehi- 
cle for translating inner 
experiences to outward 
visual images. 10 Writing 
and oral history projects 
bring a greater understand- 
ing of one's family and 

The arts and the humani- 
ties teach the value of 
discipline and teamwork 
and the tangible rewards 
each can bring. When 
children's efforts culminate 
in a performance or exhibi- 
tion, they have a chance to 
experience meaningful 
public affirmation, which 
provides them with some 
degree of celebrity. For 
those few minutes, chil- 
dren are in their own eyes 
every bit as important as 
anybody — any TV, sports, 
music, movie or video 
idol. 11 This can be an expe- 
rience of particular potency 
for youngsters whose lives 
are primarily characterized 
by anonymity and failure. 

Almost 4 million children Hue in severely distiessed neighborhoods. 

Somerville Community 
Access Television 

they can bridge barriers 
among cultural, racial and 
ethnic groups. The arts also 
can promote a deeper 
understanding of similari- 
ties and differences among 
religions, races and cultural 
traditions. For some chil- 
dren, the exploration of 
their unique cultural histo- 
ries can be critical to their 
sense of themselves and to 
others' images of them. 
This knowledge can help 
bind them more fully to the 
larger society of which they 
are a part. 

The arts and the humani- 
ties provide youth with a 
different perspective on 
their own lives, a chance 
to imagine a different 
outcome and to develop a 
critical distance from 
everyday life. For one 
adult poet, a well-known 
children's book allowed her 
to envision a different 
world from the abusive one 
in which she lived as a 
child. At a conference for 
adults learning to read, she 
recalled this experience, 
held up Smokey and the 
Cowhorse and said, "This 
is the book that saved my 
life." Victor Swenson, exec- 
utive director of the 
Vermont Council on the 
Humanities, elaborates: 

"It [the book] represented a 
world outside of her own 
circumstances; a world of 
honor and honesty, love 
and loyalty and bad luck 
and good luck. It gave her 
something outside of her 
own experience. And she 
could see that there was a 
way out." 12 

Developing cultural literacy 
in children and youth gives 
them a sense of perspective 
as they participate in tradi- 
tions of expression from 
which they learn and to 
which they can contribute. 
As humanist John William 
Ward wrote in 1985, 
"[H]umanistic learning is 
centered on the individual 
who has important ques- 
tions about self and soci- 
ety. To learn some of the 

answers to those questions 
means the fullest and rich- 
est and most imaginative 
development of every 
single self." 13 

A respected gang-interven- 
tionist writes, "One of the 
most natural and effective 
vehicles for gang members 
is the road of the arts, 
especially theater. New val- 
ues only emerge through 
new experiences, and the 
arts provide a unique labo- 
ratory where truth and pos- 
sibility can be explored 
safely. Validating emotional 
safety is everything." 14 

Because dance, music, pho- 
tography and other visual 
arts transcend language, 

Finally, the arts and the 
humanities are a critical 
part of a complete educa- 
tion. The true worth of cul- 
tural knowledge transcends 
any of its specific applica- 
tions. Exposure to the arts 
and the humanities and 
the experience of their 
power are of inestimable 
value unto themselves. 
And in this respect, the 
beauty of the arts and the 
wisdom of the humanities 
count for everyone. 


More than 1 out of S children, or almost 14 million. Hues in a poor family 

Transforming Lives 


In the spring of 1996, 
20 teenagers from a low- 
income community in 
Pennsylvania will graduate 
from high school with 6 
years of professional the- 
ater experience. Jessie is 
one of them. 

She was in the sixth grade 
when The People's Light 
and Theater Company 
reached out to a group of 
students and made a com- 
mitment to stay involved 
with them until they grad- 
uated from high school. 
The Theater Company 
worked with students after 
school year-round. Staff 
provided transportation 
and, during the summer 
time, provided employment 
as well. This ensemble of 
teenagers, called "New 
Voices Ensemble," created 
plays together, as they 
wrote, improvised, 
rehearsed and performed. 

Jessie was moody at first, 
sometimes walking out of 
rehearsals. Her family situ- 
ation was extremely diffi- 
cult, and she often had to 
supervise and attend to 
five younger brothers and 
sisters. Then, while work- 
ing on A Midsummer 
Night's Dream, Jessie 

seemed instinctively to 
understand Shakespeare. It 
was a pivotal time; she 
gradually evolved from the 
one who "got involved in 
confrontations" into the 
mediator to which every- 
one turned when disagree- 
ments arose among 
Ensemble members. Over 
time, the Ensemble 
became like a family, but 
one "she didn't have to 
take care of, one that 
helped her to take care of 
herself." Though her own 
family situation continued 
to be fraught with stress, 
Jessie became one of the 
top students in the 12th 
grade. She now hopes to 
become a lawyer. 1 


Stories like Jessie's are 
common among the pro- 
grams profiled in this 
report. The 218 arts and 
humanities programs 
described in Chapter Six 
touch the lives of an esti- 
mated 88,600 youth each 
year. While they reach chil- 
dren of all ages, 92 percent 
of the programs work with 
teens. Seventy-two percent 
of the programs also serve 
6- to 12-year-olds, and 24 
percent assist preschoolers. 

Most youth participating in 
these programs live in 
large cities. They come 
from 36 states and the 
District of Columbia. These 
children represent every 
racial and ethnic group in 
the country and include 
school dropouts, teen par- 
ents, immigrants, refugees 
and gang members. Some 
live in juvenile detention 
centers, public housing 
projects, halfway houses 
or homeless shelters. 
Others are simultaneously 
enrolled in prevention 
programs for substance 
abuse, teen pregnancy, 
school dropout or juvenile 

Mostly, they are "just kids" 
who were born into eco- 
nomically disadvantaged 




The 216 aits and humanities programs in this leport serve 08,600 youth each year 

Right: Precita Eyes Mural Arts 
Center. Below: Guadalupe 
Cultural Arts Center. 

families and/or resource- 
poor communities. And 
being just kids, they long 
for friendship, approval, 
protection, security, con- 
nectedness and things to 
do. However, often living in 
poor communities or 
stressed families, these 
youth sometimes grow up 
with little adult guidance, 
in fear of physical danger, 
with few stimulating 
activities and with consid- 
erable uncertainty about 
their futures. 


Though by no means 
reaching all youth in need, 
community programs 
devoted to children like 
Jessie are proliferating. 
There appear to be more 
cultural programs now than 
at any other time in our 
history. However, many 
more programs are needed 
to reach under-served 
children and youth. 

This survey shows that 
many of the programs were 
started in the last half of 
the 1980s, but their 
antecedents trace their ori- 
gins to the settlement 
house movement and com- 
munity music schools. 
Henry Street Settlement 
and the Third Street Music 

School Settlement, both in 
New York City, are now 
over 100 years old. These 
organizations offered pro- 
grams in the arts and cul- 
ture as part of a constella- 
tion of services designed to 
address the needs of poor 
European immigrants. The 
same can be said of Hull 
House in Chicago, started 
in 1889 by social work pio- 
neer Jane Addams. Hull 
House continues to provide 
community cultural activi- 
ties through its Beacon 
Street Gallery and Theatre, 
which became separately 
incorporated in 1989. 

Since the late 1960s, gov- 
ernment agencies and pri- 
vate philanthropies have 
supported community arts 
and humanities programs. 
The National Endowment 
for the Arts (NEA), the 
largest donor to the arts 
since 1976, has played a 
major role in decentralizing 
the arts to ensure broad 
access. Since the 

Endowment's creation in 
1965, the network of local 
arts agencies has grown 
from 500 to 3,800. State and 
territorial arts councils have 
increased from 5 to 56. 
Several of the programs 
described in this report 
were created by local coun- 
cils, including those in 
Tucson, Arizona; New 
Orleans, Louisiana; and 
Toledo and Columbus, Ohio. 

In 1971, the NEA estab- 
lished its Expansion Arts 
program specifically to 
encourage the development 
of community cultural 
organizations. These organ- 
izations assumed that 
improving lives in their 
neighborhoods was part of 
their mission. Thus, helping 
children and youth was a 
natural extension of their 
activities. Over-one third of 
the organizations profiled 
receive or have received 
NEA support. 

In recent years the NEA 
also has expanded its part- 
nership collaborations with 
other government agencies 
such as the Corporation for 
National and Community 
Service, the Department 
of Health and Human 
Services and the 
Department of Justice to 
encourage greater involve- 
ment of arts organizations 
in federally supported com- 
munity prevention pro- 
grams for youth. Projects 
supported through these 
federal partnerships often 
have national impact or 
serve as models to encour- 
age the expansion of sup- 
port for programs that uti- 
lize the arts to benefit at- 
risk youth. 

State humanities councils, 
largely supported by the 
National Endowment for 
the Humanities (NEH), also 
grew during the 1970s, and 
with their expansion began 
a flourishing of literacy, oral 


These aits and humanities programs are located mostly in large cities. 

history and community 
revitalization programs. 
These programs encourage 
scholars to take active roles 
in their communities, 
bringing their perspectives 
into active play and bring- 
ing the community togeth- 
er around discussions of 
important issues. 
Humanities councils in 
Kentucky, Louisiana, New 
Jersey, Vermont and the 
District of Columbia creat- 
ed programs that are 
described in Chapter Six. 

The Institute of Museum 
Services (IMS), established 
in 1976, serves all varieties 
of museums from art, histo- 
ry, science and children's 
museums to zoos and 
botanical gardens. IMS 
supports museums that 
have taken an active role in 




1 to 5 


6 to 12 


13 to 18 


19 to 21 


Programs may serve more than one 
age range. Source: National Assembly 
of Local Arts Agencies. 

their communities and 
have reached out to new 
audiences. Museums in 
partnership with communi- 
ty leaders, educators and 
others are creating innova- 
tive and effective ways to 
address a wide range of 
social concerns. Museum 
programs for at-risk chil- 
dren range from art activi- 
ties fostering personal 
expression to opportunities 
for exploring cultural her- 
itage and building skills 
and confidence through 
inquiries into the world of 
science. More than a dozen 
programs created by muse- 
ums are described in this 
report, including programs 
at children's museums in 
Brooklyn, New York; 
Holyoke, Massachusetts; 
Indianapolis, Indiana; Las 
Vegas, Nevada; and 
Seattle, Washington; as 
well as at the Georgia 
Museum of Art in Athens, 
New York State Museum in 
Albany and The Mexican 
Museum in San Francisco. 

Programs that reach youth 
by engaging them in cul- 
tural activities arise under 
many circumstances. Some 
are started by artists or 
teachers concerned about 
young people; others are 
begun by mayors or by 
juvenile justice or youth 













Annual Budget 



Annual Youth Served 



Year Started 


The median and average are both provided because of the broad 
range of responses. The median is the middle value of a set of numbers 
arranged in order of magnitude. The average is the sum of the observa- 
tions divided by the total number of observations. Source: National 
Assembly of Local Arts Agencies. 

workers who want to pro- 
vide positive experiences 
for children and youth. 

When visual artists at City 
Center Art in Birmingham, 
Alabama, noticed neigh- 
borhood children hanging 
out at their warehouse, 
they developed an arts pro- 
gram — Space One Eleven 
— for youth who live in the 
nearby housing complex. 

In Buffalo, New York, chil- 
dren knocked on the door 
of a local artist named 
Molly Bethel asking her to 
teach them to paint. That 
was over 35 years ago, 
and today, MollyOlga 
Neighborhood Art Classes 
remains a neighborhood 
sanctuary, available to any 
young person. 

Television director Roberto 
Arevalo began The Mirror 
Project at Somerville 

Community Access 
Television in 1992 after 
meeting eight teenagers at 
a local park in Somerville, 
Massachusetts. He began 
to work with them, helping 
them to explore their 
neighborhoods with video 
cameras. Two of the videos 
won awards, and now, with 
partial funding from the U.S. 
Department of Housing and 
Urban Development, the 
program operates at hous- 
ing developments, Boys and 
Girls Clubs and community 
centers in the area. 

Sometimes artists who 
have retired from their per- 
forming careers draw upon 
their backgrounds to help 
young people. Former bal- 
lerina turned defense attor- 
ney Sherry Jason and her 
public defender husband 
Bob started the Sentenced 
to the Stage program for 
juvenile offenders in 


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

Topanga, California. In this 
program, offenders must 
participate in acting and 
dancing workshops as a 
condition of their proba- 
tion. Similarly, a former 
Joffrey and American Ballet 
Theatre dancer leads 
classes at One Art studio's 
Kids Off Streets program, 
in Miami, Florida, located 
in one of the most violent 
neighborhoods in the 

Some programs were 
founded by nationally 
known artists or organiza- 
tions. Alvin Ailey 
Company, for example, ini- 
tiated AileyCamp for high- 
risk children, and the 
dance camp now runs in 
Frostburg, Maryland, 
Kansas City and New York 
City. Since 1966, the Arena 
Stage in the District of 

Columbia has run the 
Living Stage Theatre 
Company for poor children, 
teen mothers and incarcer- 
ated youth. The Cleo 
Parker Robinson Dance 
Theatre is building a posi- 
tive record with first-time 
offenders, teen parents and 
other at-risk youth through 
its Project Self Discovery 
in Denver. 

For other organizations, the 
impetus to launch youth 
outreach programs is more 
practical. For example, the 
Settlement Music School in 
Philadelphia runs an arts- 
enriched preschool pro- 
gram for children living in 
a public housing project 
across the street. Since the 
School was empty during 
the morning hours, it 
seemed logical to use the 
space for nearby children. 

It is impossible to pinpoint 
exactly what stimulates the 
personal vision and com- 
mitment of the individuals 
behind these programs. 
Whatever their reasons, 
perhaps the most com- 
pelling is that the needs 
of today's children are 
so profound. 


These programs provide 
children with a rich range 
of opportunities to create 
and to reflect, from 10- 
minute skits to Shakes- 
peare, rap music to opera 
and rites of passage cere- 
monies to ballet. Children 
in these programs produce 
custom-designed T-shirts, 
ceramics and murals. They 
play saxophones and vio- 
lins and transform public 
spaces into places of beau- 
ty. The programs facilitate 

youth's production of 
videos to help rival gangs 
understand each other and 
to help teens communicate 
with adults. Teen mothers 
improve their parenting 
skills using children's liter- 
ature. Young people 
research the history of their 
communities, sometimes 
using a video camera and 
sometimes a pen, in order to 
gain a perspective on the 
present. The children learn 
how to become museum 
docents and what it takes to 
become a curator. 

There is no one cultural 
discipline that dominates 
the field. Taken together, 
the programs report that 
they spend 24 percent of 
their time on theater, 1 8 
percent on music, 16 per- 
cent on literature, 15 per- 
cent on dance, 8 percent 

Washington State Historical 
Society, Capital Museum 

Programs involve youth in a wide variety of cultural disciplines. 

on other humanities and 7 
percent on the visual arts. 
The remaining 12 percent 
is spent on a variety of 
other activities, such as 
folk arts and him. 

Even though these are not 
primarily social service pro- 
grams, they provide an 
array of support services 
for children and youth 
beyond arts and humani- 
ties activities. Because of 
the difficult circumstances 
of many participants' lives, 
it is not uncommon for pro- 
grams to offer conflict reso- 
lution sessions, life skills 
and job training, job and 
college counseling, tutoring 
and sometimes even 
meals and transportation 
f services. 

° The Manchester Crafts- 
men's Guild in Pittsburgh, 
Pennsylvania, in addition 
to offering an Arts 
Apprenticeship Training 
^ Program in ceramic arts, 

computer imaging, drawing 
and photography also pro- 
vides college counseling 
services. This combination 
may account for the fact 
that 74 percent to 80 
percent of participants in 
the Program are accepted 
into college, compared to 
20 percent in the surround- 
ing community. 

East Bay Center for the 
Performing Arts 

Tutorial programs in math, 
reading and computers, as 
well as dance, heritage 
arts, poetry and vocal arts 
are available to the chil- 
dren participating in the 
STARS Program— Success 
Through Academic and 
Recreational Support, spon- 
sored by the City of Fort 
Myers, Florida. When the 
Program began, the majori- 
ty of its students had less 
than a C average, but now 
80 percent maintain a C 
average or better. The city 
police point to a 28 percent 
decline in juvenile arrests 
since the Program was 
founded rn 1989. 

Some programs charge a 
modest fee, but scholar- 
ships and waivers general- 
ly are available for children 
who cannot afford it. Most 
materials are provided free- 
of-charge. Prime Time 
Family Reading Time, a 
project of the Louisiana 
Endowment for the 
Humanities, gives chil- 
dren's books to families so 
parents can read them 
aloud to their children at 
home. Children on scholar- 
ship participating in 
Project LIFT, The Dance 
Ring DBA New York 
Theatre Ballet program, 
receive free ballet lessons, 
dance clothes, transporta- 
tion money and books. 
Project LIFT also provides 
school clothes, winter coats 

and emergency medical 
care when needed. The 
Sarasota Ballet of Florida 
provides instruction, 
dancewear and transporta- 
tion to scholarship partici- 
pants in Dance — The Next 

These cultural programs 
serve both large popula- 
tions and small numbers 
of youth. Appalshop in 
Whitesburg, Kentucky, 
involves 13 youth a year 
in a program that uses 
videography as a way to 
document Appalachian 
culture. In contrast, 120 
teenagers sing in the 
Oakland Youth Chorus in 
California, while 2,000 
children participate in 
dance, creative-writing, 
music, theater and visual 
arts classes in recreation 
centers in Columbus, 
Ohio's Children of the 
Future program. 

The average number of 
children served annually 
by these programs is 407; 
the median number, 100. 
Sixty percent of the pro- 
grams report annual 
increases in attendance 
since they began. 


Most programs employ a 
small number of staff and 
make additional use of vol- 
unteers and consultants. 

The median number of children served by arts and humanities programs annually is 100 

"Consultant" is a category 
that includes the artists 
and scholars who work 
directly with children and 
youth. Each employee 
works long hours for mod- 
est pay and little job secu- 
rity, using his or her skills 
and energy to provide 
youth with new perspec- 
tives and new experiences. 

Over an average year, 
programs employ 3.5 per- 
manent staff members, 23 
volunteers and 9.2 consul- 
tants, primarily artists and 
scholars. The annual medi- 
an number of staff is 2, 
with 5 volunteers and 8 

Most programs provide 
some type of training for 
people who work directly 
with youth. This training is 
likely to be provided in- 
house by more experienced 
personnel. Only one-third of 
the programs provide ongo- 
ing training, however. A 
majority of programs prefer 
staff who have had previous 
experience working with 
children and youth. 

Who are the individuals 
working most closely with 
children in these programs? 
They are poets, actors, 
dancers, musicians, painters 
and museum curators, to be 
sure. They also are college 
teachers, historians, 


Programs were asked to list the major partners critical to their development and sustainability. 

Partners provided a variety of services such as funding, mat 

erials, facilities, visibility, public support 

and board member service. 

Source: National Assembly of Local Arts Agencies. 

Schools (K-12) 

Federal Government 





Youth Groups 


Halfway Houses 



State Governments 


Women & Children 

Homeless Shelters 


United Ways 

Chambers of 


Arts Organizations 

Local Arts Agencies 
Mayors' Offices 





City Governments 



Social Service 






City Councils 
County Governments 


Humanities Councils 
Governors' Offices 


recording technicians, 
commercial artists, mask- 
makers, muralists, electron- 
ic and print media experts, 
lawyers, public health 
nurses, youth and social 
service workers, along 
with many others. 

Young Aspirations/Young 
Artists (YAYA) program in 
New Orleans teaches youth 
the occupational aspects of 
art by partnering juveniles 
with commercial artists 
every day after school and 
on weekends to work on 
projects and commissions, 
which they create and 
then sell. 

Television Executive 
Producer Chris Schueler 
staffs, along with lawyers 
from the University of New 
Mexico Institute for Public 

Law, FENCES, a computer- 
based interactive television 
show, produced by teens. 
Teens are exposed to writ- 
ing, video production, edit- 
ing, graphic development, 
set design and construction. 

In Vermont, public health 
nurses are an integral part 
of the Read With Me: Teen 
Parent Project offered by 
the Vermont Council on the 
Humanities. Nurses identi- 
fy interested teenagers and 
transport them and their 
infants to the literacy 
through children's litera- 
ture program. Professors 
from local colleges, librari- 
ans and independent 
scholars facilitate these 

Tucson-Pima Arts Council 


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

Through home visits made 
by public health nurses, the 
project is able to extend its 
programs to teens unable to 
visit its site and to reinforce 
the importance of reading to 
a child among participants. 


While this study focuses on 
programs outside school 
curricula, schools remain 
very much involved. Sixty- 
eight percent of the arts 
and humanities programs 
report that they work in 
partnership with schools. 
Schools identify children 
who would benefit from 
these programs and make 
their facilities available 
after hours. Some programs 
deliberately build on in- 
school learning, while oth- 
ers run in-school programs 
in addition to community 

Partnerships are an integral 
part of these programs. In 
fact, most organizations 
seek and develop collabora- 
tions with other groups, 
enriching their resources 
and expanding the oppor- 
tunities they can provide 
for children and youth. To a 
large degree, the impact 
and sustainability of these 
programs depends on inno- 
vative alliances. Partners 
can be active participants 
or providers of support ser- 
vices such as facilities, 
materials and funding. 

The Victory in Peace 
Program, created by the 
Charles A. Wustum 
Museum of Fine Arts in 
Racine, Wisconsin, is a 
partnership among the 
Museum, the Racine Urban 
League, the Racine Council 
for the Prevention of Drug 
and Alcohol Abuse and 
The Taylor Home and 
Education Center. In this 
program, young people 

create books that are then 
sold to museums and rare 
book collections around the 
country or placed in the 
local library and the 
Wustum Museum. 

California Lawyers for the 
Arts in San Francisco col- 
laborates with the San 
Francisco Unified School 
District and the Private 
Industry Council, a non- 
profit organization that 
administers federal Job 
Training Partnership Act 
funds, to find employment 
for youth in local cultural 

The Community Arts 
Partnership program, run 
by Plaza de la Raza in Los 
Angeles, pairs youth with 
art students from the 
California Institute for the 
Arts. These one-on-one 
mentoring relationships are 
developed at community 
centers throughout the city. 

Similarly, college students 
from Brown University, 
Rhode Island College and 
Providence College, along 
with independent music 
and dance teachers, act as 
mentors to young people in 
The Cultural Alternatives 
Program of The Music 
School in Providence, 
Rhode Island. Participating 
youth also receive training 
in violence prevention from 
the University of Rhode 
Island Teen Crime 
Prevention Program. 

The Cultural Center for 
the Arts in Canton, Ohio, 
initiated Children's Art 
Connection for children 
ages 8 to 12, in partnership 
with the Canton Ballet, 
the Canton Symphony 
Orchestra, the Canton 
Museum of Art and The 
Players Guild. Through this 
program, children attend 
artist-led classes and perfor- 
mances held at the partici- 
pating cultural institutions. 


Two-thirds of the programs 
examined in this report 
were created by arts edu- 
cation and arts organiza- 
tions such as theaters, 
dance companies and sym- 
phonies. Some are housed 
in major mainstream cul- 
tural and educational insti- 
tutions such as Lincoln 

of the programs report that they work in partnership with schools 

Center for the Performing 
Arts in New York City, The 
John F. Kennedy Center for 
the Performing Arts in the 
District of Columbia and 
The Wang Center for the 
Performing Arts in Boston. 
But many others exist in 
neighborhoods and inhabit 
modest accommodations. 

The Teen Project of the 
Center for Contemporary 
Arts of Santa Fe resides in 
a converted warehouse 
near the railroad for which 
a dollar a year is paid to 
the City of Santa Fe. 
Precita Eyes Mural Arts 
Center in San Francisco 
rents a two-room space 
packed with student work. 
The Artists Collective, Inc., 
in Hartford, Connecticut, 
occupies a former Catholic 
school while it finishes 
raising the funds needed 
to break ground on a 
new building. 

While the annual budgets 
of the community pro- 
grams surveyed here range 

from $4,355 to $3,000,000, 
the average annual budget 
is $158,537, and the medi- 
an budget is $84,000. Most 
piece together their bud- 
gets each year from a vari- 
ety of sources. Ninety-five 
percent of the programs 
report more than one 
source of funding. 
Acquiring funding and 
seed money has proved 
much easier than attract- 
ing long-term support. The 
majority of donors — individ- 
uals, foundations, corpora- 
tions, government — are 
local. City governments 
provide funds to 58 percent 
of the programs; local 
foundations, to 55 percent; 
local corporations, to 50 
percent; and individuals, 
to 40 percent. 

State and federal govern- 
ments are a significant 
source of financial support 
for these programs. Almost 
half receive some support 
from their state govern- 
ment. The National 
Endowment for the Arts 

(NEA), the National 
Endowment for the 
Humanities (NEH) and/or 
the Institute of Museum 
Services (IMS) support or 
have supported 43 percent 
of organizations surveyed. 

In all, 43 percent of the pro- 
grams receive funds from 
federal agencies, includrng, 
in addition to NEA, NEH 
and IMS: U.S. Department 
of Agriculture (Extension 
Service); Corporation for 
National and Community 
Service (AmeriCorps); 
Corporation for Public 
Broadcasting; U.S. 
Department of Education 
(Title 1, Compensatory 
Education); U.S. Depart- 
ment of Health and 
Human Services (Head 
Start; Center for Substance 
Abuse Prevention); U.S. 
Department of Housing 
and Urban Development 
(Title 1, Community 
Development Block Grant; 
Public Housing Drug 
Elimination); U.S. 
Department of Justice 

(Office of Juvenile Justice 
Prevention); U.S. 
Department of Labor (Job 
Training Partnership Act; 
Summer Youth Employ- 
ment and Training). 

Public funds account for 
the largest source of sup- 
port for 40 percent of the 
programs participating in 
this study. Seventeen per- 
cent of these organizations 
identified municipal gov- 
ernment as their largest 
donor, while state and fed- 
eral governments were list- 
ed as the largest supporters 
of 11 percent and 12 per- 
cent of these programs, 

Above: Japantown Art and Media 
Workshop. Left: Appalshop. 































Earned Revenue 






Nonprofit Orgs. 












Source; National Assembly of Local Arts Agencies. 


43% of the programs receive funds fiom the federal government. 

A Delicate Balance: 


Federated Dorchester 
Neighborhood Houses, Inc. 

As we have seen in the 
previous chapter, arts and 
humanities programs for 
children and youth vary 

mensely. Sponsored by 
different organizations 

orking in partnership 
with others, these pro- 
grams offer a range of 
cultural experiences in a 

ariety of locales. 

re there certain practices, 
though, that are fundamen- 
tal to these programs' 
effectiveness with chil- 
dren? Are there features 
that cause programs to be 
captivating rather than 
merely available? 

A substantial body of infor- 
mation exists on the char- 
acteristics of successful 
programs for children and 
youth. 1 This chapter seeks 
to describe these attributes 
from the perspective of 
artists, scholars and direc- 
tors of community arts and 
humanities programs. 

This study found that the 
most effective programs 
maintain a delicate balance 
between structure and 
flexibility, creating opportu- 
nities for growth and 
building on the familiar. 
Successful programs focus 

on specific arts and 
humanities disciplines 
without ignoring broader 
child development con- 
texts. These programs 
work with parents while 
preserving independent 
relationships with children. 
Finally, they capitalize on 
the unique perspectives 
possessed by artists and 

The following characteris- 
tics were identified 
through site visits to the 
nine programs named in 
the Introduction and 
Summary 2 The descrip- 
tions below quote liberally 
from the people directly 
involved because their 
voices embody the vision 
and character of the pro- 
grams themselves. 

Effective programs take 
full advantage of the 
capacity of the arts and 
the humanities to stimu- 
late ways of knowing 
and learning. These pro- 
grams teach children new 
languages: the language of 
visual images, of move- 
ment, of sound. The new 
skills learned can be excit- 
ing; for children and youth 
whose verbal skills are 
limited, these new lan- 
guages are empowering. 

Arts skills can be wonder- 
fully liberating. "When I 
teach kids drawing," recalls 
Carlos Uribe, director of 
programs at the Center for 
Contemporary Arts of 
Santa Fe, Teen Project, "I 
say, 'The wonderful thing 
about drawing is you can 
be anywhere, and you can 
do it. You can draw any- 
thing you want. It's an ulti- 
mate freedom for you. It 
doesn't have to be the 
greatest piece of artwork. 
You can throw it away as 
soon as you do it. But for 
the moment, you are ulti- 
mately free, and there's 
almost no other place on 
this planet where you can 
experience that.'" 

The Kaleidoscope 
Preschool Arts Enrichment 
Program at the Settlement 
Music School in Philadel- 
phia provides children with 
alternative techniques for 
perceiving their world. As 
Robert Capanna, executive 
director of the Settlement 
Music School, explains, "If 
you sit at a desk and try to 
understand your environ- 
ment only through verbal 
concepts and verbal com- 
munication, it obviously 
has a different impact on 


"life treat everyone as an actor, or an artist or a writer from the minute they walk in." 

you than if you get up and 
move around the space, or 
if you try to look at the 
space and reproduce it on 
paper or if you engage in 
singing and making 
sounds through instru- 
ments. All of those things 
give you an opportunity to 
understand your environ- 
ment differently." 

The Experimental GaDery 
in the Washington State 
Historical Society, Capital 
Museum serves youngsters 
in juvenile detention cen- 
ters who have failed in 
mainstream schools and 
society. This program 
encourages them to re- 
engage, re-define and re- 
enter their families and 
communities on new 
terms. "The youth come to 
us pretty beaten down and 
with a pretty low self- 
image. They start believ- 
ing, perhaps, what people 
have said about them. But 
through their abilities to 
develop a skill in art or in 
expressing themselves 
quite differently, they're 
able to bring up that self- 
image," says Carol Porter, 
superintendent of Maple 
Lane School, Juvenile Re- 
habilitation Administration. 

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

or an artist or a writer from 
the minute they walk in," 
says Nan Elsasser, execu- 
tive director of Working 
Classroom, Inc. Robert 
Capanna, of the Settlement 
Music School, agrees. 
"What is most important to 
kids is to know that they 
are in a place that is treat- 
ing them with respect for 
their abilities." 

Elsasser continues, "What 
happens a lot of times in 
education is that your 
imagination and vision is 
the last thing that you're 
exposed to. It's like you 
can't write a play because 
you can't write a sentence. 
When you have a perfect 
sentence, you're allowed to 
write a paragraph. When 

you can write a perfect 
paragraph, you're allowed 
to write [a short story] . We 
do the opposite. We start 
purely with the imagina- 
tion and then help youth 
build the technical skills to 
finesse their expression of 
that. I think that's really, 
really important. These are 
kids whose ideas and 
imagination have not been 
encouraged, not even 

This acknowledgment is 
often the key to altering 
positively youth's self- 
image. "I've seen kids walk 
in here who have been 
slumped to the ground 
because their self-esteem 
is so low," says Ana 
Gallegos y Reinhardt, 

Washington State Historical 
Society, Capital Museum 

'These aie kids whose ideas and imagination have not been encouraged, not even acknowledged. 

The Artists Collective, Inc. 

director of the Teen Project, 
Center for Contemporary 
Arts of Santa Fe. "They 
make bad grades. Their 
parents beat them, abuse 
them. They don't feel like 
they have any skills. 
They're coming in here, 
and we see what they 
have. You give them a little 
bit of stimulus, and it's like 
they blossom. It's giving 
kids permission to have 
ideas, because they don't 
even actually acknowledge 
that they can have an 
original idea." 

Effective programs 
emphasize dynamic 
teaching tactics such as 
hands-on learning, 
apprenticeship relation- 
ships and the use of 
technology. Traditional 
teaching methods can 
be abstract and remote 
for many youngsters. 

"Children don't want to 
know about things intellec- 
tually. They want the 
experience of doing them," 
observes Capanna. 

Experiential learning acts 
as a gateway to other kinds 
of learning. "We found that 
through the exhibit 
process, you can teach all 
kinds of important social 
and academic skills," says 
Susan Warner, curator of 
education, Washington 
State Historical Society, 
Capital Museum. "Our stu- 
dents have been unsuc- 
cessful in mainstream 
schools. But they were will- 
ing to create the art for the 
exhibit. And then, by help- 
ing to plan the exhibit, 
they learn things like audi- 
ence identification, what is 
appropriate in an exhibit. 
They use basic math skills 
in determining how you 
design and lay it all out. 
Pretty soon, they are 
improving their reading 
and writing skills." 

While the goals of the 
Educational Video Center 
in New York City do not 
explicitly include the 
teaching of math and sci- 
ence, both disciplines are 
involved when making a 
video. "There's a lot of sci- 
ence in what we do. You 
figure out the physics of 
light and color and dis- 
tance and motion and time, 

all the things that are 
involve [d] in shooting and 
editing a video," says 
Steven Goodman, execu- 
tive director. 

Apprenticeship relation- 
ships occur in many of 
these programs. The 52nd 
Street Project, for instance, 
pairs young children one- 
on-one and two-on-two 
with professional play- 
wrights and actors to write 
and produce mini-plays. 

The use of computers, 
video cameras and record- 
ing and broadcast studios 
holds enormous appeal for 
youth who experience the 
electronic media everyday. 
Having access to these 
expensive means of cultur- 
al production is a special 
opportunity for many of 
them, and the challenge of 
mastering the machines 
can be motivating. The 
technology allows youth 
what Uribe of the Teen 
Project calls "a fast hit," 
the experience of success 
on which the programs 
can build. 

Effective programs pro- 
vide children and youth 
with opportunities to suc- 
ceed. Central tenets of 
these programs include 
generating the expectation 
of success and then provid- 
ing the means to accom- 
plish defined goals. 


"Children don't want to know about things intellectually. They want the experience of doing them. 

For some children, success 
is completing work, howev- 
er modest the project. For 
others, success lies in ful- 
filling a contract with a 
community organization, 
selling works of art or 
mounting an exhibition or 

"We try to guarantee suc- 
cess, because a lot of our 
kids have not been suc- 
cessful in school," says 
Robert Sotelo, artist/educa- 
tor who works in one of the 
juvenile detention centers 
in Washington state. "We 
make sure they finish pro- 
jects, make sure they finish 
what they start, no matter 
how small. They may do 10 
percent of their first pro- 
ject, and I may do 90 per- 
cent of it as a way of nurs- 
ing, basically. But I've had 
kids go from that to want- 
ing to stay when I'm sup- 
posed to go home. Then 
they will call and want to 
come over and work 
because they have these 
great ideas." 

These programs dedicate 
themselves to finding a 
way for everybody to excel 
at something. Sometimes it 
takes a little cleverness. At 
The 52nd Street Project, 
actors and playwrights 
motivate a youngster by 
writing a play in which he 
or she will be great, or by 

performing the child's 
ideas. The staff also casts 
according to the unique 
abilities of the children. "If 
a kid has a raspy voice, 
make him or her a pirate. If 
the kid can't remember 
long passages, then we're 
talking a terse pirate. If the 
kid can't manage to stand 
still on stage, that terse 
pirate is tied to the mizzen- 
mast," says Willie Reale, 
artistic director. 3 

These groups work tireless- 
ly to construct an environ- 
ment where young people 
believe that even if a con- 
tractor does not pick their 
design, they are not fea- 
tured in a performance or 
their artwork is not picked 
for an exhibition, it still has 
value. Dollie McLean, 
founding executive director 
of The Artists Collective, 
Inc., says, "Somebody has 
to care about what hap- 
pens to these young people 
and say, 'No, you can do it 
better, ' or give them the 
encouragement to 
try it again, to try it 
in another way, and 
if that doesn't work, 

try it some other way. If 
they don't do this well, 
then you find the thing 
that they do well and con- 
centrate on that." 

These programs, however, 
put a high premium on 
excellence. Many of the 
groups put on perfor- 
mances and exhibitions, 
or sell items the students 
make. The response of the 
public is one criterion for 
excellence. "If the audience 
didn't like it, not only 
would we be unhappy, but 
the kids wouldn't be suc- 
cessful. So it is about creat- 
ing good theater... it's not 
so much about social work 
for kids," explains Carol 
Ochs, executive director of 
The 52nd Street Project. 

Public affirmation can be 
the most powerful motiva- 
tor of all. "It doesn't 
matter if people tell 
you, 'Oh, you're 

says Elsasser. Outside 
recognition from the public 
can be much more com- 
pelling. She goes on to 
explain: "We opened this 
gallery last Friday, and 
there were over 200 people 
who came and bought 
commissioned work. 
Bingo!... The youngsters do 
need positive reinforce- 
ment, but they know when 
it's real and when it's just 
part of the curriculum." 

Effective programs begin 
small and keep their 
classes small. One of the 

reasons these programs 
have an impact on young 
lives is that the classes are 
small. Hands-on learning 

The 52nd Street Project 

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

Educational Video Center 

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

"There is a lot of one-to- 
one time that is spent with 
adult role models, people 
who are respected, who 
pay attention and who give 
sensitive guidance to the 
young people," says Bernie 
Lopez, executive director of 
the Center for Contempo- 
rary Arts of Santa Fe. 
"That's something that's 
almost totally absent in 
their lives. They get almost 
no one-to-one time with an 
adult anywhere, certainly 
almost none at school." 

There are practical reasons 
for beginning small, as 
well. Putting programs 
such as these in place 
requires intense labor. 
Ensuring success is even 
more challenging. 
Beginning with a small 
number of children is 

important until a step-by- 
step strategy for expansion 
can be implemented. 

Effective programs build 
on what young people 
already value. The experi- 
ences that children and 
youth bring with them are 
not only valid, but also the 
core around which the 
learning process is built. 
Not all children and youth, 
however, come to these 
programs believing that 
the arts and the humani- 
ties are particularly rele- 
vant to their lives. "You 
cannot throw somebody 
who has been beaten down 
most of their life into a 
drawing class and expect 
them to understand the 
beauty of drawing. They're 
not there yet," recognizes 
Uribe. "Getting them there" 
means beginning with 
what youth value and 

For many of the young peo- 
ple in these programs, eco- 
nomic survival is a critical 

issue. Getting a job relates 
to this primary concern. "I 
like to have pragmatic 
goals for these kids," says 
Dennis Taniguchi, execu- 
tive director of the 
Japantown Art and Media 
Workshop, "and something 
real for them to get into, 
that they can see how they 
can make some bucks. 
That's a very good way to 
reach these kids." 

These young people are 
not rejecting the adult 
world, but trying to figure 
out how effectively to play 
a role in it. "You can't 
exclude kids from the adult 
world because that's where 
they're headed and that's 
what much of their frustra- 
tion and longing is about," 
says Lopez. 

The staff of The Artists 
Collective, Inc. would 
agree. Among its offerings 
is a Summer Youth 
Employment and Training 
Program that rewards 

discipline, appropriate 
dress, grooming and good 
behavior with a small 
stipend. The Artists 
Collective, Inc., located in 
one of Hartford, 
Connecticut's poorest 
neighborhoods, now is 
known locally as the "oasis 
on Clark Street." 

But if learning art for pay 
"buys a little patience," so 
does the use of technology 
for this media-sawy gener- 
ation. The Japantown Art 
and Media Workshop uses 
computer games to teach 
design and offers an 
apprenticeship in comput- 
er graphic design. The 
Educational Video Center 
recognizes that learning to 
communicate through a 
video camera is part of the 
attraction of its program. 
The apprenticeship pro- 
gram in videography capi- 
talizes on young people's 
interest in media. 


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

Both of these programs 
apprentice youth to profes- 
sionals who are completing 
specific projects under 
contract. Working on "real- 
world" projects in a "real- 
world" environment with a 
client and a contract, dead- 
lines, telephones and fax 
machines makes the task 
more compelling. It also 
addresses a central con- 
cern many young people 
have about their futures: 
their employability. 

Future employment is 
exactly what is behind the 
YO-TV program at the 
Educational Video Center. 
Designed for a small group 
of high school graduates, 
YO-TV provides them with 
advanced, pre-professional 
training and allows them to 
create broadcast-quality 
documentary videos on 
issues of concern to the 

Some programs build on 
current teen fads. Both the 
silk-screening classes at 
the Japantown Art and 
Media Workshop and the 
Teen Project focus on T- 
shirt design as a beginning 
activity. "A lot of kids 
don't really care about the 
design aspect. They'd 
rather leave that to the 
artist," says Uribe. "But the 
work of it, the result of pro- 

ducing 500 T-shirts, the 
mini-thrill of possibly see- 
ing them on the street 
somewhere appeals to 
them." For the same rea- 
son, the Teen Project is 
also planning a custom 
car-painting service to 
draw at-risk youth to the 

In a related way, the 
Vermont Council on the 
Humanities, which serves 
teenage mothers, builds on 
the importance of their 
babies to them to encour- 
age literacy. The Read With 
Me program provides a 
place for isolated teens to 
talk with others about 
common concerns, hopes 
and dreams. 

Effective programs have 
clear goals and high 
expectations. "These kids, 
if put into the right kind of 
environment, can absolute- 
ly flourish," says Capanna, 
reflecting the positive 
expectations the directors 
of these programs have 
concerning the children 
they serve. The "right envi- 
ronment" includes clearly 
articulated goals with a 
reliable structure. 

Clear goals provide securi- 
ty to children whose lives 
are often chaotic and over- 
whelming. Knowing what 
the expectations are and 

learning the relationship 
between effort and results 
is a potent experience. 
For many youth in these 
programs, it is a new one. 

In some programs, contracts 
with outside businesses and 
organizations — with defined 
goals, timetables and stan- 
dards — provide a structure 
within which artistry takes 
place, just as preparing for a 
performance or exhibit pro- 
vides it in others. 

Some programs have set 
up specific mechanisms for 
rewarding positive perfor- 
mance. For instance, the 
Working Classroom, Inc. 
has a point system: Teens 
earn points for keeping up 
their grades in school and 
participating in classes. 
These points can be 
"cashed in" for special 
events or related travel, or, 
for some, financial assis- 
tance for college. 

While programs emphasize 
mutual respect and open- 
ness to the ideas of the 
children, they also recog- 
nize that it is important for 
adults to set certain para- 
meters; it's not just "any- 
thing goes." Willie Reale at 
The 52nd Street Project 
describes this arrangement 
as a "benevolent dictator- 
ship." "The rules are demo- 

cratic in that everybody 
gets fair and equal treat- 
ment under the law. But 
the law is the law. " 

At The Artists Collective, 
Inc., youth wanting to 
receive a check from the 
Summer Youth Employ- 
ment and Training Pro- 
gram must meet certain 
grooming, dress and 
behavior standards. "They 
know that we're strict. But 
they also know that we 
care about them," says 
Founding Executive 
Director Dollie McLean. 

However, setting expecta- 
tions for behavior and per- 
formance is different from 
being inflexible or authori- 
tarian. Such rigidity, in 

Japantown Art and Media 


"You can't exclude kids from the adult world because that's where they'ie headed. 

part, makes many of these 
children rebel against 
school, home and commu- 
nity. As Carlos Uribe points 
out, "If you come across as 
an authoritative hard-line, 
no-flexibility figure, kids 
are going to turn away 
from you immediately. 
That's why the kids turn 
away from education. 
That's why they turn away 
from parents or religious 
institutions that don't give 
them the permission to fig- 
ure it out." 

Effective programs pro- 
vide youth with an acces- 
sible and safe haven and 
a broader context within 
which to learn. Creating a 
site where children are 
physically safe is a crucial 
requirement. Programs 
must be located in safe 
places, accessible by pub- 
lic transportation. When 
necessary, entrances to 

the building should be 

The program directors also 
speak eloquently about the 
critical need to create a 
safe haven for ideas and 
relationships: a "petri dish" 
where youth can develop 
caring and respectful rela- 
tionships with each other 
and with adults, a place in 
which children "come 
away looking at themselves 
and society differently." 
Humanities programs 
where the emphasis is on 
exploring ideas are key 
to developing a broader 

Many directors noted that 
youth are thirsty for infor- 
mation about their racial 
and ethnic cultures. Part 
of The Artists Collective, 
Inc.'s mission is to provide 
youth with a more com- 
plete picture of their 

cultural heritage and, 
therefore, of themselves. 
"You can't just tell a person 
that you are somebody. You 
have to learn who that 
somebody is, who that 
somebody was, what those 
accomplishments were. 
You have to give them 
faces that they look at, that 
look back at them, that say, 
Tm special. I'm somebody 
special,' whether it's the 
face of a Wynton Marsalis 
or a Harriet Tubman," says 

Effective programs are 
voluntary and are shaped 
by youth themselves. All 

nine arts and humanities 
programs that were visited 
are voluntary programs. 
Even within the juvenile 
detention center, participa- 
tion is optional. This volun- 
tary participation is an 
important part of "not 
being like school." 

It also means that pro- 
grams must be account- 
able to children, youth and , 
families; if the program 
does not "measure up," the 
children will not come. For 
youth, "measuring up" 
includes giving them the 
chance to hold themselves 
accountable for the suc- 
cess of their experience. 

Allowing children and 
youth to accept responsi- 
bility is part of what makes 
these programs work. "It's 
not learning to please some 
external thing. The kids are 
in charge of the project. We 
give them the responsibili- 
ty, and they come through 
every time," says Warner, 
of the Washington State 
Historical Society, Capital 
Museum program. "They 
make the choice to change 
because they aren't being 
made to." 

Effective programs pro- 
vide quality staff and 
quality programming. 

Directors stressed the 
importance of quality pro- 
gramming and top-notch 
staff. They believe that 
economically disadvan- 
taged children, like more 
affluent children, should 
have access to the best 
society has to offer. "The 
system says the good stuff 
is for Suzi, but the good 
stuff is not for Nadine. 

Arena Stage 

[Tine theory of our program is that everything good belongs to everyone 

That's from 
eating a diet with 

Victor's going to get to 
read The Odyssey, and 
Dawn is going to get to 
read we-don't-even-know- 
what because we don't 
read it ourselves. But the 
theory of our program is 
that everything good 
belongs to everyone," says 
Victor Swenson, executive 
director of the Vermont 
Council on the Humanities. 

Capanna concurs, "It is 
very important for kids to 
come into contact with 
adults who are experts, 
because kids get it on a 
visceral level that they are 
dealing with somebody 
who knows all there is to 
know about a particular 
area. Even if you are dealing 
with kids of very average 
ability, or even below aver- 
age ability, when you put 
them in an art activity or a 
music lesson with a highly 
trained person who is at the 
top of the held, that commu- 
nicates." Effective programs 
emphasize excellence. 

It is also important to put 
children in frequent, direct 
contact with artists and 
scholars themselves. 
"Artists process their envi- 
ronment differently," 
explains Capanna. "When 
you put an artist in a 
teaching environment, they 
stay an artist. When you 
put a teacher in that envi- 
ronment and give them 
some art skills, they are a 
teacher with some art 
skills. And the kids know 
the difference." 

The talent of children is 
never an issue in these 
programs. Effort is. "The 
kids may not have the abil- 
ity to become what the 
teacher is, but when they 
work at their own level of 
ability, they do it with the 
same degree of concentra- 
tion and commitment that 
their teacher demon- 
strates," confirms Capanna. 

Effective programs recog- 
nize that positive adult 
relationships are central 
to success. Directors 
stressed the importance of 
finding people who care 
about young people and are 
comfortable around them. 
Effective adult mentors 
choose to work in commu- 
nity programs, are honest, 
respectful and flexible and 
able to adapt quickly to 
individual situations. 

Directors also discussed 
the need to locate artists 
who have a sense of fun, 
who "put a little wink in 
the work" and who under- 
stand that the program is 
not about them but about 

functions at that level." 5 On 
the other hand, artists and 
teachers do not ignore the 
pain, anger or frustrations 
that may emerge through 
their work with children. It 
can be a fine line to tread. 

the children. "Ego must be 
checked at the door before 
entry," says Reale. 4 Terms 
such as "facilitator" and 
"shepherds" often were 
used to describe the role of 
artists and scholars. The 
directors considered it 
essential that the process 
of creation belong to chil- 
dren and youth. 

The adults working with 
youth must understand the 
dynamics of working with 
vulnerable children. 
"Problems, big emotional 
problems, are not solved on 
our stage," declares Reale. 
"Leave the therapy to the 
therapists.... The theater is 
a medium of metaphor, and 
it is far more beautiful and 
far more moving when it 

Finding people with all 
these characteristics is not 
easy. "It is very difficult 
because we look for some- 
body who's skilled in his or 
her craft. But people who 
are really skilled can make 
a lot more money in the 
industry. So they have to 
have some inner commit- 
ment to work with the 
kids," says Steven 
Goodman of the Education- 
al Video Center. 


Top Left: Department 
of Cultural Affairs. 
Above: California Lawyers 
for the Arts. 

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

Keeping quality staff also 
presents a challenge. The 
pay is low; the perquisites, 
few; the burn-out, fast; and 
in some fields, the compe- 
tition, stiff. "I wish we had 
more resources to give staff 
sabbaticals and profession- 
al development so that this 
is a career and not a side 
thing," says Goodman. 
But there are benefits for 
the teachers and volun- 
teers, which help to create 
a mutually sustaining com- 
munity. "I think one of the 
big linchpins in our suc- 
cess has been creating a 

You can't make a policy out 
of this. We're just a bunch 
of people who happen to 
want to affect a bunch of 
other people. You can't 
codify it. It's as individual 
as any relationship is." 

Effective programs work 
in partnership with par- 
ents, but recognize their 
different relationship 
with youngsters. Every 
program stresses the 
importance of parents. 
Acceptance and apprecia- 
tion by parents is very 
important to young people, 

program that is both satis- 
fying to the people we're 
serving and the people 
who are volunteering," says 
Reale. "What we're able to 
do is give people, give our 
volunteers, a way to use 
their skills and to serve the 
community. I think when- 
ever you can do that, peo- 
ple feel good about them- 
selves. And that's it. We're 
not changing our world. 

even children living with 
family difficulties. As Abe, 
one young person at a 
juvenile detention center, 
says, "Kids like to send 
stuff home. They give it to 
their parents and say, 'Hey, 
look. I did this.'" 

"We are desperate to main- 
tain relationships with par- 
ents," acknowledges Carol 
Ochs. "Nothing makes kids 
feel better than the parents 

showing up for the show 
and being there. So we try 
to be as communicative as 
possible in terms of every- 
thing that we're doing." 

Reale points out, "Most of 
the kids who we work with 
have remarkable, hard- 
working, decent parents — 
folks trying to do the best 
for their families and them- 
selves. Getting to know the 
parents is part of the job. 
As your relationship with a 
child deepens, you can 
work together with a parent 
to help the child through 
difficult stretches. When a 
kid exhibits behavior that is 
difficult to understand, ask 
his or her parents to shed 
light. They usually have the 
answers.... Above all, the 
parents must be treated 
with respect." 6 

Even so, creating an inde- 
pendent relationship is 
important, particularly with 
older children. For many 
adolescents, parents are 
"part of the problem." And 
sometimes youth are more 
willing to talk about impor- 
tant issues with caring 
adults outside of their 

For some programs, how- 
ever, the distinction 
between being a parent 
and being a child has van- 
ished. Programs for one are 
often for the other, as 

exemplified by the 
Vermont Council on the 
Humanities' Read With Me 
program for teen parents. 

Many of the parents of the 
children who attend the 
Kaleidoscope Preschool 
Arts Enrichment Program 
are young themselves. 
These parents are required 
to attend five hour-long 
parenting seminars each 
semester. "The Program 
has provided a mentor-type 
relationship between par- 
ents and faculty. It has 
been very beneficial. We 
have had a number of par- 
ents who have decided to 
go back to school to get 
GEDs and to go to commu- 
nity college. We have been 
very conscious that it's 
important to pull the fami- 
lies into the whole mix," 
says Capanna. 

Effective programs exist 
in institutions committed 
for the long term. For 

Robert Capanna, offering 
sustained programming 
and a stable community 


Nothing makes kids feel bettei than the parents showing up for the show and being there." 

home-away-from-home is 
not just practical, but 
moral. It is "cruel" to bring 
children into a positive 
environment that cannot 
be sustained. "You have to 
commit to being there for 
kids for all of the time 
you've said you are going 
to be. So if it is a 3-year 
program, you have to be 
funded for 6 years, so that 
the kids coming in at the 
beginning and the kids 
leaving at the end both 
have the full range of the 3- 
year experience.... If you are 
going to build a relation- 
ship with the community, 
you have to say, 'We are 
here, we are it, and we are 
going to keep doing this. 
We are really committed to 
doing it.'" 

Being available means 
more than providing activi- 
ties. It means creating a 
location children can come 
to over time for a variety of 
reasons; a place that is a 
stable element in their 
lives. For instance, The 
52nd Street Project, in look- 
ing for new space, made it 
a priority to move back into 
the heart of the neighbor- 
hood it serves and to find 
space suitable for youth to 
just drop in. 

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

considerable. Raising gen- 
eral support and multiyear 
funds, particularly in the 
midst of government fund- 
ing cuts and over-stretched 
foundation resources, is 
very difficult. While the 
hybrid nature of these pro- 
grams — part arts and 
humanities and part youth 
development — is one of 
their strengths, it makes 
fund-raising efforts more dif- 
ficult. "The frustration is, 
some funders can be 
remarkably and painfully 
inflexible in their areas of 
interest," observes Capanna. 

Effective programs are 
gateways to other ser- 
vices for children. While 
the directors are clear that 
they offer arts and humani- 
ties programs and not 
social service programs, 
they also recognize that 
the programs can be gate- 
ways to other services for 
their constituents. They 
can teach children how to 

navigate other networks. 
They can advocate on their 
behalf. "Obviously, part of 
the kid needs to brush his 
teeth, and part of him 
needs to go to the dentist, 
and part of the kid needs 
shoes on his feet and the 
other part of the kid needs 
a stimulating environment 
and an opportunity to 
express himself artistically 
and to be fed and nurtured. 
It is all part of the kid," 
says Capanna. Recent 
Head Start funding has 
allowed his Kaleidoscope 
Preschool Program to hire a 
full-time social worker to 
coordinate services for 
children and act as a 
bridge to families. 

Because both the Washing- 
ton State Historical Society, 
Capital Museum and the 
Vermont Council on the 
Humanities programs work 
in partnership with health, 
social service and/or edu- 
cation systems, the artists 

and scholars are part of a 
multidisciplinary team. 

Nan Elsasser does not have 
a social worker on staff, but 
she advocates for the 
Working Classroom teens 
herself. "The sad part of it 
is, there's a real difference 
when I go to school 
for someone, and the 
parents do." 

Most programs do not have 
formal links with other ser- 
vice providers, but like 
Elsasser, going the "extra 
mile" for children is part 
and parcel of the program's 
work. This commitment to 
service is the overriding 
reason these programs can 
make such a difference in 
the lives of young people. 

Above Left: Center of 
Contemporary Arts (COCA). 
Far Left: East Bay Center for 
the Performing Arts. 
Below:The Brooklyn 
Children's Museum. 

'You have to commit to being there foi kids for all of the time you'ue said you're going to be. 

Looking Ahead: 


Upper Right: MERIT Music 
Program of Chicago. 
Right: Guadalupe Cultural 
Arts Center. Lower Right: 
MollyOlga Neighborhood Art 

This survey paints an 
enticing picture of the 
effect community arts and 
humanities programs have 
on children and youth. It 
also suggests the value of 
supporting these programs, 
promoting their prolifera- 
tion and conducting more 
extensive studies of their 


Most of these community 
organizations operate with 
limited staff and small bud- 
gets. Technical assistance 
programs, perhaps support- 
ed by the corporate sector, 
community foundations or 
local arts or humanities 
councils, should be devel- 
oped to strengthen their 
administrative and fund- 
raising capacities. 

With increased resources, 
new areas could be 
explored to expand the 
effectiveness of programs 
and enhance staff opportu- 
nities. For example, staff 
could learn from and train 
at other centers. Travel 
grants, paid sabbaticals, 
staff mentorship programs 
and performance 
exchanges would all con- 
tribute to creating a net- 
work to enrich existing 
programs. In time, new 

types of communication 
could lead to new collabora- 
tions and partnerships 
among centers. 


The needs of families and 
children are usually multi- 
ple, changing and varied. 
However, in most cases, 
community services are 
organized narrowly to 
respond to specific prob- 
lems. A common conse- 

.es to 

visit other community 
institutions. Strategies 
link cultural programs with 
schools, public agencies 
and other community orga- 
nizations are greatly need- 
ed to develop coordinated 
responses to interrelated 
problems. Such a linking of 
services and providers 
would reap the added ben- 
efit of allowing scarce 
resources to yield greater 

quence of this segmenta- 
tion is that children and 
their families must go to 
different agencies to 
receive different but relat- 
ed services. Thus, families 
receive fragmented and 
insufficient assistance. 

Many of the children and 
youth in these arts and 
humanities programs also 


Cultural leaders currently 
are searching for an 
approach to assessment 
that enriches understand- 
ing of effectiveness and 
provides programs with an 
ongoing tool for evaluating 
and improving their prac- 
tices. To this end, Project 
Co-Arts at the Harvard 
University Graduate School 
of Education began a study 

Technical assistance should be developed to strengthen program capacities. 

in 1991 of community arts 
education centers with 
sustained programs in eco- 
nomically disadvantaged 
communities. The 
University published in- 
depth portraits of five 
exemplary centers in Safe 
Havens: Portraits of 
Educational Effectiveness 
in Community Aits Centers 
that Focus on Education in 
Economically Disadvan- 
taged Communities. 
Harvard also developed 
and published, in The Co- 
Arts Assessment Hand- 
book, an assessment 
technique that uses 
assessment forums and 
"process folios" to describe 

With increased competition 
for fewer dollars, however, 
finding ways to measure 
results takes on a new 
urgency. Several nation- 
wide initiatives expect to 
yield important information. 

The GE Fund, both individ- 
uaUy and in collaboration 
with the John D. and 
Catherine T. MacArthur 
Foundation and the 
President's Committee on 
the Arts and the Human- 
ities, funds several 
research projects whose 
goal is to demonstrate the 
impact of arts education. 

The National Assembly of 
Local Arts Agencies is col- 
laborating on two studies 
with local arts agencies to 
evaluate arts programs that 
also have social goals. The 
first study, a partnership 
among the City of Los 
Angeles Cultural Affairs 
Department, the Chicago 
Department of Cultural 
Affairs and the New York 
City Department of Cultural 
Affairs, will measure the 
effectiveness of arts pro- 
grams that are designed to 

address public safety 
issues and reduce crime. 
Evaluation and research 
methods for this study are 
being developed and con- 
ducted by the Rand 

The second multiyear 
study is a collaboration 
among the Regional Arts 
and Culture Council in 
Portland, Oregon; the City 
of San Antonio 
Department of Arts 
Cultural Affairs; 
Fulton County Arts 
in Atlanta, Georgia. The. 
project seeks to develop 
and test models fogevi 
ating programs dajj 
improve the lives azldW^ 

culminate in the develop- 
ment of a handbook to 
guide additional agencies in 
community arts program 
development and artist 
training. Startup funds for 
the project were provided 
by the National Endowment 
for the Arts, and the U.S. 
Department of Justice is an 
active partner in its evalua- 
tion component. 

Strategies Tor developing 
and. funding, assessments 
must be an integral compo- 
nent of program planning. 

reduce criminal activity of 
at-risk youth. As a, portion 
of the study, the tragS 
for artists and soc: 
vice personnel also^rakbe- 
evaluated. This project 


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

Above: Asian Americans 

United. Right: Center for 

Contemporary Arts 

of Santa Fe. Far Right: Artists 

Raising the Consciousness 

of Humanity (ARCH) 


Donors can play an impor- 
tant role in ensuring the 
evaluation of community 
arts programs for at-risk 
youth both by funding this 
component of projects and 
by providing technical 
assistance for developing 
useful, practical and credi- 
ble research. 


Even as these programs for 
youth make striking 
advances, their financial 
future is threatened; many 
of their sources of support 
are in jeopardy. Govern- 
ment funding cutbacks will 
affect these programs 
severely. The substantial 
reduction in federal funds 
for the National 
Endowments for the Arts 
and the Humanities and 
the Institute of Museum 
Services will mean not only 
less money for programs 
like these, but also marked- 
ly increased competition 
with other programs for the 
reduced number of grants. 
Other government programs 
in education, housing, job 
training and social services 
also face reductions or elim- 
ination at the federal, state 
and local levels. 

In fact, cuts in public sup- 
port may signal an 
unprecedented upheaval in 
the entire nonprofit sector. 
A recent study by Nina 
Kressner Cobb for The 
Rockefeller Foundation, 
published by the 
President's Committee, 
with the Texaco Foundation, 
shows that donations by 
individuals for any charita- 
ble purpose are stagnant, 
even as individual wealth 
has increased. "For the first 
time since 1986, total giv- 
ing has fallen below 2% of 

Gross Domestic Product; 
private charitable giving is 
not growing with a 
stronger U.S. economy." 1 

While private foundations 
alone cannot be expected 
to "save the day," their 
leadership and decisions 
are pivotal, now more than 
ever. Some already support 
community cultural pro- 
grams with funding and 
research. But programs 
will not survive without 
sustained support and 
new resources. 

The organizations in this 
survey do not pretend that 
they have all the answers 
for at-risk children and 
youth. The arts and 
humanities are not "mira- 
cle solutions." At the same 
time, something very 
important is being 
achieved. These programs 
have a positive impact on 
the lives of youth. Their 
fresh, sometimes novel, 
approaches, implemented 
by caring, committed 
artists and scholars, are 
worthy of a closer look and 
increased support. 


Progiams need sustained support and new resources 




o Hundred Plus: 



The arts and the humani- 
ties programs profiled in 
this section were identified 
by a broad range of organi- 
zations and agencies: arts 
organizations; national arts 
and humanities service 
groups; national networks 
of community institutions, 
such as Boys and Girls 
Clubs, libraries, museums 
and parks; national youth 
and social service organi- 
zations; foundations and 
government agencies. The 
President's Committee did 
not visit or review every 
program profiled in the 
study. Each of the 600 
identified programs was 
screened to select those 
working primarily with at- 
risk children, offering 
sustained arts and humani- 




ties programs outside of 
the public school curricu- 
lum. In addition, the 
selected programs focus 
on youth development 
through the arts and the 
humanities as one of their 
expressed goals. 

Staff at the 218 programs 
that met these criteria 
were interviewed to gather 
information on: 

• Why a program was 

• What arts and humani- 
ties activities are offered 

• What community 
conditions and resources 

• Who the program serves 

• How services are 





• Whether staff, including 
artists and scholars, are 

• Who the program's 
partners and supporters are 

• What the impact is on 

• How effectiveness is 

The following arts and 
humanities program 
descriptions are arranged 
alphabetically by organiza- 
tion. Organizations that 
begin with "The," or with 
the Spanish equivalent "El" 
or "La," are alphabetized 
without regard to the arti- 
cle. For instance, 
The Village of Arts and 
Humanities will be found 
under Village; El Puente, 

Media Arts 



under Puente. An alphabet- 
ical list of organizations 
and their programs by 
state begins on page 154. 
While most of the headings 
in the profiles are self- 
explanatory, a few deserve 
comment. Both the "Youth 
Served" and "Budget" 
numbers are annual 
numbers. "N/A" means 
"not available." 

To assist the reader in 
identifying the program- 
matic focus of each pro- 
gram, icons representing 
different cultural 
disciplines have been 
developed. The key to the 
icons follows. 



Visual Arts 

„ L- I Literature 

^\ I Photography 


Office of the Courts/ 
Juvenile Services 
Kenton County 
Building, Room 606 
303 Court Street 
Covington, KY 4101 I 
606-292-642 1 

Program: Theater 
in Diversion 
Year Started: 1993 
Focus: Theater 
Youth Served: 20 
Ages: 8- 1 7 
Budget: $ I 5,000 

Organization: African 

Heritage Dancers and 


4018 Minnesota 


Washington, DC 200 1 9 


Program: African 
Heritage Dancers 
and Drummers 
Year Started: 1 960 
Focus: Dance & Music 
Youth Served: 250 
Ages: 3-2 1 
Budget: $ 1 00,000 

This program is designed to divert teen 
offenders from the formal court system, 
reduce delinquent behavior, increase 
positive peer interaction, enhance criti- 
cal thinking abilities, bond youth to the community, 
develop in youth an appreciation for the arts and 
increase their understanding of the legal system 
through dramatic interpretation of concepts such as 
authority, justice and responsibility. Program goals 
are met by engaging youth in role-playing and impro- 
visational theater techniques in classes conducted 
by professional actors over a 10-week period, culmi- 
nating in a final production. Youth continue 
to be involved by training to be junior facilitators or 
technical production staff. Other youth participate in 
the program through creative-writing classes leading 
to script development and through visual arts class- 
es involving set design. The program, originated by 
Peg Phillips, an actress of recent Northern Exposure 
TV fame, can be summed up best in her words: "It 
went over with a 'bang' right from the first. Kids are 
in love with the drama exercises and theater impro- 
visations taught in the program. The kids' enthusi- 
asm and the way they respond is all we need to 
justify our presence in their lives." 

The African Heritage 
Dancers and Drummers, 
located in Washington, DCs 
inner city, teaches dance 
traditions in an environment that, according to Exec- 
utive Director Melvin Deal, serves as a surrogate fami- 
ly and a repository for African cultural research and 
documentation. The teen program includes an inten- 
sive regimen of 2- to 3-hour dance and drumming 
classes 5 days a week, during which participants 
also learn performance skills and study the costumes 
and history of the dances. Supplementing the cultural 
program are mentoring services that encourage 
character development, teach life skills, advise on 
teen pregnancy prevention, assist with truancy 
problems and support general equivalency diploma 
preparation. "We've come to realize we need to 
make a whole person before we can make an artist," 
says Deal. The dancers and drummers receive a 
stipend and community service hours toward high 
school graduation for performing throughout the 
year at local community centers, schools, festivals 
and cultural centers. They recently performed at 
New York City's Lincoln Center. Participants move 
through the program in stages from student to per- 
former, performer to teacher and teacher to mentor. 
This progression helps youth gain exposure to the 
larger world and see options for becoming positive 
contributors to the community. "Staff and instructors 
evaluate the program almost daily. We need to con- 
stantly assess the morale of the youth and outside 
influences to ensure solidity," says Deal. 


Organization: Alliance 
for the Progress of 
Hispanic Americans 
83 Hanover Street 
Manchester, NH 

Program: ALPHA 
TEEN Theater 
Year Started: 1 992 
Focus: Theater 
Youth Served: 53 
Ages: 12-19 
Budget: $50,000 

American Indian 
Contemporary Arts 
685 Market Street 
San Francisco, CA 

Program: In Our 
Own Words 
Year Started: 1 994 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1 5 
Ages: 12-18 
Budget: $25,000 

Hispanic youth have an outlet to express 
themselves, develop cultural pride and 
receive the mentoring and guidance 
they need to be successful in school 
and life because of the ALPHA TEEN Theater program. 
During the school year, the teens attend the program 
twice weekly after school for 1 hour of academic 
tutoring and 1 hour of theater work. The teens do 
theater exercises under the guidance of an artistic 
director. The theater work helps them develop deci- 
sion-making skills, address social issues, improve 
coping skills and build their self-esteem. The teens 
write five scripts based on issues or conflicts in their 
own lives. They perform these and other skits before 
audiences of peers in community settings. ALPHA 
makes a commitment to work with youth until they 
are accepted into college. An intensive, 8-week sum- 
mer program also is offered to these youth, with a 
shared focus on academic and theater skills. 

■ ■ Hispanic youth have an outlet 
to express themselves, develop 
cultural pride and receive the 
mentoring and guidance they 
need to be successful in school 
and life because of the ALPHA 
TEEN Theater program. * * 

^^K v In Our Own Words uses the arts to 
M FA m provide Native-American youth in 
v5j^^^, ' San Francisco with a supportive peer 

"^B ^^ group and positive role models. The 
1994/1995 program taught young people how to 
integrate modern technology with native traditions 
to produce videotapes and radio programs. Meeting 
once a week for 3 hours at the Indian Education 
offices in the participants' community, the program 
was divided into three phases. In phase one, youth 
learned about poetry from a poet and Lakota drum- 
mer, wrote their own poems and compiled an anthol- 
ogy. In phase two, they worked with the local public 
radio station to produce their own radio program: 
They read their poetry on tape, edited the tape and 
then aired the program with a live call-in session. 
In phase three, working with computer technology, 
youth learned how to combine imagery, music and 
words into a videotape of their poems, which was 
shown at a final event for families and friends. "I 
know that this program helped prevent at least one 
of the participants from dropping out of school," 
says Janeen Antoine, director of American Indian 
Contemporary Arts, adding that youth had to stay in 
school to participate in the program. "Even though 
they didn't get paid to participate, they came dili- 
gently every week and often on Saturdays." 


American Variety 
Theatre Company 
2027 W. Broadway 
Minneapolis, MN 
5541 I 

Program: American 
Variety Theatre 
Company 4-H 
Year Started: 1 98 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 250 
Ages: 4- 1 9 
Budget: N/A 

Organization: Andrew 
Cacho African Drum- 
mers and Dancers, Inc. 
P.O.Box 15282 
Washington, DC 20003 
202-889-03 50 

Program: In-School 
and After-School 

Year Started: 1 969 
Focus: Dance & Music 
Youth Served: 30 
Ages: 6-2 1 
Budget: $85,000 

^^R v The American Variety Theatre Compa- 
M WA % ny (AVTC) is an outgrowth of a 4-H 
^sj^^^k ▼ garden project developed to meet the 

"^B ^^ changing needs of youth in the program 
as they grow older. Using an old abandoned theater, 
AVTC offers classes in jazz, tap, ballet, acting, impro- 
visational theater, piano, voice and recording. Each 
discipline is split into different classes by age and 
proficiency level. The classes all culminate in a pro- 
duction at the end of each session. Students, ages 
4-19, come to the theater after school at least three 
times a week to take different, 90-minute classes. 
The program is open to all county residents and relies 
heavily on community volunteers. Transportation is 
provided, and the $10 annual fee is waived for those 
unable to afford it. Using points awarded for good 
work and behavior, students buy items donated to 
the theater store by local corporations. The AVTC 
encourages youth to express themselves, share ideas 
and explore new and challenging topics as they work 
together to present a theatrical production. 

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

Over 25 years ago, Andrew 
Cacho started teaching 
African dance and drum- 
ming to youth at Friendship 
House, a community center in Washington, DC. 
When he saw how young people responded, he 
developed a new organization to focus on these art 
forms and African cultures. The mission of Cacho's 
Program is to provide youth with positive 
alternatives in their lives. Three evenings a week 
and on Saturday afternoons, participants come 
together to learn about African cultures through 
dancing, drumming and mask-making in anticipa- 
tion of mounting a final production. There is a daily 
summer program in which young people are paid for 
participation through a government youth 
employment initiative. Fifteen children have been 
with the Program for almost a decade, and a number 
have gone on to earn college degrees. 




306 Madison Street 

Whitesburg, KY 41858 

606-63 3-0108 

Program: Appalshop 
Media Institute 
Year Started: 1 988 
Focus: Video & 
Youth Served: 1 3 
Ages: 13-17 
Budget: $ I 1 0,000 

Arena Stage 
6th and Maine 
Avenue, SW 

Program: Living Stage 
Theatre Company 
Year Started: 1 966 
Focus: Theater 

Washington, DC 20024 Youth Served: 300 
202-234-5782 Ages: 3-18 

Budget: $585,000 

^H^^ ^^^^ Located in central Appa- 
^^T^^^M fe lachia, Appalshop is an arts 

^^^^^^^^ wM W and education center that 

^^ ^^ w^EJ provides local people a mod- 
ern vehicle with which to tell their stories. There are 
two primary programs for youth at Appalshop; both 
are designed to reform traditional education and to 
help teens better understand Appalachian culture. 
The Roadside Theater Company, a storytelling theater 
company, conducts extended school residencies. 
Youth interview community members and turn the 
stories they hear into theater pieces, which they pre- 
sent to the community. Appalshop Media Institute 
(AMI) is a 6-week summer video production project 
for sophomore and junior high school students. It 
emphasizes analytical thinking, good study habits 
and collaborative learning through the teaching of 
media production skills and their use in examining 
community issues. College students who have gradu- 
ated from the program act as group leaders to teach 
technical, research and leadership skills. Youth are 
paid to participate in classes and production exercises 
for 40 hours a week. For the last 2 weeks of the pro- 
gram, participants go into communities, interview 
residents and produce a documentary based on the 
interviews. "The program teaches youth about their 
history and fosters community responsibility and the 
idea of giving back," explains Educational Services 
Director Robert Gipe. "We find that the rate of college 
attendance for kids going through the program is 
much higher than the average rate here. The program 
helps focus kids on who they are and what they want 
for themselves." During the school year, AMI interns 
work with teachers to develop media studies curricula 
and teach portions of classes to pass on their video 
skills to other students. 

Living Stage Theatre Company is the 
outreach arm of Arena Stage, one of 
the country's preeminent professional 
regional theaters. Living Stage is an 
improvisational theater program that draws from 
the lives and concerns of audience members to 
develop the content for its performances. The four 
ongoing workshops, for physically disabled toddlers, 
impoverished second graders, teen mothers and 
incarcerated youth, give traditionally overlooked 
populations a voice. The first part of each workshop 
focuses on a scenario in which the main character 
is always the same age as the participants and faces 
a dilemma. At a crucial moment, the scene freezes, 
and the group improvises how the scenario can be 
resolved. During the second part of the workshop, 
the participants work on theater exercises to develop 
skills in communicating emotions and creating char- 
acters, on building sets and more. Then, each group 
works together to create an improvisational perfor- 
mance of its own. Professional actor/educators lead 
the workshops, tailoring each to the specific needs 
of the group. Youth participate weekly over a 
5-month period, working VA to 3 hours in groups of 
no more than 20. 




Arkansas Arts Center 


9th & Commerce 

Little Rock, AR 72203 

SO I -3 72-4000 

Program: Museum 
School: Outreach 

Year Started: 1 990 
Focus: Visual Arts 
Youth Served: 3,917 
Ages: 5-2 1 
Budget: $3 1,000 

Organization: Armory Program: High School 

Center for the Arts 

145 N. Raymond 


Pasadena, CA 91 103 


After-School Program 
Year Started: 1 992 
Focus: Visual Arts 
Youth Served: 60 
Ages: 14-18 
Budget: $65,000 

The Museum School: Outreach Programs 
of the Arkansas Arts Center Museum 
work with 1 6 sites in the greater Little 
Rock area to develop hands-on, respon- 
sive arts programming primarily in the visual arts. 
Working with each site, the director of the Museum 
School and a faculty member help determine specific 
goals for the site. Once a faculty match is made, that 
artist works with the site contact to decide on Pro- 
gram content, on recruitment and on the nature and 
frequency of youth participation. For instance, at a 
homeless shelter, staff wanted to give participants 
some sense of control over their environment. As a 
result, the art project focused on constructing boxes 
and environments within these boxes. Sites include 
a variety of organizations serving at-risk populations: 
shelters for battered women, teen mothers and home- 
less families; youth organizations; a housing authori- 
ty; an alternative school for delinquent youth and a 
variety of multipurpose social service centers. David 
Bailin, director of the Museum School, believes that 
the Programs have improved his organization: "The 
community respects the Arts Center as a good neigh- 
bor. It promotes the feeling that art can have a place 
in the well-being and health of the community; it 
does enhance and enrich the lives of our children, 
youth and families." 

Armory Center for the Arts offers a vari- 
ety of arts education programs in the 
schools, the community and at its stu- 
dios and gallery. The Armory's High 
School After-School Program is run in partnership 
with the Cal Arts Community Arts Partnership (CAP) 
program and Pasade- 
na's Visual Arts and 
Design Academy, a 
public school "acade- 
my" (a school within a 
school). Twice a week 
for 3 hours and on Fri- 
days and Saturdays 
for open studio time, 
students selected for 
the Program come to 
Armory to study letterpress or photography. Profes- 
sional artists and teaching assistants from Armory 
and Cal Arts instruct the classes. Youth learn the 
technical aspects of each discipline on design pro- 
jects that reflect their personal concerns and on con- 
tracted projects such as bus posters and other public 
art projects. Pieces completed for the community are 
then displayed in public venues. At the end of each 
school year, youth can continue working through the 
Summer Youth Employment Program. They can 
become assistants in Armory's in-school photogra- 
phy workshops, apply for (and many have been 
accepted into) the Summer School for the Arts at Cal 
Arts or enroll in programs run by other CAP partners. 
"This is our last opportunity to reach at-risk youth," 
Director Elisa Crystal explains. "Once they leave 
high school, they are really out on their own. 
Through the Program, kids are staying in school and 
becoming increasingly ambitious." 


Art in General 
79 Walker Street 
New York, NY 1 00 1 3 
212-21 9-0473 

Program: Summer 
Program With 
Project Reach 
Year Started: 1993 
Focus: Visual Arts 
Youth Served: 50 
Ages: 14-21 
Budget: $44,000 

Organization: The 
Artists Collective, Inc. 
3 5 Clark Street 
Hartford, CT 06 1 20 

Program: The Artists 
Collective, Inc. 
Year Started: 1 970 
Focus: Multidisciplinary 
Arts & History 
Youth Served: 600 
Ages: 2/2-2 1 
Budget: $690,000 

Joining forces with Project Reach, a 
community youth crisis counseling 
center, Art in General has created a 
summer visual arts program that serves 
young people from the Chinatown, Little Italy and 
Two Bridges neighborhoods of New York City. This 
intensive Summer Program meets four times a week 
and includes a series of art-making workshops explor- 
ing painting, sculpture, photography and computer- 
based art. Instructors place as much emphasis on 
process as on product, with the intention of provid- 
ing a forum for communication and a means by 
which to demystify contemporary art. Workshops are 
supplemented by field visits to cultural institutions 
and by discussion groups about a variety of social, 
personal and aesthetic issues. Art created by partici- 
pants is exhibited at the Art in General gallery and 
in various storefronts in lower Manhattan. This pub- 
lic display of the participants' work adds to their 
pride in the skills that they acguire. 

^^K V .i^^^V Housed in a former Catholic 
M W^ ^^^fj^k school in the Clay Hill neigh- 

^ l^^^l^P borhood of Hartford, The 

"^B W^ -^^^ Artists Collective, Inc. has 
developed a series of multidisciplinary programs for 
children and youth based on African, West Indian and 
Latin- American cultural traditions. The Artists Collec- 
tive, Inc. offers regular classes in dance, music and 
African percussion, as well as an after-school program 
in the performing arts and African history; youth 
receive high-guality arts training and opportunities to 
perform throughout the school year. The Summer 
Youth Employment and Training Program prepares 
disadvantaged young people for employment in both 
arts-oriented and non-arts-oriented careers. During 
the 6-week Program, youth study martial arts, dance, 
African percussion or vocal and instrumental music 
with professional artists. Students also participate in 
Life Skills Training, which focuses on job readiness 
and career development. Receiving minimum wage, 
the 105 youth are paid from city and foundation job 
training funds. A culminant production at summer's 
end includes a side-by-side performance by both 
professionals and youth. 


Organization: Artists 
for Humanity 
288-300 A Street 
Boston, MA 02210 

Program: City Teens 
Design Company 
Year Started: 1 99 1 
Focus: Visual Arts 
Youth Served: 200 
Ages: 14-18 
Budget: $228,000 

Organization: Artists 
Raising the Conscious- 
ness of Humanity 
(ARCH) Productions 
c/o Pittsburgh Public 
Theater, Allegheny 

Pittsburgh, PA 15212 
412-323-8200, ext. 21 

Program: CityKids 


Year Started: 1989 

Focus: Theater 

Youth Served: 50 

Ages: 14-18 

Budget: SI 8 1,000 

A safe place for young people to go dur- 
ing their free time and engage in mean- 
ingful work — that was the vision of a 
group of young people and founder 
Susan Rodgerson. What emerged is an organization 
where youth create art and learn the business of 
selling it. The only criterion for participation is that 
youth must attend school. A group of 26 at-risk 
youth, the City Teens Design Company (CTDC), are 
paid staff who both market their own artwork and 
help administer Artists for Humanity. They serve 
on a Peer Evaluation Review Board that conducts 
monthly evaluations of members' attendance and 
work; meets with prospective business clients to 
learn about the clients' objectives and target audi- 
ences; and works directly with artists and business 
advisors. In addition, there is a large space for other 
youth, who are not paid, to work with the artists and 
CTDC members on a variety of short-term or person- 
al projects. The businesslike environment stresses 
team-oriented projects and mutual respect. Young 
people create unique works of art that have generat- 
ed over $50,000 in sales over 3 years. Most important- 
ly, youth who thought they had few options are 
learning they can be successful. 

Artists are using the theater as a means 
of support for former gang members, 
substance abusers or youth from trou- 
bled homes. The CityKids Program, 
housed at the Pittsburgh Public Theater, turns teens' 
negative experiences into tools for self-awareness 
and growth. An intensive, 6-week summer course 
trains and employs youth, who leam voice, improvi- 
sation, movement and audience interaction. Two or 
three different troupes perform a repertoire of five 
shows, four times a month. Throughout the year, 
teens attend monthly sessions to talk about both per- 
sonal and theater subjects. Participants sign 1-year 
contracts in which they agree to be punctual, attend 

all classes and rehearsals, refrain from alcohol and 
drug use, cease all gang activity and commit to per- 
sonal transformation. Productions focus on such teen 
problems as participating in gangs, driving under 
the influence and living with chemically dependent 
parents. Recently CityKids toured 64 performances 
to public schools and to Pennsylvania-area chapters 
of MADD, SADD, Blue Cross, the Center for Victims 
of Violent Crimes and other groups working to make 
a difference. 


Organization: The 
300-G E. Main Street 
Carrboro, NC 27510 
9 1 9-942-2787 

Program: Carr Court 
Community Center 
Artist Residency Project 
Year Started: 1 994 
Focus: Multi- 
disciplinary Arts 
Youth Served: 23 
Ages: 4-16 
Budget: $ I 1 ,000 

Organization: Arts 
Commission of 
Greater Toledo 
2201 Ottawa Drive 
Toledo, OH 43606 

Program: Young 
Artists at Work 

Year Started: 1 994 
Focus: Visual Arts 
Youth Served: 75 
Ages: 14-21 
Budget: $ 1 60,000 

^^K v Once a week at the Carr Court Commu- 
M vA m nity Center, children and youth from 
v5tj^^ ' low-income families participate in arts 

"^B W^ workshops and activities led by local 
professional artists and assisted by volunteers from 
the community. The Artist Residency Project is made 
up of a series of 3-month residencies, during which 
children learn about various arts disciplines and 
explore African- American culture through the arts. 
They re-create the music, dance, arts and crafts, 
food and stories of African village life; design and 
make African story and collage quilts; build and learn 
to play steel drums and other instruments. These 
arts activities are part of a larger after-school program 
that includes tutoring; mentoring; taking field trips 
to local museums, arts exhibits and performances; 
as well as participating in social activities, personal 
health and safety presentations and athletics. Speak- 
ing about the African Village Celebration the chil- 
dren perform at The ArtsCenter for parents, friends 
and the public, Susan Gamling, director of the Pro- 
ject, says, "The kids confronted and worked through 
their own fears of speaking and performing in front 
of others. Their communication and social skills have 
improved dramatically. They have learned to express 
themselves through words, rather than acting out 
physically." The ArtsCenter, "St. Joseph's Methodist 
Church, the Carrboro Community Police Officers 
Association, AmeriCorps service students and other 
local volunteer and community organizations have 
teamed up with the Carr Court Junior Association, 
the community's youth group, to provide these safe, 
enriching after-school activities for children. 

Young Artists at Work (YAAW) uses the 
arts to create summer jobs for economi- 
cally disadvantaged students. Every 
summer, 75 youth are apprenticed to 
established artists to study a craft while creating 
public art for the city, fulfilling art commissions and 
participating in community workshops. Professional 
artists and college arts instructors oversee the pro- 
gram and serve as mentors to youth. Participants 
must be in school to apply. During 30-hour workweeks, 
the participants learn about job responsibility and 
what is required to be a working artist. Activities 
have included painting park benches; designing and 
painting a mural downtown; developing five murals 
for installation at Boys and Girls Clubs; and attend- 
ing workshops in music, drama, metalsmithing, jew- 
elry making and black-and-white photography. In 
addition, YAAW works with local schools, social ser- 
vice agencies and museums to enhance their build- 
ings with artworks. 

■ " Every summer, 75 youth are 
apprenticed to established artists 
to study a craft while creating 
public art for the city, fulfilling art 
commissions and participating in 
community workshops. * * 


(The Art Army) 
P.O. Box 65803 
Los Angeles, CA 

Program: La Tierra 
de la Culebra 
Year Started: 1 992 
Focus: Visual Arts 
Youth Served: 300 
Ages: 5-2 1 
Budget: $100,000 

Organization: Arts 
Council of Fort Worth 
and Tarrant County 
508 Main Street 
Fort Worth, TX 76102 

Program: Neighbor- 
hood Arts Program 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 500 
Ages: 5- 1 8 
Budget: $200,000 

ARTScorpsLA is a public arts organiza- 
tion that works with low-income Los 
Angeles communities to transform fal- 
low land into gathering and learning 
places. The current site, called La Tierra de la Cule- 
bra (The Land of the Serpent), the symbol of fertility 
and growth, was once a vacant 2%-acre unauthorized 
garbage dump. Under the direction of artist Tricia 
Ward, in collaboration with community youth, it is 
now a cultural art park with a 450-foot serpent fabri- 
cated of rubble, stone and pique tiles. The site is a 
model of community renewal; a safe haven; a labora- 
tory for learning for disadvantaged and under-served 
youth. Youth meet daily at La Tierra de la Culebra 
for 3 hours after school. During the first hour, youth 
receive school tutoring from members of AmeriCorps 
and teens in the Culebra project. The 17- and 18-year- 
old tutors receive honoraria while the younger teens 
give their time in exchange for field trips and partici- 
pation in other arts programs. The remaining 2 hours 
are spent working with local artists on arts and com- 
munity projects, such as the development of commu- 
nity parks, which include murals; creation of arts 
spaces; and cultivation of flower and vegetable gar- 
dens. Youth use the arts to develop their communica- 
tion and cooperative learning skills, job preparedness, 
community awareness and leadership skills. 

^^B v The predominantly Mexican-American 
M VA m Northside and the African-American 
v^^B^ ▼ Eastside low-income neighborhoods 
"^J ^^ of Fort Worth are home to two of the 
city's flourishing and culturally rich arts programs. 
The Arts Council of Fort Worth and Tarrant County's 
multidisciplinary Ballet Folklorico Azteca and Jubilee 
Theatre are 2 of 14 hands-on Neighborhood Arts 
programs occurring daily around the city to "maintain 
a two-way street between the Anglo mainstream 
arts institutions and neighborhood arts institutions, 
schools and audiences," according to President Ken- 
neth Kahn. Ballet Folklorico Azteca stages Mexican 
folk dance performances based on weekly year-round 
classes. Jubilee Theatre participants, meeting once 
a week after school, create original musicals and 
adaptations of classics. Other dance classes and 
the Mondo Drum Ensemble also are offered. Class 
and performance spaces are shared with other arts 
groups, making the space a community focal point. 
"The programs instill a sense of self-worth that 
comes with recognition from the community," says 
Kahn. "We have a high level of retention and repeat 
enrollment. There's a demand for expansion into 
other neighborhoods." 


Arts Council 
of New Orleans 
82 1 Gravier Street 
Suite 600 
New Orleans, LA 
701 12 

Program: Urban Arts 
Training Program 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1 05 
Ages: 14-18 
Budget: $ 1 20,000 

Arts in Progress 
555 Armory Street 
Jamaica Plain, MA 
617-524-1 160 

Program: ACT IT OUT 
Peer Performers 
Year Started: 1 992 
Focus: Theater 
Youth Served: 10 
Ages: 15-21 
Budget: N/A 

^0K v The Arts Council of New Orleans has 
M v4 m conducted summer arts programs over 

^55^^ l ^ e 13ast ^ Y ears an d in January of 1995 
"^B ^^ initiated an after-school program. These 
programs have been funded with Job Training Part- 
nership Act monies from the Orleans Private Indus- 
try Council. The number of young people served each 
year varies, depending on available funds. In 1992, 
over 50 young people (ages 14-18) were introduced 
to the visual arts. In 1993, the Arts Council broad- 
ened the Program to include instruction in five arts 
areas — visual arts, dance, music, theater and com- 
puter graphics — and involved 250 young people. 
In 1994, the Arts Council implemented the Program 
with 43 students as part of the Brandeis Summer 
Beginnings Project. Students worked in small crews 
to create public art projects for community groups. 
Major learning activities took place through "real 
work" projects. Students were heavily involved in 
nearly all aspects of development, implementation 
and evaluation. Once students identified a project 
that they thought would provide a valuable service 
to the community, they conducted research to de- 
termine what it would take to execute the project, 
designed it, carried it out and helped to evaluate 
it. For the summer of 1995, the Arts Council of New 
Orleans initiated an integrated work and learning pro- 
gram for 105 youth in three areas: visual arts, theater 
and video. The classes took place at Southern Uni- 
versity and Xavier University. The Arts Council hired 
13 artist/teachers to mentor students and serve as 
role models. Youth created stylized sculptures repre- 
senting the letters "R," "E," "A" and "D" that were 
installed in the window of a library; another team 
made mosaic tile murals for a health center. 

The ACT IT OUT Peer Performers inte- 
grate training in violence prevention, 
conflict resolution, teen health issues 
and creative decision making with 
drama. Trained in violence prevention and other 
health-related topics by two Boston health agencies 
and in drama by Diane Beckett of Arts in Progress, 
ACT IT OUT actors carry a message of healthy life- 
styles to their peers while learning discipline and 
communication and job skills. Participants are 
recruited from the high schools where the group has 
performed. The intensive program runs year-round. 
Between October and May youth meet after school 
and on weekends to learn acting techniques, develop 
an original theater piece and perform the piece in 
Boston-area schools and throughout Massachusetts. 
During the summer, the group performs almost every 
day, often creating a new piece for the summer tour. 
The group also has produced work for television and 
video and is working on a new CD-ROM about vio- 
lence prevention. ACT IT OUT is a program of 
Arts in Progress, a nonprofit agency that provides 
artist/teachers to Boston-area schools, as well as to 
social service and community agencies. 


Organization: Asian 
Americans United 
80 1 Arch Street 
Philadelphia, PA 

Program: Asian 
American Youth 
Year Started: 1 988 
Focus: Multi- 
disciplinary Arts 
Youth Served: 40 
Ages: 14-18 
Budget: $50,000 

Asociacion de Musicos 
Latino Americanos 
(AM LA) 

2757 N. 5th Street 
Philadelphia, PA 

Program: AM LA Latin 
Music School 
Year Started: 1 986 
Focus: Music 
Youth Served: 370 
Ages: 5-2 1 
Budget: $85,000 

^^f v For Philadelphia's Asian-American 
M WA m youth , Asian Americans United (AAU) 
v^^A ▼ is one of the few places where they 
"^B ^^ can find refuge from discrimination 
and street violence. At the Asian American Youth 
Workshop, one of several AAU programs, Asian- 
American youth are provided a safe haven. Youth 
meet once a week throughout the year to work with 
Asian-American artists on projects ranging from 
public murals and an in-house literary magazine 
to dance performances and a video project. Youth 
make all of the important creative decisions — from 
what projects to do to the content of each project. 
Teenage participants share their common experi- 
ences as Asian-American youth. "The underlying 
thread throughout all the projects is for youth to be 
the major decision-making force," says Juli Kang, 
the arts program coordinator. 

" ■ The underlying thread 
throughout all the projects is for 
youth to be the major decision- 
making force. * ' 

Juli Kang 
-Arts Program 

^^9^^ The Asociacion de Musicos Latino 
^^>^A Americanos (AMLA) Latin Music School, 

ft U| I located in Philadelphia's highest crime 
^^3^^ and lowest income neighborhood, is 
dedicated to promoting understanding of Latino oral 
and musical traditions. The AMLA School operates 
after school, 3 days per week and all day on Satur- 
days. Private and group instruction is provided in 
guitar, classical and Afro-Cuban piano, voice, per- 
cussion, chekere, flute, clarinet, trumpet, trombone, 
music theory and salsa dance. Student ensembles 
give youth the opportunity to perform at community 
festivals as well as with well-known local and nation- 
al Latino musicians. The music classes, ensembles 
and recitals engender artistic excellence while teach- 
ing children the values of delayed gratification, goal 
setting and cooperation. Student registration is $5 
every semester; classes cost $28 to $45 per month. 
However, many full and partial scholarships are 
awarded. Through AMLAs other community music 
programs, such as the faculty concert series and 
performances that feature national and local Latino 
artists, students also are exposed to their Latino 
heritage and cultural role models. 


Organization: Bake- 
house Art Complex 
561 N.W. 32nd Street 
Miami, FL 33127 

Program: Bakehouse 
Children's Art 
Year Started: 1 989 
Focus: Visual Arts 
Youth Served: 4,500 
Ages: 5-2 1 
Budget: $9 1 ,000 


Baltimore City Life 


800 E. Lombard Street 

Baltimore, MD 2 1 202 


Program: Jonestown 
Community Photo 

Documentation Project 
and Neighborhood Kids 
Mural Project 
Year Started: 1 994 
Focus: Visual Arts 
Youth Served: 19 
Ages: 10-15 
Budget: $28,000; 

Even in Miami's turbulent times — 
hurricanes, increased immigration and 
decreased tourism — the Bakehouse Art 
Complex is there to help sustain the 
community, particularly its socially, physically and 
emotionally challenged youth. Shortly after artists 
converted the historic bakery into 70 studios, they 
were deluged with requests from local schools, social 
service agencies, family shelters and individuals to 
start public arts programs. The Bakehouse artists 
initiated the Children's 
Art Workshop to stimu- 
late an interest in alter- 
native, off-the-street 
activities and to teach 
basic mechanical and 
social skills to youth. 
Hour-long, after-school 
and weekend workshops 
are held at the complex, 
at social service agencies 
and at schools. Students 
are shown how to use materials found in their imme- 
diate environment, as well as traditional arts supplies, 
to make art. Activities intensify over the summer 
during a 4- week daily program of arts classes. Artists 
team-teach classes to increase one-on-one interaction, 
with some older students taking on teaching respon- 
sibilities. "We're able to see a difference between the 
positive behavioral patterns of repeat students and the 
newer students," notes Education Coordinator Donna 
Sperow. The Bakehouse Art Complex's impact on youth 
gained widespread attention and challenged it to 
move beyond the immediate neighborhood to conduct 
art workshops in neighborhoods throughout Miami. 


Located in a neighborhood with several 
public housing developments, the Balti- 
more City Life Museums (BCLM) initiat- 
ed arts programs to provide area youth 
with opportunities to learn new skills and to build 
stronger relationships with city residents. Last sum- 
mer, in the BCLM's Jonestown Community Photo 
Documentation Project and the Neighborhood Kids 
Mural Project, youth worked with professional artists 
to create interpretations of their neighborhood 
through photography and murals. They also learned 
practical skills, such as reading, writing, working as 
part of a team and goal setting. These Projects took 
place 3 days a week and included field trips to cul- 
tural institutions and relevant points of interest in 
the city. "The programs elicited a wonderful 
response from the neighborhood as evidenced by the 
large turnout for the final celebration of the Mural 
Project," reports Curator of Objects Victoria 
Hawkins. "It drew one of the greatest audiences to 
the Museums ever. The programs and community 
response to them show the kids they have something 
to give; setting goals and seeing projects through to 
completion is helping build self-confidence." Youth 
have been encouraged to stay involved by partici- 
pating in the development of the upcoming inaugur- 
al exhibition of the new Community Gallery. Children 
will help select photos from their work and write 
autobiographies and brief labels. "I can not empha- 
size strongly enough," says Hawkins, "that what 
children need is a sustained effort; programs which 
endure from year to year, season to season." 


Organization: Bayview Program: Community 

Opera House 
P.O. Box 24086 
San Francisco, CA 

Recording Studio 
Year Started: 1 993 
Focus: Music 
Youth Served: 2 1 
Ages: 13-17 
Budget: $37,500 

Beacon Street 
Gallery and Theatre 
4520 Beacon Street 
Chicago, IL 60140 

Program: Art Jobs 
and Cultural Heritage 

Year Started: 1983 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 78 
Ages: 10-21 
Budget: $3 1 0,000 

^^0JW The Bayview Opera House, the oldest 
^P^flA theater in San Francisco, is the host 
M m M site for the Community Recording Stu- 

^^3^^ dio. Youth from the community and in 
the juvenile justice system come after school to the 
Recording Studio to create their own music. They 
work with the two instructors; one focuses on music, 
and the other, on lyrics. By creating their own pieces, 
mostly rap music, students learn about keyboards, 
music composition and lyric writing. The students 
produced a compilation tape, which is being used 
to teach them about the music industry, marketing 
and distribution. Students also learn about producing 
a successful public performance, including advertis- 
ing, preparation, technical and staff requirements. 
"Instructors have dropped the theoretical approach 
to teaching in favor of a more experiential curriculum 
which encourages students to develop and utilize 
their critical thinking skills, become more self-disci- 
plined, develop academically (writing in particular) 
and learn how to work cooperatively," explains Steve 
Cohn, a consultant on the project. The program was 
launched by funding and equipment from the popu- 
lar rock music band The Grateful Dead. Youth also 
can participate in the Bayview Opera House Dance 
Troupe and the Young and Gifted Choir, which some- 
times performs with the Zaccho Dance Theatre. The 
visual arts program at the Bayview Opera House 
takes the notion of neighborhood beautification to 
heart. Murals created and executed by professional 
artists and elementary school children dot the com- 
munity. Funded in part by the U.S. Environmental 
Protection Agency and the Neighborhood Beautifica- 
tion Fund, these murals foster neighborhood pride 
and intergenerational participation. 

^£ v ^^^^ The Beacon Street Gallery 
M WA M ^ and Theatre started the 

v^^^k '^ ^M W Art Jobs Program to provide 
"^B W^ ™^fc» youth with the opportunity 
to learn about poetry, music, dance, painting, pho- 
tography and other arts while making positive 
changes in their lives. Realizing that the needs of 
the immigrant community should be addressed, the 
Gallery developed the Cultural Heritage Program. In 
this Program, participants learn both the history and 
the art forms of different cultures, frequently becom- 
ing members of the Marimba Ensemble, West Indies 
Dance Troupe or the Laotian Dance or Cambodian 
Dance groups. Both Programs meet at the Gallery 
twice a week for 10 weeks, with a core group of par- 
ticipants continuing for several 10- week sessions. 
Teachers who identify any behavioral problems are 
backed up with support from a social service agency. 
"The Programs are keeping the kids in school as well 
as getting those who have dropped out back in 
school," says Executive Director Patricia Murphy. 
"Some have gone on to college, and others have 
entered vocational training programs." 

* * The Programs are keeping the 
kids in school as well as getting 
those who have dropped out back 
in school. * * 

Patricia Murphy 
-Executive Director 




Believe In Me 

413 1 Spicewood 


Austin, TX 78759 


Program: Believe In Me 
Year Started: 1 992 
Focus: Dance 
Youth Served: 425 
Ages: 9- 1 4 
Budget: $350,000 

Boulevard Arts Center 
601 I S.Justine 
Chicago, IL 60636 
3 I 2-476-4900 

Program: Employment 
Training Program 
in the Arts 
Year Started: 1 984 
Focus: Multi- 
disciplinary Arts 
Youth Served: 80 
Ages: 14-21 
Budget: $ 1 80,000 

r^PH I The Believe In Me program uses dance 
WjM I to give youth, many of whom are involved 
with drug and gang activity, the tools 
needed to be successful in the commu- 
nity. Modeled after New York City's National Dance 
Institute program and St. Louis's Personal Responsi- 
bility Education Process (PREP), Believe In Me offers 
an in-school program, the special dance teams Swat 
and Celebration and a 2-week, intensive summer 
dance institute. The in-school program teaches 
choreography and performance skills. Members of 
the Swat Team and Celebration Team are chosen 
from the in-school program. They work on choreog- 
raphy skills, rehearse more advanced pieces and 
perform in the community throughout the year. At 
the summer institute, 80-100 children participate 
8 hours a day, with a performance at the end of the 
2 weeks. The programs incorporate PREP methods 
by engaging youth in evaluations of community 
needs and discussions of values, such as making 
a commitment and working as part of a team, that 
youth can adopt to meet those needs. "Youth are 
excelling in other areas of their lives, such as in 
school," reports Executive Director Rachel Carter. 
"We're seeing less participation in drug and gang 
activity and a decrease in dropping out of school." 

^^K V The Employment Training Program in 
M vA m the Arts pays youth in the Englewood 
^^^■L t section of Chicago to bring art and 

"^J ^^ culture to their economically deprived 
neighborhood. The youth, who apply for the Program 
in January, work 20 hours per week for 8 weeks in 
July and August. They work in groups of 10 to 12 
under the guidance of a master artist to conceive, 
design, create, critique and present an artistic piece 
of public art to their community. Projects have 
included stone and wood sculptures, murals, photo- 
graphic billboards, silk-screened posters and videos. 
Both a dance and theater company are created out 
of the summer work. "We've had 98 percent of our 
kids complete high school," reports Pat Reed, director 
of the Boulevard Arts Center. "The Program helps 
kids realize that there is another direction open to 
them, away from the gangs and violence." During 
the year, programming includes basic instruction in 
drawing, painting, photography, videography and 
performance and instruction in business development. 
The arts and business programs assist both youth 
and adults in developing viable careers in the arts. 

■ ■ The Program helps kids realize 
that there is another direction 
open to them, away from the 
gangs and violence. * ™ 

Pat Reed 
-Director of 
Boulevard Arts 





Boys and Girls Club 

of Easton 

508-A Charles Street 

Easton, PA 18042 


Program: Smart Moves 

Players Theater Arts 


Year Started: 1 992 

Focus: Dance 

& Theater 

Youth Served: 74 

Ages: 9- 1 8 

Budget: N/A 

Organization: Boys 

and Girls Club of 


3 1 I Sulphur Springs 


Morristown, TN 37816 


Program: Challengers 
Art and Music 
Year Started: 1*993 
Focus: Multi- 
disciplinary A. fe ts 
Youth Served: 200 
Ages: 6- 1 8 
Budget: $27,000 

[M|| P^^^W What started as an educa- 

LHkZ I ^ ^ I 

I .«. I tional program to prevent 

children and youth from 
participating in high-risk 
behavior has grown into a performance group of youth 
that tours schools, civic organizations and conferen- 
ces. The Smart Moves Players Theater Arts Ensem- 
ble includes an all-female dance group, Sisters With 
Soul; the Smart Moves Touring Ensemble, a theater 
group; and the full troupe of 74 youth who write, 
choreograph, stage and perform at least three pro- 
ductions a year. The performances are adapted from 
literature, including works by Langston Hughes and 
original work by Director Sandra Riley, and feature 
soliloquies, music and dance. Rehearsing on average 
twice a week after school and three times a week in 
the summer, the youth can either specialize in one 
area or do a bit of everything. The Touring Ensemble 
performed A Piece of Black History, a play related 
to Martin Luther King's birthday, at schools, churches, 
civic organizations and private corporations. "The 
kids are coming up with their own ideas for shows 
and setting up their own rehearsals. They feel like the 
program is theirs because they have such a strong 
role in creating the pieces," says Riley. "They get a 
lot of admiration from their peers for their perform- 
ances, which helps them steer away from risky behav- 
ior that might elicit the same type of admiration." 

^^K v To enhance at-risk youth's quality of 
M KA m life through a greater appreciation of 
v^fl^ ' their cultural heritage, the Boys and 
"^^ ^^ Girls Club of Morristown created an 
after-school, drop-rn arts program with classes in 
ceramics, oil painting and watercolor, sculpture and 
sign-making. Participants work individually in media 
that interest them with the help of volunteers. In 
the Fine Arts Room, more structured and advanced 
classes and workshops are offered, including acting, 
clogging and choral singing. Community artists work 
1 to 2 days a week helping students with art projects 
which they exhibit locally, regionally and nationally 
through Boys and Girls Club competitions. Recently, 
the Morristown Club had seven first-place winners 
in the national competition. Performances of youth- 
written plays on issues such as domestic abuse are 
given for the community. The Club is open every 
day from 2:30 p.m. to 8:30 p.m., and membership is 
$8 a year. Other Club services include citizenship/ 
leadership development, health, physical education 
and recreation programs. 


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


1401 N.E. 26th Street 

Ft. Lauderdale, FL 



Year Started: 1 994 
Focus: Theater 
Youth Served: 30-45 
Ages: 12-18 
Budget: $ I 1 6,000 

Organization: The 
Boys Choir of Harlem 
2005 Madison Avenue 
New York, NY 10035 

Program: The Boys 
Choir of Harlem 
Year Started: 1985 
Focus: Music 
Youth Served: 450 
Ages: 8- 1 8 
Budget: $3,000,000 

Realizing that sports, games and com- 
puter programs did not meet the needs 
of all Broward County's young people, 
the Boys and Girls Clubs of Broward 
County created a musical theater program for youth. 
Program auditions are held each January at partici- 
pating Boys and Girls Clubs, which are located in 
high-risk neighborhoods. Selections are made on the 
basis of interest and commitment as well as talent. 
For 14 weeks, the participants are transported to the 
Creative Arts Unit — at first, 3 afternoons; later, 5 
days a week. They begin the process by brainstorm- 
ing for a theme dealing with critical issues in their 
lives. Themes to date have dealt with inner-city vio- 
lence, teen pregnancy and domestic abuse. After the 
theme is picked, each person chooses a character; 
then an outline for the scene is created. The partici- 
pants divide into small groups based on their areas 
of interest, such as dialogue, music or set construc- 
tion. At the end of each session, participants' work 
is coordinated into a single show, which, after many 
weeks of rehearsal, is performed at a major theater. 
The 1995 play Cry No More was seen by audiences 
totaling 1,800. In the fall of 1995, a new segment was 
added to the program — coaching in acting, voice 
and diction and performance skills. 

^^9^^ Created as an after-school program to 
^fA*^^L provide an alternative to the despair in 
m \ip W the community and the standard edu- 

^^3^^ cation and social programs, The Boys 
Choir of Harlem has grown into a nationally recog- 
nized school and after-school program. This artisti- 
cally driven program uses an intergrated model of 
education, counseling and the performing arts to 
prepare inner-city youth to become disciplined, con- 
fident, motivated and successful citizens. Five days 
a week from 8:30 in the morning until 6:30 in the 
evening, young boys and girls in grades 4-12 study 
academics and music at the Choir Academy, which 
operates in partnership with the local school district. 
After school, they rehearse up to 3 hours and partici- 
pate in counseling and tutoring sessions. Each year, 
auditions are held for entering students at the school, 
at public schools throughout the city and at commu- 
nity sites such as Kmart and McDonald's. Before being 
accepted into the intensive program, students and 
their families meet with representatives who describe 
the commitment involved in attending the Choir 
Academy. All of the students perform in some man- 
ner, and those who perform outside of the school 
must maintain their grades. Students study all aspects 
of music, and their performance repertoire ranges 
from classical to jazz, spiritual to hip-hop. Many 
alumni say, "The program changed my life," and some 
have returned as instructors, counselors and interns. 
"Ninety-eight percent of our graduates go on to col- 
lege," explains Director of Development Audry Wax- 
man. "The Choir helps increase the expectations 
that children have of themselves and that the com- 
munity has of them. We are using art to change all 
aspects of our children's lives and to open doors for 
them, both emotionally and in their everyday lives." 

Brandywine Workshop 
730 S. Broad Street 
Philadelphia, PA 

Philly Panache 
Year Started: 1 978 
Focus: Visual Arts 
Youth Served: 6 
Ages: 14-19 
Budget: $25,000 

Organization: Braval 
for Women in the Arts 
2 1 80 Bryant Street 
San Francisco, CA 
941 10 

Program: Drama Divas 
Year Started: 1 99 1 
Focus: Theater 
Youth Served: 20 
Ages: 15-21 
Budget: N/A 

Partnering with housing developments, 
a horticultural society, community organi- 
zations and the Philadelphia Department 
of Sanitation, the Philly Panache program 
matches a professional artist with a small group of 
high school students for 6 weeks during the summer 
to visually improve the neighborhoods where they live. 
The youth, who are paid for 30 hours a week, design 
and paint murals and issue-oriented billboards at sites 
chosen by Brandywine Workshop and the partner 
groups. The Philly Panache participants learn about 
computer graphics and design their murals and bill- 
boards using computers in Brandywine 's Video Tech- 
nology Center, a youth computer graphics and video 
training program started in 1994, which reaches many 
disadvantaged youth through its after-school and Sat- 
urday classes. When the design is complete, the artist 
guides the participants through the painting process. 
At the end of the program, the group holds an unveil- 
ing for the community, parents and friends. "Every 
time the kids put up a mural or billboard, we get new 
requests from other organizations," says Cindy Lee 
Hauger, director of development and marketing. "There 
are no graffiti on the murals, and the projects seem to 
bring the community together. The artists are all from 
the same type of communities the kids grow up in, so 
they are great role models." Since 1978, 130 teenagers 
have benefited from Philly Panache. Over 50 murals 
and 14 billboards were completed, and mural panels 
painted with trompe l'oeil scenes are used to seal off 
90 abandoned homes. More than 70 artists have been 
employed through the program to date, and in 1983, 
the organization won the Foundation for Architects' 
Environmental Art Award. In addition to Philly Panache, 
Brandywine Workshop also runs the Henry O. Tanner 
Youth Gallery, of which one floor is an art gallery 
organized by, and devoted to, high school students. 

For 3-6 hours every week, a group of 
15-20 gay and lesbian youth, most of 
whom are Latino, meet at Brava!, a 
nonprofit arts organization, to talk, write 
and act. Once a year, the participants put on a per- 
formance at Brava !'s theater. But, on any given day 
of the week, these young "Divas" may perform one 
of their pieces at a local conference, an awards din- 
ner, a banquet, youth shelter or festival. The perfor- 
mances, which are all scripted, are based on real-life 
experiences and deal with such issues as relation- 
ships, gender, class, family and race. The youth learn 
not only about acting, but also about lighting, stage 
design and theater direction and production. Most of 
the youth are paid through the Mayor's Office on 
Children, Youth and Families to participate in the 
program, assist with Brava! 's adult performances 
and attend career training workshops. "Through the 
Drama Divas program, the participants have gained 
work experience, have been able to travel, have had 
access to many talented professional artists and 
have received positive recognition. This program 
provides some constancy in the crazy lives of these 
youth," sums up Cathy Arellano, general manager. 


Organization: Bronx 
Dance Theatre 
286 E. 204 Street 
Bronx, NY 10467 

Program: Bronx 
Dance Theatre 
Year Started: 1 976 
Focus: Dance 
Youth Served: 500 
Ages: 4-20 
Budget: $530,000 

Organization: The 

Brooklyn Children's 


1 45 Brooklyn Avenue 

Brooklyn, NY I 1 2 1 3 


Program: Museum Team 
Year Started: 1 987 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 1 ,200 
Ages: 7- 1 8 
Budget: $250,800 

r^Wfl I The Bronx Dance Theatre is using 
WjM I dance to teach life skills and provide 

professional arts training. The students, 
most of whom come to the program 
with no experience, begin by taking classes in mod- 
ern dance and ballet. Those who show commitment 
are eligible for scholarships and reduced tuition fees 
and are offered the opportunity to join 100 of their 
peers in an intensive program of instruction, which 
includes classes four to five times per week. These 
students take prescribed courses, specifically struc- 
tured to their individual levels, in ballet, jazz, tap and 
modern dance; acrobatics and choreography. If the 
students miss a class, they are called; if they begin 
having trouble meeting their commitments, the staff 
meets with their parents or guardians. The students 
perform 12-24 times a year. The performances teach 
cooperation, independence, persistence and quick 
response. The directors stress the relationship between 
these principles in dance and in life. When youth are 
ready to enter high school, the Bronx Dance Theatre 
teaches them what will be expected of them in both 
the interview and, if applicable, the performance 
competition. "We have established ourselves as a 
place where a child can achieve," explains Director 
Neil Goldstein. "Our children have had tremendous 
success both in the field of performing arts and per- 
sonally, because we are not just a dance program. 
Our holistic approach uses the discipline required in 
the performing arts to prepare the kids to acquire 
the skills necessary to become productive adults." 
Recently the Bronx Dance Theatre received funding 
from the New York Board of Education to start a 
public school based on dance. 

^^K v ^^^^ Museum Team is an educa- 
M vA vfl i ^ tional, job training and em- 
v^M^ *^ ^M W ployment program for youth 

"^B. ^r HHr at The Brooklyn Children's 
Museum, an institution established for youth in 1899. 
Museum Team, recipient of the 1995 Institute of 
Museum Services National Award for Museum Ser- 
vice, is open to youth ages 7-18 and targets residents 
of the Museum's immediate neighborhood of Crown 
Heights and Bedford Stuyvesant. The program has a 
four-tier structure to meet the needs of participants 
in an age-appropriate manner. Kids Crew (ages 7-14) 
combines on- and off-site education activities, includ- 
ing daily science, cultural, arts, library research and 
gallery-based programs. Members are involved in 
a writing club and publish their own newspaper. 
Volunteers-in-Training (ages 10-14) builds upon 
Kids Crew activities with artist- and scientist-in-resi- 
dence programs and short-term work experiences 
in a specific gallery or Museum department. Volun- 
teers (ages 12-14) participate in a career preparatory 
program as well as in Museum-related program- 
ming and maintain longer term work placement. Paid 
Interns (ages 14-18) work in a variety of positions 
throughout the Museum and in other sites in the 
community. Ongoing workshops support continued 
skill development, with emphasis on college and voca- 
tional training. A youth advisory council helps plan 
for and evaluate the program. According to one young 
participant, "There is a lot of stuff going on around my 
block. Becoming a Volunteer was the best chance to 
do something good for myself." 


California College 
of Arts and Crafts 
5212 Broadway 
Oakland, CA 946 1 8 

Program: T.E.A.M. 
Year Started: 1 990 
Focus: Media 
Youth Served: 200 
Ages: 14-19 
Budget: N/A 

Organization: California 

Lawyers for the Arts 

Fort Mason Center 

Building C-255 

San Francisco, CA 


41 5-775-7200, ext. 293 

Program: Arts and 
Community Develop- 
ment Project 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 800 
Ages: 6- 1 7 
Budget: $125,000 

Teens in Oakland, California, are chang- 
ing public perceptions of youth and 
influencing policies and institutions 
that affect their lives. T.E.A.M. (Teens 
+ Education + Art + Media) unites a coalition of 
artists, educators and media professionals with 
teens to produce innovative interdisciplinary projects 
that influence media images of youth and institu- 
tions serving youth. One project, The Roof Is on Fire, 
resulted in an hour-long, nationally televised perfor- 
mance based on significant issues in the teens' lives. 
Each T.E.A.M. project has three components: media 
literacy, in which teens learn to analyze images of 
youth in popular culture; public conversations staged 
as public performances, in which teens learn to 
speak out and the community learns to listen; and 
active citizenship, in which teens seek and develop 
solutions to problems. Students from eight public 
high schools and a number of community agencies 
attend the program each week at various sites. 
"T.E.A.M. continues to grow in scope of activities 
and in the ways it integrates art with public institu- 
tions related to youth," says School of Fine Arts 
Dean Suzanne Lacy. "We're committed to a complex 
cultural analysis that integrates artists and teens as 
planners in the public agenda." 

^^R v For the young people of the San Fran- 
M vA m cisco Bay Area, the Arts and Communi- 
v5j^^BL ty Development Project of the California 
"^B W^ Lawyers for the Arts (CLA) provides an 
avenue to summer employment in the arts as well 
as multicultural after-school instruction in visual, 
literary and performing arts. Working in partnership 
with the San Francisco Unified School District and 
the Private Industry Council, a nonprofit organization 
that administers federal Job Training Partnership 
Act funds, CLA finds employment in local arts and 
cultural institutions for youth city-wide. Teens in the 
program work 20 hours a week for 8 weeks at mini- 
mum wage. CLA meets with teens one-on-one and 
matches them with an appropriate site. Once the 
young people go to work, CLA coordinates enrichment 
seminars that focus on life skills such as conflict reso- 
lution, peer counseling, communication and job 
readiness. Additionally, CLA incorporates sessions 
on careers in the arts, some hands-on sessions on 
the creation of artworks and backstage visits with 
professionals of major arts institutions; a mentoring 
program is part of the career development experience 
available to youth. The after-school instructional pro- 
gram is offered in collaboration with eight nonprofit 
multicultural arts providers. The collaborative Project 
fosters the self-esteem, personal identities and cross- 
cultural exchanges among children and teens from 
different communities by teaching and sharing art 
forms. Older youth in this collaborative Project also 
develop marketable employment skills appropriate 
to the arts and other fields. 



California Museum of 

Science and Industry 

700 State Drive 

Los Angeles, CA 


2 1 3-744-7444 

Program: Avalon 
Gardens Curators 
Kids Club 
Year Started: 1993 
Focus: Visual Arts 
Youth Served: 45 
Ages: 10-13 
Budget: $55,000 

Organization: Carlota 

Santana Spanish 

Dance Company 

1 54 Christopher Street 

New York, NY 



Bronx Project 
Year Started: 1 994 
Focus: Dance 
& Humanities 
Youth Served: 40 
Ages: 8- 1 2 
Budget: $23,000 

When Diane Miller, director of outreach 
at the California Museum of Science 
and Industry, identified a grant program 
to support science education for at-risk 
students, she turned to her own experience as some- 
one who grew up in an impoverished inner-city com- 
munity. Miller talked to a lot of people, put together 
an advisory board and focused on programs she 
would have liked as a child. Working with the Avalon 
Gardens public housing community, she designed a 
3-year pilot program through which youth could 
learn about persistence and self-motivation while 
exploring physics, chemistry, mathematics and biol- 
ogy. The second year of the program, sensing chil- 
dren's uncertainty about their creativity, Miller 
brought in photographers, printmakers, jewelers 
and mask-makers to oversee afternoon arts projects. 
Participants take at least one field trip each week, 
which combines science and the arts. At the 
program's conclusion, youth curate a presentation 
for family and friends. In the following year, partici- 
pants serve as mentors to new participants whom 
they have personally recruited. 

VWPI ^^^^ The Carlota Santana Spanish 

iKfl flfl fe Dance Company offers a 

IS^^HV ^M W dance program at Public 
LL^JI X^mJ School 42 (PS 42), a Bronx 
elementary school. Integrated into the program are 
all 8- to 12-year-olds who live in a nearby battered 
women's shelter. These children are enrolled in the 
dance program to help lessen the burden and stigma 
of living in a shelter. The children are brought to the 
school to learn dance as well as to help them feel more 
comfortable in the school. The comprehensive program 
covers dance technique and music, as well as Spanish 
culture, history and geography. Classes are held twice 
a week for 2 hours after school and are taught by 
a Company guitarist and dancer who emphasize the 
development of the children's movement and cognitive 
skills. "The kids are committed throughout the year. 
Teachers report that the kids were repeatedly asking 
when the flamenco was going to begin," says Santana. 
"It was especially compelling to observe the boys' 
progress in getting involved in the art form." Perform- 
ances for seniors are helping to promote an intergener- 
ational understanding among community members. 
This year the Bronx Project will be offered to more of 
the school's students, in an effort to provide long-term 
programming to all the children at PS 42. 


Organization: Center Program: Teen Project 

for Contemporary Year Started: 1 990 

Arts of Santa Fe Focus: Multi- 

1614 Paseo de Peralta disciplinary Arts 

Santa Fe, NM 8750 1 Youth Served: 86 1 

505-989-4423 Ages: 13-21 

Budget: $250,000 

Organization: Center 

of Contemporary 

Arts (COCA) 

524 Trinity Avenue 

University City, MO 

63 130 


Program: Arts 
Year Started: 1 994 
Focus: Visual Arts 
Youth Served: 93 
Ages: 7- 1 2 
Budget: $42,000 

^^f v "No place to go, nothing to do," was 
A vA m the overall response of local youth to the 
v^^^k ' Center foi Contemporary Arts of Santa 
'^ ^r Fe's (CCA's) survey, conducted shortly 
after the public schools cut back arts programs. After 
surveying museum-based programs around the coun- 
try, the Center's director decided it was important 
to move away from the short-term or consumption- 
based model of most museum programs to an ongo- 
ing program for young people managed by young 
people. One hundred youth were invited to plan and 
develop a teen center. CCA raised the funds and 
found the space, an old warehouse by the railroad 
tracks on the outskirts of downtown Santa Fe. The 
teens' "ownership" of the Center gives them a place 
to develop creatively in a comfortable environment. 
A broad range of free workshops are offered in music, 
dance, visual arts (including mural arts) and media 
arts, while ongoing theater, photography and radio 
programs are also available. The Teen Project also 
sponsors cultural events for community families and 
young people: street theater, art exhibitions, video 
nights, live music dances, lectures and open-mike 
poetry nights. The Rainbow Pilot Project targets gang 
members and teens at risk for delinquent activities, 
providing programs designed to appeal to them, such 
as Peace in the Streets, a lowrider car show that drew 
the largest audience of any event offered in recent 
time, and a theater group made up of former gang 
members. Some participants are paid stipends for 
producing the radio show and publishing the news- 
paper. "When kids walk out with a product, they 
are learning business; they're understanding what 
employment is and feel they have a name in the 
community," says CCA Teen Project Director Ana 
Gallegos y Reinhardt. 

The Center of Contemporary Arts 
(COCA) is a partner in Arts Connection, 
an artist-initiated project to involve 
neighborhood children from public 
housing projects in arts projects. COCAs partners, 
artists and art and social service agencies, create a 
community web that fosters creativity and self-confi- 
dence. Artists design their programs in consultation 
with the partners in preparation for a year-round 
schedule of classes. A variety of classes meet in the 
summer, one to three times a week, and in the fall, 
on Saturdays and after school 1 to 2 days a week. Past 
projects include planning 
a garden and creating 
scarecrows based on 
masks from diverse cul- 
tures. A recent annual 
exhibition at the COCA 
gallery resulted in the 
sale of the older partici- 
pants' portraits of them- 
selves and others, as well 
as an invitation to install 

•stcvcn slaughter • 

posters made from the 

portraits in city bus shelters. During the exhibition, 
one of the artists and a student led a workshop to 
demonstrate how the portraits were created. "The 
program has caused community agencies to collabo- 
rate in ways they never have before," says Director 
of Visual Arts Kathryn Adamchick. "And students 
who had no interest in the arts are developing self- 
esteem and seeing art as a vehicle for expression." 


Organization: Central 
City Hospitality House 
290 Turk Street 
San Francisco, CA 

Youth Program 
Year Started: 1 967 
Focus: Visual Arts 
Youth Served: S50 
Ages: 15-21 
Budget: N/A 


El Centro de la Raza 

2524 16th Avenue S. 

Seattle, WA 98 1 44 



The Hope for Youth 
Year Started: 1 987 
Focus: Creative Writing 
& Literature 
Youth Served: 60 
Ages: 8- 1 8 
Budget: $ 1 20,000 

"Central City Hospitality House is a 
place to hear a 'y es ' when so often in 
their lives these kids hear 'no,'" says 
Executive Director Kate Durham. "Many 
of our youth have been sexually abused or have been 
thrown out of their homes because they are not het- 
erosexual. They come to San Francisco seeking refuge 
and hoping to find support and acceptance for who 
they are." Hospitality House is a drop-in center and 
an off-site home for 12 runaways. Both drop-in and 
resident youth can take advantage of a number of 
programs, including employment or substance abuse 
counseling and literary or fine arts instruction. Many 
who participate in the Youth Program attend 6-week 
art courses that meet once a week for 3 hours. The 
courses are strictly instructional, but because they 
are nestled among a variety of other support services, 
there is a relationship between studying the arts and 
addressing runaway and homeless issues. Artists 
teach ceramics, painting, silk-screen process and 
other arts, according to the participants' interests. 
A hands-on computer workshop for skills training 
includes a creative-writing component. On average, 
75 percent of the youth who participate in these and 
other Hospitality House Youth Programs leave the 
street. The program gains the runaway youths' trust 
and, in turn, creates a stabilizing element in their lives. 

I V ^0^^^^. What began as an arts and 

^ V^^tf^ *— *""* 1 poetry workshop to get 

■•V 91 I ,-, - youth off the street has 

BuflSfl ^^^^ become a significant after- 
school leadership training program. In the poetry 
workshops, youth read poems by poets of diverse 
cultures that deal with community issues, analyze 
their structure and content and then write poetry 
that is critiqued by other members of the group. 
The workshops are held in 10- week cycles at 15 
different public schools. The Kingian Nonviolence 
workshops use poetry to help youth learn how to 
channel their anger and frustration into positive 
and disciplined behavior. Participants who receive 
a minimum of 120 hours of nonviolence training 
become Varsity Team Players of El Centro. Varsity 
Players participate in Get a Life Productions and 
conduct nonviolence training and poetry workshops 
at conferences, universities and political and com- 
munity events. They produce concerts and poetry 
readings by both renowned and lesser known artists. 
Fear of violence in the Latino community has led 
many parents and their children to El Centro, where 
youth can be safe and learn something valuable. 

" * Fear of violence in the Latino 
community has led many parents 
and their children to El Centro, 
where youth can be safe and learn 
something valuable. * * 



Charles A. Wustum 
Museum of Fine Arts 
25 1 9 Northwestern 
Racine, Wl 

Program: Victory 
in Peace Program 
Year Started: 1 992 
Focus: Creative 
Writing & Visual Arts 
Youth Served: 60 
Ages: 6- 1 I 
Budget: $ 1 00,000 

Organization: Chau- 
tauqua Alcoholism 
and Substance Abuse 
Council (CASAC) 
2-6 E. 2nd Street 
Jamestown, NY 14701 


Awareness Theatre 
Year Started: 1 985 
Focus: Theater 
Youth Served: 45 
Ages: 14-18 
Budget: $53,000 

The effectiveness of team- 
work evidenced by the 
partnership of four diverse 
Racine agencies — the 
Charles A. Wustum Museum of Fine Arts with the 
Racine Urban League, The Taylor Home and Educa- 
tion Center and the Racine Council for the Preven- 
tion of Drug and Alcohol Abuse — is a paradigm for 
the youth they serve. Program participants are rec- 
ommended by teachers in 27 public schools and 
include children with learning disabilities, gang 
participants and children acting out in classrooms. 
The agencies are introducing the Museum to a con- 
stituency it had not yet tapped, and the Museum is 
showing the agencies how the arts can serve their 
common goal of steering youth away from destruc- 
tive behavior. The 1-year program engages students 
weekly for VA hours through arts projects and, more 
intensively, a summer book workshop that takes 
participants through the process of creating and 
producing a book — writing the stories, making the 
paper and designing the pages. The books have been 
so successful that some copies have been placed in 
the public library and the Museum; some have been 
sold to museums and rare book collections around 
the country. The other arts projects take advantage 
of such opportunities as a Fair Housing Poster con- 
test. Victory in Peace participants also receive help 
with their homework, transportation from school and 
to their homes and other needed support services 
through the Program. Victory in Peace also organizes 
field trips to museums, libraries, concerts and other 
special places. 

Two troupes of youth are recruited at 
the beginning of every school year to 
perform scenes about alcohol and sub- 
stance abuse before student audiences 
throughout the county. Performers receive intensive 
theater training and then meet once a week for 214 
hours for rehearsals and discussion. Once a month, 
guest speakers and trainers meet with youth to work 
on special issues such as AIDS and alcohol and sub- 
stance abuse treatment. There is a basic outline 
for each of the scenes. However, improvisation and 
audience participation are encouraged, so every 
performance is different. In performance, youth and 
peers talk about substance abuse and alcoholism, 
thus creating an interactive program between per- 
formers and audience members. This interaction 
has resulted in a regular following and requests for 
repeat performances. In 1994, 245 performances 
(mostly in schools) were given. 


Organization: Chicago 
Children's Choir 
Cultural Center 
78 E. Washington Street 
Chicago, IL 60602 
3 12-849-8300 

Program: In-School, 
After-School and 
Concert Choir 

Year Started: 1 956 
Focus: Music 
Youth Served: 2,000 
Ages: 4- 1 8 
Budget: $986,840 

Organization: Chicago 

Public Art Group 


1255 S.Wabash 


Chicago, IL 60605 

3 1 2-427-2724 

Youth Training 
Year Started: 1 99 1 
Focus: Visual Arts 
Youth Served: 75 
Ages: 14-18 
Budget: $ 1 70,000 

^»W The Chicago Children's Choir (CCC) 
^fA^^^L uses choral music to enhance racial and 

m m W cultural understanding among inner-city 
^^3^^ groups and to confront violence and 
gang activity. CCC gives children the opportunity 
to work and perform with youth from other Chicago 
neighborhoods through In-School, After-School and 
Concert Choir Programs. The In-School Program 
provides participants with introductory training in 
music by visiting conductors. The After-School Pro- 
gram provides choral and performance training at 
graduated skills levels at five neighborhood locations. 
Youth meet twice a week for 90 minutes to work on 
music theory, vocal training and performance skills 
that prepare them for four public concerts each year. 
After reaching a certain proficiency, students can join 
the Senior Choir. The next step is to become a member 
of the Concert Choir, which tours throughout Chicago, 
the United States and internationally, including perfor- 
mances in Russia, Japan and Mexico. Choir members 
meet twice a week — more often just prior to major con- 
certs — and serve as mentors to the younger singers. 
"By nature, choral music is communal," says Director of 
Development Don Klimovich. "There is a goal of excel- 
lence, but the nonthreatening environment nurtures 
socialization and cooperation." 

Chicago Public Art Group (CPAG) has 
a summer employment program that 
guides youth with paints and brushes 
to create permanent murals in low- 
income communities. CPAG co-sponsors the program 
with social service agencies that identify the teens 
for participation and provide them with counseling 
and other services as part of the project. Paid through 
the Job Training Partnership Act, youth work in 
small groups with two to four artists who help them 
design and execute public art projects suited to spe- 
cific sites. During the 8-week projects, teams work 
25 hours a week to create wall and canvas murals, 
concrete sculptures and mosaics. The program helps 
integrate youth into the larger community and into 
discourse with adults. "Young people in the program 
are learning creative problem-solving skills and are 
developing transferable work skills," says Executive 
Director Jon Pounds. "They are accomplishing some- 
thing they never thought they could and, as a result, 
are gaining a new understanding of themselves and 
their capabilities." The commitment of the artists 
to help youth develop life skills, as well as arts skills, 
is critical to the program. As tensions arise in the 
group, the artists work with the youth to find ways 
to resolve issues. Chicago Public Art Group also 
works in schools, restores public art, conducts mural 
tours and develops intergenerational mural projects. 


Organization: The 
Children's Aid Society 
2 1 9 Sullivan Street 
New York, NY 1 00 1 2 

Program: The 
Children's Aid 
Society Chorus 
Year Started: 1 990 
Focus: Music 
Youth Served: 100 
Ages: 8- 1 6 
Budget: $ 1 42,000 


The Children's Art 


186 E. 122nd Street 

New York, NY 10035 


Program: The 
Children's Art 

Year Started: 1 969 
Focus: Visual Arts 
Youth Served: 6,874 
Ages: 4-2 1 
Budget: $640,477 

^^9^^ "We're trying to bring the community of 
^P^fl^ New York City together through song," 
m ^P M says Francisco Nunez, founder and 

^^3^^ director of The Children's Aid Society 
Chorus, a professional, premier choral group. Nunez's 
program crosses gender, race and economic lines to 
unite city children and offer them a rare chance to 
develop life-long skills and build new friendships 
through singing. To join the rigorous performance- 
based education program, students must pass an 
audition and maintain a B average at school. They 
also are required to pay a $35 admission fee to 
demonstrate their commitment; however, more than 
50 percent of the participants are on full or partial 
scholarship. Twice a week the young singers meet 
at a Children's Aid Society community center in 
Greenwich Village, where they rehearse after school 
and 1 weekend a month. Composers help singers 
create new work to perform at 30 public concerts 
throughout the year and on tour, during which they 
work with other young choruses. The program is 
structured to meet a variety of needs beyond quality 
music instruction: Academic tutoring, high school 
entrance counseling, family life and sexuality classes, 
on-site social work counseling at every rehearsal, 
transportation services and a summer mini-camp 
also are offered. Recently, the Alvin Ailey Dance 
Company choreographed movement to the music; 
several youth were accepted into specialized arts 
high schools, and the Chorus began performing at 
prestigious halls such as Lincoln Center. "The Cho- 
rus is raising the expectations of everyone involved," 
says Nunez. 

Originally an outreach program of the 
Museum of Modern Art, The Children's 
Art Carnival (CAC) in Harlem has existed 
as an independent community school for 
the past 26 years. CAC enriches the lives of inner- 
city youth through the use of visual and communica- 
tion arts. Faculty believe creative thinking is a 
necessary ingredient of intellectual development. 
Theme-based arts activities draw on collage, pup- 
petry, 3-D construction, painting, ceramics, photog- 
raphy, videography, cartooning, illustration, drama, 
textile design, computer graphics and other media. 
CAC programs include in-school, after-school and 
Saturday programs for youth, teacher training work- 
shops and parent advocacy. After-school programs, 
for youth ages 4-7, 8-13 and 14-21, take place at the 
CAC. Summer programs, for children ages 4-7 and 
8-13, incorporate arts activities into local park pro- 
grams. Apprenticeship training and employment 
experience is provided for youth ages 14-21. Class 
instructors are professional artists who also help par- 
ticipants gain exposure to career options. CAC's 
strength lies in the partnerships it forms with city 
institutions. A relationship with North General 
Hospital resulted in the sale of 33 paintings from 
the advanced painting and collage class. The Chil- 
dren's Clinic of the Hospital commissioned a series 
of soft sculptures from an after-school arts work- 
shop. Organizations such as the Studio Museum 
of Harlem, the Schomburg Center for the Study of 
Black Life and Culture, the New York Urban League 
and others arrange summer apprenticeships and 
jobs for CAC students. 


Children's Museum 
at Holyoke, Inc. 
444 Dwight Street 
Holyoke, MA 1 040 

Program: Museum 
Adventure Club, 

Junior Volunteers, 
Junior Leadership 
Incentive Program 
Year Started: 1 982 
Focus: Design, Visual 
Arts & Humanities 
Youth Served: 1 70 
Ages: 6-17 
Budget: $46,000 


The Children's 
Museum at 
Holyoke, Inc. 
offers a trio of 

programs through which youth can experience the 
Museum from an arts and humanities perspective. 
For the Museum Adventure Club, a range of activi- 
ties, from papermaking to studies of architecture, 
are based on Museum exhibits and stimulate partici- 
pants to use problem-solving skills. Youth ages 6-10 
can join the Club, which runs 3 afternoons a week 
for 2 hours. The Junior Volunteers program is a way 
for youth, ages 10-17, to learn how a museum oper- 
ates and to gain work experience. Volunteers work 
one shift a week, assisting visitors, demonstrating 
exhibits, facilitating workshops for young children 
and answering phones. Junior Volunteers showing 
motivation and dedication are selected to take part 
in the Junior Leadership Incentive Program. Partici- 
pants must be 1 3 years old and available to meet 
every other week for leadership training conducted 
by Museum staff with the assistance of community 
partners. "Having a community partnership adds 
so much depth to the Program; the assistance from 
Merrill Lynch has been invaluable," says Program 
Director Amy Landry. Youth set their own goals 
in the Junior Volunteers program. They also have 
opportunities to represent the Museum at city-wide 
conferences and to apply for Museum jobs. 


Children's Museum 

of Indianapolis 

3000 N. Meridian 


Indianapolis, IN 46208 


Program: Neighbors' 

Year Started: 1985 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 200 
Ages: 6- 1 2 
Budget: $64,000 

^^K V ^^—. For 50 years, from the same 
M W^ MM W inner-city neighborhood 

^5M^ ^m ^M W l° catlon ' tri e Children's 

"^.JP* r ■■■ Museum of Indianapolis has 
worked to provide cultural enrichment for the area's 
children. Local artists familiar with the neighborhood 
children teach classes that use visual arts, dance, 
music and storytelling to explore African-American 
history and culture. Pertinent Museum exhibits and 
collections contribute to in-depth explorations of 
topics. A year-round schedule of activities takes 
place at the Museum on weekends, during the school 
year, on school breaks and during the summer. Sum- 
mer months are spent preparing dance performances, 
songs and stories for the popular Family Night and 
for special events such as Black History Month and 
Martin Luther King Day. Participants meet daily for 
4 hours in the afternoon. "The kids are very committed 
to this Program and stay for years. Many have grown 
up in the Program and return to work for the Muse- 
um," says Museum Programs Coordinator Leon Jett. 
The Program also includes a career ladder compo- 
nent, which allows participants to move from volun- 
teer to paid staff. A $1 fee per day per family is 
required, though half of the participants attend free- 
of-charge through scholarships. "The Program is 
sustainable because staff genuinely care about shar- 
ing their art and themselves with the children. They 
establish long-term relationships with these kids 
and have created a real sense of family," says Jett. 


Organization: The 
Children's Museum 
Seattle Center House 
305 Harrison Street 
Seattle, WA 98 1 09 

Program: Rainier 
Vista Arts Program 
Year Started: 1995 
Focus: Multi- 
disciplinary Arts & 
Youth Served: 200 
Ages: 5- 1 4 
Budget: $92,000 


The City, Inc. 

I 545 E. Lake Street 

Minneapolis, MN 



The City, Inc. 
Year Started: 1 987 
Focus: Film & Theater 
Youth Served: 80 
Ages: 7-20 
Budget: N/A 

^^R v ^^^^ In conjunction with the 
M WA M ^ Seattle Housing Authority 

^^& T^ ^M W and the Children's Museum 
"^1 ^^ Uar of Seattle, which has worked 
extensively with youth since 1988, the Rainier Vista 
public housing community runs a year-round Arts 
Program for its young residents. The Program is 
designed to enable children and youth from cultural- 
ly diverse backgrounds to stretch their minds, mus- 
cles and imaginations in surroundings that stimulate 
creativity and build self-confidence and cultural 
understanding. Children come and go as they wish. 
However, they are asked to finish at least one project 
before leaving. During the school year, the after- 
school Rainier Vista Arts Program offers children 
hands-on experience in the visual, performing and 
literary arts supplemented with field trips to muse- 
ums, libraries, cultural institutions, galleries and 
artists' studios. The Program focuses on the arts of 
specific cultures and brings in guest artists, actors, 
musicians and dancers to instruct the children and 
to help develop exhibits and performances. In the 
11 -week summer program, students are provided 
with breakfast and lunch and participate in disci- 
pline-specific classes. Each week a new discipline 
is explored, with participants taking related field 
trips to learn about the practical applications of the 
art form. The Program has been cited by the U.S. 
Department of Housing and Urban Development as 
a model for public housing communities. It receives 
funds from the Seattle Housing Authority's Public 
Housing Drug Elimination Program. 

. flj M J k^^^^H ^ ou won 't find a "program" 
A I _ _ ! I ^^ ^^1 for the arts at The City, Inc., 
1 1 ™ ~ I r^^^^^l a muit iservice social service 

,11" 1^*4 agency that assists more 

than 3,000 young people and their families each year. 
More than 80 percent of the young people have been 
involved in juvenile court. Although some teens come 
to The City, Inc. because of its arts offerings, the term 
"program" implies beginnings and endings, says the 
artist-in-residence and conflict resolution teacher, 
Bobby Hickman. He calls the arts "stuff to do in their 
lives" and works with the students on arts projects 
of their own choosing every day after school hours. 
Most of the work is in theater, filmmaking and video- 
graphy, which are Hickman's crafts. Over the course 
of the school year, approximately 80 youth are invol- 
ved in arts projects, many of which are done in collab- 
oration with local arts organizations, such as Creative 
Theater Unlimited and the Minnesota Museum of 
the Arts. During the summer, 30-50 participants col- 
laborate on one project, such as a play or a mural. 
Prize- winning plays, such as A Raisin in the Sun by 
Lorraine Hansberry and Fences by August Wilson, 
have been performed. The purpose of these projects 
is to help youth develop their problem-solving and 
conflict resolution skills. 


City Hearts: Kids Say 
Yes to the Arts 
P.O. Box 13 14 
Topanga, CA 90290 
3 10-455-2898 

Program: The Early 
Years, Sentenced to 

the Stage, Youth Arts 
Diversion, From Gangs 
to the Stage 
Year Started: 1 984 
Focus: Multi- 
disciplinary Arts 
Youth Served: 300 
Ages: 3-18 
Budget: $80,000 

Organization: The 
CityKids Foundation 
57 Leonard Street 
New York, NY 10013 

Program: The CityKids 


Year Started: 1 985 

Focus: Theater 

Youth Served: 80 

Ages: 14-21 

Budget: $ 1 00,000 

^^B v Sentenced to the Stage and Youth 
m 7A m Arts Diversion are programs to which 
v5jM^ * tne L° K Angeles Juvenile Court refers 
'^B W^ young offenders to participate in act- 
ing and dance workshops as a condition of proba- 
tion. City Hearts, founded by former ballerina turned 
defense attorney Sherry Jason and her husband Bob, 
a 26-year veteran public defender, allows young 
offenders to take part in a 12-week workshop with 
up to 1 5 other youth for community service credit. 
The youth write an original performance piece, which 
they perform at the end of the session. The program 
operates both in juvenile detention facilities and in 
the City Hearts downtown Los Angeles studio. Youth 
who have learned to refer to themselves by their 
criminal classification ("I'm a 601," for incorrigibles 
and runaways; or "602," for juveniles who have com- 
mitted crimes) are finding a new identity and focus 
through the arts. Interested participants may contin- 
ue with City Hearts in ongoing 25-week programs 
in theater arts, circus skills, voice and movement 
classes. Additionally, City Hearts has an Early Years 
program, for at-risk children ages 3-11, and From 
Gangs to the Stage, which works solely with incar- 
youth in 
an inten- 
sive, 12- 
to 15-week 
program in 
which the 
youth write 
their own play 

The CityKids Foundation was started 
to bring together young people from 
diverse backgrounds — youth who would 
not ordinarily get the chance to meet 
each other — and provide them with a "safe space" 
for discussion and growth through participation in 
the CityKids Coalition. At Coalition meetings, held 
every Friday night, young people speak their minds, 
discuss issues of importance to youth and are heard 
with respect. The discussions at the CityKids Coali- 
tion meetings are the basis for original dramatic and 
musical material developed and performed by The 
CityKids Repertory, a nationally recognized company 
of 80 youth. CityKids Repertory meets on Saturdays 
at the CityKids Foundation facility. Half the day is 
devoted to the Life Training Institute, which provides 
training in conflict resolution, anti-violence tech- 
nigues and other life skills. The other half of the day 
is spent in developing performance skills and 
rehearsing. A CityKids alumni/ae program provides 
opportunities for graduates, many of whom work in 
youth- serving community programs. "The kids are 
involved in every move the organization makes," says 
Director of Special Projects Carla Harman. "Some of 
the youth are on staff — they're invested." Harman 
reports that many of the youth are going on to col- 
lege and getting into careers in teaching or social 
services, and others have become professional 
dancers, singers and performers. 

City of Fort Myers 
2200 2nd Street 
Fort Myers, FL 33901 
941-3 38-2287 

Program: STARS 
Through Academic 

and Recreational 

Year Started: 1 989 
Focus: Multi- 
disciplinary Arts 
Youth Served: 765 
Ages: 8- 1 4 
Budget: $257,000 

City of Kalamazoo 
Department of 
Recreation, Leisure 
and Cultural Services 
24 1 W. South Street 
Kalamazoo, Ml 49007 

Program: Fine Arts 
Skills Enhancement 

Year Started: 1 990 
Focus: Multi- 
disciplinary Arts 
Youth Served: 85 
Ages: 12-13 
Budget: $64,000 

^^K v The) City of Fort Myers police claim 
M WA m a 28 percent drop in juvenile arrests 
v^^A ▼ since the inception of the award-win- 

"^B W^ ning STARS Program — Success Through 
Academic and Recreational Support. Held at an 
expansive recreation complex built in the heart of 
the city's minority community, STARS provides area 
youth much-needed recreational and artistic outlets. 
Once educational abilities and recreational interests 
are identified, youth are enrolled in a variety of class- 
es, including modern dance, African folk dance, 
cultural and heritage arts and celebrations, poetry, 
creative writing and vocal arts. Tutorial programs 
in math, reading and computers also are available. 
The classes run in 6- to 10- week segments through- 
out the year. Participation in STARS is a family affair: 
Both parents and children must agree to participate 
in the activities. Children are required to maintain 
good behavior and at least a C average in school. 
At the start of the STARS Program, 75 percent of 
the children were making less than a C average; 
now 80 percent are making a C average or better. 

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

^^R v The Fine Arts Skills Enhancement 
A vA m Program of the City of Kalamazoo's 
v^^fek ' Department of Recreation, Leisure and 
'^ ^^ Cultural Services recruits disadvantaged 
youth from the city's three middle schools to partici- 
pate in an after-school arts program. The Program 
runs 2 days a week for 1 weeks during both the fall 
and spring semesters in local schools and arts insti- 
tutions, with transportation available for classes con- 
ducted off school grounds. Taught by professional 
artists, students select from classes in photography, 
dance, theater, drawing, painting, ceramics, weav- 
ing and videography, with each class culminating 
in an end-of-the-semester performance or exhibition. 
The Program has received an Innovative Program- 
ming Award from the Michigan Recreation and Parks 
Association. Before the City of Kalamazoo supported 
the Program, local foundations funded a 3-year pilot 
program. The impact of the funding transition is not 
yet fully apparent. 


Organization: The 

Cleo Parker Robinson 

Dance Theatre 

I 1 9 Park Avenue W. 

Denver, CO 80205 


Program: Project 
Self Discovery 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 500 
Ages: 13-18 
Budget: $300,000 


The Cleveland Music 

School Settlement 

I I 125 Magnolia Drive 

Cleveland, OH 44106 


Program: Extension 
Department: Teens 
in Training 
Year Started: 1953 
Focus: Multi- 
disciplinary Arts 
Youth Served: 400 
Ages: 6- 1 8 
Budget: $86,2 1 I 

^^■7 v Through a carefully designed program 
M Wm M of therapy, visual arts, drama, move- 
f^^ft T merit and ongoing evaluation, Project 
'^B^^^' Self Discovery is building a record of 
success with first-time offenders, teen parents and 
other at-risk youth. Harvey Milkman, a psychologist 
and drug prevention counselor, and Cleo Parker 
Robinson, artistic executive director of The Cleo 
Parker Robinson Dance Theatre, started this program 
to formally integrate the arts into drug prevention 
work. A rigorous screening process helps identify 
youth who would benefit most from this program. 
The selected youth pick an arts discipline for their 
focus and are assigned a personal counselor. The 
arts programming is complemented with a daily 
therapy session over a 12-week period, which also 
includes a rights-of-passage ceremony and wilder- 
ness activities. Their graduating ceremony, with 
parents and friends in the audience, includes a dis- 
play of their artwork with a discussion of their goals 
and plans. The first half of this year the Project will 
focus exclusively on youth who have been through 
the juvenile justice system in order to assess the pro- 
gram's impact on that target population. The second 
half of the year will expand the services offered by 
Project Self Discovery to its graduate program. Initial 
evaluations indicate that the program is successful 
in increasing participants' resiliency skills. 

^^R v Teens in Training is an educational 
M 7A m program that provides job opportunities 
vjj^^^k ' to teenagers. Arts instruction in a non- 
'^B ^^ competitive atmosphere, which encour- 
ages personal achievement through discipline, takes 
place in 19 community centers. The program is struc- 
tured around three components: lessons in the arts, 
participation in leadership training sessions and paid 
apprenticeships assisting arts instructors in conduct- 
ing classes. Classes are offered in African dance and 
drumming, choral singing, modern dance, drama, 
visual arts and intergenerational programs. The free 
ongoing classes are held throughout the school year, 
with a public performance at the end of each year. 
"Teens in Training is increasing students' desire to 
learn and has resulted in higher achievement at 
school," reports Executive Director Robert McAllister. 
"We have a high retention of youth who want to con- 
tinue in the program, and there is a waiting list to 
get into the program." 

" ' We have a high retention of 
youth who want to continue in 
the program, and there is a wait- 
ing list to get into the program. * ' 

Robert McAllister 
-Executive Director 



Cleveland School 

of the Arts 

2064 Stearns Road 

Cleveland, OH 44106 


Program: Youth 
At Risk Dancing 
Year Started: 1993 
Focus: Dance 
Youth Served: 1 8 
Ages: 14-18 
Budget: $25,000 

Community Adoles- 
cent Resource and 
Education Center 

74 Essex Street 
Holyoke, MA 1 040 

Program: Teen 
Resource Project 
Year Started: 1988 
Focus: Theater 
& Visual Arts 
Youth Served: 1 54 
Ages: 13-19 
Budget: $100,000 

HVJH I How did some inner-city high school 
WjM I football players become professional 
dancers? Ask Bill Wade, a modern 
dancer and choreographer at the Cleve- 
land School of the Arts. Wade conducts after-school 
classes 3 days a week for 2% hours for at-risk males. 
In the classes, "youth talk and discover similarities 
among themselves that become the subject of their 
performances." For these inner-city youth, the self- 
discipline associated with dance is helping them 
grow into manhood. The current troupe has been 
together for 4 years and is performing around the 
state, on television and with Pilobolus, a professional 
dance company. A new program is offered 2 days a 
week to boys in grades 6-8. Some program partici- 
pants have made remarkable strides, winning schol- 
arships to the Interlochen Arts Academy, Ohio State 
University, the Julliard School and the Martha Gra- 
ham School. One dancer was recently hired by the 
Bill T. Jones Dance Company. 

The Teen Resource Project 
is a community, after-school 
and summer program of 
the Community Adolescent 
Resource and Education Center (CARE), which works 
in Holyoke, Massachusetts, to prevent substance 
abuse, AIDS and teen pregnancy. In an effort to pro- 
mote teens' self-esteem and to provide them with 
better decision-making skills, the Project keeps teens 
active and engaged in outdoor activities and the 
arts, particularly theater. In partnership with the Uni- 
versity of Massachusetts at Amherst, Holyoke teens 
meet 5 days a week to create original theater pieces 
and use different visual arts media to build skills and 
explore issues relevant to their lives. The Project's 
theater company, the New Visions Theater, performs 
in English and Spanish. Their most recent perform- 
ance dealt in a comic way with the serious problems 
facing new immigrants. Because of a recently formed 
partnership with the acclaimed Amherst-based New 
World Theater, teens will receive additional theater 
training and work with professionals of color. 



Community School 

of the Arts 

200 W. Trade Street 

Charlotte, NC 28202 


Program: The Neighbor- 
hood Arts Program 
Year Started: 1 985 
Focus: Multi- 
disciplinary Arts 
Youth Served: 980 
Ages: 3- 1 4 
Budget: $43,335 


Community Television 


2035 W.Wahansia 

Chicago, IL 60647 

3 1 2-278-8500 

Program: After 
School Program 
Year Started: 1 986 
Focus: Media 
Youth Served: 45 
Ages: 6-2 1 
Budget: $48,768 

^£ v The Neighborhood Arts Program (NAP) 
M h4 m provides arts programming to children 
^J^Kk ' an d youth at park and recreation cen- 

~^^_^^ ters located in public housing and low- 
income neighborhoods. Community School of the 
Arts has customized programs to meet the needs 
and interests of the host sites, often based on sug- 
gestions by the participants and the teachers. Arts 
programs include creative writing, tap dance, video 
production, Native-American culture, visual arts, 
African dance and choral music. Classes of 10-20 
students meet once a week for 10-20 weeks. It is 
not unusual for a child to take more than one class 
at a time or to take NAP classes for several years. 
Professional artists teach these classes and are 
selected for both their teaching competence and 
their ability to serve as role models. At the comple- 
tion of a class, students receive a certificate of 
achievement and exhibit their creative talents at an 
"art sharing" open to the public. "A stabilizing factor 
of the Program is the instructors," says Carol Nash, 
the Program's outreach director. "The teachers know 
the parents, attend community meetings and recruit 
students. Many teachers are an integral part of these 

Students from Chicago's poor and 
high-risk neighborhoods are developing 
award-winning cable television programs 
about critical issues in their lives. This 
9-month After School Program of Community Televi- 
sion Network (CTN) brings together young people 
to develop programming ideas for a show called 
Hard Cover. Youth share responsibility for generating 
story ideas, operating cameras, editing and coordi- 
nating publicity. A new TV show is cablecast every 
2 weeks throughout the school year. Hard Cover will 
celebrate its 10th anniversary this summer. The 
teamwork and individual responsibility required 
gives students an opportunity to look for solutions 
as they are exploring problems. Videotapes created 
by participants have won awards nationally. Partici- 
pants report that the program makes them more 
aware of issues, more likely to think through issues 
and solutions and gives them a voice and a chance 
to build relationships. CTN also is working in the 
public schools. 

■ ■ Participants report that the 
program makes them more aware 
of issues, more likely to think 
through issues and solutions and 
gives them a voice and a chance 
to build relationships. * * 


Corcoran School of Art 
1680 Wisconsin 
Avenue, NW 
Washington, DC 20007 

Program: Corcoran 
Art Mentorship 

Year Started: 1993 
Focus: Visual Arts 
Youth Served: 1 2 
Ages: 15-18 
Budget: $21,820 

Organization: Corner- 
stone Project, Inc. 
4323 W. 29th Street 
Little Rock, AR 72204 

Program: Creative 
Year Started: 1 989 
Focus: Multi- 
disciplinary Arts 
Youth Served: 40 
Ages: 12-18 
Budget: $50,000 

Working to provide talented youth from 
low-income Washington neighborhoods 
with an opportunity to develop their 
visual arts skills, the Corcoran School 
of Art developed the Art Mentorship Program. High 
school age youth are nominated by school or local 
community center visual arts teachers and then 
interviewed by Corcoran staff. Focusing on youth for 
whom the arts are an important part of their identity, 
Corcoran staff match teens with an artist/mentor. 
Once matched, both youth and mentor sign a 1-year 
contract, requiring that they meet at least twice a 
month, with phone calls weekly. Meetings include 
visiting museums, the artist's studio and the youth's 
home; buying arts supplies and even attending sport- 
ing events. Youth are paid a small stipend for travel 
and wages for 4 hours a month; the mentors are paid 
a nominal fee with which to buy arts supplies. As 
part of the Program, youth are entitled to take art 
classes at the Corcoran School for free and are given 
a membership to the Corcoran Gallery. Additionally, 
participants have access to two social workers who 
are associated with the Mentorship Program. The 
Mentorship Program has been recognized as a nation- 
al model by the Hearst Foundation. In addition, the 
Corcoran provides free art classes to inner-city children 
at a variety of community sites, including churches 
and youth and neighborhood centers. 

^^K v Creative Expressions is an after-school 
M vA m program that weaves the arts into 
vH^^Hk ' Cornerstone's job training, substance 

'^ ^^ abuse prevention and academic enrich- 
ment programs. Through hands-on experience with 
professional artists and field trips to cultural institu- 
tions, young people learn about theater, graphic 
design, dance and visual arts. All of the projects are 
chosen and shaped by the participants with the help 
of an artist on staff and guest artists who are invited 
to assist with special projects. Personal experience 
and trips to cultural institutions are used as a spring- 
board for the creation of projects. For example, youth 
created a play based on their personal experiences: 
They wrote the script, built the sets and performed 
in public. Youth who are admitted to the program 
make a year-long commitment to attend 4 days a week 
from 4:00 p.m. to 8:00 p.m. If a participant fails to 
meet the commitment, a caseworker calls the family. 

* * Youth who are admitted to 
the program make a year-long 
commitment to attend 4 days a 
week from 4:00 p.m. to 8:00 p.m. 
If a participant fails to meet the 
commitment, a caseworker 
calls the family. * * 



Cornerstone Theater 


1653 18th Street 

Suite 6 

Santa Monica, CA 


3 1 0-449- 1 700 

Program: Community 
Year Started: 1 986 
Focus: Theater 
Youth Served: 200 
Ages: 6-2 1 
Budget: $450,000 

Organization: Cultural 
Arts Institute 
5502 York Road 
Baltimore, MD 21212 

Program: After- 
School Program 
Year Started: 1977 
Focus: Multi- 
disciplinary Arts 
Youth Served: 300 
Ages: 6- 1 2 
Budget: $65,000 

From 5 to 7 evenings a week, Latino 
and African-American residents of 
the Watts community in Los Angeles 
rehearse The Central Ave. Chalk Circle, 
a play based on one by Bertolt Brecht but adapted to 
address specific issues of their community. This is 
one of the many plays that citizens throughout the 
county have written and produced through Corner- 
stone's Community Collaborations. Using a 3- to 4- 
month-long residency format, Cornerstone collabo- 
rates with a community host organization to lead 
young residents from creation to production. Those 
who want to join the program must commit to 
rehearsing 5-7 days a week after an initial 3-day 
training session. Participants can study any aspect 
of theater, including acting, directing, producing or 
designing sets. "After working together, participants 
have an increased sense of their own community 
and the diversity of it," explains Managing Director 
Leslie Tamaribuchi. "Both adults and youth no longer 
have a sense of alienation from art because they 
begin to see themselves as artists and believe that 
they have the right and the ability to participate in 
the creative process. Nurturing this belief," she 
notes, "is an explicit goal of the program." 

^^K V The Cultural Arts Institute sponsors 
m vA « after-school classes in eight schools 
^^^fe t for students chosen by their teachers 

*^B ^^ and principals. Working when possible 
with teachers and parents, the Program offers two 
12-week sessions. Students are first introduced to 
the basics of drama, dance, rhythm and vocal music. 
The second session focuses on a production based 
on participants' interests and/or school curricula. 
The final public performance gives the students 
a feeling of accomplishment and pride in seeing 
a project through to completion. At the end of the 
24 weeks, the students are awarded a certificate 
acknowledging their commitment. "It is hoped that 
through an appreciation for the arts, students will 
develop creative, academic and life skills," notes 
Executive Director Sheila Childs. "We do see the 
growth of teamwork and students being supportive of 
one another. " The dedication of the artist/instructors 
and the active involvement of the Board of Directors 
of the Cultural Arts Institute are important parts of 
developing children's motivation and self-worth. 

■ " It is hoped that through an 
appreciation for the arts, students 
will develop creative, academic 
and life skills. * ' 

Sheila Childs 
-Executive Director 


Organization: Cultural 
Center for the Arts 
1001 Market Street N. 
Canton, OH 44702 

Program: Children's 
Art Connection 
Year Started: 1 98 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1,000 
Ages: 8- 1 2 
Budget: $60,000 

Organization: Dallas 
Parks and Recreation 
5620 Parkdale 
Dallas, TX 75227 
2 1 4-670-0200 

Program: Juvenile 
Gang Prevention 

Year Started: 1991 
Focus: Theater 
& Visual Arts 
Youth Served: 90 
Ages: 8-2 1 
Budget: N/A 

^^K V In an effort to provide at-risk youth 
M VA m with the chance to develop skills in 
v^^^k t the arts and to work with artists, the 
"^( ^r Cultural Center for the Arts initiated 
after-school and summer arts programs that bring 
low-income youth (95 percent of whom qualify for the 
subsidized lunch program) in contact with Canton's 
arts organizations. Professional artists lead a chang- 
ing array of 1 -hour, after-school classes at both the 
Center and at schools. For example, youth in grade 
3 are taking 12 weeks of movement classes at the 
Canton Ballet, and there is a 10-week program in 
steel drums for youth in grades 4 and 5 offered by 
the Canton Symphony Orchestra. In addition, each 
school has a 1 -month residency in creative drama, 
with after-school classes for students and teachers 
provided by The Players Guild. Ongoing visual arts 
instruction is held twice weekly and includes trips 
to the Canton Museum of Art. The students also 
attend performances by the Canton Ballet, Canton 
Symphony Orchestra, The Players Guild and the 
Canton Civic Opera. Activities also are held in school 
(during the school day), but are not part of the school's 
curriculum. Enrollment in the program has grown 
steadily, and there is a long waiting list for additional 
after-school programs. 

The Dallas Parks and Recre- 
ation Department (DPRD) 
started its Juvenile Gang 
Prevention Program in city 
parks, where an influx of gang members was caus- 
ing alarm. The DPRD formed a citizen task force to 
serve as the governing board and help shape posi- 
tive pathways for at-risk youth. Now, free 2-hour 
classes held weekly at four recreation centers are 
generating student presentations, performances and 
exhibitions around the community. Usually half a 
year is dedicated to theater and the other, to visual 
arts. Teachers from Junior Players, a local nonprofit 
arts group, help participants create their own plays 
based on personal experiences, or expose them to 
various visual arts. Transportation is provided to 
encourage attendance, which is reported to be 80 
percent of the participants on a regular basis. "The 
Program has the kids thinking and reflecting on their 
actions and how they affect themselves, peers and 
families," says Community Outreach Supervisor 
Boadicea White. "Previously territorial gang mem- 
bers are now working as a team and relating to each 
other as they take on challenges and work hard to 
achieve something." 


Organization: The 
Dance Ring DBA New 
York Theatre Ballet 
30 E. 3 I Street 
New York, NY 10016 
2 1 2-679-040 1 

Program: Project LIFT 
Year Started: 1 989 
Focus: Dance 
Youth Served: 23 
Ages: 6- 1 4 
Budget: $2 1,000 

Organization: Delta 
Blues Education Fund 
29 1 Sunflower Avenue 
Clarksdale, MS 38614 
60 1 -627-6820 

Program: Delta Blues 
Education Program 
Year Started: 1 992 
Focus: Music 
Youth Served: 120 
Ages: 9- 1 5 
Budget: $20,000 

rWPI I Once a year, during the Christmas 

I holidays, children come from homeless 
shelters to the New York Theatre Ballet, 
a professional dance school and perfor- 
mance company Every day for 1 week they get a hot 
breakfast followed by ballet classes, a hot lunch and 
open reading time. At the end of the week, children 
who show a particular interest in continuing are given 
full scholarships to attend Project LIFT. Of the children 
who receive scholarships, generally half become consis- 
tent students and are integrated into the dance classes 
as regular participants. "Dance is the hook in this pro- 
gram," explains Director Diana Byer. "These children 
have no real opportunities in life, and through LIFT, 
we can instill the values of self-discipline, teamwork 
and respect for others, which helps to keep them moti- 
vated to stay in school. All of the scholarship students 
have made vast improvements in their school work, and 
one of the little girls received a certificate for academic 
excellence at her sixth grade graduation." The scholar- 
ship students, who have to keep their grades up in order 
to participate in the program, receive not only free ballet 
classes, but also all necessary dance clothes, transporta- 
tion money and books which they can keep. Additional- 
ly, they are provided with school clothes, winter coats, 
toys, special things for the holidays, emergency medical 
care and help for their families in budgeting money if 
they move out of the shelter. After 1 full year of classes, 
the children can perform with The Dance Ring DBA 
New York Theatre Ballet company in a performance of 
The Nutcracker. "Through dance, the children learn to 
care for each other. The Nutcracker gives them some- 
thing to look forward to, and they begin to understand 
that through hard work they can achieve their dreams. 
We show the children that it is not where you come 
from that determines success, but how hard you work," 
explains Byer. 

^^0^^ Using the rich heritage of the Missis- 

^gA^^^ sippi Delta Blues tradition, the Delta 
m ^f^P Blues Education Fund is giving youth a 
^^3^^ healthy alternative to the harsh realities 
of Clarksdale streets. Classes concentrate on instru- 
mental technique and performance. Instruction on 
the instruments of the Delta Blues (bass, guitar, key- 
boards, harmonica, drums and voice) is augmented 
by teaching participants the keys to success as pro- 
fessional musicians. Instructors, professional artists 
themselves, teach personal conduct, effective com- 
munication and money management. After-school 
classes are held at the Delta Blues Museum for 3 hours, 
5 days a week. On Saturdays, students take classes 
at the Elks Club and Chamber of Commerce. The 
after-school program complements a daytime program 
at six area schools. A large number of youth partici- 
pate in both the daytime and after-school programs. 
Students perform publicly, with many of the perfor- 
mances generating income that is put into a trust 
account. Older students who have graduated from 
the Program perform the Delta Blues in Delta-area 
communities. "The children have become profession- 
al musicians and are performing all over Mississippi, 
Tennessee, Alabama and Illinois. They have been on 
television, and some are now important wage earn- 
ers for their families," says Co-Director Rex Miller. 


Organization: Demicco 
Youth Services 
825 N. Hudson 
Chicago, IL 606 1 

Program: Northern 
Horizon Cultural 
Arts Program 
Year Started: 1 994 
Focus: Multi- 
disciplinary Arts 
Youth Served: 400 
Ages: 7-20 
Budget: $3 1 5,000 

Organization: Depart- 
ment of Arts and Cul- 
tural Affairs 
222 E. Houston 
Suite 500 
San Antonio, TX 

Urban smARTS 
Year Started: 1 994 
Focus: Multi- 
disciplinary Arts 
Youth Served: 320 
Ages: 11-14 
Budget: $250,000 

^^K v The Northern Horizon Cultural Arts 
M 7A m Program provides arts programming to 
v^^^k ▼ the young people of the Cabrini-Green/ 

'^B W^ Near North neighborhood of Chicago, 
a community with high rates of unemployment, gang 
violence and other social problems. Youth participate 
daily in a variety of performing and visual arts activi- 
ties, some of which center on the African and African- 
American heritage of the residents. Artists have 
developed comprehensive curricula for drama, choir, 
dance, fine arts, arts and crafts and African folklore 
and rhythms. The artist/instructors are assisted by 
teenagers from the community. Classes are held in 
churches, community centers, parks and residential 
centers in the neighborhood after school and on 
weekends, year-round. All classes meet once or 
twice a week, are organized around issues that 
affect the community and include quarterly per- 
formances and special events. A 2-day summer 
festival of the arts celebrates the accomplishments 
of students in the Program. 

■ * The Northern Horizon Cultural 
Arts Program provides arts pro- 
gramming to the young people 
of the Cabrini-Green/Near North 
neighborhood of Chicago, a 
community with high rates of 
unemployment, gang violence 
and other social problems. * * 

^^R V Urban smARTS is an intervention pro- 
M vA m gram designed to divert youth from 
v^Tj^^k ' entering the juvenile justice system. 

"^B ^^ The San Antonio City Council initiated 
the program, bringing together the city's Department 
of Arts and Cultural Affairs with the Department 
of Community Initiatives, which provides case man- 
agement services to youth. The partnering of depart- 
ments has resulted in a multidisciplinary program 
that combines innovative arts activities with conflict 
resolution training and other prevention services. 
At each of seven school sites, three artists and five 
caseworkers are joined by a volunteer and a school 
teacher to lead daily after-school, 2-hour classes, 
using visual arts, dance, theater, literature, music, 
photography and videography. Activities, which 
include field trips, are tailored to the needs of each 
site. Participants are encouraged to get involved in 
a number of different classes as a way of discovering 
where they feel most comfortable. While each 14- week 
session throughout the school year culminates in a 
performance or exhibition, it is the process that is 
emphasized to show young people that steps have 
to be taken to achieve something. "Urban smARTS 
has been effective in changing the kids' attitudes 
and increasing self-esteem," reports Program Man- 
ager Berti Rodriguez Vaughan. "They're realizing 
there are other possibilities for them." 


Department of 

Cultural Affairs 

78 E. Washington 


Chicago, IL 60602 


Program: Gallery 37 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1,000 
Ages: 14-21 
Budget: $1,000,000 


The Door— A Center 

of Alternatives, Inc. 

1 2 1 Avenue of the 


New York, NY 1 00 1 3 

2 1 2-94 1 -9090, ext. 252 

Program: Creative 
Arts Program 
Year Started: 1 972 
Focus: Multi- 
disciplinary Arts 
Youth Served: 617 
Ages: 12-21 
Budget: $75,000 

^^R v Gallery 37 is a summer arts education 
M VA m and job training program in which city 
^^^Hk t hrgh school students are employed by 

'^B W^ the City of Chicago to create art for 
public spaces and fulfill private commissions. Archi- 
tecture, metal jewelry making, bookbinding, paper- 
making, painting, creative writing and journalism, 
public art, furniture painting, textile art and urban 
landscaping are offered as part of a changing array 
of classes. Located in the heart of downtown Chica- 
go, Gallery 37 transforms a vacant 3-acre lot each 
summer into a lively outdoor studio where the 
apprentices/artists work 
and train and where the 
public is welcome to visit. 
The benefits of the pro- 
gram to Chicago youth in 
the summer months are 
numerous: meaningful 
employment, develop- 
ment of job skills and 
arts education. In addi- 
tion, 12 satellite programs 
in other city neighbor- 
hoods are employing young 
people in their own communities. The Gallery 37 model 
also has been replicated in communities across the 
country. Most recently, Gallery 37 was invited by the 
Board of Education to bring its job training program 
to Chicago's public schools. Beginning this spring, 
Gallery 37 will initiate an after-school program in 
15 Chicago public schools, following the guidelines 
of its summer program. 

^^K V The Door, a full-service youth agency, 
A VA m provides a comprehensive, integrated 
^55^BL ran g e of services to youth, including 
'^B ^r an average of 20 classes a week after 
school and in the evening in dance, vocal and instru- 
mental music, theater, painting, drawing, ceramics, 
photography, tie-dying, jewelry making, woodworking 
and airbrush design. Staff artists are supplemented 
by artists-in-residence who teach in exchange for 
rehearsal and studio space. The Creative Arts Pro- 
gram also includes lectures/demonstrations, master 
classes, trips to cultural events and institutions 
and student performances/exhibitions. Classes are 
designed to help youth develop their skills and learn 
about the world through art and the resources of 
New York City. For example, youth may go to see an 
exhibition and then use the theme of the exhibition 
for their own work. Every 2 months, one of the young 
artists exhibits his/her work at The Door. The partic- 
ipants' work, which has been shown at other sites 
throughout the metropolitan area, has won awards in 
city-wide contests and has been highlighted in the 
press for its creativity and uniqueness. "Through the 
arts, participants learn about the planning process; 
they learn how to appraise their own strengths and 
weaknesses, how to get organized and how to focus 
in order to complete tasks," explains Eileen Bethea, 
coordinator of the Program. "The kids in the Creative 
Arts Program are motivated by the activities, and that 
excitement spills over into other areas of their lives." 




Dougherty Arts 


1 1 1 Barton Springs 

Austin, TX 78704 


Program: Youth at 
Arts: Graffiti as Art 

and Texas Young 
Playwrights Program 
Year Started: 1 989 
Focus: Theater 
& Visual Arts 
Youth Served: 8 1 1 
Ages: 3-19 
Budget: N/A 


DrawBridge: An Arts 

Program for Homeless 


P.O. Box 2698 

San Rafael, CA 949 1 2 


Program: Art Groups, 
DrawBridge School 
Education Project, 
Traveling Art Exhibit 
Year Started: 1 989 
Focus: Visual Arts 
Youth Served: 550 
Ages: 4-16 
Budget: $134,000 

The City of Austin's Youth 
at Arts program gives chil- 
dren an opportunity to learn 
about the arts and build 
self-esteem by developing their creative abilities. 
The program includes more than a dozen activities 
for youth ages 3-1 9 at locations all over the city. 
Two of the programs are Graffiti as Art and the 
Texas Young Playwrights Program. Graffiti as Art 
looks at the artistic merit of graffiti and helps youth 
learn how to draw distinctions between vandalizing 
and creating art. Working with well-respected mural- 
ists and graffiti artists, participants gain an histori- 
cal understanding of graffiti and create murals and 
other works at sites throughout the city. The Texas 
Young Playwrights Program works with youth at the 
Arts Center and at housing projects, high schools 
and recreation centers around Austin. With assis- 
tance from the University of Texas' Department of 
Theatre and Dance and the Capitol City Playhouse, 
students learn about scriptwriting. Each develops a 
one-act play about issues of concern. The students' 
plays are produced and critiqued by theater profes- 
sionals during the Texas Young Playwrights Festival. 
The programs range in duration from 1 intensive 
week to 3 months, depending on the host site. 

" ■ Graffiti as Art looks at the 
artistic merit of graffiti and helps 
youth learn how to draw distinc- 
tions between vandalizing and 
creating art. * * 

Operating in nine Bay Area homeless 
shelters in three counties, DrawBridge 
provides a safe environment where 
homeless children use art to express 
their needs, fears and hopes. DrawBridge brings art 
facilitators and trained volunteers to shelters on a 
regular basis in order to give children a voice and 
an opportunity to feel valued. High-quality and varied 
materials are provided, including paint, clay and 
collage materials. An important component of Draw- 
Bridge's program is the inclusion of formerly home- 
less mothers and teens as staff. They relate to children 
because of their shared experience. The DrawBridge 
School Education Project takes a video about a home- 
less boy to local schools as a means of helping youth 
understand family homelessness and substitute fact 
for fiction. Formerly homeless teens help with these 
presentations and assist students with art projects. 
Through Our Eyes, DrawBridge's Traveling Art Exhib- 
it, features the artwork of homeless youth. Summing 
up the program, one 11 -year-old participant noted, 
"It's like when you play telephone, and it never 
comes back the way you mean it. When you draw 
your feelings, people can't misunderstand you. Like 
if you're really mad and you may not be able to tell 
the exact words, you can draw lightning flying down 
or something like that." 


East Bay Center for 
the Performing Arts 
3 39 llth Street 
Richmond, CA 9480 1 

Program: East Bay 
Center for the 
Performing Arts 
Year Started: 1 969 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1,600 
Ages: 1-18 
Budget: $974,000 

Organization: Eco-Rap 

3435 Cesar Chavez 

Studio 222 

San Francisco, CA 

941 10 


Program: Eco-Rap 
Year Started: 1 994 
Focus: Multi- 
disciplinary Arts 
Youth Served: I 5 
Ages: I 1-19 
Budget: $20,000 

^^K v To promote intercultural awareness and 
M vA M social reconciliation, East Bay Center 
v^^^k ' for the Performing Arts developed an 
'^B ^r educational model that integrates art 
and culture into the community. Participants explore 
three interrelated components: repertoire and tech- 
nique; comparative studies across cultures and disci- 
plines; participation in community life through which 
community issues are explored through the arts. Youth 
from low-income, culturally diverse communities 
participate in traditional West African, Mexican and 
Southeast Asian music and dance; vocal and instru- 
mental jazz; contemporary ballet; theater; film and 
video. Sessions run for 10 weeks, each on a year-round 
basis. Youth participate at the main site in Richmond 
and at 1 5 other sites throughout the East Bay. One 
specific project, the Juvenile Justice Diversion Project, 
is run in partnership with Contra Costa County Juve- 
nile Hall. Selected students exchange time in deten- 
tion for training in the performing arts. Students take a 
rigorous schedule of classes, participate in counseling 
by trained professionals and are given the chance for 
positive community recognition at a final performance/ 
exhibition event. 

^^K V Eco-Rap uses hip-hop to educate peo- 
m vA m pie primarily in the Northern California 
^V^fl^ ' Bay Area and the Bayview Hunters 

'^l ^^ Point community, in particular, about 
issues ranging from toxic spills to teenage pregnancy. 
Eco-Rap makes numerous presentations at school 
assemblies and in classrooms regarding these issues. 
The After-School Workshops have been held in such 
places as the Bayview Opera House and San Fran- 
cisco Educational Services; presently, the environ- 
mental group SLUG (San Francisco League of Urban 
Gardeners) also is hosting Workshops. Eco-Rap opens 
each 3-month program with a community Toxic 
Tour led by environmentalists and A.K. Black, Eco- 
Rap 's artistic director and artist-in-residence. The 
tour gives youth different perspectives of their com- 
munity. Next, the group examines environmental 
issues presented in news articles and a diverse range 
of periodicals. Meeting 4 days a week for 3 hours, 
each youth is assigned an article to read and share 
with the group and is encouraged to work on an 
individual performance art, poetry or book project. 
At the end of each session, the group presents to 
the community a hip-hop performance art piece that 
addresses an issue the youth examined. "Our aim is 
to bring knowledge out of youth, not always to instill 
it," says Black, a native of the Bayview Hunters Point 
community. Describing the success of the program, 
Black notes, "We have consistent requests for perfor- 
mances and continued student attendance. And we 
see a change in the outlook of the youth from hope- 
less to hopeful." 


Organization: Edgehill 
Center, Inc. 
935 Edgehill Avenue 
Nashville, TN 37203 


Program: PAVE WAY 
(Preventive Arts 

and Video From 
Edgehill With Artists 
and Youth) 
Year Started: 1 992 
Focus: Visual Arts 
Youth Served: 29 
Ages: 10-18 
Budget: $ 1 8,000 

Organization: Educa- 
tional Video Center 
55 E. 25th Street 
Suite 407 

New York, NY 1 00 10 

Program: High 
School Documentary 
Year Started: 1 984 
Focus: Video 
Youth Served: 60 
Ages: 15-19 
Budget: $500,000 

Youth from low-income housing devel- 
opments are being given opportunities 
to beautify the city of Nashville through 
commissioned outdoor murals in a pro- 
gram of the Edgehill Center, Inc. The Center hires 
professional, African-American male artists who work 
in a variety of visual arts. These artists are role mod- 
els and guides for participants and come from the 
same background as the youth. Nonprofit organiza- 
tions, schools and private companies reguest murals 
and designate a theme for the art. Youth talk about 
what the theme means to them and collaborate with 
the artists in designing a mural that encompasses 
their visions. Depending on the size of the mural 
reguested, 7 to 10 young people participate in each 
project and may work nights and weekends, later 
returning to a regularly scheduled weekly 2-hour 
meeting. There is strong family participation in the 
program. The older youth are mentoring newcomers 
and their younger siblings. "When there are kids 
with a natural ability in the arts, often the parents 
have this same ability that never was developed," 
says Community Services Director Cathy Roberts. 
"The parents are being given opportunities to learn 
and grow with their children." 

©New York City high school students 
from all five boroughs are creating award- 
winning videos about the daily problems 
young people face at home, in school 
and on the streets. Through the Educational Video 
Center (EVC), a nonprofit media center housed in an 
alternative public school, groups of 12 to 15 students 
become members of a video production crew. The 
3-hour classes are held during and after school at 
the Center 4 days a week. The crews brainstorm 
topics, choose an issue, write text and map the video 

content. Using newly learned camera and interview- 
ing skills, students shoot footage, produce a rough- 
cut, get feedback and make final edits. Videos, such 
as Guns and the Lives They Leave Holes In, are used 
in classrooms and by libraries and other nonprofit 
organizations. Participants are evaluated on the basis 
of a portfolio reviewed for writing, research and com- 
munication skills, as well as technological compet- 
ence and creative expression. Youth Organizers Tele- 
vision (YO-TV) provides a very small number of high 
school graduates who have participated in the Work- 
shop with an advanced pre-professional program for 
producing broadcast-guality videos that address 
community problems. 

Organization: Elders 
Share the Arts 
57 Wi Hough by Street 
Brooklyn, NY I 1 20 1 

Program: Living 
History Program 
Year Started: 1 979 
Focus: History & 
Multidisciplinary Arts 
Youth Served: 1 50 
Ages: 5-18 
Budget: $300,000 


Evansville Housing 


41 1 S.E. 8th Street 

Evansville, IN 47713 


Dance Awareness 
Year Started: 1 988 
Focus: Dance 
Youth Served: 57 
Ages: 6- 1 6 
Budget: $20,000 

■ ^J v Elders Share the Arts (ESTA) 

J^^^J^A 7A m links generations and cul- 
\T 1 i^^55^^ tures through year-long Liv- 

^m^ m ^- "^B ^ r ing History Programs that 
transform life experiences into dance, theater, writ- 
ing, visual arts and storytelling. ESTA's programs 
facilitate relationships among community members, 
bringing together neighbors of all ages and ethnici- 
ties to build community, address community issues 
and celebrate common ground. In the Living History 
Program, youth and elders come together throughout 
the year in 30 weekly workshops at 20 New York 
neighborhood community centers, schools, libraries 
and other sites. Youth interview seniors and develop 
oral histories of their lives. At the end of each year's 
workshops, youth and elders stage dramatic literary 
and visual presentations based on those oral histo- 
ries at a city-wide Living History Festival. Through 
the Living History Program and another ESTA activi- 
ty, the Conflict Mediation Program, elders and youth 
form relationships that are maintained beyond the 
Program. As a vendor agency for the New York City 
Board of Education, ESTA helps youth participating 
in these Programs to improve their school attendance, 
increase attentiveness and gain arts and communi- 
cation skills. Moreover, youth's involvement with 
elders stimulates their curiosity and interest in learn- 
ing, making historical events from the pages of a 
textbook more vibrant and real. 

fWPH I The Evansville Housing Authority's 
WM I award-winning Dance Awareness pro- 
gram started because of the determina- 
tion of one individual who witnessed 
the impact of dance on children in another city. 
Brenda Murry-Pittman, now the Housing Authority's 
director of community service, returned to Evansville 
from Washington, DC, and formed a partnership 
with a local dance group to teach children personal 
discipline and build self-esteem through dance. The 
resulting school-year program meets 3 days a week, 
for 45 minutes in the early evening, to teach children 
ballet, jazz and ethnic dance. A Housing Authority 
van provides free transportation from three housing 
sites to a dance space donated by the Tri-State 
Food Bank. The dancers are provided with leotards, 
tights and shoes and perform once a year at a spring 
recital at the University of Evansville. In addition, 
the Evansville Museum has invited them to perform 
during Black History Month. "The kids are learning 
to trust that people outside their world care about 
what happens to them," says Murry-Pittman. Dance 
Awareness reports an 80 percent youth retention 
rate in the program. The program is supported by 
a variety of public and private sources, including 
funds from a U.S. Housing and Urban Development 
Drug Elimination Grant. 

Everyday Theater, Inc. 
P.O. Box 70570 
Washington, DC 

Program: Everyday 
Theater Youth 

Year Started: 1 984 
Focus: Music 
& Theater 
Youth Served: 9 
Ages: 16-21 
Budget: N/A 

Organization: Ewajo 
Dance Workshop 
2719 E.Madison 
Seattle, WA 98 1 1 2 

Program: After- 
School Program 
Year Started: 1 992 
Focus: Dance 
& Humanities 
Youth Served: 60 
Ages: 5- 1 2 
Budget: $6,300 

Everyday Theater Youth 

r >^ I Ensemble, a company of 

^fefl^^^^—l African-American youth, 

electrifies audiences with 
powerful plays that illuminate issues surrounding sub- 
stance abuse, violence and AIDS. Using music, rap, 
African oral traditions, dance and drama, Ensemble 
players create original productions based on personal 
experiences, such as the rap opera trilogy Outside 
My Window, about commitment to family and com- 
munity, self-help and spirituality. Out-of-school youth 
are paid for a 40-hour workweek. They work year- 
round with Theater staff and guest choreographers 
and other consultants. Participants start with inten- 
sive training in acting, diction and music, among 
other areas. The Ensemble puts together a participa- 
tory production with complementary workshops for 
school children to encourage them to examine some 
of the critical issues affecting their lives. Theater 
skills are further developed through 6-week workshops 
led by Ensemble members in the schools. A summer 
program involves youth who have attended Every- 
day Theater programs during the school year. They 
work daily for 6 weeks, gaining new skills and sub- 
stance abuse awareness through the help of a sub- 
stance abuse coordinator. A performance is presented 
three times for parents and community members. 
As a tool for social change, the program is helping 
participants "better articulate information about the 
issues," says Artistic Director Jennifer Nelson. The 
program works, she notes, because "most of the peo- 
ple in the Ensemble are from the communities that 
receive the presentations." 

f JMH ~~ ^^^^ The Ewajo Dance Workshop 

Bffifl flfl V ^ as c J rown irom a small 

IS^^B dH W dance studio to a multifac- 
^h^b^^ V^Hhv eted organization that helps 
youth from diverse backgrounds find common 
ground while building individual skills. The After- 
School Program offers dance classes that reflect 
Seattle's African- American, Brazilian, Filipino and 
Native- American populations. Taught by guest 
artists called Cultural Heritage Specialists, classes 
take place in local schools during after-school hours, 
twice a week for 2 hours during the school year. 
Before the start of each class, students take part in 
chat sessions that allow them to talk about their 
thoughts and learn about social, cultural and histori- 
cal issues. The Program concludes with city- wide 
community performances by the students. "This is 
a dance program for kids who wouldn't otherwise 
have the chance to be involved with dance. Its goal 
is to develop cultural and social skills through dance 
and through working together with other kids from 
a variety of backgrounds," notes Executive Director 
Edna Daigre. A recent 2-year grant from the City of 
Seattle is enabling Ewajo Dance Workshop to increase 
the number of youth served and to expand services 
such as transportation for the participants. The 
After-School Program complements a number of 
other Ewajo programs, such as Artist-in-Residence 
and Dance as a Cultural Expression, which works 
with homeless children through a collaboration with 
an elementary school. 


Federated Dorchester 


Houses, Inc. 

90 Cushing Avenue 

Dorchester, MA 02 1 25 


Program: Art Express 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 340 
Ages: 6- 1 8 
Budget: $400,000 

Organization: The 

52nd Street Project 

500 W. 52nd Street 

2nd Floor 

New York, NY 1 00 1 9 


Program: The 52nd 
Street Project 
Year Started: 1 98 1 
Focus: Theater 
Youth Served: 80 
Ages: 7- 1 7 
Budget: $350,000 

^^K V Arts programming is offered daily to 
M 7A m elementary school children in an after- 
^y^^^ school program in Dorchester. Through 
"^B ^^ the auspices of the Federated Dorchester 
Neighborhood Houses, a social service agency, artist/ 
educators and group leaders design programs in fiber 
arts, sculpture, theater, painting, drawing, photo- 
graphy and film for children at four sites. A pool of 
artists rotate among the sites, providing youth with 
exposure to a variety of disciplines. In December, 
each site holds an annual holiday open house craft 
fair so the children can display and sell their work. 
Older participants meet weekly for a hands-on inter- 
active program that introduces teens to the visual 
arts. Working side-by-side with artists and gallery 
staff, teens create their own work, learn the basics 
of gallery administration and design and mount an 
art exhibition to display their work. To supplement 
their technical instruction and expand their horizons, 
both younger children and teens go on field trips to 
local cultural institutions. 

The purpose of The 52nd Street Project 
is to give every child the experience of 
success through writing and performing 
his or her own plays. Economically dis- 
advantaged children from the "Hell's Kitchen" neigh- 
borhood of New York City are paired with professional 
theater artists to create, mount and perform original 
theater pieces. The individual child is the focus of 
this Project's work. Workshops take place in local 
community centers and theaters, as well as during 
out-of-town retreats. They include One on Ones, 
in which youth are paired with adults to create a 
work especially for them that is performed by the 
child with that adult. In Two on Twos, a professional 
playwright creates a play 
performed by two 52nd 
Street Project participants. 
Playmaking is a series of 
playwriting classes for 
young people developed 
by Daniel Judah Sklar 
from his book Playmak- 
ing: Children Writing and 
Performing Their Own 
Plays. These classes were 
adapted to include a per- 
formance component. An 
ongoing acting company of children is under devel- 
opment. In addition, based on their experience, The 
52nd Street Project has written a practical guide to 
teaching theater arts to children. 


Organization: Flynn 
Theatre for the 
Performing Arts 
153 Main Street 
Burlington, VT 05401 

Program: Flynn/ 
Wheeler School 
Year Started: 1 990 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1 75 
Ages: 5-1 1 
Budget: $10,250 

Organization: Fools 


311 W. 43 rd Street 

New York, NY 



Program: Artsworker 


Year Started: 1983 

Focus: Dance 

& Theater 

Youth Served: 25 

Ages: 16-21 

Budget: $133,000 

^^R v After-school programs offered as part 
M WA % of the Flynn/Wheeler School Partner- 
Vv^^fek t ship take place at the Wheeler School, 

"^( ^^ located in the Old North End, the neigh- 
borhood that has the highest concentration of low- 
income and minority residents in Burlington. Classes 
are organized in three sessions a year; each session 
generally includes three classes, which meet once a 
week in such areas as creative dance, ballet, creative 
drama, theater production and string instruments. 
Performances or presentations of works-in-progress 
are given throughout the year. In addition to classes 
and performances, children have the opportunity to 
participate in workshops with visiting professional 
artists. Each child is given free access to student 
matinees at the Flynn Theatre and is offered tickets 
for a Sunday series for families. The City of Burling- 
ton was just named recipient of a U.S. Department 
of Housing and Urban Development Enterprise Com- 
munity Grant. Some of these funds will be used to 
hire an arts enrichment coordinator for the Flynn 
Theatre's work in the Old North End. 

[MV ^^^^B I In a year-round program, 

LW^E I -^ ** I 

I .^ , | Fools Company's Artswork- 

er Apprentices exposes 
teens to the performing 
arts. Teens are referred by community organizations 
and schools and learn about the program through 
public service announcements or by word-of-mouth. 
Participants attend free 2-hour workshops once a 
week and learn about performance and production. 
Additionally, by helping the Company with its mail- 
ings and fund-raising efforts, they also learn about 
arts administration. Workshops are complemented 
by the Company-sponsored International OFFestival, 
which is staged several times a year and exposes 
youth to contemporary performances by artists from 
around the world. Visiting artists conduct the regular 
workshops during the weeks they are at the Festival, 
and the teens help with the Festival's administrative 
and technical needs. As participants build their job 
skills, they can work part time with Fools Company 
or with other artists who perform in the Company's 
theater space. "The kids are gaining knowledge about 
jobs in the performing arts and are increasing their 
general job skills," says Executive Director Jill Russell. 
"They are showing heightened self-confidence and an 
increased ability to articulate and express themselves." 

* ■ The kids are gaining know- 
ledge about jobs in the performing 
arts and are increasing their gen- 
eral job skills. * ' 

Jill Russell 
-Executive Director 


Organization: Fourth 
Avenue Cultural 
Enrichment (FACE) 
P.O.Box 15134 
Tallahassee, FL 32317 

Program: Fourth 
Avenue Cultural 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 70 
Ages: 6- 1 7 
Budget: $26,9 1 5 

Free Street 
1419 W. Blackhawk 
Chicago, IL 60622 
3 I 2-772-7248 

Program: TeenStreet 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 4 1 
Ages: 14-20 
Budget: $73,000 

^^K V Fourth Avenue Cultural Enrichment 
M WA m (FACE) is a multicultural, interdiscipli- 
^W^^^ " nar Y program designed to provide 

"^B ^^ children and young adults with a con- 
sistent artistic outlet. FACE works with school per- 
sonnel, city government officials, community leaders 
and parents to interest young people in African 
dance, drumming and culture; public mural painting; 
ceramics and field trips to area cultural institutions 
to see ballet, theater and other performances. Year- 
round classes meet three times a week at a space 
donated by the Department of Parks and Recreation 
and start with a half-hour of academic tutoring. Pro- 
fessional artists direct the arts projects, which have 
ranged from painting murals on a homeless shelter 
and bus station to presenting public performances at 
community festivals and senior citizen homes. Older 
children are eligible to become summer youth leaders 
and are paid through the Job Training Partnership 
program. "The children are wonderful human 
beings," observes Executive Director Jill Harper. 
"They are still in school, are more respectful of each 
other and are bringing their younger siblings to the 
program." Harper runs the program single-handedly, 
visiting the public housing community and schools 
to market the program. But as she notes, "The pro- 
ject is a community effort. It improves the whole 
community because it promotes communication 
between people from diverse backgrounds." 


The children are wonderful 
human beings. 11 

Jill Harper 
-Executive Director 

^^K V Free Street provides jobs and job train- 
M W^ m ing in creative writing, dance, music 
^Vjfll^ anc ^ theater through its TeenStreet 
"^J ^^ program. The program emphasizes 
being punctual, taking direction, assuming personal 
responsibility and working as part of a team. Working 
under an artistic director, youth create theater pieces 
based on their lives and views of the world. "The 
performances are built from the kids' lives, so they 
get to work out their anger," says Executive Director 
David Schein. TeenStreet is a two-tiered program 
with both a summer and year-round ensemble. The 
summer program runs for 8 weeks. Teens attend 
20 hours a week and take part in a rigorous perfor- 
mance schedule of two performances a day during 
the last half of the session. Participants must audition 
to become members of the year-round ensemble, 
which meets 8 hours a week for 5 months. The ensem- 
ble performs throughout Chicago and has appeared 
nationally and internationally as well. TeenStreet is 
also a jobs program: The Job Training Partnership 
program pays youth in the summer; Free Street pro- 
vides wages during the school year. To reinforce 
the employment training aspect of the program, 
youth are taught interviewing and other job acqui- 
sition skills. In addition, guest artists meet with the 
ensemble to discuss the entertainment business. 
"TeenStreet enables kids to face the realities of their 
lives and know what they have to do to attain better 
lives for themselves," notes Schein. "Kids learn how 
to work the system and how to connect with people 
who have access and can help them." Schein reports 
that TeenStreet participants are going on to college 
and successfully building careers. 


Organization: Friends 
of Photography 
250 4th Street 
San Francisco, CA 

Program: Ansel 
Adams Center for 

Education: Partnership 
and Community 

Year Started: 1 989 
Focus: Photography 
Youth Served: 300 
Ages: I 1-17 
Budget: N/A 


Fringe Benefits 

530 N. West 

Knoll Drive, Suite I 

Los Angeles, CA 


3 10-657-8149 

Fringe Benefits 
Year Started: 1 99 1 
Focus: Theater 
Youth Served: 70 
Ages: 14-21 
Budget: N/A 

For nearly 30 years, the artist-founded 
Friends of Photography has promoted 
the development of creative photogra- 
phy. When it relocated to San Francis- 
co, Friends opened the Ansel Adams Center for 
Photography and initiated a youth outreach and 
education program to create new partnerships and 
involve a broader spectrum of the community. The 
program involves a variety of youth with special 
needs who are identified by partner organizations. 
These organizations pay any nominal fees. Artists 
work once a week over 8- to 12- week sessions with 
teen girls, English-as-a-Second-Language youth 
and others attending after-school programs at com- 
munity organizations. During the ongoing sessions, 
youth not only work on technical skills in photogra- 
phy, but also take part in other activities such as 
writing projects. The program always includes gallery 
and museum visits and concludes with a student 
exhibition. "Learning takes place in many different 
ways, and photography provides an outlet for those 
who may be more visual learners," says Deputy 
Director for Public Programs Deborah Klochko. Friends 
of Photography conducts several specialized programs, 
including a Saturday Teen Docent Program, which 
provides paid training for high school students who 
gain appreciation of art and public speaking skills, 
and a Teen Girls Program, which is run with the 
San Francisco Educational Services and focuses on 
how self-image is defined by media. The programs 
are about more than just photography and art. "We 
want young people to become visual consumers and 
see how media can influence what we think about 
ourselves," says Klochko. 

"When I had been honest, I was told to 
shut up. When I had felt passion, it had 
ultimately been ignored.... [A]nd when I 
had been courageous, I ended up alone." 
These emotions, expressed by a homeless gay youth 
in Fringe Benefits, are the very ones that Director 
Norma Bowles and Co-Director Ernie Lafky tap to 
help youth create performances that clearly express 
their views of the world. Fringe Benefits contracts 
for 6 months with shelters and transitional homes 
for homeless gay and lesbian youth. The staff meet 
youth at each site at least twice a week to conduct 
writing and acting classes. The young people's 
experiences shape the content of their work. In one- 
on-one sessions, youth focus on improving their 
creative-writing skills and on finding erfective ways 
to dramatize their individual stories. Over a 6-month 
period, 70 youth collaborate on writing a play that 
is performed by approximately 12 participants at the 
Highways Performance Space in Los Angeles. "The 
performing arts provide a bridge from the street to 
other kinds of work. Kids learn' the concept of delayed 
gratification; they leam how to work very hard, through 
the frustration, to get to the end result. Some of the 
youth in our program," Bowles continues, "have gone 
on to college and summer repertory programs; one 
youth got a poetry prize from a local museum. Their 
work is top notch, classy, intelligent, powerful and 
quite beautiful." 


Organization: Georgia 
Museum of Art 
University of Georgia 
Athens, GA 

Program: ArtReach 
Year Started: 1 987 
Focus: Humanities 
Youth Served: 6 
Ages: 15-17 
Budget: $ 1 6, 1 88 


Greater Columbus 

Arts Council 

55 E. State Street 

Columbus, OH 43215 


Program: Children 
of the Future 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 2,000 
Ages: 5- 1 2 
Budget: $528,800 

^^^^ ArtReach is a summer program for a 
^k ^ small number of Athens-area low-income 

V ^M W teens. The program is run by the Geor- 
W^Kkm gia Museum of Art in cooperation with 
the Northeast Georgia Regional Development Center 
using funds from the Job Training Partnership Act. 
Students work with two arts education instructors. 
They study art history and research a wide range of 
related topics, such as the architecture, music and 
dance of the same period, as well as the daily lives 
of the people who lived at the time the art was pro- 
duced. The teens learn research, computer graphics 
and word processing skills. Their work culminates 
with presentations at sites around Athens, including 
nursing homes, day-care centers, Boys and Girls 
Clubs and libraries. The presentations are tailored to 
each audience and include hands-on arts activities. 

^^K v Children of the Future creates safe 
M vA m neighborhood havens for youth and 
\W^^k ' provides them with daily after-school 

"^B ^^ arts activities, as well as weekend 
programs featuring visiting artists. Twenty-three 
AmeriCorps participants work at seven recreation 
centers in inner-city neighborhoods. Each center 
offers programs in dance, creative writing, music, 
theater and visual arts, depending on each center's 
facilities. The centers develop exhibits and perfor- 
mances that can be seen at sites throughout the 
city, as well as at the neighborhood centers. The 
program emphasizes teaching basic analytical 
skills critical to all learning. Some activities include 
instruction in conflict resolution and development of 
communication skills. The program is a partnership 
among the City of Columbus Department of Parks 
and Recreation and Department of Public Safety, the 
Columbus Metropolitan Housing Authority and the 
Greater Columbus Arts Council. 

■ ■ Children of the Future creates 
safe neighborhood havens for 
youth and provides them with 
daily after-school arts activities, 
as well as weekend programs 
featuring visiting artists. ' * 


Greater Golden Hill 
Community Develop- 
ment Corporation 
2469 Broadway 
San Diego, CA 92 1 1 2 
6 1 9-696-9992 

Program: After- 
School Cultural Club 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 250 
Ages: 6- 1 7 
Budget: $40,000 

The Greenwood 
Cultural Center 
322 N. Greenwood 
Tulsa, OK 74120 

Program: Summer 
Arts Program 
Year Started: 1 989 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 50 
Ages: 8- 1 2 
Budget: $8,500 

^^K v Joining the circus is not just a dream 
A vA m for youth living in San Diego's Golden 
v^^Bk ▼ Hill community. The Greater Golden 

"^B ^^ Hill Community Development Corpora- 
tion is making this universal childhood dream come 
true through an after-school program sponsored with 
the Fern Street Circus. Youth train with the Circus 
troupe at the neighborhood recreation center. They 
study juggling, mime, clowning and trapeze. Eventu- 
ally, youth perform circus acts at community events. 
Children preferring other arts can attend a semester- 
long after-school program at Brooklyn Elementary 
School. Local bilingual artists teach sketching, paint- 
ing, sculpture, crafts, cartooning, playwriting, dance 
and choir to the 80 percent immigrant population of 
the school. Classes meet twice a week for 1 hour 
and on Free-For-All Fridays. Dance, theater and choir 
students perform at annual open houses and at sites 
throughout San Diego. "The programs are filling a 
void created by the elimination of art and music pro- 
grams in the school," says Program Manager Rafael 
Ramirez. "The youth are participating on a regular 
basis because they're getting attention and being 
nurtured by instructors and volunteers." 

^^K v ^^^^ Founded by a retired African- 
M VA v^ ^ American educator, the Sum- 

v^j^^k *^ ^1 W mer Arts Program in Tulsa 

"^B ^^ W^^BV works to provide at-risk 
children with a social and cultural education as well 
as to enhance a sense of self. The 8-week Arts Program 
runs during the summer every day from 8:30 a.m. to 
1:00 p.m. Participants, who are separated by age, 
rotate through every class, including classes in the 
visual arts, African-American history, music, dance, 
drama/speech, nutrition and etiquette. The nutrition 
and etiquette classes are funded in part by the state's 
Health Department. At the end of the summer, partici- 
pants stage a production, including a dance and 
music performance; mount an exhibition; make oral 
presentations about their artwork and stage an eti- 
quette performance. The Arts Program has a van to 
transport youth to and from the program site and the 
performances. Scholarships are given to those who 
are unable to pay. As a testament to the Program's 
popularity, youth come back to the Program year 
after year. Students who are too old to participate 
often come back to work as assistants. 

* ■ As a testament to the Program's 
popularity, youth come back to 
the Program year after year. * * 



Guadalupe Center, Inc. 

1015 Avenida Cesar E. 


Kansas City, MO 


8 1 6-472-4770 

Program: El Grupo 
Folklorico Atotonilco 
Year Started: 1 979 
Focus: Dance 
& Humanities 
Youth Served: 55 
Ages: 3-2 1 
Budget: $20,000 


Guadalupe Cultural 

Arts Center 

I 300 Guadalupe 


San Antonio, TX 78207 


Grupo Animo 
Year Started: 1 992 
Focus: Theater 
Youth Served: 20 
Ages: 13-18 
Budget: $40,000 

MH ^^^^ El Grupo Folklorico Atotonil- 

KKfl mM m C0, ^ e c ' ance an d perform- 

BS^^^H V rf| W ance company of Guadalupe 
tl M *kMJ Center, Inc. (GCI), teaches 
Latino children and youth about their culture and 
history through dance. Participants study traditional 
Mexican dance, Caribbean dance and the cultures 
from which these dances developed. Visiting artists 
who are specialists in a particular dance form are 
brought to the Center. The participants, most of 
whom are teenagers and from low-income families, 
practice one to five times per week and perform at 
festivals year-round throughout the county. There is 
an open enrollment policy; new young people join 
classes, which are organized by age and experience, 
all the time. El Grupo puts on 3 major performances 
and some 45 other performances a year. According to 
Bernardo Ramirez, GCI's director of development, "El 
Grupo 's excellent reputation and extremely high level 
of instruction has allowed several longtime partici- 
pants to spin off and form their own dance groups." 
The Guadalupe Center, Inc. is a multiservice center. 

Guadalupe Cultural Arts Center is run 
by and for the El Barrio community, an 
area of San Antonio with public housing, 
latchkey children, drugs, violence and 
school dropouts. The Center provides an extensive 
range of programs that stress Latino heritage. Grupo 
Animo, a multidisciplinary theater program, engages 
youth in issue-oriented theater. Working 5 to 7 days 
a week during the summer, participants write and 
produce a play. The work is done through workshops, 
individual writing assignments and collaboration 
with a well-known guest director, who comes for 
a 1 -month residency. During the school year, Grupo 
Animo tours the play to 12 to 15 community sites. 
Participants continue to meet twice a month for dis- 
cussions and to work with visiting artists. Twelve 
summer performances take place at the historic Gua- 
dalupe Theater. "The future of our community is in 
the hands of youngsters," says Executive Director 
Pedro Rodriguez. "We have to work hard and have 
a can-do attitude." Through Grupo Animo, San Anto- 
nio youth have a community program on which to 
rely year-round. At the Center, they are exposed to 
professionals from around the country and to posi- 
tive role models. "The staff has witnessed that just 
being around other kids, all thinking about positive 
things, has had a good impact on the participants," 
says Rodriguez. 


The Guilds of the 
Santa Fe Opera 
P.O. Box 2408 
Santa Fe, NM 

Program: Pueblo 
Opera Program 
Year Started: 1 973 
Focus: Music 
Youth Served: 200 
Ages: 6-22 
Budget: $50,000 

Organization: Harlem 

School of the Arts 

645 St. Nicholas 


New York, NY 10030 

2 1 2-926-4 1 00, ext. 3 1 

Program: The 
Bridge Program 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 25 
Ages: 9- 1 
Budget: $35,000 

^tft^^ With the assistance of Native-Ameri- 
^F^flA can coordinators and leaders from local 
m \Jp M pueblos and reservations, The Guilds 

^^3^^ of the Santa Fe Opera's Pueblo Opera 
Program is expanding cross-cultural awareness, 
dispelling opera misconceptions and reciprocating 
pueblo hospitality through music, dance and drama. 
"There is an important sharing of Native-American 
traditions and operatic traditions," says Education 
and Outreach Coordinator Andrea Fellows. The 
Pueblo Opera Program engages children in creating 
and producing an original opera. The semester-long 
Program meets 8 hours per week at local schools and 
then moves to the Santa Fe Opera for rehearsals. 
Santa Fe Opera artists serve as mentors to the par- 
ticipants by helping them develop the story, libretto 
and music and by coaching them at rehearsals. The 
young opera singers perform for their schools and 
communities and bring their production to the Santa 
Fe Opera open house, as well. "Many of the same 
children return year after year and later work as 
Pueblo Opera Program coordinators in their commu- 
nities," says Fellows. The Guilds of the Santa Fe 
Opera also runs a teacher training program. 


1 There is an important sharing 
of Native-American traditions and 
operatic traditions. * * 

Andrea Fellows 
-Education and 
Outreach Coordinator 

^£ v The Harlem School of the Arts (HSA) 
A K4 m offers programs to people of all ages. 
vHj^hL ^ e bridge Program is for students in 

"^J ^^ grades 4 and 5, many of whom have 
participated in HSAs school-based program. The 
school program provides children in grades 1-3 with 
experience in dance, music, theater and visual arts. 
The Bridge Program helps these children make the 
transition to the School of the Arts, where they can 
take at least two classes a week after school. While 
participants are not reguired to audition, the classes 
are rigorous, with artist/teachers stressing consisten- 
cy and effort. Students are given weekly homework 
assignments. There are ample opportunities for chil- 
dren to perform and exhibit their work. In an effort to 
provide these young people with role models, HSA 
gives children the opportunities to work with people 
of color in a professional setting. 


Organization: Harlem 
Textile Works, Ltd. 
1 86 E. 1 22 Street 
New York, NY 10035 

Program: Harlem 
Textile Works 
Year Started: 1 984 
Focus: Design 
Youth Served: 24 
Ages: 14-21 
Budget: $ I 1 0,000 

Organization: Henry 
Street Settlement 
Abrons Art Center 
466 Grand Street 
New York, NY 1 0002 
2 1 2-598-0400 

Program: Abrons 
Art Center Youth 

Year Started: 1 975 
Focus: Multi- 
disciplinary Arts 
Youth Served: 4,000 
Ages: 2-2 1 
Budget: $800,000 

Harlem Textile Works, Ltd. provides arts 
education and employment opportuni- 
ties to students and artists interested 
in fabric design and related fields. This 
Harlem-based organization provides job training to 
minority and economically disadvantaged students 
through design workshops. Students are recruited 
from The Children's Art Carnival, an independent 
Harlem-based school; community service programs 
at alternative and specialized high schools and 
college internship programs. Designs are inspired 
by authentic textiles from Africa and the African 
Diaspora, as well as from Harlem's urban environs. 
Participants develop original designs for hand-printed 
fabrics, organize sales presentations and exhibits, 
design and screen-print T-shirts and products for 
client organizations and conduct tours for visiting 
school groups. Students earn hourly wages, stipends, 
school credits or honoraria for design work. While 
not all participants go on to careers in design, many 
appreciate working in a creative environment in their 
community and sharing their talents with peers and 
adult artists. 

^^K v The Henry Street Settlement Abrons 
M 7A m Art Center is an expansive, 1 -block 
^55^Bk facility in Manhattan's Lower East Side. 
"^ ^^ It is home to three theaters; one amphi- 
theater; galleries; dance and art studios; and an 
array of theater, dance and visual arts programs. 
The Henry Street Settlement began using the arts 
100 years ago as part of its neighborhood social ser- 
vice mission. In 1975, the Abrons Art Center was 
built to bring all of the arts programs under one roof. 
The Youth Programs provide opportunities for New 
York City's at-risk youth to "express their view of 
the world and envision the way things could be," 
according to Program Associate Jonathan Ward. 
Most courses meet weekly for 15 weeks. Students 
study acting, musical theater and movement; take 
classes in ceramics and painting; learn ballet, jazz, 
tap and modern dance; or study any of 25 different 
musical instruments, as well as voice. Performances 
and art exhibitions are held regularly at the Art Cen- 
ter. Recently, the Center added a career awareness 
component and apprenticeship program for members 
of the resident theater company. The Center also runs 
a special year-long workshop in acting, scene design, 
stagecraft, movement and choral music in an effort 
to prevent students from one area high school from 
dropping out of school. Finally, through the Summer 
Enrichment Program, immigrant youth use folk tales 
from their countries of origin and their experiences 
in America to create skits that they perform for the 
community at the end of the summer. 




The Hills Project 

Fox Plaza 

1390 Market Street 

Suite 9 1 8 

San Francisco, CA 



Program: The Hills 
Project After-School 

Year Started: 1 994 
Focus: Multi- 
disciplinary Arts 
Youth Served: 230 
Ages: 7- 1 5 
Budget: $3 50,000 

Humanities Council 
of Washington, DC 
133 1 H Street, NW 
Washington, DC 20005 

Program: City Lights 
Year Started: 1 989 
Focus: Humanities 
Youth Served: I 50 
Ages: 5-2 1 
Budget: $ I 10,000 

^^K v Artistic organizations in San Francisco 
M vA m are collaborating in an arts education 
v5j5^^^ After-School Program for elementary 

"^1 ^^ and middle school children living in an 
under-served part of San Francisco. The San Francisco 
Symphony, San Francisco Ballet, San Francisco Opera 
and the Fine Arts Museum all contract with profes- 
sional artists to teach children every weekday after 
school and in an intensive summer program. Two 
days a week instrumental music lessons are offered. 
Children are given a flute, clarinet, violin or cello so 
they can practice at home. Two other days, classes 
are held in visual arts, acting, voice, world dance 
and ballet. A theater production class, run by the San 
Francisco Opera, is offered on Fridays. Through a new 
partnership with The National Academy of Recording 
Arts and Sciences, Inc., a rap and rhythm and blues 
class was added last year. Field trips to the San Fran- 
cisco Ballet, museums, artists' studios and other cul- 
tural institutions, as well as visits by artists, are part 
of The Hills Project After-School Program. There is a 
$3 registration fee, but everything else is free. Coun- 
selors from area schools are site coordinators. The 
collaborating organizations provide in-kind services, 
such as tickets to performances and administrative 
assistance. This After-School Program also addresses 
social service issues; recently, parenting classes were 
added to the offerings. 

^^^^ City Lights is a collaborative effort 
^k W among writers, scholars and public 

V ^M W housing residents. Working 1 to 2 years 

■HI in a public housing community, City 
Lights scholars and writers collaborate with residents 
to design projects that focus on storytelling, personal 
story sharing and story reading. One public housing 
site conducted an intergenerational oral history pro- 
ject that resulted in a video and exhibition. Another 
site is creating a library and reading circles for par- 
ents and children. Professional storytellers are 
helping participants dramatize the books they are 
reading. National Service WritersCorps members are 
working with teens on writing projects. Most projects 
meet once a week over the summer or during the 
school year. "Success of the programs is dependent 
on the involvement of the residents," says Director of 
Council Projects Carmen James Lane. "Projects 
tend to continue long term after City Lights leaves 
because of the level of the residents' involvement at 
the outset." Humanities scholars work closely with 
residents, and residents are encouraged to take 
active roles in running the projects throughout the 
year. They also are involved in organizing fund-raising 
workshops, providing information on community 
resources and assisting in forming partnerships with 
community organizations. 

Organization: Hyde 
Park Art Center 
$307 S. Hyde Park 
Chicago, IL 60615 

Program: Gallery, 
Classes and Outreach 

Year Started: 1 985 
Focus: Visual Arts 
Youth Served: 2,500 
Ages: 3-18 
Budget: $ 1 4,000 

Organization: Indian- 
apolis Art Center 
820 E. 67th Street 
Indianapolis, IN 46220 


ArtReach Program 
Year Started: 1 989 
Focus: Multi- 
disciplinary Arts 
Youth Served: 350 
Ages: 5- 1 8 
Budget: $144,000 

Since its founding in 1939, the Hyde 
Park Art Center (HPAC) has worked with 
local schools and community groups to 
provide arts programs for young students. 
Eleven years ago, the Center began an Outreach 
Program to serve at-risk youth. Cutbacks in public 
school arts programs and an interest in extending 
the scope of its art school and gallery sparked this 
effort. HPAC now partners with youth organizations 
and schools to build relationships with, and design 
programs for, each site. At a community learning 
center, 1 of 20 sites, a 20- week program for 6- to 11- 
year-old children meets for VA hours each week. 
Children work on a variety of projects. Recent pro- 
jects included creating a Black History Month quilt 
that stitched together images of historical figures 
and of the participants themselves; building personal 
boxes inspired by the work of artist Bettye Saar; and 
producing Earth Day paintings, drawings and comic 
books. At another site, where youth are engaged 
in multimedia projects that encourage imaginative 
thinking, group interaction and self- awareness, stu- 
dents created artworks from found objects and clay. 
In another project, students created a collage of foot- 
prints showing places they would like to visit. These 
arts workshops meet anywhere from 1 day to 20 weeks, 
with most lasting 10 weeks. In partnership with two 
elementary schools and four arts organizations, the 
Center also is working on a 5-year initiative to inte- 
grate arts instruction into the school curriculum. 

^0B V The Indianapolis Art Center works at 
M 7A m 15 community sites through its ArtReach 
vHjflkL » Program . Classes in clay, watercolor, 

"^ ^^ photography, drama and other arts are 
taught at housing communities, churches and com- 
munity and health care centers. Teachers and activi- 
ty directors at the sites work together to shape the 
courses to meet the needs and interests of each 
community. The 1 5-week school-year session takes 
place 1 day a week for 2 hours; the summer session 
lasts 9 weeks. In August, an annual exhibition at a 
downtown building includes work by participants 
from all sites. Other programs that support special 
needs take place at the Center. For instance, once 
per week for a semester, the Center provides classes 
in ceramics to first-time offenders referred by the 
juvenile court. An Apprenticeship Program employs 
two 18-year-olds to learn construction and stone 
carving. "The teachers are the strength of the Pro- 
gram," says Outreach Director Bill Spalding. "They 
are concerned about the contribution they can make 
to the community and the kids." 

■ ■ The teachers are the strength 
of the Program. They are concern- 
ed about the contribution they 
can make to the community and 
the kids. J ' 

Bill Spalding 
-Outreach Director 


Organization: Inner 
City Cultural Center 
1605 Ivar Avenue 
Los Angeles, CA 

Program: Inner City 
Cultural Center 
Year Started: 1 965 
Focus: Multi- 
disciplinary Arts 
Youth Served: 500 
Ages: 4-2 1 
Budget: N/A 

Inquilinos Boricuas 
en Accion, IBA-ETC 
405 Shawmut Avenue 
Boston, MA 02 1 1 8 

Program: AREYTO 
Cultural Awareness 

Program, Video 
Training Program 
Year Started: 1 976 
Focus: Multi- 
disciplinary Arts 
Youth Served: 68 
Ages: 9-19 
Budget: $ I 1 6,2 1 6 

^£ v The Inner City Cultural Center (ICCC), 
M WA m a 30-year-old Los Angeles-based multi- 
v^^^k ' ethnic, multidisciplinary cultural insti- 
"^( ^^ tution, is recognized internationally for 
its programs in theater, music, dance and visual arts. 
The Center serves residents of some of Los Angeles' 
poorest communities. With a small part- and full-time 
staff assisted by volunteers, ICCC brings together 
thousands of participants from diverse backgrounds 
in daytime and evening programs held 7 days per 
week, year-round. Open to residents of all ages, class- 
es are provided on a sliding-fee basis, with scholar- 
ships available. ICCC programs emphasize activities 
that bring families together and allow for interaction 
among diverse populations. Training and internship 
opportunities for teens focus on the acquisition of 
coping skills, which raise levels of confidence to 
enhance teens' competitiveness in the job market. 
Other important activities include high-quality pre- 
sentations by in-house professional arts groups as 
well as by touring companies from throughout the 
world. In addition, annual competitive events at ICCC 
attract participants from across the United States 
and bring gifted individuals into contact with South- 
ern California's arts and entertainment industry and, 
hopefully, employment possibilities. According to 
ICCC founding director, C. Bernard Jackson, gradu- 
ates of ICCC programs go on to assume key leader- 
ship roles in all areas of American civic, cultural and 
professional life. 

^^K v Inquilinos Boricuas en Accion, IBA-ETC 
M vA m is a Community Development Corpora- 
v?WMk ' tion serving the community of Villa 
"^1 ^^ Victoria in Boston's South End. Its 
cultural component, Arte y Cultura, provides a variety 
of programs, including the AREYTO Cultural Aware- 
ness Program and the Video Training Program, both 
for youth ages 9-19. The AREYTO Program develops 
youth performing ensembles. It offers training ses- 
sions in Latin percussion, folkloric dance, visual arts, 
theater and Bomba, an Afro-Puerto Rican music and 
dance tradition. Youth meet weekly with profession- 
al artists to develop skills and a repertoire for perfor- 
mances throughout the community and region. The 
3%-month Video Training Program provides teenagers 
with basic instruction in camera use, editing and 
production. Youth produce a variety show, Teens in 
Action, which is aired regularly through a communi- 
ty cable channel. Video Program participants also 
document activities and events taking place in the 
community, a biannual performance series and a 
variety of cultural community events organized by 
Arte y Cultura. "Most of our kids don't see themselves 
reflected in what they learn at school, nor in the large- 
ly negative portrayals of Latinos in the media," says 
Artistic Director Alex Alvear. "The Programs are bring- 
ing about personal development and building cultur- 
al identity, helping youth get closer to their parents 
and to their community." 


The Institute of 
Contemporary Art 
955 Boylston Street 
Boston, MA 02 I I 5 

Program: Docent- 
Teens Program 
Year Started: 1993 
Focus: Visual Arts 
Youth Served: 25 
Ages: 13-19 
Budget: $88,380 

Jamaica Center 
for the Performing 
and Visual Arts, Inc. 
161-04 Jamaica 

Jamaica, NY I 1432 

Program: Youth Leader- 
ship Development and 
Violence Prevention 

Year Started: 1 993 
Focus: Design & Theater 
Youth Served: 60 
Ages: 8- 1 7 
Budget: $3 3,333 

The DocentTeens Program teaches 
inner-city Boston-area teens about con- 
temporary art and trains them to lead 
tours at The Institute of Contemporary 
Art (ICA). Teens from economically disadvantaged 
communities work with artists, curators, educators 
and other ICA staff to conduct research on ICA exhi- 
bitions, assist in the development of a curriculum 
for each exhibition, participate in art projects and 
visit artists' studios and other cultural institutions. 
During ICA exhibitions, DocentTeens offers tours on 
weekends and by appointment on Thursday evenings. 
In addition, the group critically examines exhibitions 
and performances at other cultural institutions. Teens 
work 6-12 hours per week and receive a stipend 
of $5-$6 an hour, based on their progress in the 
DocentTeens Program. The Program helps teens 
explore higher education opportunities and provides 
scholarships to Program alumni. The DocentTeens 
Program was the inspiration for the CityACCESS/ 
Teen Ambassador Program, which encourages simi- 
lar youth programs at four other cultural institutions 
in Boston. Since the DocentTeens Program's incep- 
tion, participants have improved their written and 
oral communication skills and their academic skills 
and developed greater confidence in themselves. 
Participants are reguired to maintain satisfactory 
school grades. 

Four days a week after 
school, youth come to South 
Jamaica Houses, a housing 
project's on-site community 
center, to study drama/conflict resolution and com- 
puter graphics. The Jamaica Arts Center works 
closely with the community center to identify youth 
for the Youth Leadership Development and Violence 
Prevention Program. Each class, which begins with 
time for homework, meets twice a week for 2 hours. 
Approximately 80 percent of the 60 youth enrolled 
remain in the Program all year. The instructors are 
professional artists from the Arts Center who have 
worked in similar communities. The computer graph- 
ics program teaches participants basic computer 
skills and graphic design so they can produce flyers, 
posters and newsletters. In the drama/conflict reso- 
lution class, youth create original scenes that deal 
with a variety of issues, particularly with everyday 
situations that can be resolved either peacefully or 
through violence. The participants write their own 
material and are encouraged to voice their feelings. 
In addition, a core group of participants began an 
informal youth council at the community center to 
help their peers resolve conflicts nonviolently. 

■ ■ [Y]outh create original scenes 
that deal with a variety of issues, 
particularly with everyday situa- 
tions that can be resolved either 
peacefully or through violence. * * 


Japantown Art and 
Media Workshop 
1 840 Sutter Street 
San Francisco, CA 
941 15 

Program: Japantown 
Art and Media 
Year Started: 1 977 
Focus: Design 
& Visual Arts 
Youth Served: 50 
Ages: 14-21 
Budget: $150,000 

Organization: The John 
F. Kennedy Center for 
the Performing Arts 
Education Department 
Washington, DC 

Program: The Kennedy 

Theatre of Harlem 
(DTH) Community 
Dance Residency 
Year Started: 1993 
Focus: Dance 
Youth Served: 130 
Ages: 10-17 
Budget: $ 1 89,000 

The Japantown Art and 
Media Workshop (JAM) 
combines entrepreneurialism 
with the promotion of Asian- 
American culture through public art projects and 
graphic design services for businesses and community 
organizations. Located in the heart of the Japanese- 
American community in a community center that also 
serves seniors, the Pan-Asian youth programs involve 
young people in all phases of the business: design 
ideas and sketches, client relations and product devel- 
opment. Through the Graphic Design Interns program, 
youth in high school or col- 
lege or new college grad- 
uates meet 3 to 5 days 
a week, year-round, to 
design and produce pos- 
ters, street banners and 
other products for clients. 
Participants are not paid 
but receive computer 
training and build port- 
folios for future job inter- 
views. Older students 
teach younger students as well. In the Silkscreen Work- 
shop, teens print T-shirts and collaborate with other 
youth groups on cross-cultural projects. As opportuni- 
ties arise, JAM runs other workshops; most recently, 
JAM ran an intensive photography project targeted at 
Asian-American youth at risk of dropping out of high 
school. In addition to teaching photography skills, the 
workshop was a forum for youth to discuss contempo- 
rary Asian- American culture and to capture their lives 
in photographs. Dennis Taniguchi, executive director, 
reports, "Our kids are graduating from design schools 
and have been successful in getting jobs with top 
graphic design and software firms." 

rJKPH | The Kennedy Center/Dance Theatre of 
Wjm I Harlem (DTH) Community Dance Resi- 
dency is in its third year. The program 
introduces classical ballet to students 
through lecture/demonstrations, workshops, live 
performances and training experiences. Coordinated 
by The Kennedy Center's Education Department, the 
program has three community partners: the Duke 
Ellington School of the Arts (Washington, DC); the 
Nannie J. Lee Recreation Center (Alexandria, 
Virginia) and Suitland High School for the Visual 
and Performing Arts (District Heights, Maryland). 
There is an 8-week training opportunity for 1 30 
youth between the ages of 10 and 17 at each com- 
munity site and an intensive 8-week series of classes 
for beginning, intermediate and advanced students 
at The Kennedy Center. Classes are taught by princi- 
pal dancers from DTH and the DTH School. Prior to 
the selection process for the training program, the 
DTH School Ensemble presents a series of lecture/ 
demonstration performances in each community. 
These performances have reached an audience of 
approximately 13,500 students and their families 
since the fall of 1993. The Kennedy Center, in addi- 
tion, provides study opportunities for students in 
theater through its Theater Training program and 
Traveling Young Players and in music, through the 
National Symphony Orchestra. Students also can 
attend performances for young people, master class- 
es and special events designed for them. 


Junior Players 
3630 Harry Hines 
Dallas, TX 75219 

Program: Teatro 
del Barrio 
Year Started: 1 992 
Focus: Theater 
Youth Served: 400 
Ages: 11-18 
Budget: $33,000 

KALA Institute 
1 060 Meinz Avenue 
Berkeley, C A 94710 
5 1 0-549-2977 

Program: Latin 
American Workshop 
Year Started: 1 988 
Focus: Visual Arts 
Youth Served: 30 
Ages: 6-2 1 
Budget: $50,000 

Teatro del Barrio is the result of a col- 
laboration between Junior Players and 
Dallas-area youth agencies. The program 
brings theater classes to youth in the 
city's gang prevention program, juvenile detention 
centers, Camp Fire Boys and Girls programs and in 
programs run by local social service agencies. Pro- 
fessional actors work with youth, 75 percent of whom 
are male, one or two times a week for 12 weeks after 
school on acting, scriptwriting and rehearsing. The 
program takes place at up to 10 sites each session, 
with each site running three consecutive sessions a 
year. The actors receive support from a professional 
familiar with the issues and conflicts that can arise 
when working with at-risk youth. "The youth have 
more self-confidence and feel more comfortable 
standing up and talking in public," says Executive 
Director Kirsten Brandt. "Hopefully this will carry 
through to their lives, such as at a job interview." 
The collaboration allows Junior Players to reach a 
greater number of at-risk youth. 

* " The youth have more self- 
confidence and feel more comfort- 
able standing up and talking in 


The KALA Institute is both a studio 
focusing on printmaking and an umbrel- 
la organization for a wide variety of pro- 
grams, many of which involve at-risk 
youth. For example, working with the East Oakland 
Catholic Worker Shelter, KALA sponsors the Latin 
American Workshop, which focuses on printmaking, 
for political refugees and victims of torture. In ongoing, 
twice- weekly workshops, participants, most of whom 
are children and youth, are introduced to the basics 
of printmaking and are encouraged to tell their stories 
through their art. In addition, the Workshop invites 
guest artist/instructors to teach in other media or add- 
ress social issues. The Mission Cultural Center 
recently opened an exhibition featuring projects from 
the Workshop and hopes that a book detailing the 
participants' stories and work will be published soon. 

Kirsten Brandt 
-Executive Director 

Kansas City Friends 
of Alvin Ailey 
218 Delaware 
Suite 101 
Kansas City, MO 

Program: AileyCamp 
Year Started: 1 988 
Focus: Dance 
Youth Served: 1 00 
Ages: 1 1-14 
Budget: $14 1,000 


Karamu House 

23 55 E. 89th Street 

Cleveland, OH 44106 


Program: Summer 
Scholar Program 
Year Started: 1 988 
Focus: Theater 
Youth Served: 25 
Ages: 13-18 
Budget: $13,600 

FWM| I AileyCamp's goal is to use dance to build 
P/fl| | self-discipline, motivation, respect and 
purpose among youth ages 11-15. From 
7:00 a.m. to 3:30 p.m., 5 days a week, 
children take classes in ballet, jazz, tap and the Hor- 
ton dance technique; techniques of performance; 
creative writing and personal development, which 
includes conflict resolution and problem-solving exer- 
cises. A rigorous screening process ensures that 80 
percent of the participants are high-risk adolescents. 
There are weekly field trips to performances, muse- 
ums and cultural events. At the end of the 6 -week 
session, a final performance is held. An evaluation by 
the Kauffman Foundation found improved self-esteem 
and an increased competency in critical thinking and 
problem-solving skills among participants. An adviso- 
ry group of parents, staff and educators was formed 
to help strengthen follow-up to the camp experience. 
In addition, Alvin Ailey Camp Dance, comprising 
former Kansas City AileyCampers, ages 11-19, meets 
twice weekly so participants can continue classes in 
dance and choreography, and, on occasion, perform 
before local audiences. AileyCamp also is run in New 
York City (through the Dance Theater Foundation) 
and at a mini- camp in Frostburg, Maryland. New 
camps are being created in St. Louis and Philadelphia. 

When children living in the neighbor- 
hood of the Karamu House began look- 
ing for summer jobs, the theater realized 
it could provide work for youth while 
giving them a theater experience. Starting with a 
tour of the theater and an exploration of what partici- 
pants' interests are, an artist/teacher works with 
youth on dance, scriptwriting, stage lighting, impro- 
visation and vocal and physical exercises. Participants 
develop a script that reflects their concerns about 
inner-city life. At the end of 3 months, after working 
daily for 5 hours, the teens perform on 2 weekends. 
The fee charged for the performances supports stip- 
ends for the performers and pays for costumes and 
sets as well. "The benefits to the children are notable," 
reports Assistant Director for Drama Renee Matthews 
Jackson. "Participants have become more well-round- 
ed individuals through their involvement in the the- 
ater, and they are a great deal more self-disciplined." 

■ * Participants have become 
more well-rounded individuals 
through their involvement in the 
theater, and they are a great 
deal more self-disciplined. * * 

Renee Matthews 

-Assistant Director 
for Drama 



Katherine Dunham 

Centers for Arts and 


532 N. I Oth Street 

East St. Louis, IL 



Program: Katherine 
Dunham Museum's 
Children's Workshop 
Year Started: 1 982 
Focus: Multi- 
disciplinary Arts 
Youth Served: 75 
Ages: 4-17 
Budget: $50,000 


Kentucky Humanities 


206 E. Maxwell Street 

Lexington, KY 40508 


Program: New Books 
for New Readers 
Year Started: 1 988 
Focus: History & 
Youth Served: N/A 
Ages: 16-21 
Budget: $12,500 

^^R v The Katherine Dunham Museum's 
M vA « Children's Workshop helps guide young 
vjj^^^k ' children m positive directions using the 
'^l ^^ arts. Through multicultural art forms, it 
helps youth understand themselves better by under- 
standing other cultures. Classes are offered in per- 
cussion, music, language and dance, including ballet 
and tap. Local artists and guest artists from different 
parts of the world teach classes three times a week 
during the school year and keep an intensive sched- 
ule in the summer of 5 days per week, 6 hours per 
day. The summer program feeds into an annual inter- 
national seminar on the Dunham Technique, with 
children participating from centers around the coun- 
try. After their first year in the program, students take 
part in public performances, and some go on to join 
a performing unit of 20. Older children become men- 
tors and work for the program. "The Workshop has 
resulted in an increase in the children's respect for 
one another," notes Associate Program Director 
Jeanelle Stovall. The program has provided profes- 
sional opportunities for participants, several of whom 
have been invited to perform with dance companies 
and instrumental ensembles. 

" " The Workshop has resulted 
in an increase in the children's 
respect for one another. * * 

Jeanelle Stovall 
-Associate Program 

For the 400,000 Kentuck- 
ians, many of whom are 
teenagers and single 
mothers, who read below 
the fourth grade level, New Books for New Readers 
provides a unique gateway to literacy. Each year, 
the Kentucky Humanities Council contracts with a 
Kentucky author to develop a book in collaboration 
with a small group of adult literacy students and 
their tutors. Over a period of 6 months, the partici- 
pants receive sections of the book from the author 
to read and critique one-on-one with a tutor and 
then as a group with the author. After the group 
critique, the author rewrites the sections based on 
the feedback. When the book is completed, it is 
published by the University Press of Kentucky and 
disseminated widely to libraries, literacy and state 
jobs training programs, schools, family service cen- 
ters, programs for the deaf and English-as-a-Second- 
Language programs. The books are written on a 
fourth grade reading level but address substantial 
topics. To further promote reading, the Humanities 
Council offers free book discussion programs in 
which a group of new readers is given one of the 
books to read and to discuss with a scholar provided 
by the Council. The program helps develop partici- 
pants' self-confidence because they feel free to com- 
municate their ideas in an environment that is self- 
affirming. "Not only are parents now able to read news- 
papers and job ads, but they can also help their chil- 
dren with schoolwork," explains Director Virginia 
Smith. "It means a lot to the kids to see their parents 
reading and studying. It helps the children to be 
more oriented towards success in reading themselves." 



1 72 E. 4th Street 

St. Paul, MN 55101 

612-229-13 12 

Program: "Don't 
Believe the Hype" 
Year Started: 1992 
Focus: Media & Video 
Youth Served: 20 
Ages: 14-21 
Budget: $ 1 20,000 

Latin American 
Youth Center 
3045 15th Street, 

Washington, DC 
202-483-1 140 

Program: Arts for 
Prevention and 
Year Started: 1 968 
Focus: Multi- 
disciplinary Arts 
Youth Served: 500 
Ages: 11-21 
Budget: $35,000 

"Don't Believe the Hype" 
was created by St. Paul's 
public television station, 
KTCA-TV, for urban youth of 
color in the Twin Cities region. Approximately 15 teens 
are recruited from schools and community organiza- 
tions. They come together once a week to develop 
skills in research, camera work, prompter reading, 
field piece development, videography, writing and 
event coordination. The group then develops and 
tapes an issue-oriented television program about 
concerns facing young people and edits it for broad- 
cast. Station staff work with community leaders 
and volunteer mentors to help youth improve their 
technical skills and to explore issues. "People look 
forward to hearing about issues from a young, urban 
perspective," according to Production Manager 
Leola Daniels. "This project started as a television 
show, but has developed into a grass-roots commu- 
nity development and service movement." 

* * This project started as a televi- 
sion show, but has developed into 
a grass-roots community develop- 
ment and service movement.* * 

Leola Daniels 
-Production Manager 

^^R v The Latin American Youth Center 
M WA m (LAYC) provides youth in a predomin- 
v^^^L ' antly Latino neighborhood of Washing- 
"^J ^^ ton, DC, with a range of services, includ- 
ing social services, health education, outreach and 
prevention and skills training and employment ser- 
vices. It also offers youth a variety of arts experien- 
ces. Through the arts, youth at the LAYC explore 
their heritage, build critical thinking skills and devel- 
op work and personal skills. The LAYC's Teen Parents 
program meets 3 days a week for 2 hours to promote 
good parenting skills and to prevent repeat pregnan- 
cies. Young women in the program have created self- 
portraits, woodcuts and prints, as well as baskets. 
These arts activities help to keep the teens active in 
other components of the program, such as counseling 
and general equivalency diploma preparation. Partici- 
pants in the ongoing Gang Prevention program 
recently completed a video called Que Pasa, which 
reflects their view on Latino stereotypes and docu- 
ments their challenges and hopes for the future. The 
video is being shown at schools, universities and 
conferences as a way to promote cultural 
understanding. The Youth Center, in conjunction 
with a Washington, DC, youth employment program, 
operates a 6-week daily summer art project that 
engages students in theater, photography, creative 
writing or mural painting. These arts activities ad- 
dress such topics as diversity, immigration, cultural 
values and other issues important to youth. 


Latino Arts 

1 028 S. 9th Street 

Milwaukee, Wl 53204 


Program: Cultural Arts 

Year Started: 1 985 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1 20 
Ages: 7- 1 4 
Budget: $ I 5,000 

Lawrence Arts 

Lawrence University 
1 00 Water Street 
Appleton, Wl 549 1 2 

Program: Enriched 
Instruction for 
Hmong Children 
Year Started: 1991 
Focus: Music 
Youth Served: 35 
Ages: 11-18 
Budget: $4,355 

^^K V Latino Arts is an outgrowth of a single 
M vA m Hispanic folk dance class initiated by 
vw^fllL ' a local dance instructor and held at the 

^^1_ ^^ United Community Center. The class 
sparked an interest in developing courses in a variety 
of Latino art forms and led to the formation of Latino 
Arts, which continues to be housed in the Commu- 
nity Center and is Milwaukee's only Hispanic arts 
organization. The after-school and summer programs 
meet 2 hours daily in 12- week sessions to explore 
dance, visual arts, music and drama and are comple- 
mented by the Center's Decision for Youth program, 
which offers conflict resolution and peer counseling. 
Dance and drama students share their culture through 
city- wide performances. In the summer, participants 
work with professional artists from the Milwaukee 
area. Past collaborations resulted in mask-making 
classes, a puppet theater and a multimedia oral his- 
tory project. "We continue to get more Hispanic 
artists collaborating with us and leading new work- 
shops," says Cultural Arts Coordinator Jennifer La 
Porte. "It's helping create a safe haven for kids expe- 
riencing the isolation and confusion of immigration 
and poverty." Latino Arts provides specialized ser- 
vices to meet particular needs. Latina women and 
girls in the community display their artwork through 
a Celebration of Milwaukee's Latino Artists program 
in partnership with the Department of City Develop- 
ment. This kind of programming is helping the Lati- 
no community value its own culture and adjust to a 
new home. 

^^t^^ For the young Hmong students in 
WfA^^^ Appleton, Wisconsin, the Lawrence 
m m m Arts Academy provides an opportunity 

^WD^^ to learn about music and themselves 
and to become involved with the greater Appleton 
community. Each spring, Lawrence Arts Academy 
presents its program to fifth grade Hmong students 
through performances by their Hmong peers at local 
schools. Interested fifth graders can enter a 6-week 
summer program where they meet with Academy 
faculty three times a week. At the end of the summer 
session, the Academy holds a concert and potluck 
for the students and their families. During the school 
year, the Academy works with a Hmong English-as- 
a-Second-Language coordinator to track the students 
and make sure they are scheduled into the school's 
band. They also maintain the students' school instru- 
ments for free and arrange private lessons for those 
who are advancing quickly. The benefits of the pro- 
gram are many, as Jane Serumgard Harrison, acting 
director of the Academy, notes, "Language is not a 
barrier with music. Yet, through talking with their 
peers and instructors one-on-one and in band, the 
kids have developed higher language skills. Some 
of our students are now first chair in their bands ! 
This program has changed their whole self-image." 

■ " Some of our students are now 
first chair in their bands! This 
program has changed their whole 

Jane Serumgard 
-Acting Director 
of the Academy 



Lawrence Arts Center 
200 W. 9th 
Lawrence, KS 66044 

Program: First 
Step Dance 
Year Started: 1 993 
Focus: Dance 
Youth Served: 1 75 
Ages: 1-21 
Budget: $27,000 

Organization: The 
Leonard Davis Center 
for the Arts of The City 
College of New York 
38th Street and 
Convent Avenue 
Room 1 76, Shepard Hall 
New York, NY 10031 

Program: The City 
College Art Institute 
Year Started: 1 989 
Focus: Design 
& Visual Arts 
Youth Served: 1 5 
Ages: 13-17 
Budget: $45,000 

MMPH I Lawrence Arts Center (LAC) and First 

WM I Step House (FSH), a halfway house for 
recovering, chemically addicted women 
and their children, formed a partnership 
to expand the Arts Center's constituency and to 
give the women and their children ways to work on 
violence and addiction prevention through the arts. 
First Step Dance includes weekly classes for the 
women and separate classes for the children in cre- 
ative movement designed to foster positive feelings, 
explore emotions and build self-esteem. Periodically 
the women and children join together in combined 
classes through which they share fun and creative 
experiences. These classes are taught by members 
of the Prairie Wind Dancers, the resident dance com- 
pany at LAC. The company performs three concerts 
a year for the residents, staff, family and friends of 
FSH and creates choreographic works that deal with 
addiction issues. These works are performed across 
Kansas. Occasionally FSH residents join the Prairie 
Wind Dancers in a performance. "The program works 
to demystify the arts and enhance the women's and 
children's sense of personal worth and creativity," 
says Artistic Director Candi Baker. "They are learning 
that the arts are more accessible than they thought 
because they come to understand that the artists 
teaching the classes are ordinary people. The dance 
program is breaking down barriers." As a result, 
some of the participants are coming to the LAC to 
take free classes in other areas after they leave First 
Step House. The dancers also are working with the 
alternative high school to develop a high school 
performance group. 

"My ability for art has grown 
a large amount along with 
my ideas," remarked a 
14-year-old participant in 
The City College Art Institute program of The Leonard 
Davis Center for the Arts. Designed to provide oppor- 
tunities for minority youth who show exceptional 
potential in the visual arts, the Institute combines 
career-oriented visual arts training with literacy 
development and mentoring. The integrated program 
makes youth more aware of career options and how 
conceptual and studio training can prepare them for 
a career in the visual arts. Small classes of 7 to 10 
students are the key to the program. "These kids are 
so starved for attention that classes larger than 10 
lose their educational effectiveness," says Develop- 
ment Assistant Brian Haller. College faculty introduce 
students to fundamental drawing and design skills 
through a Foundation/Portfolio Workshop and expose 
them to sculpture, painting, photography, advertis- 
ing and interior design through other special work- 
shops. After-school and Saturday classes are held on 
campus once a week for XA hours during the school 
year. A 3-week summer program includes career work- 
shops. Field trips to museums, sculpture parks and 
arts-related businesses nurture an appreciation of New 
York City's vast resources and demonstrate ways for 
teens to channel their talents as they become adults. 

" ■ These kids are so starved 
for attention that classes larger 
than 10 lose their educational 
effectiveness. * * 

Brian Haller 



Organization: Levine 
School of Music 
1690 36th Street, NW 
Washington, DC 20007 
202-3 37-2227 

Program: Public 
Housing Orchestra 
Year Started: 1 994 
Focus: Music 
Youth Served: 64 
Ages: 5-2 1 
Budget: $ 1 00,000 


Lied Discovery 

Children's Museum 

833 Las Vegas 


Las Vegas, NV 89 1 1 


Program: Youth ALIVE!— 
Year Started: 1993 
Focus: Visual Arts 
& Humanities 
Youth Served: 1 80 
Ages: 10-17 
Budget: $83,000 

>^0t^^ A cello is a rare site in most public 
^fA^^^k housing communities, but at two sites 

m U| m in Washington, DC, it's not the only 
^^3 ^r instrument residents see in the hands 
of youth. Once a week during the school year and 
twice a week in the summer, young musicians attend 
small group lessons at the housing communities' 
nearby community centers. They study violin, clarinet, 
trumpet, saxophone, trombone, piano, percussion, 
viola or cello. "We teach the instruments that the chil- 
dren can continue studying in their school bands or 
orchestras," explains Jo Ann Williams, director of out- 
reach programs at Levine School of Music. The chil- 
dren learn about teamwork and cooperation through 
public performances held three times a year in the 
community. "Our instructors provide so much more 
than music lessons," continues Williams. "As members 
of our Artistic Role Model Program, they also act as 
mentors and role models for the children." The Youth 
Orchestra is one component of a larger program fund- 
ed by a drug elimination grant to the Washington, DC, 
Housing Authority from the U.S. Department of Hous- 
ing and Urban Development. Other Levine School 
community outreach programs include Project DAISY, 
which uses music to improve the attention spans and 
learning capabilities of preschool children who were 
prenatally exposed to drugs; Summer Music Theater 
Ensemble, an intensive music and movement training 
program for teenagers; and Hope and a Home, an 
early childhood music program for formerly homeless 
children now living in transitional housing. 


On a visit to the Lied Discov- 
ery Children's Museum, it is 
not uncommon to encounter 
a 15-year-old docent. These 
youth are part of the year-round Youth Works program, 
designed to help participants discover their compe- 
tencies and interests, develop communication and 
job skills, interact with and appreciate people of 
different cultures and ages and learn about careers 
that they never knew existed or did not believe were 
accessible to them. The participants are trained on 
the job by staff members. They learn about the exhi- 
bitions and how to present themselves to an audience. 
Youth work 4 hours a week on weekends during the 
school year and during the week in the summer. 
Youth Works is one component of the YouthALIVE ! 
program, a multiyear national initiative of the DeWitt 
Wallace-Reader's Digest Fund in partnership with 
the Association of Science-Technology Centers, cre- 
ated to reach youth who traditionally are not served 
by museums. ArtSmarts, the other component of 
the Lied Discovery Children's Museum program, 
matches youth with artists-in-residence for 12 weeks, 
10-14 hours per week, to design and complete art- 
work for the Museum. Projects, which culminate in 
a parent reception, have included a movable mural, 
a community history video and an architectural 
piece about walls. Some youth participate in consec- 
utive residencies. "Through Youth Works and Art- 
Smarts, youth are learning how to communicate 
their thoughts and opinions, and they are opening 
up and showing increased self-confidence," says 
Director Suzanne LeBlanc. 

Organization: Lincoln 
Center Theater 
1 50 W. 65th Street 
New York, NY 10023 

Program: Open 
Stages — The Urban 

Year Started: 1 992 
Focus: Theater 
Youth Served: 20 
Ages: 16-21 
Budget: $34,000 

Organization: Living 

Literature Colors 


1 440 S. Sepulveda 

Los Angeles, CA 



Program: Living Litera- 
ture Colors United 
Year Started: 1 989 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 200 
Ages: 1 4-2 1 
Budget: $260,000 

The Urban Ensemble provides a series 
of multigenerational theater workshops 
on cultural and social differences. The 
workshops are designed to engage New 
York residents whose interests normally are not met 
by mainstream cultural institutions: public housing 
residents, teen parents, juvenile delinquents and 
homeless families. About one-half of the participants 
are youth. The program uses theater to explore issues 
of violence, safety and identity. Students from New 
York University's Tisch School and AmeriCorps volun- 
teers facilitate weekly, 3-hour workshops that include 
writing exercises, theater games, photography and 
discussions. Participants are invited to continue as 
long as they wish. Participants attend plays at The 
Public Theater and Lincoln Center Theater. Workshops 
take place October through May and are held on a 
rotating basis at the Lincoln Center Theater, The Pub- 
lic Theater or the Tisch School. "Participants are feel- 
ing a level of respect they've never received before, 
from actors, theater directors and arts students. Many 
of the participants who are no longer referred to the 
program by social service agencies come back on their 
own because they enjoyed the program so much," 
reports Education Program Coordinator Willa J. Taylor. 

^^K v ^^^^ Living Literature Colors 
M W^ %f ^ United (LLCU) motivates 

v^^Bk '^ d W a youth by awakening 

*^ ^^ aHf thou interest in learning 
through literature, drama, music and dance classes. 
Working with schools that have high drop-out rates, 
a record of violence on campus and racial conflicts, 
LLCU encourages all interested students to partici- 
pate. Each year this after-school program is organ- 
ized around a different theme, usually based on the 
works of an author. The first half of the year, the pro- 
gram focuses on artistic training; the second half 
focuses on reading the selected author's books and 
conducting research on his/her life. Following the 
research, participants develop an original performance 
piece using text and music. The program meets at 
each school 2 days a week, after school, and com- 
bines literature, drama, music and dance instruction. 
On Saturdays, LLCU brings together teens from the 
participating schools for rehearsals. Performances are 
presented at high school auditoriums and communi- 
ty centers. Participants also travel to literary festivals 
to participate and perform, including the John Stein- 
beck Festival, the Ernest Hemingway Festival and 
the Jack London Festival. 

■ ■ The first half of the year, the 
program focuses on artistic train- 
ing; the second half focuses on 
reading the selected author's 
books and conducting research 
on his/her life. * * 

Louisiana Endowment 
for the Humanities 
1 00 1 Howard Avenue 
Suite 3110 
New Orleans, LA 
701 13 

Program: Prime Time 
Family Reading Time 
Year Started: 1 99 1 
Focus: Literature 
Youth Served: 275 
Ages: 3-10 
Budget: N/A 

^0^^0^ Every week for 1 '/ hours at libraries in 
m — - — ' 1 22 Louisiana communities, at-risk chil- 
■ l _ 1 r ^ ' dren and their parents discover how 
^^BM^ much fun reading can be. For 8 weeks, 
a local storyteller, a humanities scholar and communi- 
ty residents who are recruited through social service 
agencies, compensatory education programs and the 
like come together at a library in one of Louisiana's 
parishes to read, tell stories and discuss the issues 
raised in the books they have read. The program is 
designed to reach an audience that is not already 
part of the humanities community and to foster a life- 
long love of learning through reading. Anywhere from 
25 to 40 parents and children meet once a week for 
90 minutes for 8 weeks. At each session, the story- 
teller acts out a children's story, and the scholar leads 
a discussion of issues that are raised in the story. Par- 
ents and children have the opportunity to talk about 
values in an environment that is respectful and self- 
affirming. The parents then take the books home and 
read them aloud to their children during the week. 
"People in the program come to it not liking to read," 
explains Kathryn Mettelka, associate director of the 
Louisiana Endowment for the Humanities. "Often 
they have agreed to come because their children 
'forced' them to. Parents will do things for their kids 
that they will not do for themselves. When these par- 
ents leave the program, families like to read togeth- 
er." Every family is given a library card when they 
enroll, and during the 8 weeks, the librarians famil- 
iarize participants with the library's resources. 
Through the efforts of librarians, program volunteers 
and staff, a community reading network is being 
established for people who had neither access to, 
nor interest in, libraries before. 

To ensure that the program is engaging, an advisory 
panel made up of librarians and scholars chooses 
guality books for the program from a variety of cul- 
tures and establishes the syllabus. The participating 
humanities scholars generate thoughtful discussion 
among people who are not accustomed to speaking 
about cultural issues raised in literature. "There is 
a demand for this type of program, in which the 
participants are active in their education — not just 
being lectured to. Many of our scholars say it was 
the most valuable teaching experience they have 
ever had," remarks Mettelka. The public library in 
Baton Rouge has followed the families who have par- 
ticipated in Prime Time Family Reading Time since 
1991. While many families were receiving welfare 
when the program started, none are today, and none 
of the children have been held back in school. 

■ ■ People in the program come 
to it not liking to read. Often they 
have agreed to come because their 
children 'forced' them to. Parents 
will do things for their kids that 
they will not do for themselves. 
When these parents leave the 
program, families like to read 
together. * * 

Kathryn Mettelka, 
-Associate Director 
of the Louisiana 
Endowment for the 


Lula Washington 

Contemporary Dance 


5041 W.Pico 


Los Angeles, CA 



Program: I Do 
Dance Not Drugs 
Year Started: 1983 
Focus: Dance 
Youth Served: 100 
Ages: 4- 1 8 
Budget: $200,000 


Macon Neighborhood 

Arts, Inc. 

905 Main Street 

Macon, GA 3 I 208 


Program: Inner Voices 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 2 1 
Ages: 5- 1 8 
Budget: $9 1,500 

rM|B " I For the 100 children who attend after- 
WjM I school and Saturday classes, the studio 
of the Lula Washington Contemporary 
Dance Foundation is like a second home. 
Each day, 1- to 2-hour classes are held in modern 
dance, jazz, African dance, tap and ballet. Through 
the discipline of dance, children learn to work as 
part of a team, to be more responsible and to push 
themselves to succeed. The studio urges parental 
involvement and finds that when parents are involved, 
their children's chances for success in the program 
are increased. Fifty percent of the students require 
scholarships to participate. Those on scholarship get 
informal job training by helping with all aspects of 
the Foundation's administration: answering phones, 
designing flyers, helping with public outreach and 
filing. The Foundation also runs an intensive, 10-week 
summer dance workshop for 40 youth, of whom 25 are 
paid through the Summer Youth Employment and 
Training Program of local government. After children 
have reached a certain level of dance proficiency, they 
join the Youth Dance Ensemble, which performs exten- 
sively throughout the community, presenting dance 
works that advocate for a positive, drug-free approach 
to life. As children grow up, they can become part of 
the Lula Washington Dance Theater, a professional 
modern dance company that tours nationally with 
works that reflect African- American culture. The 
program allows participants to start as children and 
remain through adulthood. Families develop friend- 
ships and help each other out over the years, assisting 
with baby-sitting, carpooling and celebrating birth- 
days, as well as at times of family crises. An informal 
extended family is created, giving each student a 
wider group of adults and friends on which to rely. 

^^B v The Inner Voices program provides 
M VA m visual and performing arts programs for 
v^^^k t young people in four of Macon's public 
"^B W^ housing complexes. Macon Neighbor- 
hood Arts, Inc., the host institution of Inner Voices, 
was formed in partnership with the Macon Arts 
Alliance, the Macon Housing Authority and the 
Macon Police Department. After-school sessions 
that meet 5 days a week for 3 hours during the 
school year begin with tutoring and are followed 
by classes in drama, vocal and instrumental music, 
drawing, painting, ceramics, modern dance and jazz. 
Often these classes culminate in performances and 
exhibitions. Participants also sell their artworks in 
Macon and in other cities. Many of the classes use 
the arts to raise awareness about drug use, teen pre- 
gnancy and AIDS. Some of the classes are oriented 
to the African-American community, and the program 
exposes children to the best of many different cul- 
tures. Inner Voices also emphasizes self-discipline, 
education (including college campus visits) and 
peer tutoring and holds oratorical competitions. 

Craftsmen's Guild 
1815 Metropolitan 

Pittsburgh, PA 

Program: Arts 
Training Program 
Year Started: 1 986 
Focus: Visual Arts 
Youth Served: 350 
Ages: 11-19 
Budget: $778,000 

Organization: Marwen 


325 Huron Street 

Chicago, IL 60610 

3 1 2-944-24 1 8 

Program: Community 
Partnership, Studio 
Program, College 

Career Program 
Year Started: 1 987 
Focus: Design 
& Visual Arts 
Youth Served: 1,600 
Ages: 12-18 
Budget: $580,000 

The Manchester Craftsmen's Guild is a 
multicultural arts education and perfor- 
mance organization located in one of 
the poorest neighborhoods of Pittsburgh. 
In place for the past 27 years, the Guild conducts 
classes in visual arts, with a focus on ceramic art 
and photography, and in the performing arts, with 
an emphasis on jazz. Educational activities as well as 
presentations by living masters are offered in each 
discipline. The facilities include a ceramics studio, 
photography laboratories and studio, a gallery and 
a music hall. The Arts Apprenticeship Training Pro- 
gram at the Guild teaches 
inner-city youth drawn 
from public schools the 
technical and aesthetic 
elements of ceramic art, 
computer imaging, draw- 
ing, painting and photo- 
graphy. Recently, teen 
artists created an on-line 
Internet art exhibition of 

their own masterpieces, including selections of origi- 
nal ceramics, drawing, painting, photography and 
computer imaging. Students receive counseling and 
college outreach services. From 74 percent to 80 per- 
cent of participants in the Apprenticeship Program 
go on to college, compared to 20 percent in the com- 
munity. The Guild also runs an artist-in-residence 
program in 11 area high schools as well as a summer 
arts program. The Guild is part of a complex of non- 
profit and for-profit subsidiaries, including The Bid- 
well Training Center, The Business and Industrial 
Development Corporation and Bidwell Food Services. 

Marwen Foundation was 
founded in 1987 to provide 
guality arts education and 
college career planning for 
Chicago's under-served youth. The Foundation offers 
sequential visual arts education programs to foster 
creative and practical skills, as well as advanced 
schooling and job preparation both in and outside 
of the arts field. The Community Partnership brings 
introductory classes to six community centers in 
culturally diverse neighborhoods. Participants meet 
after school and on weekends for 10 weeks for in- 
struction in the visual arts. Motivated students may 
continue training through the Studio Program, for 
which they go to the Marwen facility for more rigorous 
study in photography, drawing, sculpture, animation, 
painting, architecture, design and other areas. The 
College Career Program connects students with pro- 
fessional artists and designers in the Chicago region 
and nationally for master classes, career workshops, 
internships and apprenticeships. It also provides stu- 
dents with work by including them on design teams 
that produce commissioned artworks in Chicago. 
Students receive assistance in applying to and inter- 
viewing for colleges and other advanced schooling. 
Stressing the hands-on aspects of the art world, 
Marwen shows artistically inclined inner- city youth 
how to enhance their lives through art and how to 
mold their talents into marketable skills. 


M Ensemble 
Company, Inc. 
P.O. Box I 1 75 
Miami, FL 33168 

Program: Summer 
Youth Employment 
in the Arts and Life 
Year Started: 1 99 1 
Focus: Theater 
Youth Served: 20 
Ages: 13-19 
Budget: $36,000 

Organization: MERIT 
Music Program 
of Chicago 
Dearborn Station 47 
Chicago, IL 60605 
3 I 2-786-9428 

Program: MERIT Music 

Program of Chicago 

Year Started: 1 979 

Focus: Music 

Youth Served: 3,000 

Ages: 6- 1 8 

Budget: N/A 

There is a special place in Miami for 
African-American youth from low-income 
areas who have an interest in theater. 
The M Ensemble Company, which 
cultivates and preserves African-American culture 
through the performing arts, believes that youth are 
our future and that they need help developing self- 
esteem and coping skills. In response to this need, 
the Company formed the Summer Youth Employment 
in the Arts and Life Enrichment program to help 
keep African-American youth gainfully involved in 
theater. After passing an audition, teens receive pro- 
fessional training in acting, production and stage- 
craft. They help mount and act in a summer produc- 
tion. Teens are given roles to perform and receive 
individual counseling. Meditation, theater exercises 
and other activities help participants reflect on their 
lives and options. A program for juvenile delinquents 
also is conducted twice a week during the summer. 
Rappers, street dancers and other artists talk with 
youth about their own backgrounds, struggles and 
professional growth. Efforts are being made to extend 
these theater opportunities beyond the summer. 

^fW Since 1979, the MERIT (Music Educa- 
^fA^^^k tlon Reaching Instrumental Talents) 
m m W Music Program has been reaching 

^w3^^ economically disadvantaged students 
throughout Chicago with comprehensive programs in 
instrumental and vocal music, music theory, ensem- 
ble performance and composition. MERIT provides in- 
school programs in 50 Chicago public schools and 
complements them with a variety of after-school, week- 
end and summer programs. The Tuition-Free Conser- 
vatory Program provides 
intensive, year-round 
after-school training for 
students ages 10-18 in 
instrumental technique, 
theory and ensemble per- 
formance. Students also 
have access to private 
lessons, summer camps, 
master classes, perform- 
ance tickets and college 
scholarships. The Music 
Cultivation Program for the Chicago Housing Authority 
and the Preparatory Program are designed to nurture 
students who might come to participate in the Con- 
servatory Program. The Music Cultivation Program 
provides instruction on string instruments for young 
people in public housing communities and includes a 
Mentorship Program for their parents. The Preparatory 
Program works with young people who have partici- 
pated in school programs and offers private instruction, 
ensemble performance opportunities and theory class- 
es. As Executive Director Duffie Adelson notes, "The 
music training gives students the tools to compete 
for college scholarships; the environment gives them 
the tools to achieve more in school and work." 



Metropolitan School 

for the Arts 

320 Montgomery 


Syracuse, NY 13202 


Program: United 
In Hope 

Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: I 1 8 
Ages: 5- 1 7 
Budget: $18,800 


The Mexican Museum 

Fort Mason Center 

Building D 

San Francisco, CA 



Program: Street SmArt 
Year Started: 1 993 
Focus: Visual Arts 
& Humanities 
Youth Served: 75 
Ages: 6- 1 8 
Budget: $15,000 

^^f v In a community with no community 
M VA m center to serve the neighborhood chil- 
v^^Bk T dren, the Episcopal Church and Evan- 

"^1 W^ gelical African American Church joined 
forces to create United In Hope, a safe haven in an 
economically depressed and drug-ridden neighbor- 
hood. The churches turned to the Metropolitan School 
for the Arts to help them provide arts programming. 
Introductory-level classes in music, theater, dance 
and visual arts are offered at the Episcopal Church 
4 days a week for up to 2 hours after school through- 
out the school year. Course offerings are as varied as 
percussion ensemble, explorations in visual arts, cre- 
ative dramatics, teen theater, introduction to dance, 
hip-hop and children's chorus. The program draws 
a constant core of about 30 children, with many oth- 
ers dropping in for specific classes. Instructors work 
with the children in intensive discipline blocks that 
result in the staging of performances, street fairs and 
exhibitions at the end of each 3- to 10-week session. 
Older students, working as assistants with the young- 
er children, help emphasize the program's focus on 
the process rather than on the product. "The children 
tell us that they are enjoying the classes and that 
they feel comfortable in the program. It's a safe and 
stable place to focus their energies positively," says 
Executive Director Dee Britton. 


Open to all young residents 
of a low-income housing 
development in San Francis- 
co's Mission District, Street 
SmArt operates an arts program that involves youth 
in visual arts projects reflecting their Latino heritage. 
Meeting twice weekly over a 15-week period, partic- 
ipants learn about tools and concepts. The objects 
created are related to Latino history and cultural tra- 
ditions. Each 15-week session culminates in an exhi- 
bition of the artwork and a public program, with 
some public art pieces becoming a permanent part 
of the housing complex. The Mexican Museum, 
organizational host to the program, notes high par- 
ticipation rates and youth and parent satisfaction 
with the program. The Mexican Museum is one of 
nine culturally specific arts institutions that make 
up the Cultural Equity Group, a collaborative that 
shares information and resources and jointly seeks 
funding for culturally targeted youth programs, 
which each group then runs. 


Mill Street Loft 
Educational Center 
20 Maple Street 
Poughkeepsie, NY 

Project ABLE 
Year Started: 1 994 
Focus: Design 
Youth Served: 60 
Ages: I 3-2 1 
Budget: $250,000 


Milwaukee Repertory 


1 08 E. Wells Street 

Milwaukee, Wl 53202 


Year Started: 1 994 
Focus: Theater 
Youth Served: 27 
Ages: 14-21 
Budget: $6, 1 1 


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Mill Street Loft Multi-Arts Educational 
Center has developed a job skills training 
program, Project ABLE (Arts for Basic 
Education, Life Skills and Entrepreneur- 
ship). Mill Street Loft is running the model program 
for economically disadvantaged youth in Poughkeep- 
sie's north side, where corporate layoffs, crime and 
drugs are common. Project ABLE helps teens gain 
specific job skills, learn how to resolve conflict, 
work in teams and exercise decision-making skills. 
The year-round program 
involves youth 12-30 
hours a week after school, 
on weekends and during 
holidays. A 7- week sum- 
mer program engages 
youth 30 hours a week. 
Under the guidance of a 
carpenter, a retail design 
specialist and artists, city 
youth have renovated a 
gift shop, art gallery and 
warehouse that are used as training sites. Participants 
develop and design products and learn all facets of 
operating a retail business and becoming entrepre- 
neurs. Another component of the program involves 
youth in neighborhood revitalization through the 
creation of public art. The philosophy of the program 
is one of open enrollment and exit; youth are encour- 
aged to stay and succeed through positive reinforce- 
ment. They are paid $4.25 to $5 per hour to "earn 
while they learn." 

The Milwaukee Repertory Theater offers 
a variety of activities for young people, 
the most intensive of which is TEEN- 
WORKS. Teens are recruited from the 
metropolitan Milwaukee area through other commu- 
nity programs staffed by Repertory artists. Teenage 
applicants must submit a request to participate in 
this free program. Upon acceptance, they sign a for- 
mal agreement to conduct themselves responsibly 
and participate with a group to achieve shared 
goals. In 6 weeks of daily summer meetings, teens 
spend time learning basic theater techniques and 
developing an original theater piece on a socially 
relevant issue. Working with a variety of Milwaukee 
Repertory professionals, including artists, adminis- 
trators and craftspeople, teens polish their theater 
pieces and perform at The Stiemke Theater or The 
Powerhouse Theater. When the new school year begins, 
the group writes newsletters and prepares for future 
summer sessions by participating in biweekly theater 
workshops. Teen participants also have the opportu- 
nity to assist in the daily operations of the Milwau- 
kee Repertory Theater as general work assistants. 


Creative Arts Center 
3415 Olinville Avenue 
Bronx, NY 1 0467 

Program: After- 
School Literacy 
Through the Arts 
Year Started: 1 978 
Focus: Multi- 
disciplinary Arts 
Youth Served: 60 
Ages: 6- 1 3 
Budget: $5 1,000 


Minneapolis Institute 

of Arts 

2400 3rd Avenue 

Minneapolis, MN 



Program: Art Team 
Year Started: 1 988 
Focus: Visual Arts 
& Humanities 
Youth Served: 8 
Ages: 14-17 
Budget: $6,000 

^^K v Every day after school, 60 children 
M vA m meet at a neighborhood school from 

^yM^ ^ ^ P m ' t0 ^'^ P' m ' to P art i c iP ate i n 
"^B ^^ Literacy Through the Arts. This program 

uses the arts to improve the reading, writing and 
math skills of participants. In addition to being tutored 
in reading, writing and math, participants take two 
to three classes, taught by professional artists. In the 
Book-N-Art class, children write and illustrate a story 
and learn how to bind their story into a book. Other 
arts programming includes theater; music; modern, 
African and step dance; percussion and visual arts 
and crafts. Children maintain journals which they are 
free, but not obligated, to share with the professional 
artists who instruct them. The semesters are struc- 
tured around a theme, and at the end of each session, 
participants hold a performance and exhibition of 
their work. Book-N-Art participants keep their own 
books, but the originals are copied and bound into 
an anthology. "Because the children set their own 
goals with the help of an adult, they have more con- 
trol over their results," explains Director Camille 
Akeju. "Most of the youth enter the program reluc- 
tantly since they know that the reason they are here 
is because they are not achieving. They leave with a 
sense of achievement and are more tolerant of each 
other." Akeju adds that the children's test scores are 
improving and that the work they create, especially 
the anthology, is very popular within the community. 


Urban flight has left the Min- 
neapolis Institute of Arts in 
an economically depressed 
area of Minneapolis. Art 
Team was created to meet the community's need for 
employment opportunities and the museum's wish to 
increase neighborhood attendance. Art Team trains 
and employs youth to work at museum events. Mem- 
bers are required to sign a 9-month contract to attend 
weekly classes (for which they are paid) at the muse- 
um during the academic year. Museum staff lead 
workshops that illustrate the role of art in the devel- 
opment of societies and ideas. Special emphasis is 
given to multicultural perspectives and the historical 
and social relevance of art as it relates to the lives of 
the participants. Hands-on activities using a variety of 
materials and experience with object research methods 
help Art Team members in their role as advocates for 
the museum during public events. In the summer, Art 
Team youth act as assistants at 1 5 inner-city Art in the 
Park programs sponsored collaboratively with the Parks 
and Recreation Board. 

" * Members are required to sign 
a 9-month contract to attend 
weekly classes (for which they are 
paid) at the museum during the 
academic year. Museum staff lead 
workshops that illustrate the role 
of art in the development of soci- 
eties and ideas. * * 


Organization: Molly- 
Olga Neighborhood 
Art Classes 
Locust Street Neigh- 
borhood Art Classes 
I 38 Locust Street 
Buffalo, NY 14204 

Program: Tuition-Free 
Sequential Instruction 
Year Started: 1959 
Focus: Visual Arts 
Youth Served: N/A 
Ages: 3-2 1 
Budget: $ 1 1 ,000 

Mosaic Youth Theatre 
of Detroit 
P.O. Box 09667 
Detroit, Ml 48209 
3 13-554-1422 

Youth Ensemble 
Year Started: 1 992 
Focus: Theater 
Youth Served: 75 
Ages: 12-19 
Budget: $ I 10,000 

Over 35 years ago, some children in an 
inner-city neighborhood knocked on the 
door of a local artist, Molly Bethel, and 
asked her to teach them to paint. Any 
child, teen or adult who wants to develop painting 
skills can walk in off the street and register for begin- 
ning to advanced arts classes at MollyOlga Neigh- 
borhood Art Classes. Professional artists who grew 
up with this program work with all age groups in 
painting and drawing, clay (sculptural and pottery) 
and black-and-white photography. Weekly classes 
are offered year-round, with breaks in June and 
September. Special classes during the school day 
are provided for high-risk children from a local public 
school. Serious teen artists work independently in 
open studios, as well as during scheduled class time. 
Staff provide help with portfolios, applications to art 
schools and public exhibitions. An annual art show 
displays the most significant accomplishment of 
each student for that year. Respect for the children 
and their art, ease in enrollment, a consistent sched- 
ule of classes and a familiar group of faces offering 
instruction and support are central to the longevity 
and success of this program. 

Mosaic Youth Theatre of Detroit is a 
nationally acclaimed multicultural youth 
theater that develops young theater 
artists through training and performing. 
The program is divided into three specific areas. The 
Acting Company focuses on training the voice, body 
and imagination and on scriptwriting. The Technical 
Crew works on set design and construction, lighting 
design and operation and props management and 
costumes. The Music Group includes singers, song- 
writers and sound engineers, who write and perform 
all of the music for Mosaic productions. The 11 -month 
program engages youth 10 hours a week in the even- 
ings and on weekends and includes guest artist visits. 
Sundays are reserved for tutoring to help participants 
maintain the grade point average required to stay in 
the program. Each year, the Youth Ensemble tours 
Detroit-area schools with either an original play or 
an innovative version of a classic. Study guides and 
handbooks for teachers are developed for each perfor- 
mance. Mosaic's Youth Ensemble also performs at 
community centers, hospitals, nursing homes and 
special events. To further showcase the teens and 
the Ensemble-created production, Mosaic's Ensemble 
members participate in a 3-week tour of professional 
theaters. "Kids from different backgrounds and ages 
are put in a demanding atmosphere in which they 
learn how to respect each other. While working toward 
a shared goal, each member maintains his or her indi- 
viduality and unique cultural identity," says Managing 
Director Annette Madias. A new component of the 
program, a 1-week residency at a college campus, is 
familiarizing youth with college life. Madias reports 
that several of the teens are winning performing arts 
scholarships to attend college. 


3924 Browning Place 
Suite 7 

Raleigh, NC 27609 
9 1 9-78 1 -2088 

Year Started: 1 987 
Focus: Literature 
Youth Served: N/A 
Ages: N/A 
Budget: $320,000 

Moving in the Spirit 
P.O.Box 17628 
750 Glenwood 
Avenue, SE 
Atlanta, G A 30316 

Program: Stepping 
Stones, Apprentice 
Corporation Outreach 
Year Started: 1 986 
Focus: Dance 
Youth Served: 275 
Ages: 4- 1 9 
Budget: $114,198 

^^B\ MOTHEREAD, Inc. is a national, pri- 
AL «-» ~^ | vate nonprofit organization that com- 
I u ' bines the teaching of literacy skills 

^^^b^ with child development and family 

empowerment. MOTHEREAD designs and develops 
its curricula based on carefully chosen multicultural 
children's literature. The story is used to teach read- 
ing, writing, communication and critical thinking 
skills. Adults learn to be story readers, writers and 
tellers in a group structure that supports their own 
sense of worth and ability and encourages parents 
to be reading role models for their children. "Story- 
sharing" classes for children provide a structured 
environment to foster creative thinking, nurture a 
love of books and aid in developing comprehension 
skills. In partnership with the North Carolina Human- 
ities Council (NCHC), MOTHEREAD's training and 
technical assistance is provided to educators and 
family service professionals from a variety of agen- 
cies and locations. Through this partnership with 
NCHC, certified instructors currently are implement- 
ing MOTHEREAD's approach and curriculum in 54 
of North Carolina's 100 counties, in 12 other states 
and in the Virgin Islands. For example, working with 
a variety of social service and education agencies, 
two of MOTHEREAD's afffiliates, the California Coun- 
cil for the Humanities and the Minnesota Humani- 
ties Commission, provide MOTHEREAD/FATHEREAD 
programs in their respective communities. In Wake 
County, North Carolina, the national office provides 
a variety of direct literacy services to parents and 
children in collaboration with departments of social 
services, health and corrections; the local school sys- 
tem; community-based agencies; local and county 
governments; child abuse prevention programs and 
preschool programs. 

rA'Mj I Moving in the Spirit (MITS) teaches 
WM I workplace values through dance. Two 

programs, Stepping Stones and Appren- 
tice Corporation Outreach, focus on 
teaching commitment, discipline and accountability 
through modern dance. Dance classes draw upon the 
messages of Martin Luther King, Jr. for inspiration. 
The young Stepping Stones dancers meet once a 
week during the school year at 10 centers through- 
out Atlanta. Dance classes operate around an incen- 
tive system that rewards participants with points for 
their efforts. In Apprentice Corporation Outreach, 
students sign job contracts pledging to be on time 
and to fulfill other responsibilities. Corps members 
audition for the program, which meets at least four 
times a week year-round. Public performances, which 
include dialogue with audience members, are taken 
on the road in a 3-week "Tour Explosion" to church- 
es, theaters, prisons and community centers. Both 
programs pay youth for their participation. Youth 
earn "MITS money" based on the number of points 
earned in the incentive system, and the money goes 
into make-believe checkbooks. The young dancers 
are able to use their money in the Moving in the 
Spirit Christmas store, which is supplied with dona- 
tions from individuals and local businesses. "Every 
day the dedicated dancers are taking on more of the 
organization's responsibilities and asking for addi- 
tions to the curriculum," reports Development Coor- 
dinator Lydia Pettigrew. 


Multicultural Educa- 
tion and Counseling 
Through the Arts 
1900 Kane Street 
Houston, TX 77007 

Program: Multicultural 

Education and 
Counseling Through 
the Arts 

Year Started: 1 979 
Focus: Multi- 
disciplinary Arts 
Youth Served: 3,300 
Ages: 5-2 1 
Budget: $45 1 ,000 


El Museo del Barrio 

1230 5th Avenue 

New York, NY 10029 


Program: The 
Caring Program 
Year Started: 1 990 
Focus: Visual Arts 
& Humanities 
Youth Served: 30 
Ages: 8- 1 I 
Budget: $10,000 

^^K v With a view toward increasing the 
M vA m social and intellectual development of 
vSj^^^k Houston's inner-city youth through the 
'^ ^r arts, Multicultural Education and Coun- 
seling Through the Arts (MECA) works in partner- 
ship with public schools to provide arts education 
year-round. The activities expose youth to the arts 
with in-school, after-school and summer programs. 
Classes in ethnic art forms include mariachi, Mexi- 
can ballet folklorico, international ballet folklorico and 
Afro-Caribbean dance. Classical instruction in voice, 
instruments, modern dance and jazz, ballet and the- 
ater is offered as well, with students practicing up 
to 6 hours per week. Fees for classes are waived for 
about 75 percent of the participants, who perform 
community service instead — cleaning the organiza- 
tion's central facility or schools, creating public murals 
and helping with mailings. The center follows the 
school schedule, but is open all summer as well. A 
large part of MECA's programming involves support 
services for students, which include tutoring, a men- 
toring program, assistance with college applications, 
scholarships and a girls club for junior and senior high 
school students, as well as social services through 
agencies with satellite offices in the center. "The 
strength of our program is the comprehensive sup- 
port services we offer the children and the whole 
family," says Executive Director Alice Valdez. "If a 
child is having problems, we call in the whole family 
and get social service agencies involved." 


For 25 years, El Museo del 
Barrio has worked to preserve 
and interpret Latin-Ameri- 
can cultural heritage for New 
York City residents. Changing demographics necessi- 
tated a shift in the kinds of programs offered by El 
Museo to meet the needs of New York City's Latino 
and African- American communities. Six years ago, 
El Museo began offering its constituents The Caring 
Program, which Columbia University's Child Psychi- 
atry Department created as a way to relieve stress in 
young patients. The Program provides collective art- 
making experiences and technical skills development 
to improve children's attitudes and self-image. The 
classes promote development of ethnic pride, problem 
solving and social involvement. In 10-week sessions 
throughout the school year, an artist-in-residence and 
a Columbia University mental health professional work 
together at El Museo to encourage children to examine 
the different social issues affecting their lives and to 
discuss mechanisms for coping with these problems. 
The artists transport the children from school to El 
Museo, where they work for 2M hours. Through art 
workshops, participants learn about the work of artists 
such as Frida Kahlo and Fernando Botero and explore 
issues such as the relationship of ecological survival 
to urban survival. At the end of the sessions, students' 
work is displayed at El Museo and at the University. 


The Music School 
P.O. Box 603038 
Providence, Rl 02906 

Program: The Cultural 
Alternatives Program 
Year Started: 1 989 
Focus: Music 
Youth Served: 400 
Ages: 9- 1 4 
Budget: $250,000 



Music School 

1 00 Audubon Street 

New Haven, CT 065 1 


Program: Hill 
Outreach Program 
Year Started: 1 976 
Focus: Music 
Youth Served: 45 
Ages: 7- 1 8 
Budget: $35,000 

^^P^t The Music School's Cultural Alternatives 
^jA ^^^ Program rntegrates arts and cultural 

m m W education with mentoring and training 
^W3^^ in conflict resolution and substance and 
violence refusal methods. Classes and performances 
give students outlets through which to develop posi- 
tive attitudes about themselves and constructive risk- 
taking experiences. "The strength of the Program is 
its interconnectedness," says Executive Director Alan 
Fox. "There is a linkage among the different elements 
and a layering of activities that support each other. " 
Music and dance teachers, along with college men- 
tors from Brown University, Rhode Island College 
and Providence College, lead activities at public hous- 
ing sites, after-school programs, community centers 
and churches. The participants simultaneously 
receive training and supervision from the University 
of Rhode Island Teen Crime Prevention Program. 
Around 20 youth per site meet once a week for 1 or 
more hours over a 6- to 9-month period to develop 
their artistic skills and peer relations in preparation 
for performances, some of which address cultural 
identity or social issues. Participants perform for the 
community at New Year's Eve activities and at other 
neighborhood and community events. 

^fW The Hill Outreach Program of the 
^jA ^^^ Neighborhood Music School provides 
m ^ J W individual lessons in wind, brass and 

^WO^^ percussion instruments to youth in one 
of New Haven's poorest communities. All classes are 
held at the Wesley United Methodist Church, a focal 
point of the community. In keeping with the School's 
philosophy of promoting ownership and responsibili- 
ty, all participants must contribute something to the 
cost of the lessons, even though it is sometimes as 
little as $2 per lesson. Classes are taught on Saturdays 
throughout the school year by professional artists, 
whose ethnic diversity reflects that of the participants. 
Ninety percent of the students return year after year 
to continue their lessons. Families participate by 
attending student recitals as well as parent/grand- 
parent support meetings that are scheduled during 
the year. Added benefits of the Program include 
opportunities to attend field trips and concerts free- 
of-charge and to participate in ensembles and a 
summer music camp at the School's main branch. 

■ ■ Families participate by attend- 
ing student recitals as well as par- 
ent/grandparent support meetings 
that are scheduled during the 


Organization: Nevada 
School of the Arts 
3 I 5 S. 7th Street 
Las Vegas, NV 89 1 1 

Program: Las Vegas 
Children's Choir 
Year Started: 1 994 
Focus: Music 
Youth Served: 35 
Ages: 10-14 
Budget: $7,500 

Organization: New 

Hampshire State 


20 Park Street 

Concord, NH 03 301 


Program: Connections: 
The New Hampshire 
Reading Project 
Year Started: 1 990 
Focus: Literature & 

Youth Served: N/A 
Ages: 18-21 
Budget: $50,000 

^^9^^ Once a week for 2 hours after school, 
^T>^A low-income youth recruited from near- 

m ^^ W by local schools come to the Nevada 
^^3^^ School of the Arts to practice a diverse 
repertoire of choral pieces. Youth are recommended 
to the program by their music teachers, who view 
this program as a high-quality choral experience. 
The School charges a nominal fee of $8 per semester 
for instruction by two choral teachers. Youth in the 
program present performances throughout the year, 
with a special performance on the Super Dave televi- 
sion show. "The kids are enthusiastic about the pro- 
gram, and they have learned how to cooperate as a 
group," explains Dr. Paul Hesselink, director. "The 
parents are supportive. . . .They come to performances. 
They bring and pick up their children. And, some- 
times, they even stay in the room during practice 
to observe." The Nevada School of the Arts also runs 
Chamber Music Ensembles for youth living in isolat- 
ed, rural areas of the state and provides Suzuki violin 
instruction in English and Spanish for youth. 

The New Hampshire State 
Library's Connections 
Reading Project is a book 
discussion program that 
encourages family reading, literacy and continued 
use of state libraries. Participants include single par- 
ents, teens, school dropouts and new immigrants, 
all of whom are adult new readers and many of whom 
are parents and grandparents. When new readers 
enter the program, they receive books, get a library 
card and meet the librarian, who gives them a tour 
of the library and introduces them to staff. Working 
with tutors, participants read six to nine selections 
from picture and short story books related to a com- 
mon theme, such as courage, home, justice, friend- 
ship, New England history, journeys or autobio- 
graphy. Two-hour monthly book discussions at the 
local libraries during the school year bring together 
students and humanities scholars to explore the 
literature. Eighteen scholars travel throughout the 
state, remaining with a group for a 4-month session. 
Participants may join the program again at the next 
session. Connections Project Director Christie Sarles 
reports that 75 percent of the tutors believe the 
program improves students' reading skills, word 
recognition and comprehension; 100 percent of the 
librarians say participants return to the library after 
attending the program; and 46 percent of the parti- 
cipants report Connections changes how they feel 
about libraries. "The program is making local ties 
between the tutorial coordinators and librarians," 
notes Sarles. "Students, librarians and discussion 
leaders all want to continue participating." 


Organization: New 

Jersey Council for the 


28 W. State Street 

6th Floor 

Trenton, Nj 08608 


Program: People 
and Stories/Gente 
y Cuentos 
Year Started: 1 970 
Focus: Literature 
Youth Served: I 30 
Ages: 15-21 
Budget: N/A 

Organization: New 
York State Museum 
2003 Cultural 
Education Center 
Albany, NY 12230 

Program: New York 
State Museum Club 
Year Started: 1 988 
Focus: Multi- 
disciplinary Arts & 
Youth Served: 68 
Ages: 8- 1 4 
Budget: $95,000 

^0t^f^ People and Stones/Gen te y Cuentos 
m *-* ^ 1 was developed to use literature to 
Bl L ' accomplish several goals with partici- 

^^^^^ pants: to increase their self-worth, to 
develop their critical thinking skills and, ultimately, 
to change their relationship to the world. The New 
Jersey Council for the Humanities runs approximately 
30 programs a year at senior citizen centers, prisons, 
libraries, homeless shelters and community centers. 
Some of the sessions are organized for youth, and oth- 
ers include youth in multigenerational programs. The 
sessions are made up of 90-minute classes held once 
a week for 8 weeks. At each session, highly trained 
program coordinators read aloud a short story by a 
renowned writer. After the story is read, the coordi- 
nators ask questions that focus specifically on the 
poetic texture of the short story. The program is 
unique because it asks participants to focus on the 
literature — not only on reading skills. The result is 
that participants who do not think of themselves and 
each other as capable of speaking intelligently about 
literature find themselves discussing complex ideas. 
Participants bring their own life experiences into 
the discussions and begin to see their lives in a dif- 
ferent way. "The program breaks down stereotypes 
by showing common experience through literature," 
explains Georgia Whidden at the New Jersey Coun- 
cil for the Humanities. "Participants discover that 
they have the ability to communicate about litera- 
ture and controversial issues, which increases their 
self-confidence. We find that people enrolled in this 
program will go on afterwards to join a GED [gen- 
eral equivalency diploma] or English-as-a-Second- 
Language program, which they would not have felt 
comfortable doing before." 

^£ V ^^^^ The Museum Club at the 
M W^ M " : ^ New York State Museum 
^H^fllL t™ wM W is a free, educational after- 
"^B ^^ ■■■ school program for Albany 
children between the ages of 8 and 14. Daily programs 
incorporate art, science, history and math and use 
Museum exhibits, the school curricula of participat- 
ing students and current events. A tutor is available 
daily to help with school homework assignments. 
There are always two projects going on simultane- 
ously, one of which is focused on the arts. Arts-based 
projects are diverse in nature: Artists-in-residence 
worked with Club members to create masks and 
paintings for a local art gallery; children created a 
quilt exhibition shown in conjunction with the dis- 
play of the NAMES Project AIDS Memorial Quilt; 
and students made wooden puppets and created 
poetry and rap related to archaeological digs. This 
program builds on children's initial attraction to the 
Museum, encourages their curiosity and provides a 
special safe "home" for participants. The program 
anticipates expanding to provide opportunities for 
older teens. 

Organization: Oakland Program: Oakland 

Youth Chorus 
2619 Broadway 
Oakland, CA 946 1 2 
5 1 0-287-9700 

Youth Chorus 
Year Started: 1 976 
Focus: Music 
Youth Served: 1 20 
Ages: 14-21 
Budget: N/A 

Ohio Arts Council 
727 E. Main Street 
Columbus, OH 43205 

Program: Coordinated 
Arts Program 
Year Started: 1993 
Focus: Multi- 
disciplinary Arts 
Youth Served: 3,500 
Ages: 1-19 
Budget: $ I 50,000 

^^f^^ Twice a week after school for 2 hours, 

^jA fl^ youth from diverse cultural backgrounds 

M m M come together to perform a repertoire 
^^3^^ representative of their backgrounds. 
The Oakland Youth Chorus comprises four ensembles, 
from beginning to pre-professional levels. Approx- 
imately 65 percent of the singers are from economi- 
cally disadvantaged homes. The choral classes are 
free, but the curriculum is highly disciplined and 
demanding. If students miss a class, they are required 
to make it up. If they are behind or having trouble, 
they are expected to come in for extra help. Despite 
the demands, youth stay for an average of 5 years. 
"We have created a successful model that makes it 
possible for youth of different classes and cultural 
backgrounds to work together and produce high- 
quality work. We also provide a positive peer envi- 
ronment that encourages excellence in all areas of 
their lives and gives them a safe after-school alterna- 
tive," comments Kim Cook, director of the Chorus. 
The Chorus performs full-length concerts in December, 
March and May and 30-40 shorter performances 
throughout the year at parties and festivals. The artistic 
director and two conductors choose the pieces that 
youth perform. Some of the music is composed by 
participants. The program uses music as a way to 
educate youth about their culture. Guest artists are 
invited to the Chorus throughout the year to offer 
special workshops. For example, a graphic designer 
taught several participants with an interest in visual 
arts how to design and produce the flyers for promot- 
ing the performances. 

^^K v The Ohio Arts Council, working with 
M vA m the Greater Cleveland Neighborhood 
v^^^k ▼ Centers Association, instituted the 
*^B ^^ Coordinated Arts Program (CAP) to 
enrich the lives of residents and make a lasting impact 
on 14 neighborhood centers. In the 3 years since its 
inception, CAP has met these goals through flexible, 
cultural-based arts activities and through close coor- 
dination between the CAP staff and the staff of the 
neighborhood centers. Youth programs are offered 
in instrumental and vocal music, modern dance, 

African dance, African and Afro-Cuban drumming, 
woodcarving and theater. Similar programs are offer- 
ed to seniors, who also share their life experiences 
through oral history projects. Classes are held at 
various times throughout the day for 1 to 2 hours, 
Monday through Saturday, October through June, 
enabling participants to attend easily. Summer class- 
es, tuition-based because of grant limitations, are 
available and draw regular attendance. The cities 
of Toronto and New York have used the Coordinated 
Arts Program as a model for similar programs. 


Organization: OneArt 
P.O. Box 558555 
Miami, FL 33255 

Program: Kids 
Off Streets 
Year Started: 1 979 
Focus: Multi- 
disciplinary Arts 
Youth Served: 125 
Ages: 9- 1 6 
Budget: N/A 

Organization: Opera 
Theatre of St. Louis 
P.O.Box 1 91910 
St. Louis, MO 631 19 


Year Started: 1 990 
Focus: Music 
Youth Served: I 5 
Ages: 15-18 
Budget: $56,000 

^^K v OneArt is a nonprofit cultural and edu- 
M vA » cational organization whose primary 
^Vjfl^ focus is to provide free access to cultural 

"^B ^^ programming for underprivileged chil- 
dren living in high-risk communities in Miami. Five 
days a week, the Kids Off Streets program provides 
youth with a variety of free after-school classes at 
schools and at the OneArt studio. The school-based 
program is focused primarily on dance. A former 
Joffrey and American Ballet Theatre dancer leads 
classes using contemporary music and traditional 
dance forms. The dance program acts as a feeder 
to the studio program, where participants work indi- 
vidually and in groups with artists on painting, pho- 
tography, drama and dance projects. Monthly student 
exhibitions and performances coincide with neigh- 
borhood gallery openings held regularly on the second 
Friday of every month. "At OneArt, we are dedicated 
to crime prevention by fighting crime before it even 
begins," says Executive Director Alexander Prado. 
"Get children interested in the arts at an early age, 
and the love of learning develops a sense of pride 
and skills." OneArt is building a 12,000-square-foot 
center, which will allow the organization to include 
programming in music, photography, filmmaking, 
computer training, tutoring, college counseling, 
work experience and more. 

■ ■ At OneArt, we are dedicated 
to crime prevention by fighting 
crime before it even begins. * * 

Alexander Prado 
-Executive Director 

^^|^^ Designed to discover and nurture vocal 
^fA^^^ talent in urban high schools, Artists- 
m m M in-Training (AIT) was launched as an 

^W3^^ experiment 6 years ago by the Opera 
Theatre of St. Louis in partnership with the Monsan- 
to Fund and the St. Louis public schools. It is now a 
thriving, permanent project. Although many young 
singers belong to school and church choirs, only a 
handful have experienced opera or had access to the 
kind of vocal training that might lead to a career in 
classical music. Through the AIT program, students 
attend half-hour weekly lessons; two separate, inten- 
sive, week-long master classes with well-known vis- 
iting professional artists; a fall weekend planning 
retreat; numerous extracurricular concerts; field trips 
and Opera Theatre 
performances. The year 
ends with a public recital 
and a competition for 
scholarship awards judged 
by nationally recognized 
artists. These scholar- 
ships help students pre- 
pare for auditions and 
pay for college. Recently, 
a pre-college institute was added to the program to 
reinforce a focus on academics and expose teens to 
college life. One hundred percent of AIT participants 
have finished high school; 55 percent are currently 
in college (many of them vocal performance or music 
education majors); and 30 percent are still studying 
voice. Some have been invited to work with nation- 
ally known teachers. 



Pacific News Service 

450 Mission 

Room 204 

San Francisco, CA 




YOi (Youth Outlook) 
Year Started: 1 99 1 
Focus: Media 
Youth Served: 360 
Ages: 1 5-2 1 
Budget: N/A 

Organization: Pacific 
Northwest Ballet 
301 Mercer Street 
Seattle, WA 98 1 09 
206-44 1 -94 1 I 

Program: DanceChance 
Year Started: 1 994 
Focus: Dance 
Youth Served: 55 
Ages: 7-8 
Budget: $60,000 

The Pacific News Service, a national 
print and electronic media news service, 
created YO! (Youth Outlook), an organi- 
zation that provides a diverse constit- 
uency of young people with a medium through which 
to express their views. The organization produces a 
newspaper, YO! (Youth Outlook). Many of the youth 
working on YO! are from disadvantaged families; 
some are living on their own because of problems at 
home. Through weekly articles in the San Francisco 
Examiner and its own bimonthly newspaper, YO! 
participants give voice to the critical issues facing 
young people today. Youth new to the program meet 
with writers and editors from the Pacific News Ser- 
vice to develop story ideas based on their own life 
experiences. With a core group of teen staff writers 
and a larger group of free-lance writers, youth meet 
weekly to determine the paper's content, make assign- 
ments and get updates on stories in progress. Writers 
are paid for their stories, and program participation 
includes lunches and workshops with working print 
and radio journalists, Freedom Forum representatives 
and peers in local high schools. A fiction workshop 
meets regularly, and fiction often is included in the 
newspaper. The newspaper, YO!, is distributed free 
in schools and youth centers. 

■ ' Through weekly articles in 
the San Francisco Examiner and its 
own bimonthly newspaper, YO! 
participants give voice to the 
critical issues facing young 
people today. * * 

FWM| I DanceChance brings the world of dance 
I to selected third grade students in Seat- 
tle. The program focuses on low-income, 
inner-city children who would not other- 
wise have access to dance instruction because of 
the cost, transportation difficulties or lack of exposure. 
Working with 12 central-city schools, the Pacific 
Northwest Ballet (PNB) screens children each Octo- 
ber to identify those with physical ability, musicality 
and interest and transports them to the Pacific North- 
west Ballet school facility for twice-weekly classes. 
After a 5-week session, students who show promise 
and interest are invited to return for a 20-week spring 
semester. PNB provides tuition-free instruction, 
dancewear, supplies and tickets to performances. 
The program incorporates a variety of fitness oppor- 
tunities, from toning, yoga and Russian folk dance to 
instruction in classical ballet. Students can remain in 
this program for up to 2 years, after which promising 
students are mainstreamed into the training school 
of the Ballet Company to continue on full scholarship. 
"These are the kind of life-training experiences that 
carry children through," according to Larry Jacobs, 
principal at ORCA Elementary School. Reflecting 
on one of his students in the program, Jacobs says 
that "even if he stopped right now, he will have this 
memory and vision of possibilities for himself for the 
rest of his life." 


Organization: PAKT — 
Parishes Associated 
on Kinloch Team, Inc. 
8301 Booker Avenue 
Kinloch, MO 63140 

Program: Color 
Me Bright 
Year Started: 1 993 
Focus: Visual Arts 
Youth Served: 77 
Ages: 8- 1 I 
Budget: $2 1,999 


Pennsylvania Prison 


2000 Spring Garden 


Philadelphia, PA 19130 


ext. 7923 

Program: Arts and 
Humanities Program- 
Youth Arts Program 
Year Started: 1985 
Focus: Multi- 
disciplinary Arts 
Youth Served: 30 
Ages: 12-17 
Budget: $30,000 

Parishes Associated on Kinloch Team, 
Inc. (PAKT) is a full-service community 
resource center in the Kinloch commu- 
nity and one of the sites for the Color 
Me Bright program, funded by the St. Louis Regional 
Arts Commission. Color Me Bright is a year-round 
fine arts program. Once a week after school, two art 
teachers from the public school system teach paint- 
ing, sculpture and drawing to a group of 25 youth. 
A tutorial program is available to encourage students 
to maintain a B average in school. Those who do 
are honored annually at PAKT's Student Recognition 
Night, where youth exhibit their artwork "gallery 
style." To ensure maximum attendance, children 
are provided with transportation to the center. In 
the summer, youth participate in PAKT's Summer 
Day Camp. One day per week, the children, their 
families and the whole community are invited to 
PAKT's Multicultural Day activity. This interactive 
arts program spotlights various cultures and nation- 
alities to promote cooperation with, tolerance for 
and understanding among different ethnic groups. 

^^K v Youth on probation at the Friends 
M WA m Neighborhood Guild in Philadelphia 
v^^^k ▼ P u t their creativity and ingenuity to 

"^B ^r~ work last year writing and illustrating 
a comic book. Over 20 weeks, participants learned 
about all of the elements involved in creating a story, 
read and discussed different comic books, studied 
how illustrations tell a story and then created their 
own comic book. During the course of the project, 
guest artists (cartoonists, storytellers and writers) 
from similar cultural backgrounds came to discuss 
their craft and their lives with participants. The artists 
also spoke about living by values other than material 
ones. Two other projects resulted in a rap music tape 
and an anthology of stories. Both involved a similar 
process of analyzing the structure of the craft, talk- 
ing with guest artists about their work and then cre- 
ating pieces. "Our interdisciplinary approach has 
shown the kids that they are capable of doing things 
that they once thought were impossible. Also, that 
they can be excited about subjects they had never 
been interested in before, like writing, reading and 
history," says Homer Jackson, project director. 

■ ■ Our interdisciplinary approach 
has shown the kids that they are 
capable of doing things that they 
once thought were impossible. * * 

Homer Jackson 
-Project Director 

Organization: The 
People's Light and 
Theater Company 
39 Conestoga Road 
Malvern, PA 

Program: New 
Voices Ensemble 
Year Started: 1 989 
Focus: Theater 
Youth Served: 50 
Ages: 8- 1 8 
Budget: $179,350 

Organization: The 
People's Music School 
93 I W. Eastwood 
Chicago, IL 60640 

Program: The People's 
Music School 
Year Started: 1 976 
Focus: Music 
Youth Served: 200 
Ages: 5- 1 2 
Budget: $ 1 60,000 

In the spring of 1996, 20 teens from 
Chester, a low-income community in 
Pennsylvania, will graduate from high 
school with 6 years of professional the- 
ater experience. The People's Light and Theater 
Company reached out to these youth in sixth grade, 
called them "New Voices" and made a commitment 
to work with them to create plays together (writing, 
improvising, rehearsing and performing) until they 
graduated from high school. New Voices meets 
year-round, after school and almost all summer, with 
daily schedules when they are in production. Space 
is provided by Swarthmore College, and Swarthmore 
College students write plays for New Voices. The 
Swarthmore students can get college credit for their 
work. Last year, People's Light formed Younger Voices, 
an ensemble made up of the younger siblings of 
New Voices' members. Younger Voices meets week- 
ly. The key to long-term participation by youth is 
the availability of transportation and paid summer 
employment. Abigail Adams, the Company's co- 
artistic director, reports that youth have learned 
the disciplines of theater and are demonstrating 
greater powers of concentration as well as exhibit- 
ing increased commitment and greater acceptance 
of responsibility. 

^^0^^ Inspired by the free music education 
^f^^^^k she received as a child in the Domini- 
m ^ J W can Republic, Dr. Rita Simo, a former 

^W3^^ concert pianist, started The People's 
Music School in the Uptown neighborhood of Chica- 
go. Two hundred students per term, ranging in age 
from 5 to 76, though mostly between 5 and 12, come 
to The School for free weekly private music lessons 
and weekly music theory classes. Students' develop- 
ment is tracked by the instructor, with an evaluation 
conducted at the end of each semester. The School 
also offers master classes, a variety of ensembles and 
performance opportunities. In exchange, students 
volunteer at The School, performing clerical, clean- 
ing or other types of work for 2 hours every other 
month. "What we are doing is letting students dis- 
cover their self- worth through their love of music," 
Simo states. 

■ ' What we are doing is letting 
students discover their self-worth 
through their love of music. * * 

Dr. Rita Simo 



Pittsburgh Playback 


2770 Fernwald Road 

Pittsburgh, PA 15217 


Program: Pittsburgh 
Playback Theatre: 
Hosanna House 
Year Started: 1 992 
Focus: Theater 
Youth Served: 60 
Ages: 12-17 
Budget: $45,000 

Plaza de la Raza 
3540 N. Mission Road 
Los Angeles, CA 
9003 1-1935 

Program: The School 
off Performing and 
Visual Arts 
Year Started: 1975 
Focus: Multi- 
disciplinary Arts 
Youth Served: 600 
Ages: 5-2 1 
Budget: N/A 

In Pittsburgh Playback Theatre produc- 
tions, "There is not just a script but a 
sharing of lives," says Executive Director 
Roni Ostfield about her improvisational 
performance company. The roving theater troupe, in 
operation since 1988, visits various sites, including 
Hosanna House in Wilkensburg, Pennsylvania, where 
professional actors are in their fourth year of engaging 
neighborhood teenagers as playwrights and actors. 
The interactive theater process has a therapeutic and 
entertaining format that allows participants to drama- 
tize issues such as peer pressure, drug and alcohol 
abuse, dysfunctional families and sexuality. "Partici- 
pants' sensitivities and perceptions are heightened, 
enabling them to gain insights into the causes of, 
and solutions to, the problems dramatized," explains 
Ostfield. Wilkensburg youth, meeting once a week 
for 2 to 3 hours, become storytellers and learn to do 
"playback" by acting out each other's stories. Train- 
ing is followed by preparation of a performance for 
schools and community groups. "This gives the kids 
something to give back to others and helps improve 
communication skills," notes Ostfield. 

^^R v Situated in the heart of East Los Ange- 
M vA m les, Plaza de la Raza is the only multi- 
^^^A * disciplinary cultural arts center serving 

^^1 ^^ Latinos in Los Angeles. Many of the 
youth who come to the center are from low-income 
families. All workshops are ongoing on a 10-week 
schedule, either for free or for a nominal fee. One 
of the programs offered by Plaza de la Raza is The 
School of Performing and Visual Arts. It provides 
performing and visual arts classes after school and 
on Saturdays for participants from the surrounding 
neighborhood. Classes operate on a semester system 
and range from 2 to 4 hours in duration. Youth pay a 
$15 registration fee for participation in some 25 differ- 
ent classes. The School uses Latino instructors who 
serve as both teachers and role models for young 
people. In addition, The School offers The Community 
Arts Partnership program that pairs youth with art 
students from the California Institute for the Arts 
in one-on-one arts programs, held free-of-charge at 
community centers throughout Los Angeles. Students 
receive advanced training in such disciplines as gui- 
tar, salsa, jazz and theater. In the Young Playwrights 
Project, an artist-in-residence conducts a 10-week 
playwriting project for young people. Participants 
develop original plays, which are then presented in 
stage readings and at an annual production. Students 
draw upon mythology, dreams and personal experi- 
ences to create these plays. 

Precita Eyes Mural 
Arts Center 
348 Precita Avenue 
San Francisco, CA 
941 10 

Program: Urban 
Youth Arts and 
Mural Workshops 
Year Started: 1985 
Focus: Visual Arts 
Youth Served: 50 
Ages: 11-19 
Budget: $5,000 


El Puente 

2 1 I S. 4th Street 

Brooklyn, NY I 1 2 1 I 



Leadership Center 
Year Started: 1 982 
Focus: Multi- 
disciplinary Arts 
Youth Served: 500 
Ages: I 1-25 
Budget: N/A 

Some of San Francisco's most neglected 
youth are developing their own styles 
and modes of expression through the 
Urban Youth Arts and Mural Workshops 
of the Precita Eyes Mural Arts Center. Artist-led 
classes on the development of new alphabet styles 
and mural art are offered. Participants create wall 
murals and paintings, using spray paint and 
airbrush, as well as more traditional techniques, with 
older children who have had experience in the pro- 
gram helping the younger ones. Many participants 
include their poetry, words and phrases in their 
murals. The drop-in classes take place 2 evenings a 
week at two storefront studios run by the Center. Sat- 
urday morning and afternoon classes were added for 
girls who felt uncomfortable at the evening classes, 
attended primarily by male youth. These Saturday 
classes now include male youth, thus helping to 
bridge the gender gap. The Center also has art classes 
for children of preschool and elementary school age. 
Through on-site projects, an additional 300 children 
and youth are reached each year. 

^^K v Located in Williamsburg, Brooklyn, in 
A vA m one of the poorest Latino communities 
vjj^^^ ▼ in New York State, El Puente Leadership 

■^^ ^^ Center is a community center serving 
primarily young people and their families. The Center 
has a membership after-school and weekend program 
that promotes mastery through rigorous participation 
requirements. Young people attain permanent mem- 
bership after an introductory period, during which 
they learn and experience El Puente 's 12 principles 
and their life applications, audit classes and meet 
with their peer facilitators and adult mentors. Having 
made a commitment, members can pursue a wide 
range of artistic interests such as study in dance, 
drama, music, videography and visual arts, including 
mural painting, under the guidance of accomplished 
artists. El Puente staff develop individualized plans 
with participants that focus not only on the arts, but 
also on educational, vocational, personal and social 
issues. El Puente houses resident performing compa- 
nies comprising trained young artists from the pro- 
gram and provides a stage for visiting local, national 
and international companies and artists. El Puente's 
model for youth and community development is being 
replicated through a growing national association 
that presently includes three New York centers, two 
centers in Massachusetts and a center in formation 
in San Diego, California. In 1983, in a partnership 
with the New York City Board of Education and the 
New York City Fund for Public Education, El Puente 
opened its own public high school, El Puente Acade- 
my for Peace and Justice. 



La Quinta Arts 


P.O. Box 777 

78-080 Avenida La 


La Quinta, CA 92253 


Program: Youth Art 
Works Educational Out- 
reach Program 
Year Started: 1 994 
Focus: Visual Arts 
& Humanities 
Youth Served: 1 2 
Ages: 16-21 
Budget: $20,000 

Rheedlen Centers 
for Children and 
Families, Rise & Shine 
300 W. 43 rd Street 
New York, NY 10036 

Program: The Real Deal 
Year Started: 1985 
Focus: Media & Video 
Youth Served: 1,000 
Ages: 1-21 
Budget: $200,000 


Riders on the Bear Creek Bike 
Path know that they will be 
able to find water, shade and 
a place to sit at the rest stops 
along the way. What they may not know is that the 
rest stops, which function as public art pieces as well, 
are designed and constructed by youth. These rest 
stops are a result of La Quinta Arts Foundation's 
Youth Art Works Educational Outreach Program. 
Through Youth Art Works, at-risk youth play a positive 
role in community development by creating public 
artworks. La Quinta Arts Foundation, with assist- 
ance from local social service agencies and school 
districts, recruits, trains and pays young people to 
assist in the research, design and construction of pro- 
jects. Professional artists and qualified youth leaders 
coordinate and supervise these projects. Young peo- 
ple working on the Bear Creek project interviewed 
community residents, researched the history of the 
Coachella Valley and invited speakers from the local 
community college and museum to present informa- 
tion at local town meetings. The group was assisted 
by a nationally recognized artist who was hired as an 
artist-in-residence to mentor the local artist working 
with the youth. At each stage of development, youth 
presented their plans to residents. "This project's 
greatest strength is its inclusiveness," remarks Carolyn 
Frances Lair, former director of La Quinta. "Through 
their research and extensive discussions with long- 
time residents, youth have developed a real sense of 
pride in their community and their roots, and adults 
are beginning to appreciate the contribution young 
people can make through the arts," adds Lair. In part- 
nership with a Boys and Girls Club, a YMCA and a 
housing coalition, La Quinta also runs a Young at Art 
program to bring children discipline-based arts training. 

Rise & Shine Productions 
is the media literacy pro- 
gram of Rheedlen Centers 
for Children and Families, 
a multiservice youth organization. Rise & Shine 
creates opportunities for young people to develop 
communication, reading, artistic and leadership 
skills. The program started as a drop-out prevention 
program to motivate children to go to class and 
improve their academic performance through poetry 
writing, performance, scriptwriting and video pro- 
duction. Today, through The Real Deal, teens from 
diverse communities come together to produce their 
own cable TV program and independent videos on 
race relations, violence, drugs, materialism and the 
power of media. The teen production company mem- 
bers meet after school and during the summer and 
are paid for their work. Once they have selected a 
theme for a piece, they form production units to 
create the work. The cable show provides a regular 
venue for the work of Rise & Shine. Teens also return 
to the parks and neighborhoods where the videos 
were made to show them to the people involved and 
to discuss the content. Videos are screened national- 
ly and are recognized widely for their quality and 
authenticity. The program reports a substantial impact 
on participants, with gains in school attendance rates, 
mainstreaming of special education and English-as- 
a-Second-Language students and college placement 
for many participants. 


ROCA, Inc. 

1 48 Washington 


Chelsea, MA 02 1 50 


Program: ROCA 
Chelsea, ROCA Revere 
Year Started: 1 988 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1 50 
Ages: 12-21 
Budget: $150,000 

Sacramento Metropol- 
itan Arts Commission 
800 1 0th Street 
Suite I 

Sacramento, CA 

Program: Late 
Night Sacramento 
Year Started: 1993 
Focus: Multi- 
disciplinary Arts 
Youth Served: 200 
Ages: 13-18 
Budget: $15,000 

^^D v ROCA, Inc. operates two innovative 
M K4 M youth and community development 
v^^^k ▼ programs in Chelsea and Revere, 

'^l ^^ Massachusetts, two of the smallest 
and poorest cities in the state. Through a combina- 
tion of interdisciplinary arts and recreational activi- 
ties, health programs, educational and vocational 
programs, street outreach, leadership skills training 
and community organizing, ROCA, Inc.'s youth devel- 
opment programs teach young people how to be 
leaders in their own lives as well as in the commu- 
nity. Arts programs are free, multilingual (English, 
Spanish and Khmer) and fully integrated into other 
programming. Classes are offered in African textiles, 
Cambodian and Latin dance, painting, video, theater, 
hip-hop dance, clay and more. Classes are held for 
a 1- to 2-hour period on a trimester schedule and are 
taught by professional artists and peer leaders who 
have apprenticed with professionals. The classes 
also are attended by youth trainers who provide 
instruction in leadership and health promotion in 
the context of the arts program. Additionally, ROCA, 
Inc.'s health peer leaders and community service 
programs utilize the arts to deliver messages through 
theater/discussion presentations, videos and visual 
arts projects. All participants are required to perform 
community service during the semester. At the end 
of each semester, youth present art exhibitions and 
performances to the community free-of-charge. Ac- 
cording to program administrators, these events and 
activities are helping young people gain the skills 
and experiences needed to make constructive choices 
about their lives. They are staying in school, going 
on to college, demonstrating better coping skills and 
making a difference in their communities. 

^^B v Recognizing that not everyone is inter- 
M vA m ested in basketball, the Sacramento 
v5/^^^ ' Metropolitan Arts Commission (SMAC) 

"^B ^^ initiated an arts alternative to Sacra- 
mento's Friday Night Basketball program. Working 
with the Police Athletic League, the City Council, 
the Parks and Recreation Department and Neighbor- 
hood Services, SMAC developed Late Night Sacra- 
mento, a Friday night drop-in program in the arts 
held at six area high schools. Artists are recruited 
by SMAC to submit proposals for the workshops. 
Projects all work toward the creation of a product 
for exhibition or a performance. Students drop by the 
schools between 7:00 p.m. and midnight, between 
March and September for activities such as the 
production of a poetry anthology and the creation 
of murals, street dances and musical compositions. 
Late Night Sacramento provides a safe place where 
teens can discover the arts. As one Late Night partic- 
ipant suggested, "This is the first place I've come to 
where there is no trouble. I can enjoy myself without 
feeling like I'm going to get into trouble myself." 
SMAC also runs a Healthy Start after-school program 
with an arts component for low-income children 
ages 9 to 12 and The Neighborhood Arts Program, 
an artist-in-residence program that takes place at 
a variety of community sites. 


San Diego Symphony 

Community Music 


1 8 1 6 3 I st Street 

San Diego, CA 92 1 02 


Program: San Diego 
Symphony Community 
Music Center 
Year Started: 1993 
Focus: Music 
Youth Served: 58 
Ages: 10-12 
Budget: $33,000 


San Francisco Arts 


25 Van Ness, Suite 240 

San Francisco, CA 



Program: WritersCorps 
Year Started: 1 994 
Focus: Creative Writing 
& Literature 
Youth Served: 750 
Ages: 7-2 1 
Budget: $307,000 

j^^t^^ In an effort to open doors for local com- 
^jA^^^k munity youth, the San Diego Symphony 
m m W Community Music Center, in conjunc- 

^^3^^ tion with a committee of school princi- 
pals, neighborhood groups, community centers, Latino 
organizations and parent organizations, designed 
a program to provide music instruction to students 
from schools serving a high percentage of low-income 
families. Youth attend after-school classes three times 
a week at one of the participating elementary schools 
and receive instruction in violin, guitar and brass, 
wind and percussion instruments. After completion 
of the 2-year program, students are allowed to keep 
their instruments, which enables them to participate 
in their junior high school band or a newly develop- 
ing orchestra of program graduates. "Seventy-five 
percent of the program participants are still playing 
their instruments," reports Director Joseph E. Barry. 
"The music is raising the aspirations of the kids and 
giving them a sense of belonging to society." 

■ ■ The music is raising the aspira- 
tions of the kids and giving them 
a sense of belonging to society. * * 

Joseph E. Barry 

I V ^0^^^. ^ e ^ an Francisco Arts 

^ I^Sfl ""■ ^* I Commission, along with 
■ *■ ^H I - i ^ i -. local agencies in New York 
WvBBf^^S^ and Washington, DC, is 
carrying out a national service initiative, the Writers- 
Corp, funded by the National Endowment for the 
Arts, the Corporation for National and Community 
Service and the Associated Writing Programs. While 
all WritersCorps sites serve under-served people, only 
the San Francisco program focuses exclusively on 
youth. Created to give urban youth a sense of identi- 
ty through literary arts, WritersCorps in San Francis- 
co is a multicultural community effort. Local writers 
are recruited to work 25-40 hours a week for up to 
1 year in schools, youth centers, public housing and 
other venues serving at-risk youth. Corps members 
receive up to 200 hours of training in teaching liter- 
ature, arts administration, conflict resolution and 
service learning. The writers either add a writing 
component to existing programs or create a writing 
program that meets the particular needs of the site. 
Participants learn about different kinds of writing 
and produce their own fiction and nonfiction, includ- 
ing poetry, prose and performance scripts. Young 
writers share their work with each other and talk 
about ideas for new writing projects. Participants 
stage public readings, make books and submit their 
work for publication. Jointly, the sites have published 
15 books. The San Francisco Arts Commission is 
working toward decentralizing administration of the 
WritersCorps and placing the program in the hands 
of local community organizations. 

San Francisco 
Shakespeare Festival 
P.O. Box $ 90479 
San Francisco, CA 

Program: Midnight 
Year Started: 1 994 
Focus: Theater 
Youth Served: 1,200 
Ages: 15-19 
Budget: $ 1 20,000 

Organization: Sankofa 
Kuumba Cultural 
Arts Consortium 
89 Willow Brook Road 
Cromwell, CT 06416 

Program: After-School 
and Summer Arts 

Year Started: 1 989 
Focus: Dance & Music 
Youth Served: 500 
Ages: 8-2 1 
Budget: $74,000 

The San Francisco Shakespeare Festival 
is using Shakespeare to break down 
barriers. Working with the Department 
of Parks and Recreation, social service 
agencies and civic agencies, the Festival's Midnight 
Shakespeare program engages young people by mak- 
ing theater and Shakespeare accessible. Working with 
Festival artists at various community sites, includ- 
ing YMCAs, Boys and Girls Clubs, community cen- 
ters and prisons, participants meet twice weekly for 
6 weeks to learn scenes from Shakespeare's plays, 
work on sets and costumes and prepare for a final 
public performance. The success of the program has 
led to its expansion into 16 California cities. "There 
has been an overwhelmingly enthusiastic response 
from the social service agencies," reports Executive 
Director Bobby Winston. "The Mexican-American 
Community Services Agency told us it had a 90 per- 
cent retention rate for the Midnight Shakespeare 
program, while its other programs usually only have 
a 60 percent rate." 

■ * There has been an overwhelm- 
ingly enthusiastic response from 
the social service agencies. * * 

Bobby Winston 
-Executive Director 

Sankofa Kuumba Cultural 
Arts Consortium offers young 
street people the chance to 
develop their cultural aware- 
ness through traditional African dance and drum- 
ming. The After-School and Summer Arts Program 
provides children with a familylike setting and a 
place to belong. Workshops are held twice a week 
for 3V2 hours during the school year and daily in the 
summer at the executive director's home. Before 
participating in classes, youth must sign a contract 
affirming that they understand what is expected of 
them. They are then integrated into a pre-existing 
group of dancers and drummers. The Program also 
focuses on life skills and how to use the arts to earn 
a living. Business, writing, computer and marketing 
skills are emphasized. "Youth are coming to under- 
stand what society is about and what choices they 
have," says Executive Director Christine Dixon. 
"They are gaining a greater understanding of their 
culture and community and are seeing job possibili- 
ties." Mothers and grandmothers of participants serve 
as volunteers and, in addition to assisting, share their 
life experiences. 


Sarasota Ballet 
of Florida 
P.O. Box 49094 
Sarasota, FL 34230 

Program: Dance— 
The Next Generation 
Year Started: 1 99 1 
Focus: Dance 
Youth Served: 1 00 
Ages: 9- 1 6 
Budget: $ 1 20,000 

Organization: Settle- 
ment Music School 
416 Queen Street 
Philadelphia, PA 


Preschool Arts Enrich- 
ment Program 
Year Started: 1 990 
Focus: Multi- 
disciplinary Arts 
Youth Served: 60 
Ages: 2-6 
Budget: $500,000 

rWPH I Dance — The Next Generation provides 
I full scholarships in dance for economi- 
cally disadvantaged and/or at-risk chil- 
dren. Third grade children from 
targeted schools are accepted into the program 
annually. Classes are held twice a week initially and 
increase to three and four times each week as the 
students progress. All children participate in The 
Nutcracker, and older students have small roles in 
such major productions as Sleeping Beauty and Swan 
Lake. Using the discipline of dance as a catalyst for 
behavior modification, the program emphasizes hard 
work and confidence building. The program provides 
children with opportunities to excel and to experience 
a sense of accomplishment. Many who enter the 
program with poor grades and discipline problems 
develop into honor roll students; four students have 
a 4.0 grade point average. "Perhaps more importantly, 
they develop self-esteem and interpersonal skills 
that help them overcome confrontational situations 
with their peers and adults, including teachers," says 
Jennifer Gemmeke, director of education. Instruction, 
dancewear, shoes and transportation are provided 
by the Ballet at no cost to the families. A key service 
of this program is the transportation provided from 
school to the dance classes. Family participation is 
encouraged in Saturday morning workshops, where 
such subjects as the history of dance, social etiquette 
and nutrition are taught. The program is held in 
conjunction with the University of South Florida. 
Students who complete the 7 years successfully are 
guaranteed scholarships to the University to pursue 
a degree of their choice. Big Brothers/Big Sisters 
provide mentors for the children. 

^^K V "Anyone walking into the Settlement 
M W\ m Music School would think that this is a 
^5M^ regular, high-quality preschool program," 

"^ ^^ says Director and composer Robert 
Capanna. In fact, the Program serves South Philadel- 
phia children who live in a housing project across the 
street from the 87-year-old Music School. One impe- 
tus for starting the Program was the fact that the 
School was empty during the morning hours. Work- 
ing with a faculty of professional artists with train- 
ing in early childhood education, six to nine times a 
week small groups of children go to the arts studios 
to explore concepts that 
cut across the arts: pattern, 
change, repetition and 
extremes. They also are 
taught specific skills, such 
as in music: keeping a 
steady beat, staying on 
pitch, recognizing rudi- 
mentary notation and 
understanding the proper 
physical approach to an 
instrument. To reinforce preschool learning, children's 
parents or guardians are required to attend five hour- 
long parenting seminars each semester. A 3-year 
Program evaluation reveals that children have made 
gains in cognitive and language development above 
and beyond those evidenced in a control group of 
preschoolers without the arts-enriched curriculum. 
The Settlement Music School also runs an arts in 
early childhood teacher training institute and an 
arts-focused after-school program, as well as a com- 
prehensive community-based program at five branch 
locations that serves 7,000 students. 


7 Stages Theater 
I 105 Euclid Avenue 
Atlanta, G A 30307 
404-522-091 I 

Program: Freddie 
Hendricks Youth 
Ensemble of Atlanta 
Year Started: 1 99 1 
Focus: Multi- 
disciplinary Arts 
Youth Served: 3 I 
Ages: 7-20 
Budget: $42,000 

Organization: SHAPE 
Community Center 
3815 Live Oak 
Easton, TX 77004 

Program: Family 
Strengthening and 
Empowerment Program 
Year Started: 1 969 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 80 
Ages: 5- 1 6 
Budget: $240,000 

^^R v Georgia native and theater professional 
M WA m Freddie Hendricks started his African- 
^W^^A ' American youth theater company in 

, ^( ^P an effort to engage youth constructively. 
The Freddie Hendricks Youth Ensemble of Atlanta 
uses theater to help young people explore and express 
their feelings about the world within them and the 
world around them. Students audition to join the 
Ensemble, but admission is based on attitude and 
potential, rather than demonstrated talent. Working 
at the 7 Stages Theater on Saturdays throughout 
the year, and on additional days during the summer, 
participants attend workshops in theater, dance and 
music. Using their own words, young people write a 
script on such issues as child abuse, drugs and youth 
empowerment. The Ensemble tours its play during 
the school year to standing-room-only crowds at 
schools and community venues. "The students are 
extremely dedicated, and many have stayed with 
the program the entire 5 years it's been in existence," 
reports Managing Director Debi Frye-Barber. "It was 
very emotional for many of them when they had to 
leave the program to attend college." As a result, the 
youth theater company is training participants in 
management and is encouraging them to study arts 
administration or arts law so that they can return 
and run the Ensemble. 

^^B v ^^^. One of the first programs 
M WA vf ^ developed and implemented 

^ A ▼« m W by the SHAPE Community 

"^| ^P"" aBv Center was the After-School 
Program. Created in 1969 as a homework assistance 
and tutorial activity, the After-School Program has 
become the current Family Strengthening and Em- 
powerment Program (FSEP). This cultural Program 
aims to build self-esteem and pride and to give par- 
ticipants the courage and skills to accomplish their 
goals. As part of a strategy to help children and their 
families succeed, FSEP offers classes in African 
dance, music, art, crafts, storytelling, dramatic inter- 
pretation (poetry public speaking, theater arts) and 
foreign languages (including Swahili and other lan- 
guages of Africa), as well as African and African- 
American history. Classes are held every day after 
school from 3:15 p.m. to 5:45 p.m. Field trips to art 
galleries, plays, businesses owned and/or operated 
by African Americans and points of interest in the 
Houston African-American pommunity also are part 
of the Program. When needed, families receive coun- 
seling services, housing and referrals to other services. 
"The Program is helping create more functional fami- 
lies in which members are able to resolve problems 
better, where kids feel they have support from their 
parents and are able to participate in school better, " 
reports Executive Director Deloyd Parker. "Youth are 
broadening their worldview and are recognizing 
there are things beyond their community to which 
they can be connected." 


P.O.Box 370219 
Decatur, GA 

Program: After 
School Arts Program/ 
Summer Arts Camp 
Year Started: 1 979 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 1 20 
Ages: 5-16 
Budget: N/A 

Organization: Program: 

Somerville Community The Mirror Project 

Access Television Year Started: 1 992 

90 Union Square Focus: Media & Video 

Somerville, MA 02 1 43 Youth Served: 80 

6 1 7-628-8826 Ages: 11-18 

Budget: $72,090 

^^K V ^^^^ When the Decatur Commu- 
M 7A mfl ^^ nity Board declared at-risk 

^Vjfl^ ▼ V wM W youth the No. 1 challenge to 
'^B ^^ W^^em the community, Soap-stone, 
a cultural center, responded by developing the After 
School Arts Program and Summer Arts Camp 
for area elementary and middle school children. In 
the After School Program, students are provided with 
transportation from their school. Every student also 
is provided with homework assistance by a certified 
local teacher. After completing their homework and 
having a snack, students then work with the Soap- 
stone staff in a multidisciplinary arts program. The 
students' final projects are presented to the commu- 
nity in a performance and exhibition. Area teenagers 
can assist instructors and counsel students in the 
Program. The Summer Arts Camp provides area par- 
ents with a safe and creative place for their children 
while they are at work. Its full day of classes offers a 
more intensive study of the arts and culture than the 
After School Program. The Programs at Soapstone 
not only highlight African- American culture, but also 
expose children to a variety of international commu- 
nities and customs through performing, visual and 
language arts. Students learn the history of the cus- 
toms and arts and discuss current events. Ariel 
Williams, the executive director, comments on the 
support of the Programs: "Parents see something 
valuable happening in the children's lives and are 
willing to donate their own money and time to see 
that the Programs continue." 

The Mirror Project, started 
by media educator Roberto 
Arevalo, teaches teenagers 
how to produce videos 
through which to express and reveal the quality of 
their lives. The Project serves low-income, mostly 
bilingual teens. Each session lasts 4 months. In 1995, 
The Mirror Project took place at Somerville's two 
public housing projects, enabling the program to 
reach teens who are most lacking in resources and 
most in need of attention, development and support. 
Teaching there also integrated the Project into the 
community. At the start of each session, Arevalo 
meets with the participants' families at their homes. 
Classes take place three times a week and provide 
instruction on using a video camera and audio equip- 
ment and on interviewing and directing. Working 
individually with Arevalo, each teen produces a 3- to 
15-minute video. An extra camera documents the 
processes. This footage becomes an edited diary of 
the experience for each group of participants. The 
Project also conducts field trips to movies and muse- 
ums. Each session ends with a public screening for 
the community. The videos are subsequently cable- 
cast at Somerville Community Access Television 
(SCAT). Once teens have passed through the 
program, they receive a diploma and a free SCAT 
membership valid until they are age 18. Arevalo also 
documents the Project in black-and-white photo- 
graphs. Using short stories, autobiographies, poetry 
and these photographs, teenagers create an exhibi- 
tion for the public screening session. The Mirror 
Project videos have been featured at national and 
international video festivals, and teen-led video 
workshops have been held at numerous sites. 

Southern Exposure 
40 1 Alabama Street 
San Francisco, CA 
941 10 

Program: Artists 
in Education 
Year Started: 1 989 
Focus: Visual Arts 
Youth Served: 450 
Ages: 6- 1 9 
Budget: $45,000 

Organization: Space 

One Eleven 

2409 2nd N. Avenue 

Birmingham, AL 



City Center Art 
Year Started: 1 99 1 
Focus: Visual Arts 
& Humanities 
Youth Served: I 30 
Ages: 5- 1 8 
Budget: $ 1 00,000 

Southern Exposure's Artists in Educa- 
tion (AIE) program pools community 
resources — artists, students, schools 
and nonprofit community organizations — 
to address contemporary community issues through 
the visual arts. The program provides opportunities 
for students and artists to learn from one another. 
The AIE program takes place after school in day 
treatment centers, schools and other community- 
based sites that lack the resources for arts activities. 
"Southern Exposure's Artists in Education program 
has been tremendously successful in exposing our 
students to a wide variety of media within the con- 
text of community activism," notes one site director. 
Artists go to the sites one to two times a week for 
1- to 3-hour sessions throughout the school year to 
conduct theme-based programs in photography, mixed 
media, videography painting, sculpture and media 
literacy. Recent youth projects include bus shelter 
posters, a magazine and photographic documentary 
of life in the Mission District, pinhole photography, 
found-object sculptures exploring environmentalism 
and recycling and an exploration of media imagery 
and its effect on cultural stereotyping. Programs at 
all the sites include field trips and a final project 
such as an exhibition or a student-made magazine. 

City Center Art was started 
in 1991 by Space One Eleven's 
(SOE's) visual artists, who 
ran their contemporary art 
center out of urban warehouses converted into gal- 
leries and studios. When they noticed neighborhood 
youth hanging out at one warehouse and asking to 
participate, the artists submitted a proposal to a 
state agency to fund a visual arts program for youth 
living in the nearby public housing complex. The 
City Center Art after-school program now brings 
together groups of 10-15 youth twice a week for 
2 hours in the afternoon. Additionally, an annual 
8-week summer camp is held for over 150 children. 
Classes are free, but participants must agree to cer- 
tain conditions, such as parental and community 
involvement. Each class is led by a professional 
artist and two artist assistants. The program empha- 
sizes cross-discipline studies and integrates hands- 
on skills, such as painting or sculpture, with visits 
to local cultural institutions. During a visit to the 
Birmingham Museum of Art to see the Ceramics of 
Mexico show, participants learned about the art of 
different regions of Mexico and discussed ceramic 
traditions in the United States before creating their 
own ceramics. A 5-year commission awarded to the 
summer art camp for a mosaic for Birmingham's 
Boutwell Auditorium is galvanizing youth and the 
community. Participants studied the city's history, 
created a model and worked through their ideas 
with professionals. They are now meeting regularly 
with a city planner as they create 20,000 individually 
made red-clay bricks within a steel infrastructure, 
symbolic of the city's former industries. 


Organization: SPARC 
(Social and Public Art 
Resource Center) 
685 Venice Boulevard 
Venice, CA 9029 1 
3 1 0-822-9560, ext. I I 


Neighborhood Pride 
Year Started: 1 976 
Focus: Visual Arts 
Youth Served: 550 
Ages: 14-24 
Budget: $303,000 

Organization: Street- 
Level Video and Live 
Wire Youth Media 
P.O.Box 578336 
Chicago, IL 60637 

Program: Street-Level 
Video and Live Wire 

Youth Media 
Year Started: 
Focus: Media, Video 
& Humanities 
Youth Served: 500 
Ages: 5-2 1 
Budget: $195,000 

For 20 years, SPARC (Social and Public 
Art Resource Center) has stood at the 
forefront of a dynamic public art move- 
ment, creating large-scale murals that 
reflect Los Angeles' diverse ethnic communities. 
The result is a veritable street gallery that has earned 
the city its title as the "Mural Capital of the World." 
The Neighborhood Pride program employs inner-city 
youth to create murals in troubled neighborhoods 
across Los Angeles. Working with schools, churches 
and community service organizations, SPARC meets 
with local residents to discuss themes and placement 
of the murals. Young potential participants are identi- 
fied by teachers, service providers, gang prevention 
counselors and SPARC'S community coordinator. 
Artists are chosen by a committee of neighborhood 
representatives, other artists and SPARC associates 
through a competitive process. Working with the 
artists over an 8-month period, mural apprentices 
receive technical training in wall preparation, design 
application and color mixing, as well as instruction 
in teamwork and communication skills. This past 
year, participants from all seven mural sites convened 
at SPARC 's historic facility to participate in training 
sessions, to meet each other and the artists and to 
learn about the Mexican mural tradition. With an 
estimated viewing audience of 1.2 million people 
daily, SPARC murals are recognized both locally and 
nationally as powerful communication vehicles. In 
1995, SPARC co-sponsored a team of young artists 
whose stylized design, encouraging other youth to 
"Make a You Turn" away from smoking and other self- 
destructive behavior, appeared on 85 billboards 
throughout the greater Los Angeles region. 

Street-Level Video 
and Live Wire 
Youth Media 
(SLV/Live Wire) 
puts the latest communications technology into the 
hands of urban youth through courses in documen- 
tary production, computer art and use of the Internet. 
All classes are free and held at SLY Programs are cre- 
ated in collaboration with existing youth centers and 
community institutions. Street-Level Video, founded 
in 1992, is known for its video training and produc- 
tion work with youth. In 1995, a team of media artists 
and educators came together to form Live Wire Youth 
Media, with the belief that urban young people need 
to be literate in today's technologies. The organiza- 
tions recently merged in the hopes of creating a net- 
work of media labs throughout Chicago, bringing 
youth together to share their visions and to rebuild 
their communities. Youth are referred to the program 
by probation officers, parents, social service agen- 
cies or friends who have participated. Current pro- 
jects include creation of a video documenting and 
interpreting the history of one of Chicago's most 
diverse neighborhoods for a Chicago Historical Soci- 
ety Exhibition. In collaboration with Randoph Street 
Gallery, SLV/Live Wire instructors are working with 
youth to produce a video installation on the realities 
of gang culture. In this project, video is being used 
as a communication tool to bring rival gang mem- 
bers together on "neutral ground" to address their 
differences. SLV/Live Wire can be contacted on its 
Web Home Page, 


The Suzuki-Orff 

School for Young 


I 1 48 W. Chicago 


Chicago, IL 60622 


Program: The Suzuki- 
Orff School for Young 
Year Started: 1 98 1 
Focus: Music 
Youth Served: 300 
Ages: 1-21 
Budget: $380,000 

Organization: Taller 
272 1 N. 5th Street 
Philadelphia, PA 

Program: Cultural 
Awareness Program 

Year Started: 1 974 
Focus: Multi- 
disciplinary Arts 
Youth Served: 5 1 
Ages: 8- 1 9 
Budget: $ 1 60,000 

^^$^^ Collaborating with a school located in 
^^>^^ Cabrini-Green, one of the country's most 

m ^p W impoverished public housing communi- 
^^3^^ ties, The Suzuki-Orff School for Young 
Musicians provides private Suzuki-method lessons 
in violin, cello, flute, piano and guitar with Orff-method 
group teaching of music theory and note reading 
through rhythm and movement activities. The School's 
new facility, where classes are taught after school 
and on Saturdays, has made the program a stable 
community fixture. Students come one or two times 
a week and are encouraged to participate in two 
17-week sessions and a 6-week summer session. 
A volunteer group of young professionals, called 
"Friends," tutors students between music classes. 
One-third of the students attend classes tuition-free, 
and many pay reduced fees, in exchange for which 
The School asks them for a long-term commitment 
to The School. Those who show progress can take 
advanced classes at The School in chamber music, 
performing orchestra and music composition. 

■ * One-third of the students 
attend classes tuition-free, and 
many pay reduced fees, in ex- 
change for which The School 
asks them for a long-term 
commitment to The School. » » 

^^B v Situated in the heart of Philadelphia's 
A ■! m Latino community, Taller Puertorriqueno 
^Q^^^L T is a full-service community center. The 

'^B ^r Cultural Awareness Program offers a 
wide range of arts programming but focuses primari- 
ly on the visual arts. This Program, which runs from 
2:30 p.m. to 7:30 p.m. every weekday, attracts children 
from the neighborhood who can walk to the center. 
For $1 , students can take 90-minute classes in litera- 
ture, theater, visual arts or dance. The Saturday pro- 
gram, which offers classes from 10:00 a.m. to 5:00 p.m., 
serves children who cannot get to the center during 
the week. In the summer, a 7-week program is orga- 
nized around one theme. During the year, several 
international artists are invited to exhibit their work 
at the Taller Gallery and run 1- to 2-week-long work- 
shops for youth who are chosen from the ongoing 
classes. Each year 20-100 students are selected to 
participate in a year-long project designed to address 
a social issue. Projects have included an AIDS edu- 
cation program in the public schools, using comic 
books written and illustrated by Taller youth, and 
the creation of educational banners about AIDS. 
Taller has been able to pay older students who are 
interested in pursuing art as a career to apprentice 
with established artists through the Youth Artists 
Program. "We have had an overwhelming response 
from the community," says Johnny Irizarry, director 
of the center. "The quality of the work is excellent, 
and parents know that this is a safe place where 
their children can explore their abilities." 


Organization: Teatro 
Latino de Colorado 
1 280 Birch Street 
Suite 3 1 1 
Denver, CO 80222 

Program: After-School 
and Community Arts 

Year Started: 1 988 
Focus: Theater 
Youth Served: 45 
Ages: 8- 1 5 
Budget: $5,000 

Theater Quest 
P.O. Box 2559 
Pasadena, CA 

Theater Quest 
Year Started: 1 992 
Focus: Theater 
Youth Served: 1 00 
Ages: 16-20 
Budget: $93,000 

In Denver, Spanish-speaking youth 
are producing their own plays through 
the After-School and Community Arts 
Program of Teatro Latino de Colorado. 
Anita Arriete-Alejandre, the daughter of migrant 
workers, created Teatro to help break down cultural 
barriers experienced by Latinos and to demystify the 
artistic process. Programs are held in donated spaces, 
often in community centers. Twice a week over 16 
weeks, 15 to 30 students meet for 2 hours to deter- 
mine the content and form of the production. Work- 
ing with Arriete-Alejandre and an artist/instructor, 
youth are encouraged to try all aspects of creating 
a production. The productions are presented once 
during school hours for classmates and after school 
for parents and family. Because of their success in 
the Latino community, ArtReach, another nonprofit 
organization, approached Teatro Latino de Colorado 
to help develop similar Spanish-speaking programs in 
surrounding Denver communities. "These produc- 
tions are about neighborhoods, home and families; 
they help the kids dream and create a future. It shows 
the ones with low self-esteem that they are capable of 
great things," says Arriete-Alejandre. 

In response to riots in Los Angeles, 
Theater Quest was created to galvanize 
neighborhoods and to give older youth 
a way to channel their talents. Ethnically 
and culturally diverse youth meet 5 nights a week, 
and on Saturdays for 4 hours, to produce a classical 
play. "Concentrating on classical plays provides a 
context in which to debate big issues and themes 
such as class, race, love and suicide," says Artistic 
Director Lauralee Mannes. Teens interview prior to 
joining the program to review their thoughts about 
who they are and what they want to do. Once in the 
program, they can focus on acting or backstage tech- 
nical work. Community volunteers offer assistance 
with sets, make-up, choreography and acting and 
serve as mentors to the young people. Recently, the 
troupe staged a production of Shakespeare's Romeo 
and Juliet at The Kennedy Center for the Performing 
Arts in Washington, DC. "The aim is not to train young 
people for the performing arts, but for them to see 
that there is another economy that can drive a life — 
inspiration, imagination and creativity," adds Mannes. 

" " Concentrating on classical 
plays provides a context in 
which to debate big issues and 
themes such as class, race, love 
and suicide. ' * 

Lauralee Mannes 
-Artistic Director 

Organization: Third 

Street Music School 


235 E. I Ith Street 

New York, NY 10003 


Program: MILES: Music 
Instruction on the 

Lower East Side 
Year Started: 1 980 
Focus: Dance & Music 
Youth Served: 250 
Ages: 5- 1 8 
Budget: $80,000 

Organization: Tim 

Rollins and Kids of 

Survival (KOS) 

89 1 Garrison Avenue 

Bronx, NY 10457 


Program: Tim Rollins 
and Kids of Survival 

Year Started: 1 98 1 
Focus: Visual Arts 
Youth Served: 1 2 
Ages: 10-18 
Budget: $42,000 

Third Street Music School 
Settlement has been serving 
poor, minority and immigrant 
residents of New York's 
Lower East Side for over 100 years. MILES builds 
upon school-based programs run by Third Street, pro- 
viding motivated youth with the opportunity to take 
small group music or dance lessons and to perform. 
Each October, students participating in in-school 
instruction can apply for the program, which involves 
an application and interview with each child and his 
or her parents or guardians. Students are then matched 
to an instrument or dance form and begin an 8-month 
program of weekly lessons. Each student performs 
at least three times over the course of the program, 
with special evenings when MILES students perform 
for parents and the community. Youth attend faculty 
recitals and have access to tickets for cultural events 
throughout New York City. From 30 percent to 40 
percent of the MILES participants continue to attend 
the School and take small group or private lessons. 

Tim Rollins and his Kids of Survival (KOS) 
are in high demand. The President's 
inaugural Committee commissioned a 
poster commemorating the 52nd Presi- 
dential Inaugural, and National Endowment for the 
Arts Chair Jane Alexander recently visited youth in 
their New York studio. Rollins' program is based on 
an intensive mentoring relationship with youth, par- 
ticularly those with special-education needs. Through 
rigorous visual arts training, exhibitions and immer- 
sion in world art history, students prepare themselves 
for long-term involvement in the arts and education. 
Art studios in the Bronx and Manhattan serve as 
instruction sites for after-school, weekend and sum- 
mer programs. Youth attend studio classes as often 
as 15 hours each week. Field trips to museums, 
galleries and site-specific art projects augment the 
classes. Earned income from the sale of participants' 
work contributes significantly to the program's finan- 
cial independence. "KOS offers an alternative family 
format when so often male relationships are relegat- 
ed to street gangs," says Rollins. "Our all-male group 
has a close-knit relationship and the active approval 
of the community." All of the current KOS young 
people are completing high school and are preparing 
for college. Five former students are now in college, 
and two have had professional exhibitions. 

Organization: Toledo 


2 Maritime Plaza 

Toledo, OH 48 1 04 


Program: Community 
Music Lesson Program 
Year Started: 1 988 
Focus: Music 
Youth Served: 63 
Ages: 10- IS 
Budget: $41,000 

Touchstone Theatre 
321 E. 4th Street 
Bethlehem, PA 18015 
6 1 0-867- 1 689 

Program: Latino Drama 



Year Started: 


Focus: Theater 

Youth Served: 36 

Ages: 9- 1 8 

Budget: $11,185 

^^f^^ When a minority advisory committee 
^T^A ^^^ recommended that the Toledo Symphony 
m m m start a music program for inner-city 

^W3^^ children, the Symphony listened. It 
initiated the Community Music Lesson Program to 
provide city youth with opportunities to improve 
self-discipline, self-initiative and teamwork skills 
through the study of a musical instrument. One-on- 
one, half-hour classes taught by Symphony members 
and other professional musicians take place weekly 
year-round at neighborhood community centers. 
"The staff is dedicated not just to rigorous music 
instruction, but also to the idea of supporting the 
kids emotionally and academically," says Orchestra 
Manager John Hancock. Many of the participants are 
referred to the Program by the county juvenile court. 
Sixty percent of the students have been enrolled in 
the Music Lesson Program for 2 or more years; par- 
ents are reporting improvements in behavior; and 
minority students are going on to become members 
in junior high and high school orchestras. "This pro- 
gram has been a blessing for both my daughter and 
me. I knew this world of music was out there some- 
where, but I never dreamed we would be a part of it," 
said the mother of one participant. 

■ " I knew this world of music 
was out there somewhere, but 
I never dreamed we would be a 
part of it. * » 

-A Participant's 

Learning about the theater provides 
participants of the Touchstone Theatre's 
Latino Drama Workshop with a chance 
to focus their creativity and make con- 
nections with others. Through a 4- week, intensive 
summer workshop, participants learn improvisation, 
scene development, playwriting and music. The 
Youth Ensemble, a troupe developed from the Work- 
shop, allows participants to develop their acting and 
performance skills further. Members of the Ensemble 
meet daily for 6 weeks, working 3 hours a day, and 
perform their topical productions at schools and 
community centers throughout the region. The 
Latino Drama Workshop is run in collaboration with 
Bethlehem's Council for Spanish-Speaking Organiza- 
tions. Professional actors run both programs at the 
Touchstone Theatre. "These programs have created 
a sense of community and are a safe place where the 
teens can let down their street masks," says Artistic 
Director Mark McKenna. "They bring together an 
unlikely group of teenagers who might not normally 
associate with one another and teach them that they 
can work together as a group and achieve something." 

Organization: Tucson- 
Pima Arts Council 
240 N. Stone 
Tucson, AZ 85701 

Program: ArtWORKS 
Year Started: 1993 
Focus: Visual Arts 
Youth Served: 1 57 
Ages: 11-21 
Budget: $155,000 

United Action 
for Youth (UAY) 
4 1 Iowa Avenue 
Iowa City, I A 52244 
319-3 38-7518 

Program: Synthesis 
Arts Workshop 
Year Started: 1 978 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1,151 
Ages: 12-18 
Budget: $325,000 

Through ArtWORKS, youth are paid to 
work with professional artists to design 
and construct public art pieces for the 
community. Young people work 30 hours 
per week for 7 weeks during the summer in groups of 
10, under the direction of professional artists who are 
as culturally diverse as the Tucson area. Counselors 
are hired to meet with each group once a week to 
help prevent and resolve conflicts. Field trips through- 
out the 7 weeks provide information on career options 
associated with the hands-on skills being learned. 
Completed projects include 
mosaic tiles for streets, exter- 
ior and interior murals, 
video productions, public 
education exhibitions 
and computer animation 
projects. These projects 
are an educational bene- 
fit to the young people. 
When youth build a pub- 
lic art piece and present 
it to the community, 
math, science and langu- 
age skills become neces- 
sary, not abstract, skills. 
Some youth who participate for 
consecutive summers become program assistants. 
Because of the success of ArtWORKS, the Arts Council 
runs similar programs during the school year, including 
an after-school multimedia project for middle school 
youth and 8-week, after-school artists-in-residence 
programs for younger children in parks and recrea- 
tion sites. ArtWORKS funding comes from many 
sources, including the state Highway User Revenue 
Funds (HURF) and Tucson's Golf Surcharge for Youth 

^£ v United Action for Youth (UAY) is a 
M vA m drop-in center that offers youth and 
vH^flL ' their families a wide variety of counsel- 
"^J ^^ ing services and arts-based prevention 
programs. Youth are referred to UAY primarily by local 
shelters, schools or peers. They choose from a month- 
ly calendar of arts activities offered through the Syn- 
thesis Arts Workshop. In the Workshop, youth have 
access to a state-of-the-art recording studio eguipped 
with a range of musical instruments, video cameras, 
television production equipment and animation and 
darkroom equipment. Additional classes in ceramics, 
lithography, beading, silk-screening and other art 
forms are offered. Participants produced and aired 
claymation videos and their own television programs 
through the local public access television station. 
Youth in a drama troupe create and perform situa- 
tional dramas around topics pertinent to the commu- 
nity. To participate in the Workshop, teens must 
adhere to four rules: Show positive regard for others; 
don't smoke; don't use drugs; don't play drums before 
5:00 p.m. Says Ginny Naso, associate director of the 
program, "The program has given very troubled youth 
the opportunity to have positive interactions with 
adults, to have a positive impact on their community 
and to change the negative images adults in Iowa 
City may have of teens." 


University of New 
Mexico Institute 
for Public Law 
1117 Stanford, NE 
Albuquerque, NM 

Program: FENCES 
Year Started: 1993 
Focus: Media & Video 
Youth Served: 500 
Ages: 12-19 
Budget: $103,000 

P.O. Box 1 658 
Boston, MA 02205 

Program: Youth 
Works/Art Works 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 50 
Ages: 12-18 
Budget: $150,000 

FENCES uses television as 
a tool to equip and inspire 
youth to examine, research 
and address issues important 
to them and their communities. Produced by teenagers 
from over 25 different communities in New Mexico, 
FENCES is a computer-based interactive television 
show that incorporates Saturday Night Live-style skits, 
Oprah-like audience interaction and teen-produced 
video segments. Teens are involved in writing, video 
production and editing, graphic development, set 
design and construction and as advisory board mem- 
bers, audience participants and performers. The pro- 
duction process itself focuses youth discussion on 
important topics. During each airing, teens get "on- 
line" to comment about the subject matter addressed 
in the television program. After the airings, schools 
throughout the state use the programs along with 
a curriculum guide to discuss issues. The program 
airs on New Mexico PBS and CBS stations. Past show 
topics have dealt with alcohol abuse, verbal violence, 
teen/parent communication, cultural stereotyping and 
teen activities. According to Executive Producer 
Chris Schueler, "Creating TV is a real motivation for 
kids, and they're very willing to stay within prescrib- 
ed parameters if it means being involved." 

^£ v UrbanArts' Youth Works/Art Works is 
M WA m helping low-income youth in Boston 
tcJ^^^L t revitalize their community through the 

"^ ^^ arts while gaining technical skills in 
photography, writing, videography and urban design. 
Participants, referred by Action for Boston Commu- 
nity Development and paid through the Job Training 
Partnership Act, progress through three programs, 
taking on more responsibility and receiving higher 
wages as they progress. The first level program, the 
Apprenticeship, introduces youth to the arts as a 
vehicle for building communities. Meeting 5 days 
a week for 5 hours a day over 8 weeks in the summer, 
teens photograph their neighborhoods, write poems 
about their community and themselves, develop 
design ideas for local parks or map their communities. 
In the second level program, the Arts Internship, youth 
work at least once a week after school with visiting 
artists on special projects. Youth in the highest level 
program, Youth Advisors, are paid for approximately 
4 hours per week to generate and work on their own 
projects, to help plan and evaluate programs, to work 
as teaching assistants and to assist with administra- 
tive activities. Most of these youth have been with 
the program for 2-3 years. "The kids have changed 
dramatically over the years; they have become so 
much more responsible and expansive," exclaims Pam 
Greene, director of development. "The young people 
and the community are directly involved in the direc- 
tion of the program, and the artwork is of a very high 
quality. They trust us because we always follow 
through with projects." 

Venture Theater 
43 S. 3rd Street 
Philadelphia, PA 

Program: Reality Crew 
Year Started: 1 992 
Focus: Theater 
Youth Served: 30 
Ages: 15-18 
Budget: $75,000 

Vermont Council on 
the Humanities 
RR I , Box 7287 
Morrisville,VT 05661 

Program: Read 
With Me: Teen 
Parent Project 
Year Started: 1 994 
Focus: Literature 
Youth Served: 500 
Ages: 1-5; 15-19 
Budget: $75,000 

An unlikely corps of professionals, 
including theater artists with social 
work and speech pathology degrees, 
businesses and corporations, actors 
and costume designers, is working weekly, including 
Saturdays, to help at-risk high school students reach 
their full potentials. Venture Theater's Reality Crew 
program draws youth from around Philadelphia to 
take part in theater training, from performance to 
marketing. Reality Crew meets 8 hours a week at 
the Balch Institute for Ethnic Studies. Theater 
professionals teach playwriting, acting, voice and 
speech, movement, directing, stage management, 
costume design and sound and lights. Corporate 
business partners provide business training, often 
using their own operations for field study. Staff 
counselors help teens begin to prepare for college 
entrance or for careers in theater, while a speech 
pathologist links their experiences on stage to job 
interview presentation skills. A "think tank" session 
on Saturdays is an outlet for the culturally diverse 
group of teens to meet and talk about what's on their 
minds. "They like meeting students from all over the 
city and having the opportunity to regularly work 
together," says Executive Director Betty Lindley. 

a Every year about 280 young Vermont 
women give birth before their own 18th 
birthdays. Many have not completed 
high school or have low literacy skills. 
Building on the research that links school success to 
whether one is read to as a child and that shows the 
importance of conversation to learning, the Vermont 
Council on the Humanities has developed a series of 
literacy classes using children's literature for teen 
mothers and their children. The Council sets up the 
Read With Me: Teen Parent Project; contracts with 
trained scholars, including librarians, teachers and 
university professors and others, to conduct the ses- 
sions and contracts with the 12 regional centers of 
the Vermont Department of Health or local parent- 
child centers to run the programs. It also selects and 
provides the children's books, which participants get 
to keep. The Council also is working with home visi- 
tors to extend the Project to teens and their children 
who may not be able to come to the sites and to rein- 
force the importance of effective oral reading to child 
development among Read With Me participants. This 
Project is only one of the new readers series that the 
Vermont Council on the Humanities developed as part 
of its Connections program. 

* * Building on the research that 
links school success to whether 
one is read to as a child... the 
Vermont Council on the Human- 
ities has developed a series of 
literacy classes using children's 
literature for teen mothers and 
their children. * * 

Vietnamese Youth 
Development Center 
330 Ellis Street 
San Francisco, CA 

Program: Peer 
Resource Group 
Year Started: 1 989 
Focus: Multi- 
disciplinary Arts 
Youth Served: 20 
Ages: 14-17 
Budget: $40,000 


The Village of 

Arts and Humanities 

2544 Germantown 

Philadelphia, PA 



Program: The Village 
of Arts and Humanities 
Year Started: 1 986 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 500 
Ages: 5-15 
Budget: $300,000 

^^K v The Peer Resource Group uses the arts 
M vA m to address personal development and 
vjt^I^ ' community issues among its diverse 

'^B ^r constituency of low-income Vietnamese, 
Chinese, Filipino, Cambodian and Laotian refugee 
youth who live in San Francisco's inner-city Tender- 
loin District. After being interviewed, teens who have 
a special interest in community work meet Monday- 
Friday from 4:00 p.m. to 6:00 p.m. to identify subjects 
around which to create art pieces. Recent examples 
include a video about stereotyping Asian Americans; 
a theater piece about AIDS; a collection of traditional 
ghost stories gathered from Asian-American seniors 
and ceramics installations in the neighborhood. Youth 
always present their work to the public, allowing for 
discussion and feedback. In addition to creating art, 
youth volunteer their services. The program serves 
as a model for other youth service agencies and 
attracts former participants back to serve as group 
leaders and mentors for new generations of South- 
east-Asian youth. Participation in the Peer Resource 
Group is free and ongoing throughout the year. 

■ ■ The program serves as a model 
for other youth service agencies 
and attracts former participants 
back to serve as group leaders 
and mentors for new generations 
of Southeast-Asian youth. * * 

^^K V ^^^. "Using the arts as the 'bone 
M vA «fl fe structure,' The Village is 

^^^lL t^ ^M W burldrng an urban communi- 

~^^^^ aHT ty where members care for 
each other and are interconnected," explains artist 
and Director Lilly Yeh. The Village began as a single 
public art project in an abandoned lot in North Phil- 
adelphia. Encouraged by the interest and assistance 
of people inside and outside the community and led 
by her vision of the possibilities for this inner-city 
neighborhood, Yeh co-founded The Village of Arts 
and Humanities with Stephen Sayer, a builder and 
educator. With the help of neighborhood residents, 
they renovated an abandoned building next to the 
lot and established their headquarters there. The 
Village's primary programs are in park building, edu- 
cation, performance and exhibition and renovation. 
The Village offers a wide range of after-school and 
summer arts classes for youth, including modern, 
jazz, African and Caribbean dance; theater; painting 
and drawing; ceramics and photography; African- 
American history and world culture and an after- 
school tutorial program. At community festivals and 
at conferences, as well as at The University of the 
Arts and The Drake Theatre, youth in the programs 
display their talents. With support from the govern- 
ment and private foundations, The Village's building 
and renovation program brings Village artists, The 
Village's construction crew and residents together to 
build and restore decrepit buildings and abandoned 
lots. Park building projects include large mosaic sculp- 
tures surrounded by gardens and pathways. 

Wajumbe Cultural 
Institution, Inc. 
762 Fulton Street 
San Francisco, CA 

Program: Project 
ACE (Academic and 
Cultural Enrichment) 
Year Started: 1 993 
Focus: Multidisciplinary 
Arts & Humanities 
Youth Served: 100 
Ages: 6- 1 3 
Budget: $200,000 


The Wang Center for 

the Performing Arts 

270 Tremont Street 

Boston, MA 02 1 1 6 

6 1 7-482-9393, ext. 2 1 2 

Program: Young at Arts 
Year Started: 1 988 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1,100 
Ages: 12-18 
Budget: $422,000 

^£ v ^^^^ The Wajumbe Cultural Insti- 
M vA vfl ^ tution, Inc. has launched a 

V^^^k *■ ^M W Pilot program that serves 
"^B ^^ h^^bv low-income neighborhood 
families and foster families throughout San Francisco. 
Project ACE's (Academic and Cultural Enrichment) 
intensive lineup of classes are offered year-round, 
5 days a week for 4 to 8 hours, with extra sessions 
available on Saturdays. The children are provided 
with positive male role models, with a majority of 
African- American male instructors. Each session 
includes homework assistance and tutorials as well 
as a variety of cultural activities, including Congolese 
dance and music; Capoeira, an African-Brazilian 
dance; poetry; vocal music; visual arts and storytelling. 
Other sessions offer field trips, computer literacy train- 
ing, math studies, African-American history or career 
. orientation for older children. Health screenings are 
conducted at least twice a year. Parents are involved 
in family days, in workshops with presenters on vari- 
ous issues, through committees and as volunteers. 
"Parents feel Project ACE is an extension of their 
families. A lot of the barriers they face with public 
school bureaucracies are not there. They're trusting 
of Wajumbe's efforts, and that brings them closer to 
the program," says Executive Director Nontsizi Cayou. 

^^R v The Wang Center's Young at Arts pro- 
M 7A m gram has transformed this audience- 
v^^tL f orren ted performance institution into 

■^J ^^ a center for education and community 
development serving youth from all backgrounds and 
from Boston's diverse neighborhoods. Young at Arts 
offers more than a dozen programs in performing, 
literary, visual and musical arts. These programs 
encourage youth to take advantage of the Wang 
Center by offering tours of the historic building, pro- 
viding professional development services and free 
transportation to events, forming partnerships with 
neighborhood organiza- 
tions and offering free 
tickets to those who are 
unable to afford the Broad- 
way, dance, music and 
other professional perfor- 
mances on the Center's 
stages. The Drama Club has had the most success in 
engaging at-risk youth. The Club is a series of weekly, 
after-school theater, music, voice and movement work- 
shops led by Wang Center theater professionals. Work- 
shop participants are interviewed prior to becoming 
members of the Drama Club, which stages student- 
written material. Members also receive help prepar- 
ing for professional auditions and writing resumes 
and can participate in Camp Kieve, a leadership 
institute in New Hampshire. "The Drama Club increas- 
es young people's abilities to interpret contemporary 
social issues and their emotions," points out Associate 
Director Cathy Chun. "It opens a dialogue between 
students from and within diverse communities." 

Washington State 
Historical Society, 
Capital Museum 
21 I W. 21st Avenue 
Olympia, WA 98501 

Program: Experimental 
Gallery: Arts Program 
for Incarcerated Youth 
Year Started: 1 992 
Focus: Multi- 
disciplinary Arts 
Youth Served: 700 
Ages: 10-19 
Budget: $ 1 08,000 

Organization: Wolf 
Trap Foundation for 
the Performing Arts 
1 624 Trap Road 
Vienna, VA 22182 

Program: Wolf Trap 
Institute for Early 

Learning Through 
the Arts 

Year Started: 1981 
Focus: Multi- 
disciplinary Arts 
Youth Served: 1 1,500 
Ages: 3-5 
Budget: $800,000 

^^K v The Experimental Gallery was founded 
M vA m at the Washington State Capital Muse- 
v^^^k ▼ um > a branch of the Washington State 

"^B ^^ Historical Society, in 1992 to provide 
learning opportunities for youth experiencing prob- 
lems in their lives. The goal of the Gallery is to teach 
responsible citizenship through the arts and the 
humanities. The Gallery developed the Arts Program 
for Incarcerated Youth in partnership with the Wash- 
ington State Department of Social and Health Ser- 
vices and the Juvenile Rehabilitation Administration. 
Youth in six juvenile detention facilities voluntarily 
take part in the 1-year to 18-month Arts Program, 
developed to conceptualize and mount a traveling 
exhibition. The youth choose the themes and manage 

the process. Community arts professionals, including 
curators, visual artists, videographers and writers, as 
well as graphic designers and carpenters, serve in a 
consulting capacity to provide expertise and guidance. 
The Program pairs recently released youth with artist/ 
mentors in their home communities. The Washington 
State Historical Society, Capital Museum will be devel- 
oping a museum school in one of the maximum secu- 
rity facilities over the coming year. 

^gt v The Wolf Trap Institute for Early Learn- 
M EA m ing Through the Arts teaches preschool 
v^^^k ▼ children basic academic and life skills 

'^ W^ through participation in performing arts 
activities and trains their classroom teachers, through 
practical applications, to use the performing arts in 
education. Prior to the beginning of each 7- week class 
residency, the Wolf Trap artist meets with the teacher 
to design a curriculum that addresses the needs of 
the particular group of children and the teacher. The 
Wolf Trap artist goes into the classroom twice a week 
for 45-minute sessions and leads performing arts- 
based activities that are designed around an academic 
or social theme. In the seventh week, the classroom 
teacher designs, plans and teaches the last two 
lessons with guidance from the artist. Every 3 years, 
the Wolf Trap Foundation hosts a national artists 
conference for the artists who work in 1 regional 
Wolf Trap programs across the country and holds 
professional development workshops for teachers in 
local communities. "Funders are really beginning to 
understand how the program impacts the lives of 
children and adults," explains Miriam Flaherty, di- 
rector of the Institute. "Learning Through the Arts 
helps the children develop effective cognitive and 
social skills." For instance, in Prince George's County 
in Maryland, the Public Schools Extended Elementary 
Education Program, the Head Start Program and the 
Special Education Preschool Program, which work with 
children 3-5 years old who are from low socioeconomic 
families and/or have low test scores, have participated 
in the Wolf Trap Foundation program. Nationwide, 
sites include public schools, Head Start preschool pro- 
grams and private child development centers. 

Organization: Working Program: Working 

Classroom, Inc. 
2 1 2 Gold, SW 
Albuquerque, NM 

Classroom, Inc. 
Year Started: 1 987 
Focus: Multi- 
disciplinary Arts 
Youth Served: 85 
Ages: 9-2 1 
Budget: $175,000 

Organization: Yakima 
Academy of the Arts 
309 Union Street 
Yakima, WA 9890 1 

Program: Yakima 
Academy of the Arts 
Year Started: 1 989 
Focus: Multi- 
disciplinary Arts 
Youth Served: 350 
Ages: 1-21 
Budget: $20,000 

^^K v Working Classroom, Inc. is dedicated to 
M vA m promoting self-esteem and the artistic, 
F^^^ ▼ academic and leadership; potential of 
"^J ^^ youth. It offers visual arts, theater and 
creative-writing workshops for "historically ignored" 
inner-city communities in Albuquerque and encour- 
ages youth to apply their talents to community 
development and social change. Year-round visual 
arts and drama workshops, which run for 6-8 weeks 
and are taught in both Spanish and English, are 
offered free-of-charge to low-income students and 
adults. Community projects have included tile and 
painted murals; The Rubber Band, a tragicomedy 
about AIDS, which took 2 years to prepare; and pro- 
duction of a line of printed holiday cards. Working 
Classroom is member-based, although workshops 
are open to everyone. Membership is free and based 
on "points," which are earned through attending 
Working Classroom's after-school tutoring program, 
attending cultural and artistic events, achieving a 
grade point average of at least 3.0, donating time to 
Working Classroom or other community organizations 
and participating in social action activities or cam- 
paigns. Those who earn 200 points receive general 
membership and can both vote for and be on the 
Board of Directors (40 percent of whom are students). 
Those who earn 500 points are eligible for VIP mem- 
bership, full college scholarships and priority consid- 
eration for paid employment, travel (sometimes to 
Central America) and other special opportunities. 

^^K v The Yakima Academy of the Arts pro- 
M VA M vides minority youth with a welcoming 
^^^■L t space in which creativity is fostered 

*^( ^^ and the fear of failure is removed. Class- 
es in folk and tap dance, visual arts, voice and music 
meet 4 days a week for VA hours. Children become 
aware of the creative abilities they possess and devel- 
op employment skills. Participants spend another 3% 
hours at the Yakima Public Housing Authority com- 
munity center, joining a variety of drop-in activities 
that include use of the center's library of classic films. 
"The program touches the lives of young people in 
many ways," says Program Director Maud Scott. "It 
provides more than just arts education. In many cases, 
it gives youth the opportunity to see and experience 
things they otherwise would not come in contact 
with. The program provides a safety net for its parti- 
cipants." Scott reports that the staff is very commit- 
ted to maintaining the program, even when there is 
no funding. The participants are committed as well; 
some of them have reached the point where they 
have become teachers in the program. 

* " The program touches the 
lives of young people in many 
ways. It provides more than just 
arts education.... [I] t gives youth 
the opportunity to see and experi- 
ence things they otherwise would 
not come in contact with. * * 

Maud Scott 
-Program Director 

YMCA of the USA 
The West Side YMCA 
5 W. 63 rd Street 
New York, NY 10023 

Program: The National 
Writers Voice Project 
Year Started: 1 990 
Focus: Creative 
Writing & Humanities 
Youth Served: 26,000 
Ages: 3-18 
Budget: N/A 

Organization: Young 
Artists (YA/YA) 
628 Baronne Street 
New Orleans, LA 

Program: Young 
Artists (YA/YA) 
Year Started: 1 988 
Focus: Visual Arts 
Youth Served: 3 5 
Ages: 15-21 
Budget: $426,000 

I Vj " ^^^^ YMCAs are being reinvented 
^ ^^Sfl fe as cultural organizations, 

■ •V ^1 v d W giving a voice to children 
WRti^SA aAf and youth through the arts 
and humanities. For the first time in its 150-year 
history, the arts and humanities have a central place 
in the goals and mission of the YMCA. This national 
effort was started at a local Y in 1990 by Jason Shin- 
der, who offered a program based on writing, reading 
and critical thinking. There are presently 13 local 
YMCAs offering year-round programs as part of The 
National Writers Voice Project. They are in Scottsdale, 
AZ; Oakland, CA; Fairfield, CT; Tampa, FL; Chicago, 
IL; Lexington, KY; Detroit, MI; Minneapolis, MN; 
Chesterfield, MO; Billings, MT; Bay Shore, NY; New 
York, NY; Silver Bay, NY. Based on community needs 
assessments, the sites offer a wide array of opportun- 
ities, including writing workshops that address social 
themes, family history projects, public readings in 
which the authors are introduced by children, poetry 
writing, magazine production and comic book writing. 
Satellite programs involve many other Ys, too. For 
example, in Albuquerque, New Mexico, "Poetry Gangs" 
are being organized with local gang members; in 
Sheridan, Wyoming, 500 participants attend a sum- 
mer writing camp. Writers Voice Executive Director 
Shinder says, "You can do anything through the use 
of literature." 


You can do anything 

through the use of literature. 


Jason Shinder 
-Executive Director 

Artistically talented inner-city youth 
are learning the business side of art 
through Young Aspirations/Young 
Artists (YA/YA). Created for talented 
youth who attend a local vocational high school, 
YA/YA partners youth with commercial art instruc- 
tors for individual instruction in woodworking, paint- 
ing, design and fabric painting. The students come 
every day after school and on weekends to work on 
large projects and single commissions. They learn 
life and professional skills in a required weekly class 
where they study subjects ranging from conflict res- 
olution to resume writing and portfolio development. 
YA/YA produces traveling exhibits and art shows. 
A committee of three students and two adult staff 
determine job and travel (domestic and international) 
assignments for youth. Gerri Hobody, assistant sec- 
retary of the Office of Cultural Development for the 
State of Louisiana, notes, "YA/YA is an exemplary 
program that demonstrates the usefulness of the 
arts in developing job training programs for youth. 
It expands our potential work force for the arts indus- 
try while addressing some of the problems that plague 
our urban areas." 

Organization: Young 

Audiences of Indiana 

3050 N. Meridian 


Indianapolis, IN 46208 


Program: Orchestra 
Training Program 
Year Started: 1993 
Focus: Music 
Youth Served: 25 
Ages: 13-18 
Budget: $ 1 6,400 

Organization: Youth 
70 E. Lake Street 
Chicago, IL 6060 1 
3 12-641-6397 


New Expression 

Year Started: 1 977 

Focus: Creative 

Writing, Design 

& Media 

Youth Served: 95 

Ages: 13-19 

Budget: $320,000 

^^f^^ Young Audiences chapters across 
^P^fl^ the country are well known for provid- 
m ^w W in 9 daytime educational performing 

^^3^^ arts programs for school children. But 
when Young Audiences of Indiana perceived a need 
to bolster the public schools' string instruction pro- 
gram and to reach at-risk youth, a summer music 
instruction program was created in seven distress- 
ed Indianapolis neighborhoods using City Incentive 
Funds. Initially, students met 3 days a week for 3 hours 
for small group lessons and ensemble practice at 
local universities, churches and a community center. 
At the end of 6 weeks, the ensemble presented a con- 
cert. The first grant was extended to permit Saturday 
sessions during the school year. Subsequent funding 
was provided by Thomson Consumer Electronics. 
The program now provides an intensive summer 
camp, designed to solve transportation problems and 
provide opportunities for youth of different musical 
levels to work together. In addition, Young Audiences 
runs a 9-month program offering individual lessons 
after school at individual schools. "We are dealing 
with students who have other problems in their lives, 
who have little constancy," explains Executive Direc- 
tor Anna White. "The program focuses on the partic- 
ular needs of the students, providing them with an 
incentive to excel and to work hard and see the 
results of their hard work." 

Youth Communi- 
cations trains 
minority teens 
from low-income 
families in writing, photography and illustration as 
they produce New Expression, a teen newspaper. 
Published nine times a year, the paper has a circula- 
tion of 80,000 and reaches youth in public schools 
city- wide. Students entering the program receive 
an orientation that prepares them to write opinion 
and feature stories. Teams of student reporters are 
assigned to various desks: creative writing, graphic 
design, photography, college/career, school affairs, 
health, sports, entertainment or editorial. If students 
desire, they can cross over to other desks. At biweekly 
staff meetings, students get updates on stories for 
future issues and hear presentations by professional 
journalists and other guest speakers. An advisory 
panel of journalists and youth service professionals 
assists in planning and evaluation. The paper is pro- 
duced with desktop publishing at the Youth Com- 
munications facility, which also has a photography 
darkroom for student use. Participants receive free 
transportation and become eligible for salaried posi- 
tions. The paper includes monthly lesson plans and 
exercises created to stimulate writing and 
discussion among student readers. 

Organization: Youth 
Development, Inc. 
6301 Central, NW 
Albuquerque, NM 

Teatro Consejo 
Year Started: 1 978 
Focus: Multi- 
disciplinary Arts 
Youth Served: 3 5 
Ages: 12-20 
Budget: $80,000 

Youth in Focus 
1 102 36th Avenue 
Seattle, WA 98 1 22 

Program: Youth 
in Focus 

Year Started: 1 994 
Focus: Photography 
Youth Served: 30 
Ages: 13-17 
Budget: $30,000 

^^K V Youth Development, Inc. (YDI) opened 
M vA » as an outreach organization for teen 
^VjfllL dropouts in the Albuquerque metropoli- 
"^..^^ tan area. Today YDI offers a comprehen- 
sive program. YDI services include a crisis shelter, 
group homes, residential treatment centers, youth 
employment programs, alternative education pro- 
grams, health education programs and school-to-work 
transition programs. In the midst of these services, 
Teatro Consejo provides an artistic forum for self- 
expression through theater-based activities, including 
creative writing, acting, dance, stage production, 
lighting, sound, costume design, puppetry and music. 
Youth and theater professionals meet at least three 
times a week for 3 hours during the school year and 
continue in the summer on an even more rigorous 
schedule. The core group of approximately 35 youth 
who comprise the troupe reach 25,000 people through 
performances at schools, community centers and 
community events. "The program is a source of ener- 
gy for the community. And it has helped destigma- 
tize these kids," says Executive Director Chris Baca. 
YDFs 300-seat theater serves as a community gath- 
ering space and a performance venue for continually 
sold-out performances. 

■ " The program is a source 
of energy for the community. 
And it has helped destigmatize 
these kids. * » 

Chris Baca 
-Executive Director 

Walter Bodle, an inner-city school 
teacher for more than 30 years, started 
Youth in Focus (YIF) to broaden youths' 
vision through photography and to give 
them tools for changing their lives. Under the auspices 
of the Photographic Center School, YIF has built 
partnerships with several community organizations, 
including the American Indian Heritage School and 
the Seattle Parks and Recreation Department. Youth 
recruited from alternative public schools, social ser- 
vice agencies and community youth organizations 
take part in a 10-week summer program that focuses 
on capturing the strengths of teen culture and com- 
munities through black-and-white photography. Pro- 
fessional photographers and serious amateurs meet 
with teens twice a week for 2 hours to teach them 
how to shoot, develop and print photographs. Cam- 
eras are provided for the duration of the course. 
Youth can re-enroll and are encouraged to maintain 
a relationship with their artist/mentor. Local galleries 
host group exhibitions of students' work at the end 
of the session. These exhibitions give visibility to 
some of Seattle's most marginalized youth. Images 
from the most recent YIF exhibition can be seen on 
the YIF Web Page, 

Youth Radio 
1925 Martin Luther 
King, Jr. Way 
Berkeley, CA 94704 

Program: Radio 
Broadcast Skills 
Training Program 
Year Started: 1 992 
Focus: Media 
Youth Served: 1 50 
Ages: 12-24 
Budget: $200,000 

Organization: Youth 
Service Project, Inc. 
3942 W. North 

Chicago, IL 60608 
3 1 2-772-6270 

Program: Summer 
Employment Program 
Year Started: 1 975 
Focus: Visual Arts 
Youth Served: 10 
Ages: 16-21 
Budget: $25,000 

^^^ Youth Radio is a multicultural media 
^C-^^b training program that is changing the 
"^ ■ T image of youth and, through interaction 
^^SL^v with audiences, the image youth have 
of themselves. Chosen through a competitive applica- 
tion process that emphasizes participation by those 
traditionally shut out of the best jobs in the indus- 
try — low-income youth, girls and minorities — parti- 
cipants are offered intensive, hands-on classes in 
studio operations, on-air announcing, music program- 
ming and news reporting, writing and editing. All 
classes are taught by industry professionals and peer 
teachers. "Youth teaching youth is an important 
aspect of what we do," says Executive Director Ellin 
O'Leary "It really pays 
off because kids con- 
nect with their peer 
teachers." The program 
meets twice a week 
after school and on Fri- 
days at both the Youth 
Radio studios and at 
rent-ed studios. In 3- 
month school-to-work 
segments, teens hold 
internships at area stations. The production team airs 
a weekly training program, a weekly commercial sta- 
tion program and commentaries on National Public 
Radio. The experienced producers also have an 
opportunity to join a statewide violence prevention 
program, through which they become involved in 
media advocacy. "The commitment from the profes- 
sionals at media outlets is very important to the pro- 
gram," says O'Leary. "They're helping participants 
gain career skills and focus in their lives." 

Each summer for the past 20 years, 
professional artists and small groups 
of teens have teamed up to create site- 
specific murals in the Humboldt Park 
neighborhood of Chicago. Youth and artists work on 
the design and then get suggestions from area resi- 
dents. Next, the team makes a small-scale model 
to decide on color, materials and construction tech- 
nigues. Originally, the young artists painted the murals. 
Currently, they are creating tile mosaic and sculpted 
murals that represent the communities they decorate. 
Calling Forth the Spirit of Peace, Positive Moves in 
the Game of Life, and Es Tiempo De Recordar are 
just a few of the murals created over the past summers. 
Teens work up to 5 hours every day for 8 weeks and 
are paid through the city youth employment program. 
The expertise of the artists, with technical assis- 
tance from local construction and tile companies, is 
helping participants gain skills in math, measuring 
and drafting and is demonstrating to the youth that 
they can effect change. "The murals have changed 
the neighborhoods' perspectives of the kids," remarks 
Executive Director Nancy Abbate. "These projects 
show them they have a lot to contribute and allow 
them to be a demonstrative part of the community." 
The Youth Service Project, Inc., a social service 
agency, also runs a wide range of bilingual and 
bicultural education, job readiness and counseling 
programs that reach more than 3,000 young people 
each year. Throughout the year, youth visit Chicago 
cultural institutions and actively participate in arts 
and humanities programs throughout the city. 


Organization: Zohco 
4000 Middlefield Road 
Palo Alto, C A 94303 



IndepenDANCE and 

Year Started: 1 986 
Focus: Dance 
Youth Served: 300 
Ages: 6- 1 8 
Budget: $90,000 

r^PH I IndepenDANCE provides free dance 
vfl I classes at specific public schools and 

Boys and Girls Clubs in several Bay Area 
communities. The program offers youth 
twice- weekly classes throughout the school year, 
participation in master classes and workshops and 
performance opportunities. Students may travel to 
the Zohco studio to take additional classes and audi- 
tion for Step-Up ! , a program that offers IndepenDANCE 
veterans more intensive dance instruction and perfor- 
mance experience. All participants receive instruc- 
tion in a variety of dance styles and are encouraged 
to experiment in choreography. A funder's report 
found that participants have improved their grades, 
attendance and self-esteem. Ehud Krauss, founder 
of Zohco, states that he doesn't have illusions about 
turning all the members of his company into profes- 
sionals. "Most will pass through, and if they put 
in the time, they will gain the self-confidence that 
allows them to succeed in whatever field they choose." 



State-by-State Index 









Space One Eleven: 
City Center Art, 135 


Tucson-Pima Arts Council: 
Art WORKS, 141 


Arkansas Arts Center 
Museum: Museum School: 
Outreach Programs, 47 

ComerStone Project, Inc.: 
Creative Expressions, 75 


American Indian 

Contemporary Arts: In Our 

Own Words, 44 
Armory Center for the Arts: 

High School After-School 

Program, 47 
ARTScorpsLA (The Art Army): 

La Tierra de la Culebra, 51 
Bayview Opera House: 

Community Recording 

Studio, 55 
Brava! for Women in the Arts: 

Drama Divas, 59 
California College of Arts and 

Crafts: T.E.A.M., 61 
California Lawyers for the Arts: 

Arts and Community 

Development Project, 61 
California Museum of Science 

and Industry: Avalon 

Gardens Curators Kids Club, 

Central City Hospitality House: 

Youth Program, 64 

City Hearts: Kids Say Yes to 
the Arts: The Early Years, 
Sentenced to the Stage, 
Youth Arts Diversion, From 
Gangs to the Stage, 70 

Cornerstone Theater Company: 
Community Collaborations, 

DrawBridge: An Arts Program 
for Homeless Children: Art 
Groups, DrawBridge School 
Education Project, Traveling 
Art Exhibit, 81 

East Bay Center for the 
Performing Arts, 82 

Eco-Rap: Eco-Rap After-School 
Workshops, 82 

Friends of Photography: 
Ansel Adams Center for 
Photography /Education: 
Partnership and Community 
Outreach, 89 

Fringe Benefits, 89 

Greater Golden Hill Community 
Development Corporation: 
After-School Cultural Club, 91 

The Hills Project: The Hills 
Project After-School Program, 

Inner City Cultural Center, 97 

Japantown Art and Media 
Workshop, 99 

KALA Institute: Latin 
American Workshop, 100 

Living Literature Colors United, 

Lula Washington Contemporary 
Dance Foundation: I Do 
Dance Not Drugs, 109 

The Mexican Museum: 
Street SmArt, 112 

Oakland Youth Chorus, 121 

Pacific News Service: YO! 
(Youth Outlook), 123 

Plaza de la Raza: The School of 

Performing and Visual Arts, 

Precita Eyes Mural Arts Center: 

Urban Youth Arts and 

Mural Workshops, 127 
La Quinta Arts Foundation: 

Youth Art Works Educational 

Outreach Program, 128 
Sacramento Metropolitan Arts 

Commission: Late Night 

Sacramento, 129 
San Diego Symphony 

Community Music Center, 

San Francisco Arts 

Commission: WritersCorps, 

San Francisco Shakespeare 

Festival: Midnight 

Shakespeare, 131 
Southern Exposure: 

Artists in Education, 135 
SPARC (Social and Public Art 

Resource Center): 

Neighborhood Pride, 136 
Theater Quest, 138 
Vietnamese Youth Development 

Center: Peer Resource Group, 

Wajumbe Cultural Institution, 

Inc.: Project ACE (Academic 

and Cultural Enrichment), 

Youth Radio: Radio Broadcast 

Skills Training Program, 151 
Zohco: IndepenDANCE and 

Step-Up!, 152 


The Cleo Parker Robinson 
Dance Theatre: Project Self 
Discovery, 72 

Teatro Latino de Colorado: 
After-School and Community 
Arts Program, 138 


The Artists Collective, Inc., 48 

Neighborhood Music School: 

Hill Outreach Program, 118 

Sankofa Kuumba Cultural Arts 

Consortium: After-School and 

Summer Arts Program, 131 

District of Columbia 

African Heritage Dancers and 

Drummers, 43 
Andrew Cacho African 

Drummers and Dancers, Inc.: 

In-School and After-School 

Program, 45 
Arena Stage: Living Stage 

Theatre Company, 46 
Corcoran School of Art: 

Corcoran Art Mentorship 

Program, 75 
Everyday Theater, Inc.: 

Everyday Theater Youth 

Ensemble, 85 
Humanities Council of 

Washington, DC: City Lights, 

The John F. Kennedy Center for 

the Performing Arts: The 

Kennedy Center/Dance 

Theatre of Harlem (DTH) 

Community Dance 

Residency, 99 
Latin American Youth Center: 

Arts for Prevention and 

Development, 103 
Levine School of Music: 

Public Housing Orchestra, 106 


Bakehouse Art Complex: 
Bakehouse Children's Art 
Workshop, 54 

Previous page: MERIT Music 
Program of Chicago 

Boys and Girls Clubs of 

Broward County: Creative 

Arts Unit, 58 
City of Fort Myers: STARS 

Program — Success Through 

Academic and Recreational 

Support, 71 
Fourth Avenue Cultural 

Enrichment (FACE), 88 
M Ensemble Company, Inc.: 

Summer Youth Employment 

in the Arts and Life 

Enrichment, 111 
OneArt: Kids Off Streets, 122 
Sarasota Ballet of Florida: 

Dance — The Next Generation, 



Georgia Museum of Art: 

ArtReach, 90 
Macon Neighborhood Arts, 

Inc.: Inner Voices, 109 
Moving in the Spirit: Stepping 

Stones, Apprentice Corpora- 
tion Outreach, 116 
7 Stages Theater: Freddie 

Hendricks Youth Ensemble of 

Atlanta, 133 
Soapstone: After School Arts 

Program/Summer Arts Camp, 



Beacon Street Gallery and 
Theatre: Art Jobs and 
Cultural Heritage Programs, 

Boulevard Arts Center: 
Employment Training 
Program in the Arts, 56 

Chicago Children's Choir: 
In-School, After-School and 
Concert Choir Programs, 66 

Chicago Public Art Group 

(CPAG): Youth Training, 66 
Community Television 

Network: After School Program, 

Demicco Youth Services: 

Northern Horizon Cultural 

Arts Program, 79 
Department of Cultural Affairs: 

GaUery 37, 80 
Free Street: TeenStreet, 88 
Hyde Park Art Center: 

Gallery, Classes and Outreach 

Program, 96 
Katherine Dunham Centers for 

Arts and Humanities: 

Katherine Dunham Museum's 

Children's Workshop, 102 
Marwen Foundation: 

Community Partnership, 

Studio Program, College 

Career Program, 110 
MERIT Music Program of 

Chicago, 111 
The People's Music School, 125 
Street-Level Video and Live 

Wire Youth Media, 136 
The Suzuki-Orff School for 

Young Musicians, 137 
Youth Communications: 

New Expression, 149 
Youth Service Project, Inc.: 

Summer Employment 

Program, 151 


Children's Museum of 

Indianapolis: Neighbors' 

Program, 68 
Evansville Housing Authority: 

Dance Awareness, 84 
Indianapolis Art Center: 

ArtReach Program, 96 
Young Audiences of Indiana: 

Orchestra Training Program, 



United Action for Youth (UAY): 
Synthesis Arts Workshop, 141 


Lawrence Arts Center: 
First Step Dance, 105 


Administrative Office of the 
Courts/Juvenile Services: 
Theater in Diversion, 43 

Appalshop: Appalshop Media 
Institute, 46 

Kentucky Humanities Council: 
New Books for New Readers, 


Arts Council of New Orleans: 
Urban Arts Training Program, 

Louisiana Endowment for the 
Humanities: Prime Time 
Family Reading Time, 108 

Young Aspirations/Young 
Artists (YA/YA), 148 


Baltimore City Life Museums: 
Jonestown Community Photo 
Documentation Project and 
Neighborhood Kids Mural 
Project, 54 

Cultural Arts Institute: 
After-School Program, 76 


Artists for Humanity: City 
Teens Design Company, 49 

Arts in Progress: ACT IT OUT 
Peer Performers, 52 

Children's Museum at Holyoke, 
Inc.: Museum Adventure 
Club, Junior Volunteers, 
Junior Leadership Incentive 
Program, 68 

Community Adolescent 

Resource and Education 

Center (CARE): Teen 

Resource Project, 73 
Federated Dorchester 

Neighborhood Houses, Inc.: 

Art Express, 86 
Inquilinos Boricuas en Accion, 


Awareness Program, Video 

Training Program, 97 
The Institute of Contemporary 

Art: DocentTeens Program, 98 
ROCA, Inc.: ROCA Chelsea, 

ROCA Revere, 129 
Somerville Community Access 

Television: The Mirror Project, 

Urban Arts: Youth Works/ 

Art Works, 142 
The Wang Center for the 

Performing Arts: Young at 

Arts, 145 


City of Kalamazoo Department 
of Recreation, Leisure and 
Cultural Services: Fine Arts 
Skills Enhancement Program, 

Mosaic Youth Theatre of 
Detroit: Youth Ensemble, 115 


American Variety Theatre 
Company: American Variety 
Theatre Company 4-H, 45 

The City, Inc., 69 

KTCA-TV: "Don't Believe the 
Hype," 103 

Minneapolis Institute of Arts: 
Art Team, 114 



Delta Blues Education Fund: 
Delta Blues Education 
Program, 78 


Center of Contemporary Arts 

(COCA): Arts Connection, 63 
Guadalupe Center, Inc.: 

El Grupo Folklorico Atotonilco, 

Kansas City Friends of Alvin 

Alley: AileyCamp, 101 
Opera Theatre of St. Louis: 

Artists-in-Training, 122 
PAKT — Parishes Associated 

on Kinloch Team, Inc.: 

Color Me Bright, 124 


Lied Discovery Children's 
Museum: Youth ALIVE ! — 
Youth Works/ArtSmarts, 106 

Nevada School of the Arts: 
Las Vegas Children's Choir, 

New Hampshire 

Alliance for the Progress of 
Hispanic Americans: ALPHA 
TEEN Theater, 44 

New Hampshire State Library: 
Connections: The New 
Hampshire Reading Project, 

New Jersey 

New Jersey Council for the 
Humanities: People and 
Stories/Gente y Cuentos, 120 

New Mexico 

Center for Contemporary Arts 
of Santa Fe: Teen Project, 63 

The Guilds of the Santa Fe 
Opera: Pueblo Opera Program, 

University of New Mexico 
Institute for Public Law: 
FENCES, 142 
Working Classroom, Inc., 147 
Youth Development, Inc.: 
Teatro Consejo, 150 

New York 

Art in General: Summer 

Program With Project Reach, 

The Boys Choir of Harlem, 58 
Bronx Dance Theatre, 60 
The Brooklyn Children's 

Museum: Museum Team, 60 
Carlota Santana Spanish Dance 

Company: Bronx Project, 62 
Chautauqua Alcoholism and 

Substance Abuse Council 

(CAS AC): Awareness Theatre, 

The Children's Aid Society: 

The Children's Aid Society 

Chorus, 67 
The Children's Art Carnival, 67 
The CityKids Foundation: The 

CityKids Repertory, 70 
The Dance Ring DBA New York 

Theatre Ballet: Project LIFT, 

The Door— A Center of 

Alternatives, Inc.: Creative 

Arts Program, 80 
Educational Video Center: 

High School Documentary 

Workshop, 83 
Elders Share the Arts: Living 

History Program, 84 
The 52nd Street Project, 86 
Fools Company: Artsworker 

Apprentices, 87 
Harlem School of the Arts: 

The Bridge Program, 93 
Harlem Textile Works, Ltd., 94 

Henry Street Settlement: 
Abrons Art Center Youth 
Programs, 94 

Jamaica Center for the 
Performing and Visual Arts, 
Inc.: Youth Leadership 
Development and Violence 
Prevention Program, 98 

The Leonard Davis Center for 
the Arts of The City College 
of New York: The City 
College Art Institute, 105 

Lincoln Center Theater: Open 
Stages — The Urban Ensemble, 

Metropolitan School for the 
Arts: United In Hope, 112 

Mill Street Loft Multi-Arts 
Educational Center: 
Project ABLE, 113 

Mind-Builders Creative Arts 
Center: After-School Literacy 
Through the Arts, 114 

MollyOlga Neighborhood 
Art Classes: Tuition-Free 
Sequential Instruction, 115 

El Museo del Barrio: 
The Caring Program, 117 

New York State Museum: New 
York State Museum Club, 120 

El Puente: Leadership Center, 

Rheedlen Centers for Children 
and Families, Rise & Shine 
Productions: The Real Deal, 

Third Street Music School 
Settlement: MILES: Music 
Instruction on the Lower East 
Side After-School Component, 

Tim Rollins and Kids of 
Survival (KOS), 139 

YMCA of the USA: The National 
Writers Voice Project, 148 

North Carolina 

The ArtsCenter: Carr Court 

Community Center Artist 

Residency Project, 50 
Community School of the Arts: 

The Neighborhood Arts 

Program, 74 
MOTHEREAD, Inc., 116 


Arts Commission of Greater 

Toledo: Young Artists at Work 

(YAAW), 50 
The Cleveland Music School 

Settlement: Extension 

Department: Teens in 

Training, 72 
Cleveland School of the Arts: 

Youth At Risk Dancing, 73 
Cultural Center for the Arts: 

Children's Art Connection, 77 
Greater Columbus Arts Council: 

Children of the Future, 90 
Karamu House: Summer 

Scholar Program, 101 
Ohio Arts Council: Coordinated 

Arts Program, 121 
Toledo Symphony: Community 

Music Lesson Program, 140 


The Greenwood Cultural 
Center: Summer Arts 

Program, 91 


Artists Raising the 

Consciousness of Humanity 

(ARCH) Productions: 

CityKids Program, 49 
Asian Americans United: 

Asian American Youth 

Workshop, 53 

Asociacion de Musicos Latino 

Americanos (AMLA): 

AMLA Latin Music School, 

Boys and Girls Club of Easton: 

Smart Moves Players Theater 

Arts Ensemble, 57 
Brandywine Workshop: 

Philly Panache, 59 
Manchester Craftsmen's Guild: 

Arts Apprenticeship Training 

Program, 110 
Pennsylvania Prison Society: 

Arts and Humanities 

Program — Youth Arts Program, 

The People's Light and 

Theater Company: New 

Voices Ensemble, 125 
Pittsburgh Playback Theatre: 

Hosanna House, 126 
Settlement Music School: 

Kaleidoscope Preschool Arts 

Enrichment Program, 132 
Taller Puertorriqueno: Cultural 

Awareness Program (CAP), 

Touchstone Theatre: Latino 

Drama Workshop/Youth 

Ensemble, 140 
Venture Theater: Reality Crew, 

The Village of Arts and 

Humanities, 144 

Rhode Island 

The Music School: The Cultural 

Alternatives Program, 118 


Boys and Girls Club of 
Morristown: Challengers Art 
and Music, 57 

Edgehill Center, Inc.: PAVE 
WAY (Preventive Arts and 
Video From Edgehill With 
Artists and Youth), 83 


Arts Council of Fort Worth 

and Tarrant County: 

Neighborhood Arts Program, 

Believe In Me, 56 
Dallas Parks and Recreation 

Department: Juvenile Gang 

Prevention Program, 77 
Department of Arts and Cultural 

Affairs: Urban smARTS, 79 
Dougherty Arts Center: 

Youth at Arts: Graffiti as Art 

and Texas Young Playwrights 

Program, 81 
Guadalupe Cultural Arts 

Center: Grupo Animo, 92 
Junior Players: Teatro del Barrio, 

Multicultural Education and 

Counseling Through the Arts, 

SHAPE Community Center: 

Family Strengthening and 

Empowerment Program, 133 


Flynn Theatre for the 
Performing Arts: Flynn/ 
Wheeler School Partnership, 


Vermont Council on the 
Humanities: Read With Me: 
Teen Parent Project, 143 


Wolf Trap Foundation for the 
Performing Arts: Wolf Trap 
Institute for Early Learning 
Through the Arts, 146 


El Centro de la Raza: 

The Hope for Youth, 64 
The Children's Museum: 

Rainier Vista Arts Program, 69 
Ewajo Dance Workshop: 

After-School Program, 85 
Pacific Northwest Ballet: 

DanceChance, 123 
Washington State Historical 

Society, Capital Museum: 

Experimental Gallery: 

Arts Program for Incarcerated 

Youth, 146 
Yakima Academy of the Arts, 

Youth in Focus, 150 


Charles A. Wustum Museum of 

Fine Arts: Victory in Peace 

Program, 65 
Latino Arts: Cultural Arts 

Classes, 104 
Lawrence Arts Academy: 

Enriched Instrumental 

Instruction for Hmong 

Children, 104 
Milwaukee Repertory Theater: 



A Note on 

As part of this survey, staff 
at the programs were 
asked to provide evalua- 
tion materials. Their stud- 
ies were compiled for 
different purposes: to tell a 
program's story and share 
its experience with a wider 
community; to evaluate the 
strengths and weaknesses 
of the program for mid- 
course improvements; to 
assess the progress of par- 
ticipants individually or as 
a group; to compare cur- 
rent program practices 
with program goals. 

Most of the assessments 
were conducted by pro- 
gram staff, rather than 
outside evaluators, using a 
wide range of tools, 
including site visits; case 
studies; journals; focus 
groups; rating scales and 
surveys; school records; 
media coverage; portfolio 
reviews and performance 
evaluations, including 
video documentation. The 
most common formats 
were program-to-date 
summaries and one-time 
post-program surveys of 
participants, teachers/ 
artists/scholars or parents. 

The findings were primari- 
ly short term and qualita- 
tive. They focused on 
program dimensions and 
accomplishments, or par- 
ticipant behavior and self- 
perception. Few provided 
quantifiable information 
on changes in the status 
of children and youth. Tes- 
timonial evidence, howev- 
er, should not be 
undervalued as prelude 
and complementary to 
more quantitative 
approaches. At present, 
the cost and time involved 
in quantitative research 
is often prohibitive for 
these programs. 

A handful of studies have 
begun to document the 
positive relationship 
between program partici- 
pation and cognitive 
development, motivation 
to learn, organization, self- 
perception and resiliency. 

For instance, the Wolf 
Trap Institute for Early 
Learning Through the Arts 
evaluated children in 
Head Start preschool pro- 
grams with 7-week arts 
residencies in Arizona, the 
District of Columbia and 
Tennessee. It reports that 
preschool children in 
these residencies, when 
compared with children in 
"regular" programs, pro- 
gressed in two known 
antecedents to learning — 

student engagement (the 
ability to focus attention 
and participate in ongoing 
activities) and social par- 
ticipation (the ability to be 
sensitive to others and to 
work in group settings). 1 

The Kaleidoscope 
Preschool Arts Enrichment 
Program at the Settlement 
Music School in Philadel- 
phia found that their at- 
risk preschool children 
made gains in cognitive 
development, language 
development and achieve- 
ment above and beyond 
what was seen in a control 
group of preschoolers not 
in an arts-enriched pro- 
gram. It reports the gains 
were maintained as con- 
tinued time was spent in 
the Program and, in all 
cases, remained above the 
level that was achieved by 
the control group 
in 2 years. 2 

Project Self Discovery at 
The Cleo Parker Robinson 
Dance Theatre in Denver 
is a national demonstra- 
tion program using artistic 
engagement as a platform 
for transforming the lives 
of youth in trouble from 
drugs, alcohol and crime. 
In this after-school 
program, creative self- 
expression, artistic men- 
toring, clinical case 
management and rigorous 
recreation are combined 

to enhance self-esteem, 
stability and socialization. 
Using adolescent self- 
reporting and observation 
as evaluation tools, the 
program documented 
improvements in young 
people's resiliency skills 
for managing problems 
and situations. When 
compared with program 
dropouts and a compari- 
son youth group, the par- 
ticipants maintained a 
higher level of 
involvement in artistic 
activities, functioned bet- 
ter in school and used a 
higher level of cognitive 
processing in thinking 
about and dealing with 
life experiences. 3 

Program for Incarcerated 
Mothers in North Carolina, 
one component of the 
North Carolina MOTHER- 
program, uses children's 
literature to enhance 
mothers' literacy and par- 
enting skills. Participants 
learn to read effectively to 
their children, identify 
child development themes 
underlying the stories and 
relate those themes to 
their own lives. The 
researchers have 
documented improve- 
ments in the emotional 

health of the participating 
mothers. At the end of the 
program, the mothers 
reported fewer symptoms 
of depression and nega- 
tive self-esteem and more 
control over their lives. 
These participants also 
became more understand- 
ing of their children's 
needs and less likely to 
expect their own needs to 
be completely satisfied by 
their children. 4 

Staff at these four 
programs would be the 
first to point out the 
methodological limits of 
their work, including one 
or more of the following: 
small sample size; no 
comparison group or one 
that was not comparable 
to the test group in all 
respects; an inability to 
separate the impact of the 
arts or humanities compo- 
nent of the program from 
the impact of other fac- 
tors; little or no follow-up 
over time. 


1 Torff, Bruce, 1994, "Evaluation 
of Wolf Trap Institute for Early 
Learning Through the Arts: 
Annual Reports 1991-92, 
1992-93," Harvard Project Zero, 
Cambridge, MA, as summarized 
in National Endowment for the 
Arts and Morrison Institute for 
Public Policy, 1995, Schools, 
Communities, and the Arts: A 
Research Compendium, National 
Endowment for the Arts, Wash- 
ington, DC, pp. 38-39. 

2 Coakley, Mary C, 1995, "Mak- 
ing a Difference in the Lives of 
Children: Final Report of a Four- 
Year Evaluation of an Arts-Based 
Early Intervention Program," 
Settlement Music School, 
Philadelphia, PA. 

Although encouraged by the 
findings, the researcher added 
the following caveats: (a) The 
number of subjects was fairly 
small, and the group sizes were 
unequal, which may have weak- 
ened the ability to detect differ- 
ences in the control group: (b) 
the teachers at the Title XX- 
funded center had less formal 
education than the teachers at 
Kaleidoscope, which may have 
produced some differences in the 
two groups: (c) the Kaleidoscope 
Program had a more generous 
funding base, which may have 
provided children and staff with 
greater opportunities. 

3 Milkman, Harvey, Kenneth 
Wanberg, and Cleo Parker 
Robinson, 1995, "Project Self 
Discovery: Artistic Alternatives 
for High Risk Youth," The Cleo 
Parker Robinson Dance Theatre, 
Denver, CO. 

4 Martin, Sandra L., Niki Cotten, 
Dorothy Browne, Lawrence Kup- 
per, Brenda Kurz, and Elizabeth 
Robertson, 1993, "Evaluation of 
the MOTHEREAD Program," 
University of North Carolina at 
Chapel Hill, Chapel Hill, NC. 

The researchers noted a positive 
impact on the participants, but 
noted the following limits of the 
study: (a) There lacked a "no 
treatment" comparison group, 
making it difficult to separate the 
impact of the program from other 
factors: (b) attrition over the 
course of the evaluation was 
considerable, leaving 
unanswered its effect on the 
findings: (c) the sample size was 
small, thereby limiting the statis- 
tical analysis that could be 
applied to the data. 


Page 3 

1 Reale, Willie, 1994, 52Pick-Up: 
A Practical Guide to Doing The- 
ater With Children Modeled After 
The 52nd Street Project, The 52nd 
Street Project, New York, NY, p. 94. 

Introduction and Summary 

1 Several criteria were used in 
selecting programs to survey. 
These criteria were not applied 
rigidly, but functioned as guide- 
lines. Not all of the programs 
conform to all of the guidelines. 
Those few exceptions include 
programs that offer readers 
useful insights. 

The key criterion for selection 
was that the program target at- 
risk children and youth. "Risk" 
was denned using a variety of 
socioeconomic indicators. 

The programs profiled are based 
in local communities; the few 
national initiatives included all 
have community sites. 

The survey focuses on programs 
that operate outside public 
school curricula and jurisdiction. 
They serve young people up to 
age 24. Young adults ages 19-24 
were included because the tran- 
sition to the work force is such 
an important juncture in young 

For a program to have an impact, 
youth must be active partici- 
pants over a sustained period of 
time. Cultural programs that 
focus exclusively on exposure to 
the arts and the humanities, one- 
time or very sporadic programs 
are not included. 

The programs surveyed focus on 
child and youth development as 
an expressed goal. Programs 
concentrating only on pre-profes- 
sional training were considered 
outside the scope of this survey. 

Chapter One 

A Changed Environment 

for Children: A Status Report 

1 Carnegie Council on Adolescent 
Development, Task Force on 
Youth Development and Commu- 
nity Programs, 1992, A Matter of 
Time: Risk and Opportunity in the 
Nonschool Hours, Carnegie Cor- 
poration of New York, New York, 
NY, p. 28. 

2 Carnegie Council on Adoles- 
cent Development, 1995, Great 
Transitions: Preparing Adoles- 
cents for a New Century, 
Carnegie Corporation of New 
York, New York, NY, p. 105. 

3 Zill, Nicholas, Christine Winquist 
Nord, and Laura Spencer Loomis, 
1995, Adolescent Time Use, Risky 
Behavior, and Outcomes: An 
Analysis of National Data, Westat, 
Inc., Rockville, MD, pi. 

4 U.S. Department of Health and 
Human Services, Office of the 
Assistant Secretary for Planning 
and Evaluation, (draft), "Trends 
in the Well-Being of America's 
Children and Youth: 1995," Wash- 
ington, DC, pp. 11, 43. 

5 Luxembourg Income Study, as 
reported in The New York Times, 
August 14, 1995. 

° Annie E. Casey Foundation, 
1994, KIDS COUNT Data Book 
1994, State Profiles of Child Well- 
Being, Annie E. Casey Founda- 
tion, Baltimore, MD, pp. 9-11, 

7 U.S. Department of Health and 
Human Services, Office of the 
Assistant Secretary for Planning 
and Evaluation, op. cit, p. 342. 

° Children's Defense Fund, (pre- 
publication press edition), 1994, 
"The State of America's Children, 
Yearbook 1994," Children's 
Defense Fund, Washington, DC, 
Introduction, p. 3. 

9 Ibid., p. 19. 

10 U.S. Department of Health and 
Human Services, Office of the 
Assistant Secretary for Planning 
and Evaluation, op. cit., p. 140. 

11 Ibid., pp. 88, 134, 178; Annie 
E. Casey Foundation, 1995, 
KIDS COUNT Data Book 1995, 
State Profiles of Child Well-Being, 
Annie E. Casey Foundation, 
Baltimore, MD, p.19. 

12 U.S. Department of Health and 
Human Services, Office of the 
Assistant Secretary for Planning 
and Evaluation, op. cit., p. 136. 

Youth are defined as "risk free" if 
they are in school or have gradu- 
ated from high school; have 
never had sexual intercourse; 
have never used illegal drugs; 
have had less than five alcoholic 
beverages in a row in the past 
month; have not stayed out all 
night without permission in the 
past year. 

18 Carnegie Council on Adoles- 
cent Development, op. cit., p. 49. 



Ibid., p. 46. 

Wynn, Joan, et. al., 1987, 


Ibid., p. 282. 

1 4 

Population Reference Bureau, 
1992, The Challenge of Change: 
What the 1990 Census Tells Us 
About Children, Center for the 
Study of Social Policy, Washing- 
ton, DC, p. 16. 

15 U.S. Department of Health and 
Human Services, Office of the 
Assistant Secretary for Planning 
and Evaluation, op. cit., p. 239. 

'■" Carnegie Council on Adoles- 
cent Development, op. cit., p. 50. 

17 Derived from Dryfoos, Joy G, 
1990, Adolescents at Risk: Preva- 
lence and Prevention, Oxford 
University Press, New York, NY, 
p. 95; Pittman, Karen, and Mar- 
lene Wright, 1991, "Bridging the 
Gap: A Rationale for Enhancing 
the Role of Community Organiza- 
tions in Promoting Youth Devel- 
opment," Center for Youth 
Development at the Academy for 
Educational Development, Wash- 
ington, DC, Table 8. 

Communities and Adolescents: 
An Explanation of Reciprocal 
Support, Chapin Hall Center for 
Children, University of Chicago, 
Chicago, IL. Comments of the 
Youth Committee of the Lilly 

21 Carnegie Council on Adoles- 
cent Development, Task Force on 
Youth Development and Commu- 
nity Programs, op. cit., pp. 11-12. 

Chapter Two 

Culture Counts: The Case for 
the Arts and the Humanities 
in Youth Development 

1 Zill, Nicholas, Christine Win- 
quist Nord, and Laura Spencer 
Loomis, 1995, Adolescent Time 
Use, Risky Behavior, and Out- 
comes: An Analysis of National 
Data, Westat, Inc., Rockville, MD, 
p. iv. 

2 Gardner, Howard, 1983, Frames 
of Mind: The Theory of Multiple 
Intelligences, Basic Books, Inc., 
New York, NY. 

3 Gardner, Howard, 1991, The 
Unschooled Mind: How Children 
Think and How School Should 
Teach, Basic Books, Inc., New 
York, NY, p. 149. 

4 Murfee, Elizabeth, 1995, Elo- 
quent Evidence: Arts at the Core 
of Learning, President's Commit- 
tee on the Arts and the Humani- 
ties, National Assembly of State 
Arts Agencies, Washington, DC, 
p. 2. 

5 Ibid., p. 8. 

° Loyacano, Laura, 1992, Rein- 
venting the Wheel: A Design for 
Student Achievement in the 21st 
Centuiy, National Conference of 
State Legislatures, Denver, CO, 
p. 27. 

' Darby, Jaye T., and James S. 
Catterall, "The Fourth R: The Arts 
and Learning," Teachers College 
Record, Volume 96, No. 2, Winter 
1994, p. 309. 

° "Corporate America Turns to 
the Kennedy Center for Tools of 
Education Reform," Forbes Mag- 
azine, October 17, 1994. 

" Milkman, Harvey, Kenneth 
Wanberg, and Cleo Parker Robin- 
son, 1995, "Project Self Discovery: 
Artistic Alternatives for High 
Risk Youth," The Cleo Parker 
Robinson Dance Theatre, Denver, 
CO, p. 29. 

Chapter Four 

A Delicate Balance: 

Principles and Practices 

of Promising Arts 

and Humanities Programs 


Ibid., p. 31. 

1 1 Interview with Willie Reale, 
artistic director, The 52nd Street 
Project (New York, NY, October 
12, 1995). 

-^ Interview with Victor Swen- 
son, executive director, Vermont 
Council on the Humanities (Mor- 
risville.VT, September 27, 1995). 

13 Collins, Naomi R, "Culture's 
New Frontier: Staking a Common 
Ground," American Council of 
Learned Societies, ACLS Occa- 
sion Paper No. 15, p. 15. 


Darby, Jaye T, and James S. 

Catterall, op. cit, p. 315. 

Chapter Three 
Transforming Lives: An 
Overview of Arts and Human- 
itites Programs 

1 Staff Journal, New Voices 
Ensemble, People's Light and 
Theater Company, Malvern, PA. 


For example: 

Carnegie Council on Adolescent 
Development, 1995, Great 
Transitions: Preparing Adoles- 
cents for a New Century, 
Carnegie Corporation of New 
York, New York, NY; 

Carnegie Council on Adolescent 
Development, Task Force on 
Youth Development and Commu- 
nity Programs, 1992, A Matter of 
Time: Risk and Opportunity m 
the Nonschool Hours, Carnegie 
Corporation of New York, New 
York, NY; 

Center for Youth Development 
and Policy Research of the Acad- 
emy for Educational Develop- 
ment, and Chapm Hall Center for 
Children, University of Chicago, 
(draft), "People, Places, and Pos- 
sibilities: Community Organiza- 
tions and Youth Development," 
Academy for Educational Devel- 
opment, Washington, DC; 

Dryfoos, Joy G., 1990, Adoles- 
cents at Risk: Prevalence and 
Prevention, Oxford University 
Press, New York, NY; 

Heath, Shirley Brice, and Milbrey 
W. McLaughlin (Eds.), 1993, Iden- 
tity and Inner-City Youth: Beyond 
Ethnicity and Gender, Teachers 
College Press, Columbia Univer- 
sity, New York, NY 

Schorr, Lisbeth B., and Daniel 
Schorr, 1989, Within Our Reach: 
Breaking the Cycle of Disadvan- 
tage, Doubleday, New York, NY; 

^ Interviews were held with: 

• Dollie McLean, founding execu- 
tive director, The Artists Collec- 
tive, Inc. (Hartford, CT, October 
4, 1995). 

• Manish Gaur, coordinator, 
Rainbow Project; Ana Gallegos y 
Reinhardt, managing director; 
Carlos Uribe, director of 
programs, Center for Contempo- 

rary Arts of Santa Fe, Teen Pro- 
ject; Bernie Lopez, executive 
director, Center for Contemporary 
Arts of Santa Fe (Santa Fe, NM, 
November 6, 1995). 

• Steven Goodman, executive 
director, Educational Video Cen- 
ter (New York, NY, October 12, 

• Carol Ochs, executive director; 
Willie Reale, artistic director, The 
52nd Street Project (New York, 
NY, October 12, 1995). 

• Dennis Taniguchi, executive 
director, Japantown Art and 
Media Workshop (San Francisco, 
CA, November 8, 1995). 

• Robert Capanna, executive 
director, Settlement Music 
School (Philadelphia, PA, October 
20, 1995). 

• Dawn Andrews, program direc- 
tor; Nadine Martin, communica- 
tions director; Victor Swenson, 
executive director; Suzi 
Wizowaty, literacy program coor- 
dinator, Vermont Council on the 
Humanities (Mornsville, VT, Sep- 
tember 27, 1995). 

• Eddie Gale, project coordinator, 
Vermont Community Foundation; 
Bonnie Griffin, project director, 
Youth Wellness Center, St. Johns- 
bury; Marilyn Magnus, R.N., 
Youth Wellness Center, St. Johns- 
bury; Vicky Smith, program 
director, King Street Youth Cen- 
ter, Burlington; Carol Wageman, 
teen parent service providers 
coordinator, Washington County * 
Youth Services Bureau, Montpe- 
lier (Stowe, VT, September 27, 

• Dick Barrett, deputy director, 
Washington State Juvenile Reha- 
bilitation Administration; Char- 
lotte Beale, curator, Seattle 
Children's Museum; Linda 
Bradley, art educator, Green Hill 
School; Abe Dean, student, 
Maple Lane School; William Det- 
mering, principal, Maple Lane 

School; Rosalie McHale, program 
coordinator, Governor's Juvenile 
Justice Committee; Carol Porter, 
superintendent, Maple Lane 
School; Gary Schalliol, director of 
education, Washington State 
Historical Society; Robert Sotelo, 
artist/educator, Maple Lane 
School; Derek Valley, director, 
Washington State Historical Soci- 
ety, Capital Museum; Susan 
Warner, curator of education, 
Washington State Historical Soci- 
ety, Capital Museum (Olympia, 
WA, November 7, 1995). 

• Nan Elsasser, executive direc- 
tor, Working Classroom, Inc. 
(Albuquerque, NM, November 6, 

3 Reale, Willie, 1994, 52 Pick-Up: 
A Practical Guide to Doing The- 
ater With Children Modeled After 
The 52nd Street Project, The 
52nd Street Project, New York, 
NY, p. 28. 

4 Ibid., p. 42. 

5 Ibid., p. 20. 

6 Ibid., p. 38. 

Chapter Five 

Looking Ahead: A Next-Step 


1 Cobb, Nina Kressner, 1995, 
Looking Ahead, Private Sector 
Giving to the Arts and the 
Humanities, President's Commit- 
tee on the Arts and the Humani- 
ties, Washington, DC, p. 4. 

The facts at the bottom of each 
page are taken from the text or 
from one of two sources: Annie 
E. Casey Foundation, 1995, KIDS 
COUNT Data Book 1995, State 
Profiles of Child Weil-Being, 
Annie E. Casey Foundation, Bal- 
timore, MD; U.S. Department of 
Health and Human Services, 
Office of the Assistant Secretary 
for Planning and Evaluation, 
(draft), "Trends in the Weil-Being 
of America's Children and Youth: 
1995," Washington, DC. 



The President's Commit- 
tee would like to thank 
Judith Humphreys Weitz 
for preparing this report. 
Her longstanding experi- 
ence in shaping public 
policies and programs for 
children and youth and 
her personal background 
in the performing arts 
made her an ideal person 
for investigating this 
promising subject. 

Randy Cohen, Nancy Lan- 
gan and Rachel Moore of 
the National Assembly of 
Local Arts Agencies inter- 
viewed staff at hundreds of 
arts and humanities pro- 
grams for this report. Their 
diligence and dedication 
are deeply appreciated. 

Without the support of the 
Anncox Foundation, 
Foundation, Emily Hall 
Tremaine Foundation, 
Nathan Cummings Foun- 
dation, GE Fund and Har- 
ris Foundation, this report 
would not have happened. 
Special thanks go to Anne 
Cox Chambers, James D. 
Wolfensohn and Jennifer 
Jacobson, Sally Bowles 

and Susan M. Bullock, 
Joan Shigekawa and Clau- 
dine Brown, Jane Polin 
and Joan W. Harris for 
their enthusiasm for and 
belief in this project. 

Elizabeth Murfee's editorial 
and writing skills were of 
great value. We are grate- 
ful to Jayson Hait for her 
detailed review of the text. 
Beth Singer Design made 
the text come alive, com- 
municating through design 
the vitality of children and 
the promise of these pro- 

We would like to acknowl- 
edge the expert guidance 
of the Advisory Group. To 
the more than 100 organi- 
zations and public agen- 
cies that supplied the 
Committee with informa- 
tion about promising arts 
and humanities programs, 
we extend our gratitude. 
Special thanks go to Esther 
Mackintosh of the Federa- 
tion of State Humanities 
Councils and Patricia E. 
Williams of the American 
Association of Museums 
for their extensive efforts 
to identify programs. 

Wanda Fleming's paper on 
child and youth develop- 
ment provided us with 

important information and 
insight. A special note of 
gratitude goes to April 
Milander who consistently 
and thoroughly carried out 
myriad tasks vital to the 
research for this report. 

Ellen McCulloch-Lovell, 
executive director of the 
President's Committee, 
deserves acknowledgment 
for her critical role in 
developing and supporting 
this project from start to 
finish. The Youth Working 
Group of the President's 
Committee, co-chaired by 
Peggy Cooper Cafritz 
and Richard Gurin, 
provided valuable advice 
and support. 

The President's Commit- 
tee thanks the following 
for their sustaining sup- 
port during this project: 
Lerone Bennett, Jr., Man- 
dell L. and Madeleine H. 
Berman Foundation, Gold- 
smith Foundation, Sara 
Lee Corporation, Betty R. 
Sheffer Foundation and 
Warner Bros. 

And, finally, to the staff at 
the arts and humanities 
programs both identified 
for and profiled in this 
report, your imagination 
and commitment to the 
children and youth of this 
country is both appreciat- 
ed and applauded. 

The President's 
Committee on the Arts 
and the Humanities 

The President's Commit- 
tee on the Arts and the 
Humanities was created 
by Presidential Executive 
Order in 1982 to encour- 
age private sector support 
and to increase public 
appreciation of the value 
of the arts and the human- 
ities through projects, 
publications and meetings. 

Appointed by the Presi- 
dent, the Committee com- 
prises leading citizens 
from the private sector 
who have an interest in 
and commitment to the 
humanities and the arts. 
Its members also include 
the heads of 1 3 federal 
agencies with cultural pro- 
grams, such as the 
National Endowments for 
the Arts and the Humani- 
ties, the Institute of Muse- 
um Services, the 
Department of Education, 
the Smithsonian Institu- 
tion, the Library of Con- 
gress, the National Gallery 
of Art and The John F. 
Kennedy Center for the 
Performing Arts. 


National Assembly of 
Local Arts Agencies 

The National Assembly of 
Local Arts Agencies 
(NALAA) represents the 
nation's 3,800 local arts 
agencies. A local arts 
agency is a community 
organization or an agency 
of local government that 
supports cultural organiza- 
tions, provides services to 
artists and arts organiza- 
tions and presents arts 
programming to the pub- 
lic. Local arts agencies are 
vested with the responsi- 
bility to further local cul- 
tural and artistic interests 
and ensure access to 
them. To that end, 
NALAA, in partnership 
with its field, has devel- 
oped the Institute for 
Community Development 
and the Arts. The Institute 
educates local arts agen- 
cies, elected and appoint- 
ed municipal officials and 
arts funders about the 
important role of the arts 
as community change 
agents for economic, 
social and educational 

problems. Institute part- 
ners include Bravo Cable 
Network; International 
City/County Management 
Association; National 
Association of Counties; 
National Association of 
Towns and Townships; 
National Conference of 
State Legislatures; Nation- 
al Endowment for the 
Arts; National League of 
Cities; President's Com- 
mittee on the Arts and the 
Humanities and U.S. Con- 
ference of Mayors. The 
Institute is sponsored in 
part by the National 
Endowment for the Arts, 
The Pew Charitable Trusts, 
The Rockefeller Founda- 
tion, the Robert Sterling 
Clark Foundation and the 
Emily Hall Tremaine Foun- 
dation. For additional 
information, contact: 

927 15th Street, NW 
12th Floor 

Washington, DC 20005 
Phone: 202-371-2830 
Fax: 202-371-0424 

Additional Resources 

Federation of State 

Humanities Councils 
1600 Wilson Boulevard 
Suite 902 

Arlington, VA 22209 

Institute of Museum 

1100 Pennsylvania Avenue, NW 
Washington, DC 20506 

National Assembly of State 

Arts Agencies 
1010 Vermont Avenue, NW 
Suite 920 

Washington, DC 20005 

National Endowment 

for the Arts 
1100 Pennsylvania Avenue, NW 
Washington, DC 20506 

National Endowment 
for the Humanities 
1100 Pennsylvania Avenue, NW 
Washington, DC 20506 



Hillary Rodham Clinton 

Honorary Chair 

John Brademas 


Peggy Cooper Cafritz 

Vice Chair 

Cynthia Perrin 

Vice Chair 

Terry Semel 
Vice Chair 

Susan Barnes-Gelt 
Lerone Bennett, Jr. 
Madeleine Berman 
Curt Bradbury 
John H. Bryan 
Hilario Candela 
Anne Cox Chambers 
Margaret Corbett Daley 
Everett Fly 
David P. Gardner 
Harvey Golub 
Richard S. Gurin 
Irene Y. Hirano 
David Henry Hwang 
William Ivey 
Quincy Jones 
Emily Malino 
Robert Menschel 
Rita Moreno 
Jaroslav Pelikan 
Anthony Podesta 
Phyllis Rosen 
Marvin Sadik 
Ann Sheffer 
Raymond Smith 
Isaac Stern 
Dave Warren 
Shirley Wilhite 
Harold Williams 

Federal Members: 

Jane Alexander 
David Barrum 
James H. Billington 
Joseph D. Duffey 
Diane B. Frankel 
Sheldon Hackney 
I. Michael Heyman 
Roger Kennedy 
Earl A. Powell III 
Richard W. Riley 
Leslie Samuels 
Lawrence Wilker 
Timothy Wirth 

Executive Director 

President's Committee on the Arts 

and the Humanities 

1 1 00 Pennsylvania Avenue, NW 

Suite 526 

Washington, DC 20506 

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


—^ Institute for 


and the Arts