(navigation image)
Home American Libraries | Canadian Libraries | Universal Library | Community Texts | Project Gutenberg | Children's Library | Biodiversity Heritage Library | Additional Collections
Search: Advanced Search
Anonymous User (login or join us)
Upload
See other formats

Full text of "Coming up taller awards"


; 




^W A 




i : , 



^ The Coming Up Taller Awards are possible because of 

ft the generous support of both public and private-sector 

patrons. The following agencies, companies, corporations, 

£ organizations and individuals support this year's Coming 

< Up Taller Awards, this commemorative publication, 

™ and related activities. 
CD 

a 

QfQ Agnes Gund and Daniel Shapiro 
3 Beth Singer Design 

Betsy and Alan Cohn Foundation 

* BVK 

U* Cranium, Inc. 
First Book 

Green Family Foundation 
The Harman Family Foundation, 

Jane and Sidney Harman 
Harriet Mayor Fulbright Fund 
Highland Street Connection 
Institute for Civil Society 
Istros Media Corporation 
MasterCard International 
National Endowment for the Arts 
National Endowment for the Humanities 
New York Stock Exchange, Inc. 
Samsonite Corporation 
S.H. and Helen R. Scheuer 

Family Foundation 
Surdna 
U.S. Department of Education 




fD 




Credits 

Editors: Barbara Hall, 

Judith Humphreys Weitz 
Booklet Design: Beth Singer Design 

Printing: Reese Press 

Coming Up Taller Initiative Logo Design: 

Anthony Ruotolo and Fang Zhou, Hachette 
Filipacchi Magazines 

Cover Photographs: Top: Young artists stand 
in front of "The Peace Wall," a mural they 
created with the Philadelphia Mural Arts Pro- 
gram in response to a racial incident in their 
neighborhood. Photographer: Jack Ramsdale 
Bottom: A team of students from the Educa- 
tional Video Center, Inc. take a break from 
shooting to pose for the camera themselves. 
Photographer: Torrance York 

Title Page Photograph: A young boy from 
Inner-City Arts shows off his self-portrait 
in painting class. 

Coming Up Taller Staff: Ashley Carr, Lee 
Kessler, Judith Humpherys Weitz 



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



This publication is available from the President's 
Committee on the Arts and the Humanities at 
www.pcah.gov or 1100 Pennsylvania Avenue, 
NW, Suite 526, Washington, DC 20506. 
Phone: 202-682-5409 Fax: 202-682-5668 



"There is no way to fast 

I su and know how the 



will look back on this, 



but I have seen the f\©^/ in 
their eyes and have heard 
it in their w©mmm and I have 
watched them take a bow 



and 



ome Up Tall 



if 



Founder of The 52nd Street Project, 
describing the impact of this theater 
program on youth living in "Hell's Kitchen," 
a neighborhood in New York City. 






4* 



£ 

E 



o 
Z 



When I was a child, I loved 
the written word, reading, 
and books. My imagination soared 
through the stories and characters 
that emerged every time I picked 
up a book. 

Books are magical. Between their 
covers lie journeys of the imagina- 
tion to unknown places, different 
people's lives, and other times. 
Their content gives voice and per- 
spective to our own thoughts and 
feelings. Their words remind us of 
the power and beauty of language. 

The fourth annual Coming Up 
Taller Awards also are about magic, 
imagination, and excellence. These 
awards celebrate the creativity of 
our young people and the excel- 
lence of after-school, weekend and 
summer arts and humanities pro- 
grams for children, especially those 
who live in family and community 
circumstances that offer few oppor- 
tunities for discovery and creative 
expression. 

The cultural programs honored 
by Coming Up Taller give young 
people a chance to discover their 
potential through the arts, words, 
and ideas — an opportunity to devel- 
op self-confidence and new skills. 



Young people create new visions 
of themselves, their families, and 
communities through making docu- 
mentary videos and community 
murals, or portraying the lives of 
historic luminaries in performance. 
Children raise their voices in hope 
and joy by singing gospel music 
"like anointed angels," or translate 
their favorite children's book into 
designs for tile murals. Young chil- 
dren and teens alike are developing 
new skills, meeting new friends, 
and experiencing the pride that 
comes from discipline, mastery and 
accomplishment. 

Through these Coming Up Taller 
programs, our historians, writers, 
librarians, performing and visual 
artists, and media experts play an 
important role in transforming chil- 
dren's lives. 

As Honorary Chair of the Presi- 
dent's Committee on the Arts 
and the Humanities, I join with the 
members of the President's Com- 
mittee, the National Endowment for 
the Humanities, and the National 
Endowment for the Arts in saluting 
this year's awardees. We celebrate 
the creativity of America's young 
people and the willingness of our 
cultural community to invest in mak- 
ing every child's life a work of art. 




Laura Bush 



This year the Coming Up Taller 
Awards, sponsored by the 
President's Committee on the Arts 
and the Humanities, the National 
Endowment for the Arts, and 
the National Endowment for the 
Humanities, recognize ten out- 
standing community arts and 
humanities programs that provide 
America's young people with 
creative learning opportunities 
outside the regular school day. 

The programs honored by these 
awards are important to our nation 
because they focus on America's 
most precious resource — our chil- 
dren. These programs give young 
people positive outlets for their 
boundless energy, imagination 
and capacity to learn. At the same 
time, they provide another critical 
element in a child's development — 
the guidance, supervision, and 
mentoring of caring adults. 

In safe environments all across 
America, children are learning to 
understand the world around them 
and to express themselves through 
stories, music, poetry, film, drama, 
and song. By painting murals, per- 
forming historic plays, and learning 
traditional rituals, they are exploring 
their creativity and their connection 
to their community. And, as chil- 
dren work together, they learn 
important lessons they can use 



throughout their lives — communica- 
tion skills, self-discipline, and team- 
work. They also learn that their 
contribution to their team and their 
community truly makes a difference. 
Together, these experiences prepare 
them to be more productive — and 
more creative — citizens. 

The Coming Up Taller Awards 
celebrate the promise that lies with- 
in every child in America. These 
awards also salute the dedicated 
community leaders, artists and 
teachers who invest their time and 
talents to ensure that the promise 
of America's children is realized. 

President's Committee on the Arts 
and the Humanities 

National Endowment for the Arts 

National Endowment for the 
Humanities 



ft 

o 

3 

3 

c 

"O 

i 





7 
ft 
(D 

■n 

C 

c 
3 



<£ 














ARTISTS FOR HUMANITY 

288-300 A Street 
Boston, MA 022 10 
Tel: 6 1 7-737-2455 
Fax:617-737-2457 
Email: AFH@ziplink.net 
www.afhboston.com 

Focus: Visual Arts 

Annual Number Participating: 400 

Ages: 14-18 

Annual Budget: $ 1 ,248,598 

"Artists For Humanity connects people 
through experience. This process helps 
us understand ourselves and our poten- 
tial in the world." 

Susan Rodgerson, Executive Director 



John Brewer 



Above: A collage of 
self-portraits by part- 
icipants. Opposite: 
Young painters hard 
at work in the studio. 






Walk in the door and this is what 
you will find: a group of adolescent 
girls taking inventory of their newly 
designed T-shirts that are now ready 
for market; a cluster of young people 
around a computer completing a pro- 
ject for a client; two young painters 
working on a massive canvas; and 
another youth, with a professional 
artist creating a sculpture in the 
corner. The sound of tools and music 
surround you. The room buzzes 
with energy and concentration. 

Ten years ago, Susan Rodgerson, 
artist, teacher, and entrepreneur, 
set out to address the lack of arts 
experiences within the Boston Public 
School system. Her vision was to 
inspire teens at an inner-city school 
to engage in the creative process 
through the visual arts. The intent 
was to communicate their experi- 
ences to a larger world, thereby 
empowering them and educating 
the community. She found young 
people hungry for the opportunity to 
have a voice in the world. Artists For 
Humanity began as, and continues 
to be, an entrepreneurial venture 
with the objective of producing and 
marketing art work by teens that 
reflects the rich cultural diversity 
of urban life to Boston's business 
community. 



Artists For Humanity participants 
learn the techniques and tools of 
professional artists and the business 
world while experiencing education, 
employment, artistic exploration, and 
hands-on entrepreneurship. As a 
result, participants gain a sense of 
self- worth, ambition, and the capacity 
to play a meaningful role in the world 
beyond their neighborhoods. This 
experience produces life-transforming 
change for youth and for their com- 
munities. 

Boston's business community 
increasingly turns to the vibrant 
talent of Artists For Humanity's 
young artists. Clients have purchased 
design services for T-shirts, calen- 
dars, full-scale murals, annual reports, 
educational materials and national 
health campaigns. 

Next year, Artists For Humanity 
will move to a new home, but some 
things won't change. There too, as 
Mary Kelly, the executive director of 
the Massachusetts Cultural Council 
notes, they will continue "to walk 
that fine line between promoting 
the arts as a commodity and arts as 
a means of creative expression and 
exploration." 



f* 

■i* 

CA 

ft 
(A 

Tl 

o 

z 

c 

3 

&> 

3 



Jeff Winning 







> 


-o 


^ 


(D 


i+ 


T 


■■• 


P 

H 


ft 

(A 


3" 


1 


P 


3 
i 

H 




(D 


■* 







■*% 


3 


(/) 


■■• 


p 


3 


5* 


DQ 


rt 




^ 









c 





l/> 




"At first, I thought it was a joke. A 
black opera singer?" The speaker 
is Jermaine Smith, a young African- 
American baritone who, since grad- 
uating from Opera Theatre of Saint 
Louis' Artists-in-Training (AIT) 
program, has begun a career as 
a professional opera singer. 

With studio space and faculty 
from area universities, including 
Webster University, Washington 
University and the University of 
Missouri-St. Louis, the Artists-in- 
Training program provides high- 
school singers the opportunity to 
set and achieve artistic goals, 
become more involved and visible 
in the community and prepare for 
life beyond high school. It is the first 
program of its kind in the country. 
During the school year, AIT stu- 
dents take part in weekly individual 
voice lessons with Opera Theatre 
professionals, attend a fall orienta- 
tion and a spring college retreat. 
Each winter, they participate in a 
ten-day visiting artist residency, 
taking master classes with 
renowned college voice teachers. 
They also participate in group 
rehearsals and informal community 
performances. 

Now in its second decade, AIT 
was created with the belief that 

urban school students have 
vocal talents that are 
largely untapped. Seven- 
ty-five percent of partici- 
pants come from city 
schools. To qualify for 
the program, students 
must audition, submit 
academic records and 
teacher recommen- 



dations. The program also places 
great emphasis on academic achieve- 
ment. A mandatory minimum GPA 
of 2.5 must be maintained, and 
many students, for the first time, 
consider a college career. Academic 
counseling is made available. 

AIT culminates each April with 
a recital at which scholarship mon- 
ey is awarded for college tuition 
or further vocal study. More than 
80 young people have completed 
the core AIT program successfully, 
all but one of whom graduated from 
high school. In the last three years, 
90 percent of graduating seniors 
enrolled in college. 

Several auxiliary initiatives sup- 
port the core program. Each June, 
Opera Theatre holds a weeklong 
"Spring Training" for students who 
auditioned but weren't selected 
for AIT. This "mini-conservatory" 
better acquaints students with the 
world of professional opera and 
helps prepare them for the next round 
of AIT auditions. Opera Theatre 
has established formal matching 
scholarship agreements for AIT 
students with Webster University 
and University of Missouri-St. Louis. 
This year, "AIT-To-Go" was launched, 
making AIT faculty available to 
three St. Louis public high schools 
to work with students in groups or 
individually. 

While the majority of AIT students 
probably will not have careers in 
music, each student's life is positively 
affected. Students have the chance 
to set and achieve artistic goals, 
and explore their own capabilities. 



Ken Howard 





I 



Opera Theatre of Saint Louis 

P.O.Box 191910 

St. Louis, Missouri 631 19 

Tel: 314-961-0171 

Fax:314-961-7463 

E-mail: afelter@opera-stl.org 

URL: www.opera-stl.org 

Focus: Opera 

Annual Number Participating: 45 

Ages: 15-18 

Annual Budget: $ 1 09,000 

"What they learn goes beyond music; 
they develop skills that will serve them 
throughout their lives." 

Lynn Barth, Director, Corporate 
Contributions, Monsanto Fund 



Maurice Meredith 



Bailey proper singing 
techniques. Opposite: 
Artists-in-Training 
student Robert L. 
McNichols, Jr. featured 
in the title role of 
Joshua's Boots, an 
opera for young people 
commissioned by the 
Opera Theatre. 



ARTS AND CULTURAL 
PRESERVATION PROGRAM 
YOUTH/ELDER INITIATIVE 
Tohono O'odham 
Community Action 

P.O.Box 1790 

Sells, Arizona 85634 

Tel: 520-383-4966 

Fax: 520-383-5286 

E-mail: wynread@earthlink.net 

Focus:Traditional Culture 
Annual Number Participating: 600 
Ages: 8- 1 8 
Annual Budget: $ 1 54,000 

"The theme... is the O'odham Himdag: 
wisdom from the past, creating solutions 
for the future." 

Terrol Dew Johnson, Co-Director, 
TOCA 




Below: Students have 
fun during traditional 
pottery class. 
Opposite: TOCA's tra- 
ditional dancers, ages 
4 to 18, perform. 



t 




Members of the Tohono O'odham 
Nation are striving to lift their peo- 
ple, their children in particular, by 
creating hope, cultural pride and 
economic opportunities. 

The tribe's territory is in the heart 
of the Sonoran Desert, 60 miles west 
of Tucson, Arizona. Their land spans 
4,600 square miles, a region larger 
than the state of Connecticut. Per 
capita income is $3,113, with fewer 
than half of the young people finish- 
ing high school. Yet, almost three- 
fourths of the tribe are 25 years old 
or younger. 

In the face of these facts, the 
leaders in 1996 established an orga- 
nization to foster cultural revitaliza- 
tion and community development. 
Forming a strong cultural identity 
is important to the development of 
young people. "Who are we? What 
does it mean to be Tohono O'odham 
in today's world? Through our arts 
and culture programs, we strive to 
help young people answer these 
questions," notes Co-Director Terrol 
Dew Johnson. 

To help youth develop a strong 
cultural identity, Tohono 
O'odham Community 
Action (TOCA) offers 
after-school and 
summer arts and 
culture programs 
that cover a wide 
cultural spectrum — 
traditional mask- 
making, pottery, 
basketry, story- 
telling, oral history 
activities, and tra- 
ditional singing 
and dancing — 




all to preserve 

and rejuvenate 

the O'odham legacy. 

TOCA also coordinates an 
Elder/Youth Outreach Initiative 
where young people and elders join 
together to share cultural knowledge. 
Working together, for example, elders 
and youth have brought back the 
jujkida — the rain ceremony — to a 
village where it had not been 
performed in more than 30 years. 

What perhaps distinguishes 
TOCA's work with youth, however, 
is its commitment to the education 
and development of their youth in 
the context of community. Young 
people are engaged in activities 
that address the challenges faced 
by their families, villages and tribe 
as a whole. TOCA's assumption is 
that the well-being and future of the 
Tohono community rests with its 
young people — their contributions 
to community solutions today and 
to community leadership tomorrow. 
Once these young people reach 
maturity, they will be grounded in 
their rich cultural heritage, and they 
will have the skills to shepherd their 
people. 

These varied ventures add up to 
hope for Tohono O'odham's survival. 
The intent, simply, is to teach 
children the O'odham Himdag — 
"the Desert People's Way." 



o 

3 
O 



o 

Q. 

3 

n 

o 
3 
3 



> 



c 



m 

E 
o 



> 

V) 

3 

a 



n 

c 

5 

e 
3 



3 

«* 
% 3 

CD 

< 

ft 

■■• 



3 

3 

3 

3 



II 



-n 


09 








■"5 


*< 


El 






O 

7 


P 








T 


c 





3 




■H t 


H 


(D 


» 


^ 




V) 


MB 




tf 


< 


7 


O 


0_ 









^» 




(/) 










p 



o 



Started in 1995 under the auspices 
of the School of Social Work at Flori- 
da State University, the Boys' Choir 
of Tallahassee's motto is "No Excus- 
es." 

While no auditions are required, 
members of the choir are expected 
to reach for academic, social and 
performance excellence. Meeting 
three times a week from 2:30 to 8 
p.m., they attend study hall, and 
complete their homework, tutored 
by interns and volunteers when 
necessary They also are required to 
attend multi-session meetings on 
four topics: developing self-esteem, 
building relationships, learning how 
the juvenile justice system works, 
and building reading skills. 

Choir rehearsals, typically two 
hours long, are vigorous and rigor- 
ous. Led with love and old-fash- 
ioned discipline by Professor Earle 
Lee, Jr., these rehearsals refine the 
boys' renditions of gospel, patriotic 
songs, spirituals, show tunes, and 
popular pieces. 



Sites for performances range far 
and wide. The choir frequently sings 
within Florida. It also travels to 
surrounding states four or five times 
a year. And there have been more 
distant venues, from the Library of 
Congress in Washington, DC to 
Saint Peter's Basilica in Rome, Italy. 

Standing "ramrod-straight" and 
"singing like anointed angels," the 
choirboys have won awards for 
their music and their spirit. However, 
after the applause and the awards, 
they come home to celebrate other 
achievements: grade averages 
improving and high school seniors 
moving on to college. Each of these 
successes speaks to the importance 
of using an art form to help young 
people develop mentally, emotionally, 
and spiritually. 



Below: Executive 
Director Earle Lee, Jr. 
pauses for applause 
during a performance. 
Opposite: The boys 
sing in harmony. 




Reggie Grant 




OIR OF 
TALLAHASSEE 
Florida State University 
School of Social Work 

2501 University Center 

Tallahassee, Florida 32306-2570 

Tel: 850-644-974 1 

Fax:850-644-9741 

E-mail: elee@mailer.fsu.edu 

Focus:Vocal Music 

Annual Number Participating: 145 

Ages: 8- 1 8 

Annual Budget: $450,000 

"Instead of looking down from the 
bench on these young people on 
sentencing day, I take great comfort in 
looking up to them at performance 
time, and I enthusiastically share 
their pride in their academic achieve- 
ments at report card time." 

Charles E. Miner, Jr. 

Judge, District Court of Appeals 
State of Florida 



m 





Q. 
C 



n 

C 




3 


3 

(D 

3 




i* 


< 


S> 


■M* 


T 


Q. 


"< 





* 


n 





rD 


T 


3 


* 


r* 


(fl 


G 

^ 


7 


>• • 





3 


PO 



Alan Mendoza 



Founded in 1984, Educational Video 
Center (EVC) is a pioneer in teaching 
young people documentary produc- 
tion and media analysis. Housed in 
an alternative high school in space 
donated by the New York City 
Board of Education, EVC teaches 
youth to research, write, interview, 
shoot, and edit documentaries that 
critically explore issues of immediate 
importance in their lives. Professional 
media artists coach groups of 
teenagers from the five boroughs of 
New York City to work collaboratively, 
ask good questions, and observe 
the familiar world around them with 
new eyes. Through this experience, 
they also learn to make aesthetic 
judgments about how particular 
camera angles, lighting, music and 
sound layering, and digital editing 
shape stories. 

EVC's Documentary Workshop 
fosters a culture of self-reflection by 
having the young videographers keep 
regular journals - records of their 
ideas, observations, reactions and 
questions. At the conclusion of 
intensive 20- week sessions, students 
present what they have learned to 
parents, community members and 
video artists in "portfolio roundtables." 
They demonstrate their growth and 
accomplishment by showing tapes, 
journal entries, drafts of interview 
questions, edit plans, and other 
evidence of what they learned 
about the media arts. The roundtables 
require students to present a vigorous 
oral defense of their work and the 
creative process behind it. 




^ * , 



^ 1^ 



Opposite: An EVC 
cameraman on loca- 
__ _ _ . tion. Above: EVC 

EVC youth 

J crew out on a shoot. 

have produced 

over 75 documentaries. Their tapes 
have won more than 100 national 
and international festival awards, 
including an Emmy. Their videos 
are screened for public audiences in 
schools, libraries, community cen- 
ters, museums, and on cable and 
broadcast television. 

Perhaps most important, an 
estimated 85 percent of EVC youth 
graduate from high school despite 
the fact that many of them were 
considered academically at risk. 
Hundreds have gone on to college 
and to work in the media 
or technology fields. How 
ever, prowess in the 
media arts is not their 
only accomplishment. 
As Founder and Execu- 
tive Director Steven 
Goodman notes, 
"Teaching kids to make 
documentaries has 
always been the thing that 
we do here. But it is not the main 
point. The point is the critical and 
creative skills learned along the 
way." 




14 



DOCUMENTARY WORKSHOP 
Educational Video Center Inc. 



1 20 West 30th Street, 7th Floor 

New York, New York 1 000 1 

Tel: 2 1 2-465-9366 

Fax:212-465-9369 

E-mail: Goodman_Steve99@hotmail.com 

URL: www.evc.org 

Focus: Video Arts 

Annual Number Participating: 60 

Ages: 16-19 

Annual Budget: $ 1 3 1 ,000 

"I learned I was real good at skills 
I didn't even know I had." 

Documentary Workshop 
Participant y^ 






^Sk 







''Cfe- 





L 


f 


i 



IP* 




Joan Jubela 






♦<*: 



'•~ ; 




K 



^ 




J 



At 



GREAT BASIN YOUNG 
CHAUTAUQUANS 
Nevada Humanities 
Committee 

P.O. Box 8 1 29 
Reno, Nevada 89507 
Tel: 775-784-6587 
Fax: 775-784-6527 
E-mail: maryt@unr.edu 
URL: www.unr.edu/nhc 

Focus: History & Performance 
Annual Number Participating: 1 00 
Ages: 8- 1 8 
Annual Budget: $ 1 0,5 1 9 

"When you start learning about your 
character, it changes the way you view 
history and life." 

Carissa Monfalcone, Program 
Participant 



Above: Carissa 
Monfalcone performs 
at Wingfield park in 
downtown Reno. 
Opposite: Marisa Peri 
dressed as Amelia 
Earhart. 



Meet Evita, Laura Ingalls Wilder, 
Georgia O'Keeffe and Henry Clay. 
These historic luminaries are among 
the characters studied and portrayed 
in performance by young people 
through the Great Basin Young 
Chautauquans program. Children, 
in the guise of historical figures, 
deliver monologues describing their 
characters' lives and thoughts. 
Through question and answer ses- 
sions after the performances, partic- 
ipants, in character and as 
independent scholars, engage their 
audiences in discussions. 

Nevada's Young Chautauquans 
program is the first of its kind in the 
nation. A great strength of the pro- 
gram is that it was first requested 
by children themselves. Inspired by 
the adult-oriented Great Basin 
Chautauqua, Nevada's young people 
sought to participate; thus the Great 
Basin Young Chautauquans pro- 
gram was born. 

Each year the culminating per- 
formance takes place in July under 
"the big tent." Leading up to that 
grand finale, young people attend 
evening workshops twice a month, 
January to June. They choose and 
study their characters during this 
time, then play them in smaller 
venues in the late spring. Audiences 
for these performances can include 
4H-Clubs, Rotary Club or Scout 
meetings, teacher conferences, 
book festivals, or university confer- 
ences. 



While the result are entertaining 
and the process of getting to a 
performance looks easy, re-creating 
these historical figures and their 
times requires extensive library and 
internet research, careful reading 
and note-taking, preparation of 
monologues and practicing. Par- 
ents, teachers, and humanities 
scholars play a vital part in the pro- 
gram. They work alongside the chil- 
dren from start to finish, building 
each child's sense of responsibility 
and adult confidence in them. 

Over time, the program has had 
an impressive ripple effect. A 
2000 National Endowment for the 
Humanities grant financed a satellite 
version for rural Nevada children 
through their schools and the publi- 
cation of a new handbook guiding 
implementation of the program. In 
addition, replications of the Nevada 
model have emerged in Maryland, 
Nebraska, Oklahoma, and 
Wyoming. 

A key to Young Chautauquans' 
success is its pledge to provide 
what organizers call "a social 
forum where it's cool for youth 
to be smart, to read widely and 
well, and to have big ideas about 
the role they can play in soci- 
ety as they grow up." 



z 


O 


fD 


T 


< 


O 


P> 


St) 


CL 


** 


P 




X 


09 


£ 


(A 


3 


3 


P> 




3 # 


* 


3[ 


O 


5* 


c 


</> 


3 


o 


M 





n 


3 


3* 


3 


C 


rf 


ft 




s 




.0 




c 




&> 



Stephen Davis 




3 
(b 

7 
ft 

> 

rf 






f* 

> 

ft 



ft 
o 

A 

7 



■o 



PQ 

"5 

fii 



It's been called "an awe-inspiring 
oasis" in a downtown Los Angeles 
neighborhood known as "skid row." 
Inner-City Arts, located in a 
beautifully converted auto body 
shop, is tangible evidence of the 
transformative powers of the arts. 
For the children and their families 
who go there, it is a sanctuary that 
both soothes and dazzles. 

Inner-City Arts was created in 
1989 when visual artist Bob Bates 
teamed up with area businessperson 
Irwin Jaeger to do something in 
response to severe cuts in the Los 
Angeles school budget. Right from 
the start, the founders were particu- 
larly concerned about the impact of 
these cuts on the children least likely 
to have other opportunities for 
discovery and creative expression. 

Recognizing that the after-school 
hours offered an opportunity, Inner- 
City Arts developed a program that 
provides children from 14 local ele- 
mentary schools hands-on activities 




in the visual arts, dance, digital ani- 
mation, music and choir in classes 
held from 3 to 7 p.m., four days a 
week. Engaging some 800 children a 
year, the organization offers the only 
non-tuition-based arts education 
available to the children of downtown 
Los Angeles. 

Most of the children are Latino, 
many with limited English language 
proficiency. A majority live within 
walking distance of the center and 
an estimated one-third of the children 
are classified as homeless. Few would 
have meaningful cultural exposure 
were it not for Inner-City Arts. 

A recent study conducted by the 
University of California Los Angeles 
(UCLA) reveals that exposure is not 
the only benefit of Inner-City Arts. 
Children who attend perform better 
on standardized tests in language, 
reading, and math than children 
who do not. 

Inner-City Arts is proud of these 
results. However, it also values a 
teaching philosophy that provides 
a non-threatening, non-competitive 
atmosphere for these young learners. 
According to Cynthia S. Hamisch, 
executive director of Inner-City 
Arts, "There is no bad art. There are 
no bad feelings. In art there are no 
mistakes or wrong answers. Only 
endless opportunities to experience 
the success of creating something 
from the heart." 







INNER-CITY ARTS AFTER 
SCHOOL PROGRAM 
Inner-City Arts 

720 Kohler Street 

Los Angeles, California 9002 1 

Tel: 2 1 3-627-962 1 

Fax:213-627-6469 

E-mail: Cynthia@inner-cityarts.org 

URL: www.inner-cityarts.org 

: ocus: Visual & Performing Arts 
^nual Number Participating: 800 
^ges: 7- 1 7 years 
Annual Budget: $ 1 09, 1 34 

"The results of this program show 
hat students touched by Inner-City 

Arts are better able to experience 

success in school." 

Ruben Zacarias, Former 
Superintendent, Los Angeles 
Unified School District 



Above: Eva and her 
class learn the art 
of Polynesian dance. 
Opposite: Students in 
music class play per- 
cussion instruments. 






m 

c 



3 

o 

m 



n QfQ 

m 

T 

o 



o 

1 







a 



Eleven years and thousands of 
appreciative families ago, the Biggs 
Center embarked on an odyssey. At 
the center of this journey is an inno- 
vative partnership between a local 
school district and a non-profit 
childcare agency. Crucial to its suc- 
cess is a cooperative pledge with 
the community to transform the 
lives of children who today often 
speak of "dreaming about the bal- 
let" or of "sculpting every dinosaur 
in the book." 

The Biggs Center is located in a 
renovated school building on a busy 
street. Many of the area's families 
are urban Appalachians, with a 
growing population of newly arrived 
immigrants from Latin countries. 
The Biggs Center provides the 
young children a rich and varied 
menu of arts encounters, literacy 
immersion, family involvement, and 
support services above and beyond 
the norm. 

Examples: A Family Literacy 
Campaign, into which the fine arts 
are incorporated. It starts with a 
storyteller to coax stories from the 
children. Then, a theater artist works 
with the children and their parents 
on a community performance based 
on the stories. A fabric artist assists 
parents in making quilts that reflect 
family stories. A potter helps children 
and parents create tile murals based 
on a favorite children's book. Anoth- 




er example: A photographer guides 
children in using a 35mm camera to 
capture their environments. The 
children share the results in a show 
titled "The World Through My 
Eyes." Or, children learn about visu- 
al artists such as Jackson Pollock, 
Alexander C alder, Claude Monet, or 
Marc Chagall and, later, "interpret 
these styles in pre-school fashion." 

As for the "above and beyond" 
services, Biggs families rely on the 
Family Resource Center. There, they 
enhance their parenting skills, gain 
a GED and career training, or even 
participate in a grandparent support 
program. The Biggs Center also 
makes available a team of family 
advocates to mediate crisis situa- 
tions should they occur. 

Covington's circumstances may 
seem daunting: low standardized 
test scores, high poverty and school 
dropout rates. But assessments of 
the Biggs experience hold out hope 
for this community. Young children 
are learning to resolve conflict 
peacefully. Preschoolers, who show 
early signs of behavioral problems, 
embrace the kinesthetic approach 
to learning of dance and movement. 
Both photography and music lend 
new "voices" to children with speech 
and language delays. 

Children enrolled in Biggs 
outscore other children on various 
kindergarten readiness indicators, 
including early reading ability. 
But equally important, as parent 
Melanie Lyons puts it, "Children 
learn that life is fun; school is fun." 



JAMES E. BIGGS EARLY 
CHILDHOOD EDUCATION 
CENTER 

I 124 Scott Boulevard 

Covington, KY 4101 I 

Tel: 859-292-5895 

Fax: 859-292-5956 

E-mail: drrocky@covington.kl 2.ky.us 

Focus: Multidisciplinary 

Annual Number Participating: 370 

Ages: 3-5 

Annual Budget: $9 1 3,664 

"This is the time when young minds 
are open and the synapses are firing. 
I believe some of these children will 
grow up to be great artists and all of 
them will be in a much better position 
to be successful." 

Dr. Diane Roketenetz, Director, 
James E. Biggs Early Childhood 
Education Center 



Below: Students try 
to figure out a ballet 
position. Opposite: 
Students play with 
puppets as they learn 
new ways of telling 
stories. 





PHILADELPHIA DEPARTMEN 
OF RECREATION 
MURAL ARTS PROGRAM 

15 15 Arch Street, I Oth Floor 

Philadelphia, Pennsylvania 19102 

Tel: 2 1 5-683-3689 

Fax:215-683-3597 

E-mail: jane.golden@phila.gov 

URL: www.muralarts.org 

Focus: Mural Arts 

Annual Number Participating: 1 ,000 

Ages: 8- 1 5 

Annual Budget: $ 1 ,829,943 

"Murals stimulate conversation between 
strangers and become a centerpiece 
to the neighborhood, depicting our his- 
tories and our hopes for the future." 

Peaches Ramos, Resident 



* ? 



h 






■ 



? 



Jack Ramsdale 



The Mural Arts Program (MAP) 
was conceived in 1984 as part of 
an initiative aimed at eradicating 
graffiti throughout Philadelphia. The 
initiative included a massive graffiti 
removal effort along with a mural 
painting component designed to 
engage adjudicated graffiti writers in 
learning more positive and productive 
ways to express their creativity. In 
1996, the mural painting component 
was reconfigured as a separate 
organization, renamed the Mural 
Arts Program, and given a "home" 
in the City of Philadelphia's 
Department of Recreation. 

In 1997 MAP developed a 
sequenced, year-round curriculum 
that incorporates art workshops, 
skills training and basic employment 
that keeps young people engaged in 
productive art and community related 
activities. Currently, MAP's educa- 
tional workshops are offered at 23 
sites including schools, recreation 
centers, homeless shelters, detention 
centers and cultural institutions. All 
education programs are taught by a 
professional artist and are free of 
charge. 

MAP's art education programs 
expose young people to the historical 
tradition of mural art as well as to 
different careers that draw on the 
skills associated with this craft. 
After learning about mural history 



and basic drawing and painting, 
students are taught specific mural 
planning and painting techniques 
(e.g. how to design, lay out and 
transfer a design to a wall, apply 
paint and seal murals once they are 
painted). As part of their education, 
students also gain experience in basic 
work-related skills such as project 
planning, budgeting, purchasing, 
communications and teamwork. 
Mural workshops culminate with 
participants assisting artists in the 
design and execution of a full-scale 
community mural. 

Over the past 17 years, MAP has 
created more than 2,000 murals 
throughout Philadelphia and has 
engaged more than 12,000 young 
people in pursuit of its mission of 
providing Philadelphia's youth and 
communities with hope through art. 
The program gives young people a 
chance to contribute directly to the 
beautification and improvement of 
their neighborhoods, a sense of place 
and a way to make their own artistic 
contributions. It engenders pride, 
excellence, diligence and civic 
responsibility. 

Right: A young artist 
from the Overbrook 
School for the Blind 
displays the tile mural 
she helped create. 
Opposite: Young people, 
at the Cruz Recreation 
Center, hard at work 
on their community 
mural project. 



JO 

o 
n 



z 

c 



to 




QfQ 

3 



a 



P 

o 

(D 

P 

ft 

3 

o 

3 
rt 



r^r 




m sdale 



23 




YOUNG STRINGS 

Dallas Symphony Orchestra 

2301 Flora Street, Suite 300 

Dallas,Texas 75201-2497 

Tel: 2 1 4-87 1 -40 1 9 

Fax:214-953-1218 

E-mail: lbinford@dalsym.com 

URL: www.dallassymphony.com 

Focus: Music 

Annual Number Participating: 1 50 

Ages: 5- 1 8 

Annual Budget: $ 1 34,000 

"The talent displayed by these poised 
and confident young musicians astound- 
ed me, and as I learned more about the 
program, I realized that Young Strings 
changes lives." 

Michael L. Rosenberg, Financial 
Supporter, The Michael L Rosenberg 
Foundation, Dallas, Texas 



Below: Violinists 
Jonathan Raveneau 
and Charles Jones 
perform Bach. 
Opposite: Young 
Strings Prelude 
Division students 
show off their 
music skills. 







^ o 




/ 




A decade ago, D wight Shambley, a 
Dallas Symphony Orchestra (DSO) 
musician, decided he wanted to give 
back to his community. He was not 
alone. Another Dallas Symphony 
Orchestra player, Marion Davies, 
cultural leader Dolores Gomez 
Barzune, and Dallas attorney Kevin 
Wiggins joined Mr. Shambley to 
create Young Strings, a program 
dedicated to providing music lessons 
to young, gifted, primarily minority 
children from the Dallas area. 

The program went so well that, 
in 19.94, the Dallas Symphony 
Orchestra agreed to adopt and 
enhance Young Strings. With 
financing from 7-Eleven, Inc., local 
foundations, and others, DSO 
designed a three-level course of 
instruction. Working closely with 
public school teachers, staff identified 
promising kindergarteners for tier 
one, formally called the Prelude 
Division. These children sing songs 
to develop pitch, do movement 
activities to strengthen their physical 
coordination and sense of rhythm, 
play games that teach musical 
notation and learn about musical 
instruments. 

At the tier two level, the Over- 
ture Division, students take twice 
weekly, semi-private instrument 
lessons. Instructors trained 
^^^^^ in the Suzuki method 
m teach them. 
W Students from all 

W over Dallas audition for 

W the third tier, the Finale 

W Division. These partici- 
W pants receive weekly private 
W lessons, often with a musi- 

Ruda Phc 



cian from the symphony. The 
instructor, in addition to teaching 
the instrument, offers coaching, 
counseling, and mentoring, when 
needed. Finale Division parents and 
participants sign an annual agree- 
ment laying out the requirements 
for continued participation: measur- 
able improvements, regular atten- 
dance, a minimum grade-point 
average, and participation in Young 
Strings performances and activities. 
Young Strings, in sum, discovers, 
develops, and promotes the musical 
talents of Dallas youth. 

In addition to these age- and 
skill-appropriate classes, Young 
Strings students also get free con- 
cert tickets, attend master classes, 
and meet guest artists. A commu- 
nity-based advisory board provides 
access to social and 
educational services 
for students needing 
further support, 
such as tutoring or 
counseling. And, a 
Young Strings 
Instrument Loan 
Bank assures all students access to 
quality instruments. 

As Dolores Gomez Barzune, chair 
of the Dallas Cultural Affairs Com- 
mission notes, "Yes, Young Strings 
offers talented African-American 
and Hispanic students an opportu- 
nity to gain professional level music 
instruction, but it also gives them a 
reason to stay in school, stay out of 
gangs, and set their goals for them- 
selves a little higher than they 
might otherwise have done." 



D 

EL 

</> 

3 



1 

C 

u 3 

Ira 

(A 

f* 

3 

V) 



ft 




Ruda Photography 



Ruda Photography 



25 



• Ml 



E 

CO 

IA 

I 

1 

al 

3 

c 

E 

o 
u 

o 
o 
n 

o 

£ 




26 



A Company of Girls 

Portland, ME 

AileyCamp 

Kansas City Friends of Alvin Ailey 

Kansas City, MO 

Albany Park Theater Project 

Chicago, IL 

Art a la Carte 

Federated Dorchester Neighborhood 
Houses, Inc. 

Dorchester, MA 

Art-At-Work 

Fulton County Arts Council 

Atlanta, GA 

Art Start, Inc. 

New York, NY 

Arts Academy Teen Arts 

South Boston Neighborhood House 

Boston, MA 

Arts Connection 
Lane Arts Council 

Eugene, OR 

Arts in Common 
Fitton Center 

for Creative Arts 

Hamilton, OH 

Butte Center for the Performing Arts 

Butte, MT 

City Center Art 
Space One Eleven 

Birmingham, AL 

Community Arts Partnership 
California Institute of the Arts 

Valencia, CA 

Coyote Junior High 

Seattle, WA 



DRAMAGIRLS 
Redmoon Theater 

Chicago, IL 



Positive Directions Through Dance 
Dance Institute of Washington 

Washington, DC 



Everett Dance Theatre and the 

Carriage House Stage and School 
Duncan Avenue Arts Collaborative 

Providence, RI 



Progressive Afterschool Art 

Community Education Program 
Norton Gallery and School of Art, Inc. 

West Palm Beach, FL 



Expressive Arts 
Tanager Place 

Cedar Rapids, IA 

Family History Art Book Project 
Atlanta Contemporary Art Center 

Atlanta, GA 

Greater Newark Youth Orchestra 

Newark, NJ 

Inner City Neighborhood Art House 

Erie, PA 

Inside Out Community Arts 

Los Angeles, CA 

Lake Street Theater Club 
In the Heart of the Beast Puppet and 
Mask Theater 

Minneapolis, MN 

Living Stage Theater Company 
Arena Stage 

Washington, DC 



Purple Bamboo Children's Traditional 

Chinese Instrument Orchestra 
Purple Silk Music Education Foundation 

San Francisco, CA 

Radio Arte-WRTE 90.5 FM 
Mexican Fine Arts Center Museum 

Chicago, IL 

Regent After School Program 
Whitney Museum of American Art 

New York, NY 

San Anto Cultural Arts, Inc. 

San Antonio, TX 

Santa Fe Teen Arts Center 
Warehouse 21 

Santa Fe, NM 



SAY SI 

San Antonio, 



TX 



Strive Media Institute 

Milwaukee, WI 



Los Cenzontles Mexican Arts Center 

San Pablo, CA 

Marwen 

Chicago, IL 

Media Arts Youth Programs 
Downtown Community Television 

Center, Inc. 
New York, NY 



The Junior Docent Program 
The Hudson River Museum 

Yonkers, NY 

Trollwood Performing Arts School 

Fargo, ND 

Will Power to Youth 
Shakespeare Festival/LA 
Los Angeles, CA 



Merit School of Music 

Chicago, IL 

Moving in the Spirit 
IndepenDANCE, Inc. 
the Spirit 

Atlanta, GA 



d/b/a Moving in 



WV Dreamers/Bridge of Dreams 
Step by Step, Inc. 

Harts, WV 



27 



3. 
3 

c 


CO 

Z 



Roger L. Bedard 

Evelyn Smith Family 

Professor of Theatre 
Department of Theatre 
Arizona State University 
Tempe, AZ 

Brett D. Bonda 

Education Director 
Richmond Ballet 
Richmond, VA 

Alexine Clement Jackson 

National President 
YWCA of the USA 
Potomac, MD 

Jeremy Chi-Ming Liu 

Director of Community Programs 
Asian Community Development 

Corporation 
Boston, MA 

Naomi Shihab Nye 

Writer and Editor 
San Antonio, TX 

Alberto Rafols 

Executive Director 
The Cultural Council of 

Santa Cruz County 
Aptos, CA 

Felix R. Sanchez 

President 

National Hispanic Foundation 

for the Arts 
Washington, DC 



Harriet Sanford 

President and CEO 

Arts and Science Council 

Charlotte, NC 

Diantha Schull 

Executive Director 
Libraries for the Future 
New York, NY 

Isabel Carter Stewart 

Executive Director 

Chicago Foundation for Women 

Chicago, IL 



Youth Jurists 

Mashunte* Glass 

Atlanta, GA 

Collette Lampkin 

Washington, DC 

Edda Meza 

Chicago, IL 

Da Thao Nguyen 

Boston, MA 



28 



i 



The President's Committee on the 
Arts and the Humanities plays a 
key role within each Administration 
in identifying issues and developing 
initiatives in the arts and the 
humanities of critical importance to 
the nation. 

The President's Committee 
undertakes projects designed to 
extend the reach and quality of 
national efforts in the arts and the 
humanities; carries out research 
and recognition programs that 
underscore the civic, social and 
educational value of the arts and 



for the Humanities; Institute of 
Museum and Library Services; 
Library of Congress; Smithsonian 
Institution; John F. Kennedy Center 
for the Performing Arts; and Nation- 
al Gallery of Art. 

Because its membership is 
drawn both from the public and pri- 
vate sectors, the President's Com- 
mittee provides a valuable forum for 
strategic thinking about a wide 
range of culturally significant 
issues, including the impact of the 
economy on the arts and the 
humanities and the arts and 



humanities; and works to stimulate humanities as factors in the U.S. 



increased private investment. 

The President's Committee was 
established by Executive Order in 
1982 to advise on and help to incor- 
porate the arts and humanities in 
government objectives. It evaluates 
the effectiveness of these national 
endeavors and provides a mecha- 
nism for interagency cooperation 
and collaboration. 

Members of the President's Com- 
mittee are private citizens appoint- 
ed by the President for their 
long-standing interest in and com- 
mitment to the humanities and the 
arts. The President's Committee 
also includes the heads of federal 
agencies with cultural programs, 
including: the National Endowment 
for the Arts; National Endowment 



economy. 



Laura Welch Bush 

Honorary Chair 

John Brademas 

Chairman 



Executive Director 

Henry Moran 

Coming Up Taller Coordinator 

Judith Humphreys Weitz 



The National Endowment for the 
Arts is an independent agency of 
the U.S. Government created by 
Congress in 1965 to benefit all 
Americans. An investment in 
America's living cultural heritage, 
the Endowment's mission is to 
serve the public good by nurturing 
the expression of human creativity, 
supporting the cultivation of com- 
munity spirit, and fostering the 
recognition and appreciation of the 
excellence and diversity of our 
nation's artistic accomplishments. 



National Council 
on the Arts 

Dr. Robert S. Martin, Acting 
Chairman, National 
Endowment for the Arts 
Cass Ballenger (ex officio) 
Gordon Davidson 
Patrick D. Davidson 
Mike DeWine (ex officio) 
Richard J. Durbin (ex officio) 
Terry H. Evans 
Hsin-Ming Fung 
Joy Harjo 
Ronnie F. Heyman 
Nathan Leventhal 
Marsha Mason 

Howard "Buck" McKeon (ex officio) 
Cleo Parker Robinson 
Judith O. Rubin 
Jeff Sessions (ex officio) 
Joan Specter 
Richard J. Stern 
Luis Valdez 
Townsend D. Wolfe III 



Created in 1965 as an independent 
federal agency, the NEH supports 
learning in history, literature, phi- 
losophy and other areas of the 
humanities. NEH grants enrich 
classroom learning, create and pre- 
serve knowledge, and bring ideas 
to life through public television, 
radio, new technologies, museum 
exhibitions, and programs in 
libraries and other community 
places. NEH is the largest funder of 
humanities projects in the nation. 



National Council on 
the Humanities 

William R. Ferris, Chairman, 
National Endowment 
for the Humanities 

Linda Lee Aaker 

Nina Archabal 

Edward L. Ayers 

Betty Bengtson 

Ira Berlin 

Arthur I. Blaustem 

Pedro G. Castillo 

Ron Chew 

Margaret P. Duckett 

Bill Duke 

Evelyn Edson 

Donald Fixico 

Lorraine Weiss Frank 

Henry Glassie 

Darryl J. Gless 

Nathan O. Hatch 

Dons B. Holleb 

Mary Hubbard 

Naomi Nye 

Peggy W. Prenshaw 

Vicki Ruiz 

Isabel Carter Stewart 

Theodore W. Striggles 

Susan E. Trees 

Susan Ford Wiltshire 



Angkor Dance Troupe 

Lowell, MA 



Mosaic Youth Theatre of Detroit 

Detroit, MI 



Appalachian Media Institute 
Appalshop 

Whitesburg KY 

Arts Apprenticeship Training Program 
Manchester Craftsmen's Guild 

Pittsburgh, PA 

Chicago Children's Choir 

Chicago, LL 

Corcoran Art Mentorship Program 
Corcoran College of Art and Design 
Washington, DC 

DC WritersCorps 

Washington, DC 

East Bay Center 

for the Performing Arts 

Richmond, CA 

Education Through the Arts 
Village of Arts and Humanities 

Philadelphia, PA 

The Experimental Gallery 

The Children's Museum, Seattle 

Seattle, WA 

The 52nd Street Project 

New York, NY 

Gallery 37 

Chicago Department 
of Cultural Affairs 

Chicago, IL 

Gallup Performing Arts Academy 
Gallup Area Arts Council 
Gallup, NM 

Hilltop Artists in Residence 
Tacoma, WA 

Kaleidoscope Preschool Arts 

Enrichment Program 
Settlement Music School 
Philadelphia, PA 

Mississippi Cultural Crossroads 
Port Gibson, MS 



The New Voices Ensemble 

The People's Light & Theatre Company 

Malvern, PA 

PAH! Deaf Youth Theatre 
Wheelock Family Theatre 
Boston, MA 

Peer Education Program 
Illusion Theatre and School, Inc. 

Minneapolis, MN 

Prime Time Family Reading Time 
Louisiana Endowment for 
the Humanities 

New Orleans, LA 

Project Self Discovery 

Cleo Parker Robinson Dance 

Denver, CO 

El Puente Arts & Cultural Center 

Brooklyn, NY 

RAW Chiefs 

RAW Art Works, Inc. 

Lynn, MA 

Street-Level Youth Media 

Chicago, IL 

Teen Parent Reading Program 
Vermont Council on the Humanities 
MorrisviUe, VT 

Urban smARTS 
City of San Antonio 

San Antonio, TX 

The Yard (Youth At Risk Dancing) 
Cleveland School of the Arts 
Cleveland, OH 

Young Aspirations/ Young Artists, Inc. 
New Orleans, LA 

Youth Communication 
New York, NY 

Youth in Focus 
Seattle, WA 



■*> in 



mittee 
on the Arts and the 
Humanities 

1 100 Pennsylvania Avenue, NW 
Suite 526 

Washington, DC 20506 
Phone: 202-682-5409 
Fax: 202-682-5668 
www.pcah.gov 



National E 
for the Arts 

1 100 Pennsylvania Avenue, NW 
Washington, DC 20506 
Phone: 202-682-5400 
Fax:202-682-5611 
www.arts.gov 



National Endowment 
for the Humanities 

1 100 Pennsylvania Avenue, NW 
Washington, DC 20506 
Phone: 202-606-8400 
Fax: 202-606-8240 
www.neh.gov