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M ING II' TALLER YOUTH • \ K I s II I MAN1TIES ACKNOWLEDGMENTS The participation of the following businesses, foundations, and organizations in supporting the Coming Up Taller Awards has been indispensable. Elizabeth and Richard Dubin Foundation GMAC Financial Services Members, President's Committee on the Arts and the Humanities Ministry of Culture, People's Republic of China The National Council for Culture and the Arts of Mexico and the U.S. Embassy in Mexico, with special support from the Comex Group, Fundacion Coca-Cola, and United Airlines Time Warner Inc. U.S. Embassy in Cairo Vin and Caren Prothro Foundation GMAC Financial Services TimeWarner With gratitude, the President's Committee on the Arts and the Humanities acknowledges GMAC Financial Services and Time Warner Inc. for their leadership commitment to arts and education. Their generous contributions play a significant role in the success of the Coming Up Taller program and make this publication possible. Special thanks go to the National Assembly of State Arts Agencies for its partnership in coordinating the Coming Up Taller program. The following individuals are central to the success of this initiative: Carmen Boston, National Assembly of State Arts Agencies Wilsonia Cherry, National Endowment for the Humanities Sharon Gee, National Assembly of State Arts Agencies Candace Katz, President's Committee on the Arts and the Humanities Marsha Semmel, Institute of Museum and Library Services Traci Slater-Rigaud, President's Committee on the Arts and the Humanities Anthony Tighe, National Endowment for the Arts CREDITS Writers: Carol Dana, Traci Slater-Rigaud Editors: Jayson Hait, Traci Slater-Rigaud, Tidings Chan Design: fuszion Printing: Fannon Coming Up Taller Logo Design: Time Warner Inc. Permission to copy, disseminate, or otherwise use information from this booklet is granted as long as appropriate acknowledgment is given. Contact the President's Committee on the Arts and the Humanities for copies of this publication: 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 E-mail: pcah@pcah.gov URL: www.cominguptaller.org www.pcah.gov ere is no way to fast rorwar 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. WILLIE REALE FOUNDER, THE 52ND STREET PROJECT, DESCRIBING THE IMPACT OF THIS THEATER PROGRAM ON YOUTH LIVING IN HELLS KITCHEN, A NEIGHBORHOOD IN NEW YORK CITY Front Cover, center: TADA! Resident Youth Ensemble participant Rovm Sena in Maggie and the Pirate. Left: Project Jericho's Family Connections "A Key to the City " module Photographers: TADA 1 Youth Theater, Project Jericho A NOTE FROM LAURA BUSH Honorary Chairman President's Committee the Arts and the Humanities Welcome to the 2008 Coming Up Taller Awards! Dr. Seuss once wrote, "Congratulations! Today is your day. You're off to Great Places! You're off and away!" He could have been talking to the boys and girls who have benefited from this year's Coming Up Taller Award winners. These outstanding programs help children discover their talents and unleash their imaginations in unique ways. Exploring the customs of native people in Alaska and leading art museum tours in New York help young people learn about other cultures through the arts. In San Diego, photographs conveying stories of immigration to America give children a new perspective about other people's journeys to find freedom. And the opportunity to perform traditional opera on stage in China leaves a lasting impression on a young person's life. As part of President Bush's Helping America's Youth Initiative, I have traveled across the country listening to young men and women whose lives have been enriched by programs like yours. Their stories are similar: Caring adults have shown them that they matter and that they have what it takes to succeed. As Honorary Chair of the President's Committee on the Arts and the Humanities, I am delighted to join the Committee members, the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services in congratulating this year's award winners. Thank you to all of the adult leaders who have made a difference in children's lives. Your efforts make possible the important goal of building a brighter future for the next generation. President Bush joins me in sending admiration to each of you and best wishes for a great celebration together! Sincerely Right: Mark Tubin, Jr. demonstrates the one-arm-reach. Photographer: Alaska Native Heritage Center President's Committee on the Arts and the Humanities \ The President's Committee applauds the achievements of this year's Coming Up Taller Award winners. Now in its 11th year, Coming Up Taller brings to light how arts and humanities programs outside the regular school day help young people realize their talent and find their voices. When we gather for these awards, we are reminded of why they are so appropriately named. After we experience girls and boys singing, playing instruments, and dancing, we witness for ourselves how, when taking their final bow, they are Coming Up Taller! It's encouraging to watch these programs grow across the United States and to know that they are enriching lives in other countries, too. Children are learning their own traditions and those of other cultures by playing a guitar, erhu, or marimba. Our young performers remind us that it doesn't matter if they become professional artists or pursue another road. The arts and the humanities are about exploring the world around us, knowing each other better, and becoming whole human beings. As the poet William Butler Yeats said, "Education is not the filling up of a pail, but the lighting of a fire." Coming Up Taller programs help light the fires of curiosity, creativity, and motivation in our young people and nourish these precious flames with mentoring, caring, and guidance on doing one's best for a common goal. Bienvenidos to our friends from Mexico; &iH! to our friends from the People's Republic of China; and, for the first year, l^-y* to our friends from Egypt! It has been enriching for us to honor programs from other countries at the White House, and we look forward to knowing each other better. Plans are being made for exchanges between Coming Up Taller awardees, bringing programs and young people together across borders. Our Mexican partners will convene winners from the United States and Mexico next year, to exchange ideas, build relationships, and share Mexican history and culture with us. We are grateful to our partner cultural agencies— the Institute of Museum and Library Services, the National Endowment for the Arts, and the National Endowment for the Humanities— who have made it a priority to reach out to other parts of the world with outstanding programs. We also thank all of our contributors, especially GMAC, Time Warner, and the members of the President's Committee, for making this program possible. A NOTE FROM THE CULTURAL AGENCIES HENRY MORAN cxccuiivc uirenor President's Committee on the Arts and the Humanities W MELDAM. RADICE Director Institute of Museum and Library Services Wmm Chairman National Endowment for the Arts wm M.COLE Chairman National Endowment for the Humanities I We cannot always build the future for our youth, but we can build our youth for the future. J5 EVELYN WAUGH, ENGLISH NOVELIST commitment to building a better tomorrow by cultivating the minds and the talents of our youth today is at the heart of all of this '. year's Coming Up Taller award winners. The young people served by these Coming Up Taller programs are the next generation of leaders, artists, writers, musicians, educators, and entrepreneurs. The choices they make and activities in which they now engage have a direct link to their success as adults. We are pleased to join with First Lady Laura Bush in celebrating the accomplishments of these young people and recognizing model programs that reaffirm the vital role of the arts and humanities in human development. The Coming Up Taller Awards honor and support excellence in arts and humanities programs that lay new pathways to learning, self-discovery, and achievement outside the regular school day. The programs motivate youth to acquire new skills and knowledge and provide opportunities for them to succeed. An initiative of the President's Committee on the Arts and the Humanities, the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services, the Coming Up Taller Awards symbolize a shared commitment to enriching the lives of young people through the arts and the humanities. Leading foundations, businesses, corporations, and individuals provide additional critical support. Our collective investment demonstrates the contributions that the arts and the humanities make to learning for children and teens across the country and beyond. Since its inception 11 years ago, the Coming Up Taller program has received more than 3,500 nominations from every state in the country, recognized over 400 programs as Semifinalists, and designated more than 150 programs as Finalists. Together, our agencies have awarded more than $1,400,000 to Coming Up Taller Finalists; increased the number of annual awards from 10 to 15; and introduced an annual leadership conference to enhance the organizational capabilities of award recipients. This year's awardees reflect the thriving field of cultural after-school programs in the United States and the growing participation of other nations. It is with considerable pride that we have made the Coming Up Taller program part of our nation's cultural diplomacy activities in other countries. Through a partnership with the U.S. Mexico Foundation for Culture and a new partnership with Conaculta, we have given 14 awards to cultural youth programs in Mexico. Also, as an outgrowth of our visit to the People's Republic of China in 200~7, we have cultivated a partnership with the country's Ministry of Culture, through which we've recognized two programs from China. Additionally, for the first time, we welcome the inclusion of a youth program based in Cairo, Egypt, as a Coming Up Taller awardee and look forward to continuing the cultivation of our partnership with Egypt. By engaging youth in literature, drama, music, history, and art, the 2008 Coming Up Taller Award winners are expanding young minds and helping youth throughout the United States and around the world build a better tomorrow. Left: April Baker participates in Project Jericho's Family Connections "Someone's in the Kitchen With Mommy" module. Top: Andrew Walker demonstrates an Alaskan high kick. Photographers: Project Jericho, Alaska Native Heritage Center Coming Up Taller Uranh i»»S 5 ALASKA ERITAGE CENTER AFTER-SCHOOL HIGH SCHOOL PROGRAM When I dance, I feel a connection with my culture. Everything at that moment feels right. I know who I am and what my people mean to me. DEBRA DOMMEK. FORMER ANHC AFTER-SCHOOL HIGH SCHOOL PROGRAM PARTICIPANT, AS QUOTED IN THE ANCHORAGE DAILY NEWS ALASKA NATIVE HERITAGE CENTER & Traditional Arts 43-115 AGES: 48,900 -330-8000 /-330-8003 ihartyiqtalaska native, net w. a laskanative.net Anchorage has the largest Alaska Native community in the state, yet the majority of these youth have little connection to their Native heritage or the dominant popular culture that surrounds them. Because many of these young people have spent their entire lives in this urban area, their lack of personal and cultural identity can manifest itself in disproportionately high dropout and unemployment rates. To remedy this situation, the Alaska Native Heritage Center (ANHC) runs an intensive after-school program that incorporates the arts and humanities to teach high school students about their cultural roots. Meeting four days a week for two hours a day during the academic year, participants work with skilled Alaska Native instructors, learning traditional dance and music, as well as carving, mask making, basketry, and other folk arts. The young people receive hands-on media and technology training, gaining skills that they can use to disseminate their communities' stories to a wider audience, as well as to obtain jobs. They also develop strength, endurance, and concentration by participating in Native games. Leadership workshops introduce students to high-profile Alaskan figures, while challenging them to identify their own strengths and prepare for roles of greater responsibility. Participants who complete 120 hours in the program receive a half semester's high school credit, which counts toward graduation. In addition, the Alaska Native Heritage Center— a museum and cultural center that hosts some 100,000 tourists a year— employs about 15 percent of the program's students each summer as dancers, cultural interpreters, or guest-service workers. Teens in the ANHC program have a 24 percent higher graduation rate than Native high school students who do not attend the after-school sessions. Moreover, the immersion in cultural traditions has the potential to make a lifelong difference. "These are things that touch the spirit or the soul; they touch the essence of who we are," explains Director Bob Harty. By promoting a sense of grounding, as well as greater confidence and maturity, participants gain tools to make sense of the world and find their place in it, he notes. K * w Left, from background to foreground: (L-R) Flora Phillips, Tamara Sambo, and Maddelynn Sambo perform during the Alaska Native Heritage Center's Heroes of Human Rights Day: Jay Rapoza demonstrates videography. Top: Tiana Fuqua works on her end-of-year project. Bottom: (L-R) Roberta Gochenauer carves into red cedar in the NW Coast Art panels class; young men learn how to drum an Unangax song and dance. Photographer: Alaska Native Heritage Center Coming Up Taller Iwantsso AMERICA Back on Track When I think about my street... I think about those trying to beat me down, trying to make me look like a clown. But that doesn't make me frown or look at the ground. When they come at me like that, swinging with a bat, I keep trying to get back on track, grab my soccer ball and a pencil and blow those other dudes off the map! ISAIAH P.. AGE 10, AMERICA SCORES PARTICIPANT % AMERICA SCORt e, nth Floor New York, NY 10018 FOCUS: PARTICIPANT AGES: BUDGET PHONE: FAX: EMAIL URL 6,000 .1 million '-868-9510 ext. 307 8-9533 ckman aamericascores.org ww.americaSCORES.org At first glance, it might seem like an unusual amalgam of activities for an after-school program: studying and writing poetry, playing soccer, and working on community service projects. But that's how nearly 6,000 elementary school students in some of the lowest-performing public schools in America are spending their afternoons, five days a week throughout the school year. And, there's a waiting list! Known as America SCORES, the program is the brainchild of a Washington, DC, teacher who began to share her soccer and poetry hobbies with at-risk students to give them something productive to do after school. The unlikely pairing of athletics and literature improved kids' grades, keeping them in school and out of trouble. Today, 200 public schools in 15 cities across the country offer the program. America SCORES selects, trains, and pays the public school teachers who oversee poetry, soccer, and service-learning workshops and practices. During the fall semester, participants— many of whom come from tough environments— spend three afternoons a week playing soccer and learning teamwork, while getting much-needed exercise. Two afternoons a week, the young people focus on poetry. They study basic literary terminology and poetic devices; analyze the poetry of Emily Dickinson, Robert Louis Stevenson, Christina Rossetti, and Nikki Giovanni; and write poetry in a variety of forms, based on their studies. This art form enables participants to express difficult feelings, triumphs, and dreams, while gaining reading and writing skills that will improve their chances in school. And, as Paul Caccamo, president, points out, "For a child who's never had the opportunity to express himself or herself, poetry is an amazing tool because there's no wrong way to write a poem." The fall semester culminates in a spoken-word Poetry Slam!, in which all of America SCORES' students perform their original poetry for families and community members, reinforcing participants' pride in their achievements. Many students get the added thrill of seeing their poems published in the organization's Kicker! magazine, which has a national circulation of 15,000. In spring, students continue to play soccer, but a service-learning curriculum replaces the poetry component. Once the young people decide on a project— for example, running a food drive, raising AIDS awareness, or installing emergency call boxes in their neighborhoods— they draw on their expository writing skills to make the case for and publicize their projects. This component fosters civic engagement, helping the youth see themselves as "agents of positive change in their communities," Caccamo notes. A recent evaluation found that participants improved their fitness, strengthened their writing skills, and increased their confidence. They also tended to spend more free time reading, writing, and exercising. Left, from background to foreground: (L-R) America SCORES students from Denver, Cleveland, and Seattle; Michael Perry performs his original poetry at the program's National Poetry Slam! in New York City. Top: America SCORES Seattle students recite a poem during halftime of their soccer game. Bottom: America SCORES Dallas student works on an original poem. Photographers: America SCORES, Christopher Auger-Dominguez. Jack Storms Coming Up Taller lu<anhsaoH 9 ART AND LEADERSHIP My child is a good leader, but he doesn't feel confident in particular situations. This camp has given him confidence in [pursuing] his art, going out on his own and meeting new people, and dealing with confrontation. PARENT OF AN ART AND LEADERSHIP PROGRAM PARTICIPANT GEORGIA )CUS PARTICIP^ AGES: BUDGET: PHONE: FAX: EMAIL: URL: 5-946-1012 46-1092 ;iem a okeeffemuseum.org okeeffemuseum.org When people think of leadership, they often associate it with fields like politics or sports. But many artists also have the potential to be leaders because of their ability to see the world in non-traditional ways and formulate creative solutions to problems, points out Jackie M., director of education and public programs for the Georgia O'Keeffe Museum in Santa Fe, New Mexico. "Creative individuals are visionaries; they're thinkers," she explains. In an effort to support and develop the leadership qualities of artistically inclined young people, the Museum launched the innovative Art and Leadership Program in 1998. It was initially open only to girls, in keeping with the Museum's focus on O'Keeffe (a woman artist) and in response to research documenting declines in girls' achievement as they reach adolescence. The Museum launched a separate, parallel program for boys in 2002 to address gender-specific factors impeding their academic success. In particular, because many artistic boys lack role models the program encourages their creative development. The tuition-free, gender-based program involves intensive two-week summer camps. Low-income children and those confronting at-risk issues such as abuse, divorce, or death in the family receive priority placement. The Museum also runs an after-school program at selected sites throughout the school year. Gifted artists lead the sessions. They use theater games, role-playing exercises, and reflective components built into arts activities to promote students' abilities to make sound decisions, set goals, and articulate needs and boundaries. For example, in one exercise, girls create two self-portraits: one at their present age and one much older. Next, they reflect on what they hope to have accomplished by their 80th birthday. M. points out that this helps students understand that they have choices in their lives and encourages them to set higher goals, while countering negative stereotypes about aging that the girls receive from the media. Leadership skills can be particularly important in helping at-risk youth become more resilient, adds M. By gaining self-confidence and self-determination, young people can make changes, however small, in their current circumstances and feel more in control, even in difficult environments. Left: Kevin Lucero and other masked boys run with staffs. Top: Katherine Robinson conducts a writing workshop by the Chama River. Bottom: Kaila Griffin draws a self-portrait using oil pastels. Photographers: Shannon Bay, Ryan Melega Coming Up Taller \irui It totally changed my life. It gave me the confidence to pursue music and achieve my dreams. I thought, 'You can do this, and you can make a living doing this.' J J SEAN SKEETE, 1992 GRADUATE OF BERKLEE CITY MUSIC AND BERKLEE COLLEGE OF MUSIC FACULTY BERKLEE COLLEGE OF MUSIC FOCUS PARTICIPANTS AGES: BUDGET: PHONE: FAX: EMAIL: URL -747-2031 -747-2875 ' marcocS>berklee.edu erkleecltymusic.org Boston-based Berklee College of Music has been called the "MIT of pop"— a catchy moniker for this internationally acclaimed institution for contemporary and popular music. Berklee should also be called generous. Every year, hundreds of musically inclined, at-risk students benefit from the opportunity to study with the school's renowned faculty and alumni. The 17-year-old Berklee City Music (BCM) program offers rigorous, sequential musical instruction at no charge to Boston-area children. These students, who come from underperforming schools in high-risk neighborhoods, undergo an interview and audition prior to acceptance into the program. Although candidates must have some background in music, passion is equal to technical proficiency. "What we're looking for is that spark, for students who feel, 'I just have to do this,'" explains Executive Director J. Curtis Warner, Jr. BCM's Preparatory School provides private lessons as well as ensemble and musicianship classes to middle school students. The Upper School offers continued instruction for talented high school students. Their lessons take place on the Berklee campus as part of the school's effort to encourage teenagers to think about higher education. A special scholarship program allows about 50 BCM students a year to participate in the prestigious, intensive five-week Summer Performance Program. To its credit, BCM has an unusually high retention rate: More than 90 percent of participants stay in the program throughout high school. BCM Director Krystal Banfield attributes this success to both the college's focus on American popular music and the collaborative teaching approach, which emphasizes ensemble work and improvisation. "It's not something that's dictated; it's shared. They're empowered through that. They learn their own voices and learn to be creative," she points out. Thanks to a generous scholarship program, talented students can continue their higher education at Berklee. Currently, about 10 BCM students receive full, four-year scholarships each year to the college. Whether students stay at Berklee or pursue other options, they receive a solid grounding for life. 'BCM participants leave the program as creative, inventive, and improvisational people- attributes that are critical to the success of any pursuit," Warner explains. / Left: (L-R) J'andre Riccard; Tayler Fernandes-Nunez; a vocalist in the Diane Richardson Ensemble. Top: Albertrand Peer on trumpet. Bottom: Berklee City Music All-Stars perform. Photographer: Berklee City Music Coming Up Taller IwardaiooX 13 FULTON ATRE PROGRAM The production of Chain Reaction— written, produced, and performed by the Youtheatre team— was, by far, the best educational piece I have seen on contemporary slavery. Chain Reaction made me realize how much power there is in youth speaking to youth. KEVIN BALES, AUTHOR OF DISPOSABLE PEOPLE: NEW SLAVERY IN THE GLOBAL ECONOMY, THE BOOK ON WHICH CHAIN REACTION WAS BASED y FULTON OPERA HOUSE FOCUS: ince, Music, Theater FOUNDATION PARTICIPA 40 AGES: BUDGET: 124,000 Lancaster, PA 17603 PHONE: 7-394-7133 FAX: 97-3780 EMAIL: )rnhauserp.thef ulton.org URL: thefulton.org n a rehearsal space at the historic Fulton Opera House in Lancaster, Pennsylvania, members of the organization's Youtheatre ensemble are spending a July day putting the final touches on The Heart Knows Something Different. This play will premiere in a workshop production later that month. But this is no piece of summertime fluff. The play— adapted from a book by the same name— provides a searing and thought-provoking look at life in the foster care system. If the script cuts a bit close to the bone, it's because some of these young actors have first-hand experience with the system. Youtheatre comprises teens who have faced serious life challenges. Social service, juvenile justice, and other agencies refer youth to the program. The group has included former gang members, recovering drug addicts, and survivors of physical or sexual abuse, as well as teens who are deaf or autistic. "There are a lot of marginalized kids whose voices are not heard, and yet they have so many important things to say," explains Program Founder Barry Kornhauser. "We thought that the arts might be a vehicle to help them transform their lives by dealing with their own issues and sharing them with others." Each play develops over a two-year period, progressing from a workshop production the first summer to a fully staged production the second year. Youtheatre goes into high gear in the summer, when the teens spend five weeks working with theater professionals to refine the script, write music, and rehearse their current production. The daily schedule includes time for a "circle," in which members share what is going on in their lives. These sessions build trust and tolerance, while identifying issues that may require the help of therapists or other professionals. Fulton's caring environment sets the stage for personal breakthroughs: For example, an autistic teen learned to temper "inappropriate" behavior; a shy Hispanic boy gradually moved from non-speaking parts to leading roles; and a former gang member chose to play a gay character on stage. During the final public performances, ensemble members not only claim their moment in the limelight, but also see themselves as "agents of change," bringing thought-provoking messages on topics of consequence to the broader community, Kornhauser notes. Left: Celebration from 700 Monkeys in Search of an Elusive Butterfly. Top: Ismail Smith-Wade-El and Louisa Grosh, with video image of Cat Walker. Middle and Bottom: Scenes from Chain Reaction. Photographer: Craig Leaper Coming Up Taller IwardsaaaS 15 JOURNEY I was afraid to talk, but I was not scared to take pictures That's how I started changing my life. J BACH CUC DOAN, JOURNEY PROGRAM PARTICIPANT, ORIGINALLY FROM VIETNAM THE AJA PROJECT irts, Photography J-223-7001 ,9-501-8169 ~~dra(a>ajaproject.org ajaproject.org FOCUS PARTICIPANTS AGES: BUDGET PHONE: FAX EMAIL URL: t's hard to overstate the sense of loss and isolation that many refugees and immigrants feel when coming to the United States. Not only have many survived wars or other traumatic events, but many also arrive knowing little or no English. Conversely, Americans often know little about the newcomers' culture and would be hard-pressed to find their homeland on a map. In the San Diego area, Journey, an ambitious program of The AjA Project, employs photography to help refugee and immigrant youth make that difficult transition, as well as educate their peers, i Students meet twice a week during the school year to learn photography basics and explore cultural issues, through various activities. The youth conduct oral histories; engage in critical- thinking exercises, discussions, and interactive projects; and participate in field trips. Between sessions, they create digital photo essays on such themes as Old Home, Leaving, Arriving, and New Community that mirror the immigration process in pictures and words. Along with helping participants deal with the psychosocial challenges of transitioning to a new culture, Journey enables them to claim a deeper sense of their identities— what is unique and what is universal— and provides a foundation in their new community. "We're promoting positive self-images because we believe that is what's going to lead them to make healthy decisions and become future leaders for their communities," explains Sandra Ainslie, executive director of The AjA Project. The program's goals are even more far-reaching. To raise awareness of the realities that displaced people face— and, ultimately, to create a more accepting environment— Journey mounts large-scale exhibitions of student work in places where the public cannot help but "interact with" the images, Ainslie adds. The organization placed more than 150 photographs and text banners in shop windows along a seven-block stretch of a San Diego thoroughfare and displayed another two dozen 7 x 8-foot photographs on a fence encircling the San Diego Museum of Art. When passersby encounter an image— for example, a henna hand decoration— and read the photographer's description of what the decoration symbolizes for her, it helps to replace misconceptions with understanding, Ainslie points out. Left: (L-R) Sevda Rasulova smiles for a self-portrait exercise; Dora Benganyeni in motion during a segment on bicultural identity; Chit Khin takes a portrait at the program's site on the border of Thailand and Burma. Top: While learning about light, students photograph shadows. Middle: Participants explore intergenerational themes. Bottom: (L-R) Madina Maho experiments with various photographic techniques; Fadumo Issa takes photographs during a scavenger hunt. Photographer: The AjA Project Coming Up Taller luwn LATINO ARTS Students in the Latino Arts Strings Program receive the kind of comprehensive, skills-based, and supportive instruction that so often makes the difference between success and failure. SCOTT EMMONS. INTERIM DEAN, PECK SCHOOL OF THE ARTS. UNIVERSITY OF WISCONSIN-MILWAUKEE LATINO ARTS, INC. FOCUS PARTICIPA AGES: BUDGET PHONE: FAX: EMAIL URL: Traditional Arts .000 -384-3100 4-649-4411 alatinoartsinc.org latinoartsinc.org nstead of utilizing a deficit model that defines at-risk students based on what's wrong or what's missing, instructors in the Latino Arts Strings Program take the opposite approach: They imagine what's possible, set high expectations, and then constantly raise the bar, according to Vice President Ricardo Diaz. Founded in 2002, this after-school and summer program offers high-quality, sequential string musical training to underserved and at-risk youth in grades 1 through 12. The United Community Center, located in the predomi- nantly Latino area of Milwaukee, hosts the classes. Latino Arts provides instruments and music, as well as individual and small-group lessons in violin, viola, cello, and guitar. Furthermore, the organization often waives the annual token fee of $40. Students from the Wisconsin Conservatory of Music and the University of Wisconsin— Milwaukee assist the program faculty. fc, The program's lively mariachi bands, youth orchestra, and guitar ensemble frequently entertain audiences at community festivals and events throughout the greater Milwaukee area. These performances build self-confidence and provide exposure to new worlds. "We see instruments and music as a conduit to get kids into the right settings and to be able to mingle with populations they might not otherwise encounter," Diaz explains. These appearances also help the wider community to see Latino youth in a different light. "The poise, the ability to get in front of others, begins to erase that whole deficit thinking from 'Oh, these poor kids' to 'Oh gosh, these are talented young men and women,'" Diaz remarks. The Latino Arts Strings Program emphasizes discipline, commitment, and family involvement. Students are expected to practice daily, and parents sign a log confirming the times. By fostering these and other positive behaviors, the program helps kids to steer clear of gangs and drugs, resulting in academic success: Research shows that for 5th grade Strings Program participants, the average reading GPA increased from 2.81 to 3.45 over two years. This structured musical training is more than a healthy outlet; it also establishes a solid foundation for students wishing to pursue careers in music. The Milwaukee Youth Symphony Orchestra currently includes 17 Latino Arts Strings participants. Left, from background to foreground: Latino Arts youth orchestra participants Alondra Duran and Patricia Avalos. Top: Mariachi Juvenil performs in front of Lake Michigan. Middle: Jazmine Medina on her violin. Bottom: Program Director Dinorah Marquez with the Mariachi Juvenil. Photographer: Latino Arts, Inc. Coming Up Taller IwantsaooS 19 PROJECT I was dubious that a program geared around writing and arts workshops would be anything more than a nuisance. But I'm now glad I gave it a chance. It is unbelievable what a difference Project Jericho has made in our detention facility. FRED THOMAS. DIRECTOR, CLARK COUNTY JUVENILE DETENTION CENTER : *w& .*> H CLARK STATE COMMUNITY COLLEGE PERFORMING ARTS CENTER FOCUS: PARTICIPANTS AGES: BUDGET: PHONE: FAX: EMAIL: URL iciplinary " youth and family members -328-7951 r-328-3879 sons'Sclarkstate.edu roject-jericho.com Just as the seemingly impregnable walls of Jericho came tumbling down in the biblical account, so can the arts break down barriers to communication, self-expression, and self-actualization for at-risk young people. That's the idea behind Project Jericho, initiated in southwestern Ohio by the Clark State Community College Performing Arts Center and Job & Family Services of Clark County This ambitious effort touches young people and families in a range of settings throughout one of the state's most impoverished counties. For example, youth incarcerated at the Clark County Juvenile Detention Center can participate in Inside the Walls, Outside the Box, a Project Jericho program that employs the arts to foster positive social interactions, while challenging participants to explore and claim their personal strengths. The program has produced a significant drop in violence within detention facilities. Upon their release, young people continue their connection to community arts resources through Project Jericho, reducing recidivism. Jane Skogstrom, magistrate of the Clark County Juvenile Court, calls this "the most worthwhile program to help troubled youth" that she has seen in 30 years of juvenile justice work. Recognizing that healthier family dynamics can improve the prospects for some at-risk youth, Project Jericho also holds the Family Connections program for clients of Job & Family Services of Clark County. Families- including intact families and those where a young person has been removed from the home— collaborate on a series of art-based projects. By creating albums that examine their relationships or making masks to explore roles and identities, families strengthen bonds and improve communication. Project Jericho also teams with Springfield City Schools in Ohio, to offer semester-long after-school arts programs aimed at young people identified as at-risk by teachers, counselors, or other officials. To promote a sense of community connection and combat alienation, participants work under the direction of local artists and arts educators on projects, such as mosaics or murals, that benefit the schools or community. The intensive Summer Arts Camp, the Bucket Band, and Exodus Hip Hop Dance Troupe are among Project Jericho's other in-depth arts experiences that improve the lives of the county's at-risk youth and families. ackground to foreground: (L-R) Poetry Slam participant Chalyse enerly; Exodus Hip Hop dancers; Bucket Band members Andre Russell and Myreyisha Baker. Top: Myeisha Smith works on the YouthVOICE painting. Bottom: Incarcerated youth in a mask-making residency through Project Jericho's Inside the Walls. Outside the Box program. Photographer: Project Jericho Coming Up Taller Imw It is a model program for young adults who are eager to learn about the myriad career opportunities in the arts. LAURIE R. DIEN. SENIOR PROGRAM OFFICER, PINKERTON FOUNDATION QUEENS MUSEUM OF ART ushing Meadows Corona Par Queens, NY 11368 FOCUS: PARTICIPA AGES: BUDGET: PHONE: FAX: EMAIL: URL: 0,000 -592-9700 ext. 241 2-5778 skinsky otqueensmuseum.org w.queensmuseum.org Many teenagers living in less affluent, heavily immigrant communities have limited exposure to career opportunities in the professional world. "Work" may mean a low wage after-school job, one that their parents might have to keep a roof over the family's head and food on the table. The Queens Museum of Art, in Queens, New York, is striving to broaden teens' professional horizons through an intensive docent program that introduces the young adults to museum-related careers that many may have thought were impractical or unattainable. Known as Queens Teens, the program works with two area high schools and recruits students who have an interest in the arts or education and could benefit from a structured, nurturing environment, explains Laura Groskinsky, family and teen education coordinator. In weekly after-school workshops, the teens explore the Museum's collections and exhibitions, learning how to approach and interpret art. These sessions also prepare students to deal with the public, focusing on how to dress and interact appropriately with a wide variety of visitors, including those with special needs. This training leads to paid assignments, such as conducting weekend art workshops and public tours for families, or serving as summer art camp counselors. Many of the young people blossom in the multiyear, multifaceted program. "They're teenagers, and initially, they're completely self-conscious. They think everyone's staring at their pimples," Groskinsky laughs. But with training, many gain remarkable confidence and poise. "It's almost magical to watch it happen, to see them get up there and face people and work a crowd." The Queens Museum of Art also benefits. Because the teens reflect the diverse community that surrounds the Museum, they serve as ambassadors for the institution. "They help translate, whether it's Spanish or Mandarin, and they welcome other families, creating a comfort level for visitors," Groskinsky attests. About 85 percent of the program's graduates enroll in college, a high percentage of which pursue careers in art, design, or fashion. But even those who choose other fields will be in a better position to succeed because they have learned, as Groskinsky notes, "that they can communicate with people, that they have the ability to explore ideas, and that they can be taken seriously." Left: Brandon Lee Harris gives an exhibition tour to fellow Queens Teens. Top: Program participants set up their annual exhibition. Middle: (L-R) Susan Xu, Evelyn Stephens-Tse, and Stephanie Wong install their own work for view. Bottom: Queens Teens determine the arrangement of artwork for an exhibition Photographer: Queens Museum of Art Coming Up Taller Iwardaiot SIMPSON STREET I've met many of these children during my visits to the Press. They're eager to tell me about their writing process— where they find their inspiration, how they conduct their research, how they shape their stories, and how many revisions it takes to get it just right— things that I didn't know until I was in my first job out of college. JODI GOLDBERG, EDITORIAL DIRECTOR. AMERICAN GIRL MAGAZINE - / SIMPSON STREET FREE PRESS, INC. FOCUS: PARTICIP-a AGES: BUDGET PHONE: FAX: EMAIL URL: tanities, Journalism 16,440 8-223-0489 ,41-9983 _ ,d achorus.net ww.simpsonstreetfreepress.org On any given afternoon at the Simpson Street Free Press newsroom, you might find 15 to 20 reporters between the ages of 11 and 18, researching material on the Internet, checking facts on the phone, banging out articles on computers, and working with editors on story assignments and revisions. If this newsroom— located in a Madison, Wisconsin, shopping mall— has the feel of a "real" newsroom, that's because it is. This crew of young reporters and editors puts out a highly regarded 24-page monthly newspaper filled with articles on history, cultural geography, science, literary criticism, and the arts. Articles in a recent issue spanned topics from global warming and flying dinosaurs, to the roots of the French Revolution and reviews of art museum exhibitions. The majority of the staff come from diverse ethnic backgrounds and lower-income neighborhoods lacking meaningful after-school activities. Reporters apply for the jobs, which offer bylines plus stipends, based on the number of articles published. "It really feels cool for a 14-year-old to tell their friends, 'I have to go to work tonight.' And when they get there, they have a desk and business cards," remarks Managing Editor James Kramer. The paper was founded in 1992 to help students overcome writing deficiencies, which hindered their academic success, Kramer explains. Under the guidance of more-experienced teenage section editors, as well as paid University of Wisconsin journalism students and adult volunteers, young reporters work on "the 'Three Rs': revision, revision, revision," Kramer adds Participants can spend a couple of months learning how to develop and write clear, compelling stories. Once they grasp the process, they dig into their assignments with enthusiasm. "We've come up with a system that makes students clamor to write," Kramer states with pride. The lessons learned on the paper carry into the classroom: More than 90 percent of participants improve their GPA within six months; 92 percent of seniors go on to college. Readers also benefit. Now distributed throughout the city, the newspaper has a circulation of 23,000 and a growing online presence. The peer-written articles encourage students to read. Without even realizing it, they soak up core academic subjects as they peruse the news on sunken ships, the life of Edgar Allen Poe, and Neanderthal hunters. Left, from background to foreground: (L-R) Teen Editor Npib Thao, Olivia Sanderfoot, and Keith Black; Science and Tech Editor Sisi Chen explains a lesson plan worksheet to a Summer Writing Workshop student. Top: (L-R) Gloria Gonzales and Deidre Green work with a wildlife biologist to collect data during the Wisconsin River sturgeon spawn. Middle: Volunteer Mariana Pacheco helps Nancy Garduno edit a theater review about Esperanza Rising. Bottom: Teen editors and columnists plan an upcoming issue. Photographer: Simpson Street Free Press Coming Up Taller livaru SUMMER ARTS YOUNG AUDIENCES FOCUS: Itidiscipnnary OF INDIANA PARTICIPA 300 AGES: BUDGET: 66,300 Suite 210 Indianapolis, IN 46208 PHONE: '-925-4043 FAX: >5-0654 EMAIL: imunityi&yaindy.org URL: yaindy.org While many children would be thrilled to have the chance to work elbow to elbow with just one artist, youngsters attending selected summer camps in Indianapolis have the good fortune to spend part of their day with an entire team of professional teaching artists. Through Summer Arts for Youth (SAY), a Young Audiences of Indiana program, these artist teams work together to deliver hands-on, multidisciplinary arts experiences at eight different sites in lower-income parts of the city. Each team comprises a musician, dancer, visual artist, and theater artist who collaborate with the youngsters for three hours a day, in sessions that can last up to four weeks. As a focal point for their work— and to boost literacy skills— each team builds its art activities around a high-quality children's book. For example, in 2007, one of the participating sites chose / See the Rhythm by Toyomi Igus. A storyteller introduced the book. A visual artist showed children how to make collages in the cubist style of book illustrator Michele Wood. A dancer taught various styles, including African tribal movements and hip hop steps, which linked to musical periods covered in the book. A musician drummed for the dances. Few of these youngsters have had any access to high-quality arts experiences. Consequently, the program's intensive, multifaceted focus builds participants' arts skills and appreciation. The activities also help students brush up literacy skills during the summer, when many fall behind academically, notes Shalom Black, Young Audiences' director of community programs. A 2006 study, underwritten by the National Endowment for the Arts, documented participants' progress: Campers significantly improved their arts knowledge, as well as dance and visual arts skills. In addition, children retained new vocabulary and arts concepts after school resumed. Black acknowledges that the program's multidisciplinary approach makes it challenging to support the large number of artists involved. However, thanks to a consistent group of funders "who appreciate what the arts can do to enrich kids' lives," Young Audiences of Indiana can continue its mission through Summer Arts for Youth. Left, background to "^ foreground: (L-R) Joanna Arellanes; Takiyah Spikes: Brayan Fernandez and Emiliano Guevara from LaPlaza Summer Discovery program. Top: Children participate in a yoga class. Middle: Young SAY drummer. Bottom: (L-R) Carlos Casco, Gabe McDonald, and Grace Posey. Photographers: Caitlyn Maher, Lydia Maher. Toshia Ricks, Larry Gindhart Coming Up Taller [wards looA 27 SURA ACADEMY When students brought photographs of religious lives back to class, amazing discussions followed about specific family practices and religious beliefs. Some of our students had never been exposed to different religious ideas or views before. CELINE TAMINIAN, ASSISTANT DIRECTOR, ARAB AMERICAN NATIONAL MUSEUM ARAB AMERICAN NATIONAL MUSEUM/ACCESS FOCUS: PARTICIPA AGES: BUDGET: PHONE: FAX: EMAIL: URL: !9,550 -582-2266 2-1086 ninian d accesscommunity.org w.arabamericanmuseum.org n recent decades, a large influx of Arab American families has contributed significantly to the vibrant cultural fabric of southwest Detroit. Although African Americans, Latinos, and other ethnic groups in this predominantly lower-income area live together, they tend to know little about one another, and tensions and misconceptions exist. To create bridges among cultures, the Arab American National Museum, based in Dearborn, developed an innovative photography program, the SURA Arts Academy. Sura is Arabic for photograph. The free program, aimed at middle school children, is offered weekly after school during the academic year, as well as in the summer, at a school in southwest Detroit. The program recruits participants from nearby schools, seeking a diverse group of about 30 students each session Instructors from Detroit's College for Creative Studies teach basic camera operation. They provide participants with digital cameras and send the young people into their communities to document such topics as work, food, religion, recreation, and family life. The youth share their portfolios at subsequent sessions. Every year, the Museum exhibits some of the best photographs from the program. "In the process of talking about the content of each photograph, they are indirectly teaching each other about the different foods or different customs or different practices in their communities," explains Celine Taminian, the Museum's assistant director. "They're learning to respect each others' backgrounds and cultures." Thanks to a grant from the U.S. Department of State, youth in the SURA program also have an opportunity to connect with photography students in Amman, Jordan, promoting cross-cultural understanding on an international level. They share photos over the Internet, comment on each other's work via e-mail, and interact in real time using videoconferencing technology and interpreters. Whether the communication occurs among groups from the same neighborhood or across international boundaries, the program's organizers believe that it will pay long-term dividends. "As participants learn about other people, we're hoping that as they grow up, they will contribute to eliminating some of the tensions," shares Taminian. Left, from background to foreground: Brianna Pitariu and Waleed Silmi learn basic photography skills. Top: (L-R) Iman Silmi and Manar Silmi explore nature with their cameras. Middle: Joshua Napier and Ronald Miller consult on a project. Bottom: (L-R) Diana Molina, Brianna Pitariu, and Daisy Garcia. Photographers: Lynnette Blasey, Joe Namy Coming Up Taller \wnnhioo8 29 TADA! DENT YOUTH ENSEMBLE s I watched my daughter take the stage, she exuded a confidence and joy that I hadn't seen before. At that moment I thought, 'This is it! This is exactly where she needs to be.' PARENT OF A TADA! RESIDENT YOUTH ENSEMBLE MEMBER TADA! YOUTH THEATER FOCUS PARTICIPA AGES: BUDGET PHONE: FAX: EMAIL: URL: I Theater -252-1619 2-8763 re@tadatheater.com w.tadatheater.com Among audiences and theater critics, TADA! Youth Theater has a reputation for high-quality musical theater productions presented with unusual professionalism and verve by an ensemble of talented young actors. But staging great performances is only one aspect of this New York City theater company. TADA! is also a youth-development program that promotes academic and personal success among its ensemble members, the majority of whom come from low-income families. The resident program actively publicizes open auditions in underserved areas. Once accepted, participants receive free after-school and summer training in music, voice, dance, and theater. Working under the guidance of directors, choreographers, and musicians with extensive regional and Broadway credits, the children and teens have a rare opportunity to pursue their passions, while learning to strive for excellence. Because ensemble members can spend hundreds of hours a year in training, rehearsals, and performances, "they become really skilled in time management," notes Executive Director and Founder Janine Nina Trevens. "They often do their homework on the subway." The teamwork that's inherent in ensemble work teaches other valuable lessons, as well. "It's not about becoming a star. It's about being a part of a group and staying a part of that group," Trevens emphasizes. And, because participants range from 8 to 18 years old, they're challenged to move beyond age-based cliques, learning tolerance and respect for people of all ages and various backgrounds. The qualities that participants develop— leadership skills, concentration, self-discipline, self-confidence, and determination— pay off: For the past five years, 100 percent of the program's seniors have graduated from high school and enrolled in college. Some go on to careers on the stage or screen. For example, talk show host Ricki Lake and actress Kerry Washington are two of the more famous alums. "It's really not about careers in the arts," Trevens asserts. "It's about creating people who want to be part of society, who know what they have to contribute to the world, and who feel like they have a voice and abilities to do whatever it is they decide they want to do." om background to foreground: (L-R) Darius Davie, Maya Park, Levin in They Chose Me; Anthony Sanchez; The Gumball Gang: Crime-Solving Kids Nicholas Stewart and Casey Wenger-Schulman. Top: Production scene from Everything About Camp (Almost). Bottom: (L-R) Robert Aviles and Mary Claire Miskell in Gift of Winter; Christina Franklin in They Chose Me. Photographer: TADA! Youth Theater Coming Up Taller \irni WORD NEYS The outcomes of the program have shown that lives have been enriched, attitudes have changed, friendships have formed, and new doors have opened for the children and mentors alike. FRANCES SJOBERG, LITERARY DIRECTOR, UNIVERSITY OF ARIZONA POETRY CENTER PIMA COUNTY PUBLIC LIBRARY FOCUS: PARTICIPANTS AGES: BUDGET PHONE FAX: EMAIL URL: .^-594-5617 -594-5621 sa.bunkerapima.gov w.l ibrary.pima.gov/wordjourneys Seated around tables in Tucson's Woods Memorial Branch Library, a group of 15 elementary school children is busily dreaming up similes and writing them down on large brightly colored squares of paper. "I'm as happy as a bubble," writes one boy, who proceeds to illustrate his example with a drawing of buoyant blue orbs. A teenage mentor sits by each child's side, helping with writing and spelling. Pieces of yarn connect the completed squares, creating a colorful quilt that offers a vivid reminder of the fun that can be had with language. Known as Word Journeys, this unusual after- school program arose through a partnership between the Pima County Public Library and the local school district. The library meeting place is critical to the program, explains Marge Pellegrino, a children's book author and program leader. "A library is a place for lifelong learning. There are treasures in libraries," she points out. Word Journeys seeks to acquaint more families with libraries' riches. The program, held weekly throughout the schoo year, targets students in kindergarten through grade 5, from racially diverse and economically challenged Tucson neighborhoods. Teachers and counselors refer the youngsters, who travel to the library by bus. Trained teenage mentors are integral to the program and receive a stipend of $100 per semester. They demonstrate that it's "cool" to come to the library and model appropriate behaviors, such as listening to and interacting with others. Pellegrino typically begins each workshop with a reading from a children's book on a particular theme, such as Friendships Across Cultures. Craft and writing exercises follow, encouraging children to reflect on the theme and relate it to their lives. Each session also includes a short "treasure hunt" to familiarize students with library resources. At the program's conclusion, children share their creative projects. Through this exercise, they learn to value their accomplishments, while seeing how children from different backgrounds experience the world. This year, for the first time, the group included a number of Bantu refugees from Somalia. These youngsters have had a difficult time finding acceptance in the local schools, and the friendships made through the program are helping to ease the transition, Pellegrino remarks. Left, foreground: Calixte Beohourou reads from one of her projects. Top: Quilted stories celebrate the day on which each participant was born. Bottom: (L-R) Khadija Abdille and Phyllicia Ruiz share a story. Photographers: Lisa Bunker, Erin Stuckrath Coming Up Taller iu<arri> YOUTH ENSEMBLE The Youth Ensemble of Atlanta's artistic programming allows youth, who otherwise may never have the chance, to become active participants in and creators of art. 55 VERONICA WILLIAMS NJOKU, DIRECTOR, FULTON COUNTY [GEORGIA] ARTS COUNCIL YOUTH ENSEMBLE OF ATLANTA (YEA) FOCUS: PARTICIPANTS AGES: BUDGET PHONE: FAX: EMAIL URL: 42,426 4-652-0515 06-9217 a youthensemble.org w.youthensemble.org Topics like child abuse, school violence, teen pregnancy, AIDS, or domestic violence might not seem like musical theater material. But for the past 18 years, the award- winning Youth Ensemble of Atlanta (YEA) has been presenting moving, thought-provoking theater dealing with the tough issues that young people face in their daily lives. ^ "Musical and dance elements— as well as humor- draw young people into the subject, while keeping the productions from being too heavy," explains Development Director Brad Casey. YEA comprises 80 youth, chosen through auditions and interviews primarily for their passion for the performing arts. The majority of ensemble members are African American, and many come from lower-income families that could not otherwise afford YEA's intensive training. While there is no charge for participation, members and parents must sign a contract agreeing to the company's attendance, attitude, and academic requirements. Artistic staff and guest artists offer in-depth weekly workshops in music, dance, and drama. Ensemble members create many of the vignettes and musical numbers, which the director then weaves together into YEA's productions. Students who are in or have graduated from college also work with the company, serving as role models for younger members, while receiving stipends for their participation. One of YEA's unique aspects is its international reach. The troupe has performed at festivals in Europe and South Africa. YEA's original play, based on the 1976 youth uprisings in Soweto, South Africa, earned the Best Overall Production Award at the 2000 Windybrow Arts Festival in Johannesburg. "While we were worried about the reaction we might face bringing American youth to tell South Africans the story of their history, we were surprised by the enthusiastic reception the production received and their amazement that the Soweto story resonated with our youth," comments Executive Director Deborah Barber. High expectations, reinforced by staff and members, contribute to the success of YEA's productions and the track record of participants. Since 1996, 100 percent of the ensemble's members have graduated from high school. Since 2002, all graduates have gone on to college— including such prestigious institutions as Juilliard and Berklee College of Music— with the assistance of scholarships from YEA, their colleges, and local foundations. Left, from background to foreground: Darius Dixon and Brenda Moorer in Endangered Species: Tia Schafer in Soweto! Top: A scene from YEA's original musical drama Sowefo.' Soweto! Soweto! A Township Is Calling, which commemorates the life and death of Hector Peterson— the first youth to die in the Soweto youth uprisings of 1976. Bottom: Kamil McFadden and Kayla Williams in Urban Holiday Soup. Photographer: Youth Ensemble of Atlanta Coming Up Taller livnn 2006 COMING UP TALLER Consejo Nacional para la Cultura y las Artes n 2002, the President's Committee on the Arts and the Humanities joined with Mexican partners in the public and private sectors and initiated the presentation of Coming Up Taller Awards for outstanding programs in Mexico dedicated to the nation's youth. The Finalists in 2008 mark the 13th and 14th awards recognizing organizations that, through arts and humanities learning, provide children and youth with the opportunity to enhance their personal lives, communities, and futures. The President's Committee on the Arts and the Humanities appreciates the outstanding leadership of Mexico's National Council for Arts and Culture (CONACULTA) regarding this and other programs of mutual interest. Left and Bottom: Participants from the Boys and Girls to the Rescue of Cultural Roots program perform on drums and other rhythm instruments. Photographer: Chontal Indigenous Community Cultural Group BOYS AND GIRLS OF CULTURAL ROOTS The workshops promote the rescue and promotion of these traditions. These children are active participants in the promotion of the cultural values that give them identity and respect and position them at the same level of any artistic or cultural expression in the world. CLAUDIA WALLS, COORDINADORA NACIONAL DE DESARROLLO CULTURAL INFANTIL GRUPO CULTURAL COMUNITARIO E INDIGENA CHONTAL es de Tabasco Andres Sanchez Magallanes No. 1124 Col. Centro, 86000 Villahermosa, Tabasco, MX FOCUS: PARTICIPAI AGES: BUDGET: PHONE: EMAIL: ce, Folk & Traditional Arts, ,500 -52-993) 131-1158 and 312-7497 'raicestabasco'd: hotmail.com Music and dance have long been central to the cultural traditions and rituals of the Chontal Indians of Guaytalpa Nacajuca, in Mexico's Tabasco state, along the Gulf of Mexico. But like many indigenous people, these descendants of Mayans are rapidly losing touch with their cultural roots, as aspects of modern society intrude even into this isolated corner of Mexico. To help preserve centuries-old art forms and deepen young people's connection with their ancestors, the Chontal Indigenous Community Cultural Group has been offering intensive workshops on various aspects of Chontal culture for youth from Guaytalpa Nacajuca and nearby communities since 2002. Three afternoons a week after school and on Saturdays, traditional artists from the Chontal community teach students how to play drums and the marimba, while sharing ancestral dance forms. In this community, music and dance play a key role in religious rituals and agricultural traditions, as well as during festive occasions. As young people learn how to play the music and perform Chontal dances, they begin to understand how their ancestors viewed and interacted with the world. This kinship helps to strengthen their own sense of identity. Participants in the drumming and dance work- shops have gained recognition in local, regional, and international competitions and showcases. Such activities both instill a sense of pride in their heritage and expose Chontal cultural traditions to a wide audience. Furthermore, to help ensure that their language remains alive, Chontal elders offer workshops three times a week to teach young people how to read and write in their ancestral tongue. Demonstrating their command of the language, in 2007, students published Para Curar de Espanto y Otros Relatos de Guaytalpa (Guaytalpa Stories That Cure Fear), a collection of their community's stories, written in both Spanish and Chontal and illustrated with their own vibrant drawings. Left: Young dancers prepare for a performance. Top: Students share their cultural traditions at a Chontal community dance performance. Middle: Workshop participants gather for the camera. Bottom: Performers proudly drum during a concert. Photographer: Chontal Indigenous Community Cultural Group CHILDREN'S BA WORKSHOPS This project is bringing about a reevaluation of and renewed appreciation for traditional marimba music through the teamwork of boys and girls throughout the state of Oaxaca. J J ANDRES WEBSTER HENESTROSA, CULTURE SECRETARY, STATE OF OAXACA, MEXICO i-i'ir CASAS DE CULTURA DEL ESTADO DE OAXACA Oaxaca, Oaxaca, MX FOCUS: PARTICIPANTS AGES: BUDGET: PHONE: EMAIL: & Traditional Arts. Music -52-951) 547-3007 and 501-1970 dida19 a hotmail.com T here's nothing quite like the lively, infectious sound of a marimba and nothing cheerier than the sights and sounds of young people playing this traditional instrument. A member of the percussion family, a marimba consists of keys or bars that the player strikes with mallets. Wooden tubes suspended below each key amplify the sound and give the instrument its distinctive, resonant tone. Marimba music has long been a staple of the highlands of southern Mexico. However, the instrument's popularity has been waning there in recent decades. For special occasions, people often find it cheaper to hire musicians who play keyboards or synthesizers, rather than engaging the traditional multi-instrument marimba bands. And, as older marimba musicians pass away, there was a concern that the art of playing this unusual instrument would disappear along with them In an effort to preserve this traditional art form, the Ministry of Culture of the State of Oaxaca, along Mexico's southern coast, is offering carefully structured, in-depth marimba instruction at cultural centers in selected communities throughout the state. Acceptance into the program is based on a youngster's interest and ability. Students spend five hours a week learning marimba history, technique, and repertoire; music composition; and how to both tune and care for the instrument. The success of the first marimba workshops in the Culture House of Tuxtepec, founded in 1997, inspired others to establish their own classes. And, from each group of workshop participants, seven students are ultimately selected to form a local marimba band. The program currently boasts 11 marimba bands in 11 communities that span the valley. One of the bands, the Santo Domingo Tehuantepec Children's Marimba Band, has already recorded its own compact disc. Program officials believe that along with ensuring the continuation of a living cultural tradition, the music study and performance experiences promote discipline, teamwork, and intellectual development. These skills, in turn, help students to perform better in school and to develop into successful adults. Left: Participants perform together on their marimbas. Top, Middle, and Bottom: Young marimba percussionists share their music in a variety of venues. Photographer: Children's Marimba Workshops of Oaxaca Coming Up Taller I 200C COMING UP TALLER Ministry of Culture, People's Republic of China For the second year, the President's Committee on the Arts and the Humanities welcomes the inclusion of a youth arts learning program based in the People's Republic of China as a recipient of a Coming Up Taller Award. This award is consistent with the President's Committee's interest in seeking mutual international understanding through the arts and the humanities and follows up on the U.S. President's Committee's Delegation to the People's Republic of China in June 2007, which culminated in implementing an Accord for Cultural Exchange 2007-2009 between our two countries. The goals of international understanding are shared by the Honorable Cai Wu, Minister of Culture of the People's Republic of China, who said, "We are pleased to be a part of the Coming Up Taller Awards for it provides a unique platform for both China and the United States to communicate on issues relating to arts education for youth; to share their practices and experiences; and, moreover, to enhance the role of culture and arts in the overall development of individuals." The Ministry of Culture further shares the vision of nurturing the cultural lives of young people so that they may realize their talents, express their creativity, and give back to their communities. We are grateful to the Ministry for identifying a leading arts program for children and youth and for supporting the Coming Up Taller Awards. Left, foreground: A young opera heroine prepares for her performance. Bottom: Shaanxi Opera trainee strikes a dramatic pose. Photographer: Shaanxi Opera and Drama Research Institute AMATEUR ACTOR IHtfHViW SHAANXI QIN QIANG OPER je of flourishing popular culture, here stands a group of young people with a profound commitment to the art of Qin Qiang. We should commend them not only for their performances, but also for their dedication to our cultural heritage. ZHAO LEJI, SECRETARY OF THE CPC SHAANXI PROVINCIAL COMMITTEE SHAANXI OPERA AND DRAMA RESEARCH INSTITUTE Xi'an, Shaanxi Province, PRC FOCUS: PARTICIPANTS AGES: BUDGET PHONE: EMAIL: URL: Opera, Literature, Music 1-86-298) 786-3404 0331®163.com /w.sxqq.net Like other vanishing traditional art forms, regional Chinese opera is facing tremendous challenges in modern life. In response, the Shaanxi Opera and Drama Research Institute, the largest arts group in Shaanxi Province, formed the Amateur Actor Training Class of Shaanxi Qin Qiang Opera, to preserve and revitalize this cherished art. For young people in the surrounding rural areas, this training program offers them a new avenue for artistic growth, personal development, and career possibilities. The student actors and musicians— all taught by professional opera artists and musicians- undergo rigorous training in a year-round program. The teens study voice, drama, and literature, learning to portray the four character roles in Qin Qiang opera— sheng (male), dan (female), jing (supporting male, with painted mask), and chou (clown). They learn how to enunciate different dialects and appreciate minute differences in the opera itself in terms of pronunciation, melody, and movement. Student musicians become skilled in a variety of Chinese and Western instruments, such as the banhu, suona, erhu, bangzi, yangqin, sanxian, flute, guzheng, and cello. All students learn opera repertoires that feature such timeless subjects as the fight between the loyal and the treacherous, in addition to other universal human themes that reflect the honest and upright aspirations of the local people. True to its folk origins, Qin Qiang opera scores are considered bold and colorful, featuring a more natural vocal expression of human emotion than the traditional Peking opera. Productions are also distinctive in showcasing such unique skills as spitting fire, along with time-honored dances. Most of the opera company's students come from underdeveloped, agrarian villages and highly value musical and operatic training as an opportunity to attain personal success. Through their performance education, they also learn diligence and the importance of hard work. Apart from coaching participants in these technical and preprofessional skills, program instructors also teach history, Chinese language, and English, among other courses. Field trips to the library and other sites improve the quality of learning and enhance understanding of stage performance. Reading rooms are available to help participants reflect and study. After five years of training, students are able to master three full-length plays and more than 40 highlights from other opera styles. They also have the opportunity to entertain diverse audiences in various centers and opera festivals in the city of Xi'an and surrounding areas. Past performances have raised money for public welfare causes, such as the H.H. Special Child Development Center for disabled children. Student productions have won widespread acclaim from Chinese opera experts and new devotees alike. As further evidence of the quality of arts training, many students who are inspired to dedicate their lives to the craft may join the Shaanxi Opera and Drama Research Institute or other opera companies as professional members. Left, foreground: The female lead and her companions exhibit strong emotions during a scene. Top: Two officials stage a quarrel. Photographer: Shaanxi Opera and Drama Research Institute wards until 45 2oo8 COMING UP TALLER For the first time, this year the President's Committee on the Arts and the Humanities welcomes the inclusion of a youth arts and humanities learning program based in Cairo, Egypt, as a recipient of a Coming Up Taller Award. This award is consistent with the President's Committee's interest in seeking mutual international understanding through the arts and the humanities and follows up on efforts to expand the impact and scope of our international activities. It is heartening that the goals of Coming Up Taller are shared around the world and that inspirational learning spaces for children and youth are being made available in many countries. We salute the creative learning opportunities that the Egyptian awardee offers its young participants and expect that the $10,000 award will enable further growth of the Townhouse Gallery's much-needed youth programs. We are grateful to the U.S. Embassy Post in Cairo for identifying an outstanding youth program to participate in the 2008 Coming Up Taller program. FRIDAY WORKSHOPS Before I started coming here, I didn't really know much about anything. But after I started coming, Friday after Friday, I learned a lot about different things, such as animation, theater, and art. AYA FATHY TAWFIK, FRIDAY WORKSHOPS FOR WORKING CHILDREN PARTICIPANT TOWNHOUSE GALLERY OF CONTEMPORARY ART Hussein El Me'mar Pasha Stre Off Mahmoud Basyouni Street Downtown Cairo, EGY FOCUS: PARTICIPANTS AGES: BUDGET: PHONE: EMAIL: URL: -202)2-576-8086 j)thetownhousegallery.com w. thetownhousegallery.com The Friday Workshops at the Townhouse Gallery of contemporary art offer child laborers throughout neighborhoods in Cairo, Egypt, a new vision of themselves and of their world through the arts. Many of these young people work six-day weeks to support their families and have limited educational opportunities. However, thanks to the efforts of the Townhouse Gallery, some of the working children have a place where they not only explore new areas of their own potential, but also build a sense of self-worth and confidence that could be applied to their daily lives. The Workshops introduce participants to a range of arts disciplines, including various forms of visual arts, theater, and animation. Resident and visiting teaching artists, Workshop leaders, and trained social workers work together to support and offer professional mentorship to the youth throughout the process. The students also particularly enjoy spending time with their peers on art projects, and as one 14-year-old participant said, she likes to "work as a team." Other special components of the program are outside their neighborhoods and Cairo itself. In this part of the curriculum, young people learn to interact with others in different contexts and explore new possibilities in a larger world. It's been noted that the Workshops have a remarkable effect on the participants. Many informally share the lessons learned in the program by teaching other children the confidence-building games and activities in the streets of their local areas. The positive effects can also been seen in parent/child relationships: At the beginning, parents were reluctant to allow their children to take part and demanded payment for their time. But as they witnessed the beneficial impact, this issue was resolved. There is now a long waiting list, with other parents eager to enroll their children. This project and other outreach efforts are consistent with the Townhouse Gallery's mission to forge group cohesion through the creative process in an unpoliticized space and strengthen relations between those from diverse backgrounds and life experiences. In addition to the Friday Workshops, Townhouse Gallery provides inclusive Saturday arts workshops and animation programs. Participants from all ages and backgrounds interact and work creatively together, some of whom are refugees, children from private schools in Zamalek, working children, professional artists, and workers in the lanes near the Gallery. Since its inception in 1998, the Townhouse Gallery of contemporary art has established itself not only as one of the largest private exhibition spaces in the Middle East, but also as one of the region's leading independent spaces for visual arts, film, theater, music, and arts education. Left: Students celebrate the completion of their project. Top: Participants discuss the themes of a play. Bottom: Students examine digital artwork. Photographer: Townhouse Gallery of contemporary art Coming Up Taller IwardstoaA 49 WA COMING SEMIFINALISTS After School and Cultural Citizenship Project Art Education Kid Power-DC, Inc. Mexic-Arte Museum Washington, DC Austin, TX Crescendo Music Program Art a la Carte Academy of Community Music Federated Dorchester Fort Washington, PA Neighborhood Houses Dorchester, MA Express Yourself, Inc. Peabody, MA ARTclub Fine Arts for Children & Teens, Inc. Job Training in the Arts Santa Fe, NM Downtown Aurora Visual Arts Aurora, CO Art High Armory Center for the Arts Kids on the Hill, inc. Pasadena, CA Baltimore, MD ArtReach Learning Early Network Kemper Museum of Bradford County Regional Contemporary Art Arts Council Kansas City, MO Towanda, PA ArtReach Museum Action Corps (MAC) Philbrook Museum of Art Internship Program Tulsa, OK The Peabody Essex Museum Salem, MA Arts Corps Seattle, WA Myron P. Levin Learning Center Special Summer Program Arts Express After School Program Latin Americans for Social and Museum of the Gulf Coast Economic Development, Inc. Port Arthur, TX Detroit, Ml Blunt Youth Radio Project MYSO Progressions WMPG, University of Southern Milwaukee Youth Symphony Maine Student Senate Orchestra, Inc. Portland. ME Milwaukee, Wl New Directions YouthArts Office of Cultural Affairs City of Las Vegas Las Vegas, NV New Urban Arts Providence, Rl Power Hour, Cultural Program and Fine Arts Program Penobscot Nation Boys & Girls Club Indian Island, ME Project STEP, Inc. Boston, MA Providence CityArts for Youth, Inc. Providence, Rl Recreation Programming for Children and Youth City of Lincoln Lincoln, NE Rejoice School of Ballet Rejoice Ministries, Inc. Nashville, TN RiverzEdge Arts Project, Inc. Woonsocket, Rl SmARTs Program South Chicago Art Center Chicago, IL SoBRO Theme-Based After School Programs South Bronx Overall Economic Development Corporation Bronx, NY Songs of Hope Sounds of Hope, Ltd. St. Paul, MN Teens Together Music Theatre Workshop Chicago, IL Telling It SOS Community Services Ypsilanti, Ml The Harmony Project Los Angeles, CA Three Rivers Jenbe Ensemble Fort Wayne Dance Collective, Inc. Fort Wayne, IN WriteGirl A Project of Community Partners Los Angeles, CA Young People's Chorus of New York City, Inc. New York, NY Left and Bottom, from background to foreground: (L-R) Simpson Street Free Press student Mai Yang; Berklee City Music Saturday Upper School vocalists in performance; Project Jericho participant Jaylen Mitchell.. Photographers: Simpson Street Free Press, Berklee City Music, Project Jericho NATIONAL JURY Arts Education Manager Americans for the Arts Washington, DC Chris Anthony Director of Youth & Education Will Power to Youth Los Angeles, CA larbara Carpenter Executive Director Mississippi Humanities Council Jackson, MS Libby Lai-Bun Chiu Senior Advisor for Learning Initiatives Illinois Arts Council Chicago, IL Ginnie Cooper Chief Librarian DC Public Library Washington, DC Gary Henrickson Dean of Academic Affairs Minnesota State Community and Technical College Fergus Falls, MN Suzanne LeBlanc Executive Director Long Island Children's Museum Garden City, NY Laura Vural Director, Truce Harlem Children's Zone New York, NY Left, from background to foreground: Fadumo Issa takes photographs during a Journey program scavenger hunt; Mary Claire Miskell in TADA! Youth Theater's production of Gift of Winter. Bottom: (L-R) Flora Phillips, Tamara Sambo, and Maddelynn Sambo perform during the Alaska Native Heritage Center's Heroes of Human Rights Day. Photographer: The AjA Project, TADA! Youth Theater, Alaska Native Heritage Center jming Up Tailer \ward$aoo3 53 APPLICATION REVIEWERS Wayne Cook Arts Program Specialist California Arts Council Sacramento, CA Dana Lupton Artistic Director Moving in the Spirit Atlanta, GA Robert Hall Associate Head of Education and Visual Arts Specialist Anacostia Museum and Center for African American History and Culture Smithsonian Institution Washington, DC Sandra Jackson-Dumont Kayla Skinner Deputy Director of Education and Public Programs/ Adjunct Curator Seattle Art Museum Seattle, WA Patty Langley Administrative Librarian Delaware Division of Libraries/ State Library Dover, DE Barbara Meyerson Museum Consultant B. Meyerson Consulting, LLC Phoenix, AZ Robin Middleman Arts Education Coordinator New Jersey State Council on the Arts Trenton, NJ Catherine O'Brian Arts in Education Coordinator New Hampshire State Council on the Arts Concord, NH Raeshma Razvi Programs Manager California Council for the Humanities San Francisco, CA Marianna Roll Executive Director Greater New Orleans Youth Orchestra New Orleans, LA Sheila Sears Arts Education Consultant Colorado Council on the Arts Denver, CO Martin J. Skomal Director of Programs Nebraska Arts Council Omaha, NE Jenna Ware Associate Director of Education Shakespeare & Company Lenox, MA Judith Willoughby Wanda L. Bass Professor of Conducting and Choral Music Education/Artistic Director Canterbury Youth Choruses Wanda L. Bass School of Music Oklahoma City University Oklahoma City, OK Mark Alexander Wright Director of Partnerships National Children's Museum Washington, DC ind to foreground: Berklee City Music Saturday Preparatory School students; Project Jericho participant Ray Collins. Bottom: (L-R) SURA Arts Academy students Alaa El-Beshir, Fatima Shareef, Wafa Fidama, and Mouna Alghathie. Photographers: Berklee City Music, Project Jericho, Aimee Allen FEDERAL CULTURAL AGENCY PROFILES 1100 Pennsylvania Avenue, NW Suite 526 Washington, DC 20506 Phone: 202-682-5409 Fax: 202-682-5668 E-mail: pcah@pcah.gov URL: www.pcah.gov The President of the United States recognizes that the nation's cultural life contributes to the vibrancy of society and the strength of democracy. The President's Committee on the Arts and the Humanities helps to incorporate the arts and humanities into White House objectives. It recognizes cultural excellence, engages in research, initiates special projects, and stimulates private funding. Areas of current focus include programs in youth arts and humanities learning; preservation and conservation; special events; and expansion of international cultural relations. First Lady Laura Bush, Honorary Chairman Adair Margo, Chairman Henry Moran, Executive Director Institute of Museum and Library Services 1800 M Street, NW 9th Floor Washington, DC 20036-5802 Phone: 202-653-IMLS Fax:202-653-4600 E-mail: imlsinfo(g>imls.gov URL: www.imls.gov The Institute of Museum and Library Services is the primary source of federal support for the nation's 122,000 libraries and 17,500 museums. The Institute's mission is to create strong libraries and museums that connect people to information and ideas. The Institute works at the national level and in coordination with state and local organizations to sustain heritage, culture, and knowledge; enhance learning and innovation; and support professional development. Anne-lmelda M. Radice, PhD, Director National Endowment for the Arts 1100 Pennsylvania Avenue, NW Washington, DC 20506 Phone: 202-682-5400 Fax: 202-682-5611 E-mail: webmgr@arts.endow.gov URL: www.arts.gov The National Endowment for the Arts is a public agency dedicated to supporting excellence in the arts, both new and established; bringing the arts to all Americans; and providing leadership in arts education. Established by Congress in 1965 as an independent agency of the federal government, the Endowment is the nation's largest annual funder of the arts, bringing great art to all 50 states, including rural areas, inner cities, and military bases. Dana Gioia, Chairman National Endowment for the Humanities 1100 Pennsylvania Avenue, NW Washington, DC 20506 Phone:202-606-8400 Fax:202-606-8240 E-mail: info@neh.gov URL: www.neh.gov Because democracy demands wisdom, the National Endowment for the Humanities (NEH) serves and strengthens our Republic by promoting excellence in the humanities and conveying the lessons of history to all Americans. The Endowment accomplishes this mission by providing grants for high-quality humanities projects in four funding areas: preserving and providing access to cultural resources, education, research, and public programs. Bruce M. Cole, PhD, Chairman Left and Bottom, from background to foreground: (L-R) Journey program participant Famo Musa; a scene from Soweto! performed by the Youth Ensemble of Atlanta; Summer Arts for Youth student Takiyah Spikes. Photographers: The AjA Project, Youth Ensemble of Atlanta, Young Audiences of Indiana \ Coming Up Taller I 2^ — !uj —J q ?3 :*:?%: & -1 I- l/l c < * E £2 2 S * s* O > w c °° ^ g ^ 1=1 <*&*»&,, **S*"^