Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Introduction
Increasing numbers of educators, parents and students are recognizing that traditional
employment training methods can be unsupportive and at times alienating to youth,
particularly those with special needs. Non-traditional models have proven effective in
promoting student achievement and successful transition from school to the community
and the world of work. WVSA's ARTiculate Employment Training Program, a community
based arts-infused employment training program for youth and young adults with
disabilities, is such a model. The program works with the belief that students who have
difficulty learning, processing information, and/or demonstrating knowledge through
traditional methods may be more successful using the arts as a vehicle for gaining and
cultivating the social and vocational skills needed to transition successfully from school
to the 'future' (Riccio, 2001).
The employment training program is funded by public schools, state health or
employment departments, and grants from private foundations or government agencies.
A portion of the sales from participants' artwork is also a source of program funding,
with yearly sales averaging $60,000 and growing.
180
Education, Community Integration and Arts Enterprise 181
needs to prepare them for living productive lives after leaving the secondary school
system, have been limited. The introduction of the Individuals with Disabilities Education
Act (IDEA) in 1990 and its previous formats (i.e. Education of the Handicapped Act)
served as a direct solution to this problem. IDEA, in part, was created to guarantee that
all children and youth with disabilities are provided free and appropriate public education
encompassing special education and related services that will assist in their movement
from school to independent living, work or further education (Individuals with Disabilities
Education Act, 1997).
staff overseen by the umbrella organization, is housed in the center of the Washington,
DC, business district. The non-traditional 'school/employment training' setting includes
a gallery with display space rivaling that of any other in the downtown area and an
adjoining art studio, one of four located throughout the building.
The gallery, dedicated solely to the display of program participants' artwork, houses
the gallery curator's office space and is listed as a 'must see' local Washington, DC, site.
Notice of opening receptions, during which participants sell and promote their artwork,
regularly appear in area newspapers and periodicals and have attracted hundreds of
community patrons.
Studio spaces consist of accessible art tables; a technology-learning center including
computers with Internet access, printers and scanners; and a framing work area. The
fully functioning spaces are designed to engage the participants in all aspects of product
production.
The participants are encouraged to develop meaningful relationships extending from
within the art studios and the gallery (with youth co-workers and program staff) to
throughout the building, creating bonds with the administrative, artistic, and support
staff, and visitors alike.
Each interlocking element brings a new dimension to the program and all work in
unison to fulfill the goal of social skills building and vocational achievement through the
arts. The basic elements of Education, Community, and Enterprise are further broken
down in Figure 2. Each element is explored further in the following sections.
Education
The program strives to educate its participants by guiding them in the exploration of
themselves to ultimately reveal their skills, talents, and aspirations. Each participant is
thought to be capable of learning and achieving success. The intelligences of all are
appreciated and honed.
Arts as a learning tool
The arts, considered an 'intelligence fair' tool that can be used to cultivate many ways
of thinking and learning (Gardner, 1993), are the core of the program's curriculum. The
philosophy is based on the premise that the arts provide an excellent avenue for all
individuals to develop new talents, increase self-esteem, enhance social and employment-
related skills, and enjoy mainstream community, cultural, and educational activities. The
arts strengthen learning by actively involving participants, and work to provide new
perspectives, to permit trying out different options, engage the whole person, teach
participants skills for working together to manage conflict, and offer alternative ways to
communicate.
Many studies have shown that marketable skills can be developed through an interest
in or talent for the arts. Eisner (1998) reports: 'The arts foster an awareness that problems
can have multiple solutions and questions multiple answers - that good things can be
done in different ways'.
For many individuals, the arts may be the ideal way not only to teach this kind of
multi-dimensional problem-solving, but also to teach individuals to take pride in
approaching challenges in unique ways. An arts curriculum designed in particular for
participants with diverse learning styles advances individual expression, creative problem-
solving, and flexible thinking (Riccio & Eaton, 1995).
Curriculum
Through the program's training format, program participants work a minimum of
six hours each week during the school year and eight hours per day each week during
the summer in designated studios with a staff consisting of artist instructors, artist
184 Citizenship, Social and Economics Education
Career Development
Process Description
5. Employment • Listing all of the jobs, both paid and unpaid, one
has had in a lifetime - from childhood to the present;
• Understanding the positive and negative experiences
learned from previous employment situations;
• Becoming aware of how each experience has an
impact on one's current employment situation, i.e.
awareness of oneself; understanding the work world;
preparing for a career.
1 Awareness of self
Awareness of self is the first step in social independence, communal interdependence,
community inclusion and employment readiness. Self-identity, along with self-regulation
to societal norms, makes community inclusion all the more demanding. Through a
series of written and verbal interest inventories administered by the vocational
coordinator, participants explore their hopes, dreams, and aspirations. Participants also
formulate a positive personal profile, one that delineates the participant's strengths,
186 Citizenship, Social and Economics Education
short- and long-term goals, self-determination skills and strategies for success. These
interest exercises, in conjunction with formal and informal assessments, help develop,
cultivate and nurture a greater understanding of self. Participants are then encouraged
to express their hopes, dreams and aspirations through their artwork. They are
encouraged to find their identity through artistic expression and share that identity with
their peers, families and community. Participants also are encouraged to work
collaboratively, experiencing first hand the value of communal interdependence.
2 Career preparation
The training program provides participants with opportunities to display the knowledge,
skills and attitudes gained through the program at six annual gallery openings that display
participants' artwork to the general public. Gallery openings give participants the opportunity
to interact with new people, discuss their original creations, sell their artwork, establish
networking resources and put into application the social skills that the program stresses.
3 Awareness of world
Program staff schedule group discussion sessions throughout the year with the
objective of exposing participants to other cultures and world views. Ultimately,
participants learn about the global community and how they fit within it.
4 Career exploration
Participants are encouraged to understand a range of occupations and develop hands-
on experience. All participants are encouraged to take advantage of arranged inclusive job-
shadowing experiences that will afford them skills, knowledge and attitudes related to
specific career interests. Job-shadowing opportunities include working in the gallery greeting
patrons, writing sales receipts, working with WVSA's receptionist answering phones, faxing
materials and working with the director of technology on various tasks such as installing
software, trouble-shooting technical problems and working on hardware solutions.
5 Employment
Participants are guided through employment history exercises during which they are
expected to reflect on past employment experiences and the knowledge gained from
each. Program staff use the information gathered to pair participants with appropriate
community employers outside of the program. Periodically, staff take part in site visits
monitoring the participants' performance by observation and interviewing employers.
Assessment Tools
The assessment tools, designed specifically for the ARTiculate Employment Training
Program and outlined in Table 2, are used to define a participant's needs upon entering
the program and as benchmarks for progress made at intervals. Assessment tools yield
literacy levels, knowledge of community and life skills, vocational awareness, as well as
artistic aptitude. Assessment information is used by the teaching staff to formulate
individual lesson plans adapted to the specific needs of each participant.
Community
The physical community (people, buildings etc.) surrounding the employment training
program is a place of learning that reinforces the principles of self-regulation, communal
interdependence and the employment readiness skills needed to succeed.
Education, Community Integration and Arts Enterprise 187
A s s e s s m e n t Tools
Vocational Skills Converts each participant's level Given during the participant's
Assessment Tool of employment skills into a first month in the program,
personal plan of action and is answers lead to an individual's
fed into the Individual present level of performance
Participant Objective Plan and specific transition goals and
(IPOP). objectives.
Individual Driving document that provides Created within the first two
Participant a point of reference in training weeks of a participant's entrance
Objective Plan each participant in social, into the program, revisited by
(IPOP) independent living and the program co-ordinator and
employability skills. support staff regularly.
Participant The Participant Feedback Form Given during the last two weeks
Feedback Form affords each participant an of the programme/session.
opportunity to voice his/her
opinion about program
strengths and areas of need.
Table 2 P r o g r a m m e A s s e s s m e n t Tools
Community resources
The emphasis on experiencing the community extends into the community at large.
The city has become the program's 'living teaching tool'. Participants engage in many
field trips throughout the year, for example visiting local art galleries, local community
organizations and business offices. Excursions are frequently related to upcoming gallery
188 Citizenship, Social and Economics Education
opening/reception themes. For instance, participants may travel throughout the city
visiting historical sites. The participants take tablets and drawing tools with them to
sketch their impressions of the community excursion with the aim of producing artwork
in the studio that will be displayed at the next scheduled exhibit opening.
The program also partners with schools, organizations and businesses. For example,
the program has partnered with a non-profit organization committed to training and
matching successful adult mentors with program participants, and participants have
created artwork at the request of community leaders to be displayed throughout the
city.
Community inclusion
Participants enrolled in the program come from all over the city; however, most do
not view the downtown business district as part of their community. To most participants,
the downtown area is some place distant, unfamiliar, and foreign. The location of the
program, in the center of the business district three blocks north of the White House,
fosters an awareness of this area and allows the program participants to not only learn
about the place in which they live but develop a sense of pride in their community.
The program's location also assists participants in gaining necessary skills. In an effort
to attend the program, most participants must access the public rail and/or bus system,
enhancing community integration while fostering travel training.
Participants also take part in community-mapping exercises, where they are given a
map and are required to visit local businesses to inquire about what services the business
provides and the possible employment opportunities. These exercises encourage
participants to go into the community, explore and learn about real world applications of
social, employment and interpersonal skills.
Other community inclusion exercises include discussions facilitated by program staff
relating to citizenship, e.g. cleaning up local parks and painting murals in public spaces.
These experiences reinforce the taught principles of self-regulation, social independence,
communal interdependence, community inclusion and employment readiness.
Parent/Guardian involvement
Although community participation is valued in the development of each participant,
parental and/or guardian involvement is an essential factor in a program participant's
success. While parent participation in public schools remains low (Henig et al, 1999) the
program works to combat this by providing services for the entire family. Parents and
guardians are offered training sessions in areas such as transition, advocacy and building
self-determination skills in their children. They are encouraged to participate in the
WVSA-sponsored program ImPACT (Imagine Parents and Artists Creatively Talking).
ImPACT assists parents, guardians and youth to develop communication skills by using
the arts as a tool. The service works to build multiple levels of protective factors against
school failure, violence, delinquency and substance abuse through bi-weekly 2½-hour
sessions that include a family meal and family participation in arts experiences.
Enterprise
The collaboration between enterprise and education is not a new strategy as exemplified
by programs within the United States and abroad. Enterprise education in the US has
been in existence since the close of World War I.The decade of the 1990s brought about
Education, Community Integration and Arts Enterprise 189
between effort given by the participant and numbers of items created by the participant
displayed in the gallery for sale.
An important element of the program is to allow participants the independence to
make their own decisions regarding pace, style and medium of artwork to be offered for
sale to the gallery curator and later to the retail customer, which requires participants to
bear the consequences of their decisions. Artist instructors offer suggestions to the
participants and are there to provide professional input if needed but the participant has
the final approval on what will be created. If the artwork does not fit in with the theme
of the next gallery show, or it is not appropriate for display, the participant must bear the
consequences that the artwork will not be displayed and has no chance of being sold.
Hence, the entrepreneur (participant) can either adapt to the market trend and consumer
needs (gallery curator) or the entrepreneur can create a product that is not in demand by
the consumer market. If the artwork is 'sold' (accepted for display in the gallery) to the
consumer (gallery curator), there is still no guarantee that the artwork will sell in the
gallery to the general public and a commission will be earned by the participant. This
technique is often referred to as learning under conditions of uncertainty. In the American
educational context it is called self-determination, or making your own decisions and
bearing the consequences of those decisions. The entrepreneurial training focuses upon
developing participant's decision-making skills.
Hands-On Experience
The gallery plays an integral role in the ARTiculate Employment Training Program.
Not only is it a place to display and sell the participants' artwork, but it is also a training
site for entrepreneurial and enterprise skills. Participants job-shadow the gallery curator
to learn the vital skills of marketing, framing, presentation, customer relations and how
to consummate a sale (price decision, generate sales receipt, credit card/debit transaction
etc).
The gallery has six annual shows exhibiting the art produced by the participants. The
artwork created for each show focuses on a particular theme (e.g. Valentine's Day;
springtime; the holidays). Each participant must interview with the gallery curator before
their artwork will be selected for upcoming exhibits. There is a limited amount of display
space available in the gallery and the participants are very competitive in getting their
artwork displayed. These gallery interviews help participants refine their interviewing,
presentation, interpersonal and marketing skills while simulating a real work environment.
Participants are represented in the gallery opening through paintings, two- and three-
dimensional pieces or original greeting cards. However, the amount of artwork
represented in the gallery for each participant is directly tied to his or her effort and
dedication. The participants' reality is based on performance outcomes and successful
completion of the gallery interview.
Each gallery show opens with a reception for 125-150 attendees, which is essential to
the overall success of the program, giving participants the opportunity to share their
creations with, and potentially sell them to, the public. For every piece a participant sells,
he or she receives a commission. During these receptions, the participants have the
opportunity to demonstrate knowledge, skills and attitudes gained while in the program.
The interpersonal interaction fosters a strong artist-patron relationship and, since many
of our participants have a distinct artistic style and personality, they have developed quite
Education, Community Integration and Arts Enterprise 191
Conclusion
The ARTiculate Employment Training Program functions to provide for its at-risk
youth participants with special needs the necessary skills to become productive citizens
and workers in an ever-changing global community setting. The program's emphasis
on the intermingling of the arts, the environment, education, community integration
and enterprise has proved to be successful by working collectively to instill social, self-
determination and employment readiness skills in youth.
Correspondence
Any correspondence should be directed to Prof L. Lawrence Riccio, School of
Education,Trinity College, Washington, DC 20017, USA (E-mail: lriccio @trinitydc.edu).
Note
1. For more information about the ARTiculate Employment Training Program or WVSA
arts connection, visit www.wvsarts.org.
References
Barton, RE. (1993) A Memorandum on the Youth Transition. Washington, DC: American
Youth Policy Forum.
Eisner, E.W. (1998) Does experience in the arts boost academic achievement? Art Education
5 (1), 7-15.
Gardner, H. (1983) Frames of the Mind: The Theory of Multiple Intelligences. New York:
Basic Books.
— (1993) Multiple Intelligences: The Theory in Practice. New York: Basic Books.
Griffith, J. (2001) An approach to evaluating school-to-work initiatives: Post-secondary
activities of high school graduates of work-based learning. Journal ofVocational Education
and Training 53 (1), 37. Retrieved from http://www.triangle.co.uk/vae/
Henig, J.R., Moser, M., Holyoke,T. and Lacireno-Paquet, N. (1999) Making a Choice, Making
a Difference? An Evaluation of Charter Schools in the District of Columbia. Washington,
DC: The George Washington University.
Individuals with Disabilities Education Act. (1997) IDEA Reauthorization (H.R. 5 ed., 105th
Congress). Retrieved from THOMAS-US Congress at http://thomas.loc.gov/cgi-bin/
bdquery/z?d105:HR00005:| TOM:/bss/ dl05query.html|
Industry Report 1997 (1997; Training 34 (10), 34-75.
Krieg, F.J., Brown, P. and Ballard, J. (1995) Transition: School to Work. Bethesda: MD
Riccio, L.L. (2001) SAIL: A school where the arts connect with real learning. International
Journal of Art and Design Education 20 (2), 205-214.
Riccio, L. and Eaton, W. (1995) From Ashgill Road to Scalpay Street: A Creative Route
through the 5-14 Curriculum. Glasgow: The Arts Is Magic.
Smith, C.L. (1997) Initial analysis of youth apprenticeship programs in Georgia. Journal of
Vocational and Technical Education 14 (1), 1. Retrieved from http://scholar.lib.vt.edu/
ejournals/JVTE/vl4nl/JVTE-2.html
Teele, S. (2000) Rainbows of Intelligence. Thousand Oaks, CA: Corwin Press.
United States General Accounting Office (1993) Transition from School to Work: States are
Developing New Strategies to Prepare Students for Jobs. Washington, DC
Vento-Vierikko, I. andVaris, M. (1998) Enterprise Education - The DUBS Model Framework
in the Finnish Context. Proceedings of the Second Finnish SME Research Forum.
Retrieved from http://www.tukkk.fi/pki/sme-forum/SME98/papers98.htm