The Power of Art

Prepared for The California Endowment by Susan Anderson, Nancy Walch, and Kate Becker
CONTENTS
INTRODUCTION:
2. ABOUT THIS REPORT 7. YOUTH HEALTH ACCESS - SUMMARY OF FINDINGS AND RECOMMENDATIONS 11. YOUNG PEOPLE AT RISK 14. YOUTH DEVELOPMENT AND THE ARTS 19. THE PUBLIC HEALTH PARADIGM AND THE ARTS
MAJOR RESULTS:
24. ARTS IN JUVENILE JUSTICE: INTERVENTION AND AFTER-CARE 41. ARTS IN FOSTER CARE: STABILITY AND EXPRESSION 49. ARTS IN AFTER-SCHOOL PROGRAMS: SAFE AND CREATIVE HAVENS 70. ARTS IN EDUCATION: PROMOTING ACADEMIC ACHIEVEMENT 86. ARTS IN WORKFORCE DEVELOPMENT: BUILDING A SKILLED FUTURE
106. FINDINGS AND RECOMMENDATIONS

108. INTERVIEWS
110. BIBLIOGRAPHY 122. PROGRAM LIST 125. CONTRIBUTORS
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PATHWAYS TO HEALTHY YOUTH DEVELOPMENT
INTRODUCTION
If we dont have art in our lives we can never really be healthy people. If we dont participate in creative endeavors, we can never really be whole and well adjusted. And when you find those kids who are generally happy about what they do, about who they are, you can bet that somewhere in their lives, art has made a connection. Frank Walker Kentucky Governors School for the Arts
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The Arts as an Effective Intervention Strategy for at-risk youth
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ABOUT THIS REPORT

In the fall of 2003, Susan Anderson, then principal of CivicArts, approached the President and CEO of The California Endowment, Robert K. Ross, M.D., with the idea that, based on her observations and experience in community development and the arts, the arts as a factor in youth health and development might be a proposition worth investigating. Following a proposal requested by The California Endowment, Dr. Ross commissioned this an inquiry into the arts as an effective intervention strategy for at-risk youth. This report, the result of that inquiry, represents perhaps the first time that a major health foundation has considered contributing to a framework for considering participation in the arts as an influential factor in youth wellbeing and development. This report has three primary goals. One, to respond to study questions posed by The California Endowment. Two, to compile findings regarding the effect of arts participation on at-risk youth. Three, to offer recommendations to The California Endowment based on its findings. The intention of this document is to stimulate discussion and interest across a wide spectrum of parties concerned with healthy youth development. Study Questions The study team was directed to conduct a scan of current activities and knowledge in the field, and to report on its findings, guided by three questions posed by The California Endowment. 1. What is the body of evidence regarding the use of the arts as a successful intervention strategy for at risk youth? 2. What information is available specifically in terms of improving the health outcomes for young people? 3. What data exist regarding whether these interventions work among the young people in foster care or the juvenile justice system? Youth Populations Compelled by the study questions, the researchers focused on the theory and practice of arts programs for adolescents considered at-risk, particularly efforts serving those approximately 12 18 years old, to explore what is known about structured, long-term involvement in the
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arts by young people who are commonly seen as disadvantaged. The young people within these programs attend troubled schools or have been kicked out of the regular school system and are in alternative educational environments. They live in beleaguered neighborhoods, are in foster care and families in crisis, or incarcerated in juvenile facilities. This population was chosen because it is the most vulnerable to risks, and the efficacy of arts programs in their lives is the most compelling testament to the power and necessity of art as a part of healthy youth development. Criteria for Arts Programs This report discovered a national infrastructure of nonprofit, communitybased arts programs that have developed a range of shared characteristics that are broader and more dynamic than what is called arts education. While education is typically at the core of these arts programs, they have evolved beyond the traditional practices limited to classrooms. These programs constitute an emerging field this report describes as youth arts regardless of their settings and agency affiliations. The field is developing in response to institutional gaps the decline of arts education in Americas public schools, the national de-funding of public sector youth services and after-school programs. At the same time, the field is growing of its own volition due to the increasing research and recognition of the vital role the arts play in the health and wellbeing of young people. These organizations operate implicitly on an asset-building framework, the assumption that youth possess internal assets and can gain access to external assets that make them valuable contributors to the community. John McKnight articulated this perspective in his community capacity model. The model emphasizes the capacities, skills, and assets in a community rather than its deficiencies and needsA goal of the capacity model is for a community to begin assembling its assets and capacities into new combinations, new structures of opportunity, new sources of income and control, and new possibilities for production. [Source: The Healthy Neighborhoods Project: A Local Health Departments Role in Catalyzing Community Development, published in Health, Education & Behavior, April,1998] This report presents information concerning dozens of arts programs for at-risk youth, with the clear understanding that the programs mentioned
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here represent only a sample of endeavors around the U.S. Some of the organizations have a significant history of decades of arts programming; a number of programs have emerged during the past decade alone. All forms of the arts were considered for this study literary, visual, plastic, performing, and media arts. The arts approaches in this report occur in a range of settings in public school classrooms, after-school venues, juvenile detention camps, and neighborhood spaces, among them. However, the programs share characteristics identified as contributing to their success and efficacy. These characteristics include: 1. Intensive youth participation in making art young people are not limited to being an audience for the arts, they are creators. 2. Professional artists working as mentors and teachers in a range of disciplines. 3. Apprenticeship relationship between youth and professional artists. 4. Sustained youth participation over time, throughout multiple years, or long-term projects. 5. Youth responsibility for exhibiting, performing, or publicly presenting their own work, in groups or solo. 6. Organizational partnerships, usually with other agencies, schools, funders, or service providers. 7. Rigorous expectations of all participants regarding quality of work and human interactions. 8. The provision of safe and secure spaces for self-expression and artistic and social development. Methodology Although cognizant of international models, particularly in Englishspeaking countries such as India, Kenya, Great Britain, and Australia, researchers for this report confined themselves to an examination of research studies, leaders and thinkers, and organizations from around the U.S., with a bias toward organizations based in California. The study team conducted a literature search, gathering reports, studies, and publications as the result of recommendations from interviewees,
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Internet searches, bibliographies, and library research in order to understand the various conceptual frameworks regarding at-risk youth and the arts. Many of these studies are incorporated into the report and are presented, along with their findings. Through the same methods, the study team was able to identify important model approaches to youth arts. The organizations and programs included in this report are based on three criteria: 1) Organizations that could provide answers to the inquiry, particularly evaluative evidence and statistics; 2) Organizations that received multiple mentions in the literature and by interviewees, and; 3) Models that fit the established criteria and are based in California, the target area of The California Endowment. The study team also conducted approximately 100 interviews with community leaders, scholars, and influential thinkers in the field. These interviews fell into two categories: 1) interviews with Executive Directors, or top staff members of the models included in the report; 2) interviews with scholars, funders and researchers who had examined the field in larger scope. In addition, several site visits were conducted with scholars and youth arts organizations in Los Angeles. Organization of Results To answer the study questions and organize the significant amount of information, the researchers divided subject matter into the following categories reflected in the structure of this report. Arts Arts Arts Arts Arts in in in in in Juvenile Justice: Intervention and After-Care Foster Care: Stability and Expression After-School Programs: Safe and Creative Havens Education: Promoting Academic Achievement Workforce Development: Building a Skilled Future
The sheer scope of information from the field and the imposition of criteria for including evidence necessitate that the report that follows reflects only partially the scope of the youth arts field.
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YOUTH HEALTH ACCESS FINDINGS AND RECOMMENDATIONS This report found a variety of factors that contribute to two major findings. I. Involvement in the arts is an unparalleled means for young people to develop the strength, resiliency, and self-image that allow them to participate in society on healthy terms. Youth arts programs offer an unprecedented opportunity for health professionals to gain access to young people and for young people to gain access to health services.
II.
Defining the Field 1. There is an emerging field of nonprofit, community-based youth arts programs that go beyond current definitions of arts education. 2. The scope and nature of this field have yet to be defined and documented in detail, however initial findings show that it is well-established, and has national significance. 3. Research shows that, compared with other activities, the arts elicits the strongest commitment from young people, some of whom remain in school or after-school programs because they are highly engaged by their participation in the arts. 4. The youth arts field is characterized by its focus on providing arts experiences where disadvantaged youth populations are found, including schools, community centers, detention camps, group homes, etc. 5. Although there are organizations with decades of operating experience, a large number of these organizations were founded in the 1980s and 1990s. 6. It is possible that the growth of the field is attributable to a perceived need to fill the gap left by the large-scale reductions of arts education in the public schools, and the particular dearth of arts available to adolescents and young adults.
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Program Attributes 7. Programs specifically targeted to at-risk youth are the defining trait of the youth arts field. These programs address this population in urban, suburban, and rural areas. 8. Distinguished organizations in the field share specific program attributes, no matter where the programs are located. These attributes include: long-term contact with participating youth; a core relationship between youth and professional artists; the emphasis on youth participation in making art; youth accountability for the public presentation of their art; high standards and expectations of the creative process and product; the objective of providing channels for a youth voice. 9. A growing body of research concerning the outcomes of these programs is helping to establish the understanding that the arts play a special role in contributing to healthy youth development. 10. The research demonstrates that arts programs for youth produce a variety of benefits, intended and unintended, including academic achievement, workforce preparedness, enhanced self-esteem and self-sufficiency, increased prosocial identity, and avoidance of risky behaviors. 11. Research shows that the arts provide adolescents with the risk-taking they need developmentally, provides them with meaning and significant mentor relationships, and supplies social connectivity and accountability. 12. Arts programs have been found to contribute to brain development and provide a cultural opening to knowledge of the world and self. The Health Youth Arts Nexus 13. The youth arts organizations profiled in this study are dealing with young people who face many difficulties and who have been put at risk for a variety of health threats.
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14. Youth arts leaders are aware that these issues in the lives of youth participants require the involvement of health professionals. 15. Many arts organizations began as social service agencies that added arts activities to remain relevant and effective for this population. Others began as arts organizations and saw the need to provide health-related services to their participants. 16. Organizations contacted for this study expressed an eagerness to partner with agencies that can provide youth participants with services such as mental health counseling and substance abuse prevention. 17. Because arts organizations and programs experience such a high level of youth commitment and engagement, this field has the potential to become a major portal for young people seeking healthy lives, commitment to school, and support services. 18. Because of the same level of commitment, health care agencies and professionals who face the challenge of locating and connecting with youth in need of services, may view youth arts organizations as a natural entry point for providing access to health services. Challenges to the Field 19. The field of youth arts is fragmented. Youth arts administrators and leaders do not necessarily identify themselves as a field and have not developed an identity beyond their individual organizations, or local areas. 20. Because programs and activities are scattered across various sectors education, juvenile justice, community development youth arts is usually seen as a subset of one of these fields. 21. Youth arts organizations are struggling financially. The nonprofit funding climate has caused restrictions of resources. Arts funding, particularly in the public sector, has been drastically cut. In the U.S., the arts are widely viewed as a frill or as activities for the rich and educated.
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22. Youth arts organizations have difficulty conceptualizing and articulating their strong role as suppliers of public value and contributors to youth health and well-being.
The Issue of Evaluation 23. There is a growing body of research documenting the nature and numbers of youth arts organizations, their processes and outcomes for at-risk youth. These studies range from large, longitudinal examinations of youth populations in and out of the arts, to observations and comparisons of smaller, local populations. 24. Because this field has not been clearly defined, and because an influential segment of the research is dominated by an arts education framework, there is a great need for further research. 25. The framework of arts education has contributed much to the discussion of the arts for at-risk youth. However, that framework has limitations when applied to the infrastructure of youth arts organizations, and their activities, across the country. 26. At the same time, most nonprofit, community-based organizations the primary providers of the arts for young people do not conduct regular, sound evaluations of their programming and its outcomes. There are several reasons stated by the organizations expense and lack of in-house expertise top the list. 27. In the process of conducting this study, many of these organizations expressed an overwhelming desire to assess their programs. 28. Particularly, as the field of youth arts gravitates towards involvement in health access, the need for reliable evaluation of the process and outcomes of these programs is urgent. The implementation of qualitative and quantitative evaluation and assessment of youth arts programs will assist in effective program planning, provide necessary data for funders and communities, help arts providers refine their implementation, and contribute to societys ability to understand the effects of youth participation in the arts.
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In particular is a need to discern the extent of wellness, healthy behaviors, and prevention of risk engendered in young people as a result of participation in arts programs.
YOUNG PEOPLE AT RISK

The risk faced by many of Americas young people is extensive. According to The Commission on Children at Risk, a panel of leading childrens doctors, research scientists and youth service professionals, Scholars at the National Research Council in 2002 estimated that at least one of every four adolescents in the U.S. is currently at serious risk of not achieving productive adulthood. [Source: Hardwired to Connect: The New Scientific Case for Authoritative Communities, 2003]. Among the fatal and life-threatening problems are: x Mental Health Twenty-one percent of U.S. children ages 9 to 17 have a diagnosable mental disorder or addiction; 8 percent of high school students suffer from clinical depression, and 20 percent of students report seriously having considered suicide in the past year. [Press release, Hardwired to Connect: The New Scientific Case for Authoritative Communities.] Obesity 14 percent of adolescents ages 12-19 years are overweight. [National Center for Health Statistics.] Overweight children are at risk for cardiovascular diseases, diabetes, and other serious health problems. [Dr. Jeffrey P. Koplan, Director of the Centers for Disease Control and Prevention (CDC).] Injury Injuries kill more adolescents than all diseases combined. [Centers for Disease Control and Prevention National Center for Injury Control and Prevention.] Unintentional injuries continue to be the leading cause of death for children and youth ages 1 to 19, with motor vehicle crashes being the most common reason for those injuries. [Americas Children: Key National Indicators of Well-Being.] Tobacco Use Each year, almost two million adolescents (ages 1117) become regular smokers. [The American Lung Association.] In 2000, approximately 52 percent of youths aged 12 to 17 were daily cigarette smokers. [Substance Abuse and Mental Health Services Administration.]
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Sexual Behavior The United States has the highest teenage pregnancy rate of all developed countries. [Centers for Disease Control and Prevention.] One in four sexually active teens will contract a sexually transmitted disease. [The Alan Guttmacher Institute.] Girls 15-19 have higher rates of gonorrhea than any other age group. [U.S. News & World Report, Risky Business, May 27, 2002.] Homicide Homicide is the second leading cause of death for persons 15-24 years of age. Rates of homicide among youth 15-19 years of age reached record-high levels in the latter half of the 1980s and continue to be among the highest ever recorded in the US for this age group. [Centers for Disease Control and Prevention National Center for Injury Control and Prevention.] Suicide Suicide is the third leading cause of death for young people 15-24. [National Center for Injury Prevention & Control]. In 1998, more teenagers and young adults died from suicide than from cancer, heart disease, AIDS, birth defects, stroke, pneumonia and influenza, and chronic lung disease combined. [Centers for Disease Control and Prevention.]
Unfortunately, many of these hazards are experienced concurrently in young lives. The story of David, from the administrators of a successful Denver-based arts program Project Self-Discovery funded by the U.S. Department of Health and Human Services Substance Abuse Program, demonstrates the confluence of risks. Living is a word David never understood. To him living meant running for his life from gangs and guns. It meant trying to avoid drugs and drinking. It meant being afraid. When he was growing up, he lived in a bad neighborhood. Down the street from him was a group of the worst people you would ever want to meet. He had to walk past them every day. In his neighborhood, death was an everyday thing; he fell asleep to the sound of gunshots. At home, his mother would ignore David and his sisters. She loved to drink with her men friends. When she let one of them move in, he would beat everyone up. Going to school was no better. He figured the only way to fit in was by using drugs and drinking. Because of his habits, he was failing his classes. During his sophomore year, he went to class a total of nine days. Soon enough, he just didnt go. He hated himself so much he even attempted suicide. He tried hanging himself and overdosing on aspirin.
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At about that time he also started to eat a lot. In less than a year, he had gained over a hundred pounds. He was so alienated from his family that he barely spoke to his mom. Whenever she asked to talk he would tell her to go to hell. Then at the age of 16, David had a mild heart attack. [Source: Better Than Dope helping youth in trouble, Psychology Today, March, 2001, Harvey Milkman, Ph.D., Project Self-Discovery, Cleo Robinson Parker Dance Theatre, Denver, Colorado]. At-risk youth are usually seen as a compendium of the conditions and behaviors that threaten their life chances. These are young people who are largely institutionalized; they populate the public schools, as well as other systems juvenile justice, foster care, and alternative educational environments. Although the young people within these institutions are often viewed as problems, there is another view. The words used by the chairman of the Pew Commission on Children in Foster Care in 2004 to describe that system could be applied across the board to the institutions that harbor at-risk young people in the U.S. Unquestionably broken. And, in the words of child psychiatrist Dr. Kathleen Kovner Kline of the Dartmouth Medical School, principal investigator for the report, Hardwired to Connect: The New Scientific Case for Authoritative Communities, We began this project because our waiting lists are too long. Our challenge today is to shift from treatment alone to treatment plus prevention. Broad social changes are required. In his travels to speak with teens in maximum-security prisons or in wheelchairs crippled by gunshots, poet and author Luis Rodriguez says his experiences tell him we dont need a country in which the National Guard walks our children to schoolor in which prisons outnumber colleges. We can be more enlightened. More inclusive. More imaginative. At issue for Rodriguez is respect for the young people whose fates are lamented and who seem to be the source of their own difficulties. Instead of pressuring individuals to simply fold into the needs of a larger, abstract process or system, we should look at the inherent potential what in Spanish are called poderes, powers that each person brings to a situation, and integrate it with the aims and interests of the whole community. [Source: Hearts and Hands: Creating Community in Violent Times, 2001, p. 53, 290]. In Memory and Grief a young man writes: I was born in the great sorrow valley My life flows through like a river
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And destroying peace powers like mixed blood And tears with my clothes Death became my story tale Suffering is temporary and pride is forever I am living at a time when guns shall never bring me salvation I need thinking and tolerance more than I need guns Successful people help people to succeed The author, Peter Malual, is one of the Lost Youth of Sudan, so-called because, as written in the Seattle Post-Intelligencer he is one of thousands of young refugees who survived their countrys civil war by trekking across the Sahara Desert to find safety. They dodged bullets and sought refuge in makeshift camps, ate leaves and tree bark to live and drank mud. Many of their parents perished. Peter now lives in Seattle with other Lost Youth of Sudan. In the fall of 2001, he and other young countrymen contacted Mosaic Voices, a community arts center. They said they needed drums and a place to gather and dance. As orphans of one of the most tragic wars in the world, they felt they would be lost again if they didnt enact their traditions. [Source: MosaicVoices.org]. The Lost Youth are symbolic of at-risk young people in communities across the U.S. who themselves are survivors of ravages they encounter in their hearts, families, and neighborhoods. Just as the Lost Youth turned to cultural knowledge and artistic expression as a way out of danger, so do American youth crave and seek the experiences that only involvement in the arts can bring. YOUTH DEVELOPMENT AND THE ARTS The Commission on Children at Risk has reported on effective strategies to reduce the high numbers of youth suffering from emotional and behavioral problems such as depression, anxiety, attention deficit, conduct disorders, and suicidal thoughts. Its findings suggest that children need 1) close attachments, 2) meaning, and 3) social connectivity to experience healthy development. In the last decade, a significant body of research and practice has emerged demonstrating that sustained involvement in the arts provides significant benefits for at-risk young people, and that the best practices in the field combine the three elements of attachment, meaning, and social connectivity. From detention facilities, to foster care, schools, community organizations, and workforce training, the arts provide a dramatic portal for young people to encounter the possibility of transformed lives. Public health and health care agencies and
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organizations are among those that have invested in arts programs to further the aim of healthy youth development. Stanford scholar, Shirley Brice Heath, asserts in ArtShow, Youth and Community Development, that cultural strategies are vastly underutilized and misunderstoodWhat leaders fail to realize is that culture is a school-to-work strategy, a youth development strategy, and an economic enterprise strategy. This report presents arguments and evidence that support the arts and culture as a strategy for achieving youth well being and health. There are many reasons why the arts are particularly powerful in their appeal to young people and efficacy as a vehicle for development. High quality arts programs, whether they are offered in schools, jails, or churches provide young people with the key factors identified as essential to their healthy development. In addition, arts program carry the following benefits unique to this area of human endeavor. Artists as Mentors Through intensive interactions with artists, arts programs provide adult relationships critical to sound youth development. As stated by William Cleveland in Art Works! Prevention Programs for Youth and Communities, Center for Substance Abuse, U.S. Department of Health and Human Services, Some youth are considered more a function of their symptoms and pathologies than their abilities and potentials. Artists, by training and practice, bring a very different and powerful perspective to their work with young peopleTheir focus, as creators, is on what is and what can be, not on what is missing. This critical distinction sets the stage for young people to discover new ways of learning, communicating, working and behaving. [Source: 1997, p. 8]. Professional artists also understand and have experienced hands-on learning and apprenticeship relationships that have contributed to their own education and careers. They bring these factors into arts programs and they become opportunities for success for the young mentees. Viable Mental Health Treatment Alternatives Arts programs recognize that youngsters need mental health approaches that arent just 50 minutes sitting in a room talking to someone, in the words of Toni Heineman, founder of Fostering Art, an arts workshop and exhibition program for foster youth that is part of San Franciscos A Home Within. The research of Professor Harvey Milkman at Project SelfDiscovery in Denver, Colorado bears out this need. Project Self-Discovery offers artistic alternatives to youth designed to show that natural highs
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can serve as viable alternatives to drug abuse and associated high-risk lifestyles. [Source: Images of foster life: Teenagers express what its like to be raised by someone elses parents, Joshunda Sanders, San Francisco Chronicle, April 18, 2004. Better Than Dope helping youth in trouble, Psychology Today, March, 2001]. Milkman writes, At-risk teens experience traditional talk therapies as invasive and persecutory. We have discovered that adventure-based counseling, hands-on games and physical challengeslike walking on stilts to feel ten feet tallare far more engaging than standard lecture presentations. A kid who has a strong drive for thrill-seeking and novelty can avoid gang violence by satisfying his needs through the performance of poetry, hip-hop or rap. Almost magically, the conga, paintbrush or guitar can become formidable substitutes for pistols or joints. [Source: Better Than Dope helping youth in trouble, Psychology Today, March, 2001]. In the words of Arts USA, Arts programs are successful at attracting, engaging and retaining even the toughest kids. These youthincluding gang members and previously incarcerated teens join arts programs and return time and again. What draws them? x x x x The thrill of creative and artistic expression Community recognition for performances, exhibitions or public art works Learning new job skills Learning how to use the arts to communicate difficult thoughts and emotions
Research confirms that youth vandalize with graffiti and join gangs in search of recognition, achievement and self-expression. The arts provide a different way to address these needsArts programs are not about coddling problem or delinquent youth. Learning to play a musical instrument, rehearsing a play or executing a mosaic mural requires long hours of practice, focus and perseverance all components of self discipline, a trait that many at-risk youth are desperately lacking. [Source: Arts Programs for At-Risk Youth, How U.S. Communities are Using the Arts to Rescue Their Youth and Deter Crime, ArtsUSA, 200, p. 34, 6]. Protective Factors The 3 Rs Roles, Rules and Risks
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Common in the field of youth development is the understanding that protective factors must be provided to offset the risk factors faced by young people. In studies young people emphasize the importance of having something to doThey crave experience and productivity. In addition to artist/mentors, and safe environments, the arts provide a sense of purpose and experiences that meets these needs through roles, rules, and risks, the 3 Rs noted by Stanford scholar, Shirley Brice Heath. Roles Youth arts organizations and programs encourage young people to take responsibility for the routines, plans, and maintenance of activities. They provide the sense that without the youth, the organization or program cannot exist. Youth initiative and leadership form the basis of the organization. Rules -- Making and breaking rules is an aspect of responsibility found in arts organizations. Whether it is in following inspiration that guides them outside conventional expression, or in challenging social stereotypes and expectations of themselves, young people frame the rules of work. Risks -- Young people in arts organizations regularly push themselves to try something new, in individual work and collaborations. They engage in and receive critiques of their work, and as an essential element of the art-making process, they return to their failures to create anew. [Source: ArtShow, Youth and Community Development, Shirley Brice Heath and Laura Smyth, Partners for Livable Communities, 1999, pp. 28 30]. Brain Development The field of brain research contributes to the way we understand how art affects neurological functions. The visual focus required by an artist in any discipline dance, music, painting, theater helps develop and refine higher-level brain functions such as memory and generating meaning. Cognitive functions such as correlating information and inferring relationships, reflection, and applying solutions to problems have been identified as integral to the art-making process. Researchers at the Center for the Neurobiology of Learning and Memory at the University of California at Irvine studied young people, starting with three-year-old children, then college students on the connection between arts experience and brain development. The researchers findings were published in the British scientific journal, Nature. They found that the three-year olds learning was enhanced and their brains stimulated by singing and playing musical instruments. After listening
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to Mozart, the college students scored dramatically higher on intelligence tests. [Source: The Creative Community: Forging the Links Between Art Culture Commerce & Community, John M. Eger, Van Deerlin Professor of Communication and Public Policy, The California Institute for Smart Communities, San Diego State University, p. 18]. Eric Jensen, teacher, scholar, and member of the Society for Neuroscience and the New York Academy of Science made a statement in support of the National Endowment of the Arts. The arts should be supported not only because research supports their value but also because they are as dynamic and broad-based as more widely accepted disciplines. They contribute to the development and enhancement of multiple neurobiological systems, including cognition, emotional, immune, circulatory, and perceptual motor systems. Ultimately, the arts can help make us better people. A paper by Ralph D. Ellis, Clark Atlanta University, The Dance Form of the Eyes: What Cognitive Science Can Learn From Art, states that, Visual art affords not only a meaningful, self-directed dance of the eyes, but also a meaningful dance ofemotional explicating process. And in Art and the Brain, neurobiologist, Semir Zeki, of the Wellcome Department of Cognitive Neurology, University College, London, asserts, It follows that one of the functions of art is an extension of the major function of the visual brain. Indeed, philosophers and artists often spoke about art in terms that are extremely similar to the language that a modern neurobiologist of vision would use, except that he would substitute the word brain for the word artist. [Source: NEA; Journal of Consciousness Studies, Volume 6, No.6/7, (June/July 1999)]. Cultural Understanding, Knowledge, and Identity The arts provide a unique pathway to self-knowledge and access to the cultures of humanity. The questions asked by Arizonas Tohono Oodham Community Action tribal arts and culture program for youth are the questions the arts allow all young people to explore: Who are we? What does it mean to be (who we are) in todays world? Inherent in the artistic process is borrowing, sampling, and honoring elements from multiple cultures and arts disciplines. The fluidity of the arts informs young people about the traditions, legacies, experimentation, and forms of expression in human cultures, and allows them to choose a place in the reality of a multicultural world.
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The cultural knowledge bequeathed to youth in arts programs represents a way of building healthy respect for others and for self. In Sells, Arizona, the arts and cultural preservation work of the Youth/Elder Initiative engages young people in activities that address the challenges faced by their families, villages and tribe as a whole. TOCAs assumption is that the well-being and future of the Tohono community rests with its young peopletheir contributions to community solutions today and to community leadership tomorrow. Once these young people reach maturity, they will be grounded in their rich cultural heritage, and they will have the skills to shepherd their people. The arts and culture embody the wisdom of humanity in its most expressive forms. The assumption of arts programs for at-risk youth is, ultimately, to learn from that wisdom and generate new understanding for the benefit of the future. [Source: Coming Up Taller Awards, 2001, Presidents Committee on the Arts and the Humanities; TOCAOnline.org]. THE PUBLIC HEALTH PARADIGM AND THE ARTS Since the unprecedented 1985 Surgeon Generals Report on Youth Violence, that office has consistently advocated a public health model be applied to the issue of youth crime and violence. As stated in the December 2001 Youth Violence: A Report of the Surgeon General, Primary prevention identifies behavioral, environmental, and biological risk factors and takes steps to educate individuals and communities and protect them from these risks. Centralis the principle that health promotion is best learned, performed, and maintained when it is ingrained in individuals and communities daily routines and perceptions of what constitutes good health practices. Health care providers and agencies are among those institutions that have embraced quality arts programming as a critical aspect of achieving public health goals for the population of at-risk youth and their communities. Some examples include: 1) The California Endowment Youth Uprising In a once abandoned supermarket adjacent to troubled Castlemont High School in East Oakland, teenagers are in the lead of an initiative housed in a new 25,000 square foot center that includes performance stages, video production space, music and dance studios, classrooms, a computer lab, and a youth-run cyber caf that offers healthy, reasonably priced food. A health clinic run by Childrens Hospital Oakland provides
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free mental health and primary care to the teens, five days a week, all day long. The California Endowment funds this effort to expand access to health services to youth in Alameda County. Young people are attracted to the Centers arts and culture offerings, such as hip-hop classes and music production, because they are relevant to their own interests. Once inside they can avail themselves of the career and entrepreneurial training, educational support and health and wellness services that are part of a comprehensive approach to supporting youth empowerment. The services are linked. If a troubled young person isnt ready to go directly to a therapist, they might be ready to begin the process through a spoken word performance or a video. Our team is trained to recognize the signs that someone might need additional help, says Omana Imani, coordinator of Youth UpRisings RiseUp program. The California Endowment funds RiseUps health center, supporting a team of twelve young people (ages 13-24) who are peer counselors and leaders, along with two non-clinical case managers. The group is charged with getting teens in the door, convincing them to invest in the centers success, and helping them get their health care needs met. Available services include the health clinic and wellness programs, such as immensely popular massage and chiropractic sessions offered by the UPAYA Center for Wellbeing. 2) Kaiser Permanente California Educational Theatre Program As an acknowledgement of the extraordinary challenges teens face, Kaiser Permanente provides live theatre, music, comedy and drama to inspire children, teens and adults to make healthier choices and better decisions about their well-being. These award-winning presentations were developed with teachers, parents, students, health educators, medical professionals, and professional performing artists. ETPs programs are led by a culturally diverse group of professional actors who are trained in peer counseling and assisted by a Kaiser medical advisor. Following the free performances, students, teachers, and parents receive educational materials to facilitate dialogue about health issues covered in the performance. Productions include: Nightmare on Puberty Street, which humorously explores a variety of serious teen issues including self-esteem, peer pressure, fitting in, drug and alcohol abuse, sexuality, conflict and bullying, depression and suicide, and; Secrets, which entertains and educates teens about STDs while dispelling the myths and rumors about causes and consequences of these illnesses. [Source: Educational Theater Project, Kaiser Permanente, kp.org].
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3) University Hospitals of Cleveland true 2 u arts-based drug abuse prevention The Family Practice Residency Program at University Hospitals of Cleveland has formed a partnership with Case Western University, the YWCA of Greater Cleveland, and Music and Performing Arts of Trinity Cathedral. In March, 2004, the partnership received a $1 million grant from the U.S. Department of Health and Human Services Center for Substance Abuse Prevention to develop an arts curriculum and prevention program for African American youth ages 11 14. The goal is to prevent or postpone substance abuse and sexual activity in teens and includes parent sessions in a community setting. A research component is studying whether involvement in the arts contributes to an increase in participants self-esteem, self-expression and other attributes that help prevent HIV/AIDS infection, teen pregnancy, and drug use. In the words of Dr. Antonnette Graham, professor of family medicine at Case, the program recognizes that the arts are a safe way to develop skills to deal with social pressure to engage in risky behavior. [Source: Interview with Charlotte Nichols, Research Assistant, Department of Family Medicine, Case Western Reserve University, /04. Abstract, Case Western Reserve University Department of Family Medicine. Can the arts keep children off drugs? Julie E. Washington, Cleveland Plain Dealer, October 23, 2003]. 4) University of Pennsylvania Medical Center Manchester Craftsmens Guild The University of Pittsburgh Medical Center (UPMC), for five consecutive years ranked by U.S. News & World Report as one of the Best of the Best hospitals in the United States, has developed a long-term partnership with the Manchester Craftsmens Guild, a national model of arts programs and training for disadvantaged youth. UPMC pledged $3 million over several years to help seed the Manchester Craftsmens Guild endowment fund. The Medical Center also participates on MCGs board, and has seated the MacArthur genius award-winning director of the guild, William Strickland, on the UPMC board. UPMC administrators see their partnership with the arts organization as a method for supporting the hospitals mission. As stated by UPMC President, Jeffrey Romoff, The kids at Manchester Craftsmens Guild are going to college not to the hospitals emergency department with a bullet hole in their heads. It costs $100,000 to take a bullet out. In the words of UMPC Vice President, Ron Forsythe, If that isnt the basis of good health, I dont know what is. [Source: Interview with Ron Forsythe, vice president, UPMC, /04; Interview with William Strickland, executive director, Manchester Craftsmens Guild, 2/2/04].
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5) Massachusetts Department of Public Health City Teens Design Company, Artists for Humanity The Massachusetts Department of Public Health, Office of Adolescent Health and Youth Development has provided multi-year funding to the City Teens Design Company, a program of Bostons Artists for Humanity. This funding helps OAHYD to meet its mission of implementing strategies to enhance the overall health of youth, adolescents and young adults, ages 10 to 24 (and promoting) services and policies that are formed from a holistic youth development approach. City Teens Design Company pairs inner-city youth with professional artists for a four year apprenticeship that assists the teen in developing their artistic talents and business skills. The studio-based approach offers training in graphic design, silk-screening, painting, construction arts/theater design, sculpture, and photography. Upon completion of the program the youth are employed to produce fine art and graphic design services for sale to clients. The work of the young people is exhibited in major venues throughout Boston, and made available for purchase. [Source: Enriching Young Lives Through the Arts, NEA, 2000. Massachusetts Cultural Council Youth Reach]. 6) The California Health Department The Ink People Center for the Arts In 1995, the California Health Department bestowed a California Healthy Cities Award on the Eureka, California-based Ink People Center for the Arts for special achievement in improving the quality of life of the community. This is the first time the department has given the award to an arts organization. The Center offers an array of programs, workshops and events in the community. Its youth programs include a mural project for at-risk youth to beautify the downtown redevelopment area, artist-in-residence programs in the community, arts integration in schools and non-traditional learning settings, and an arts and music center run for and by youth. Additional programs focus on multicultural education and planting gardens of diverse cultures. [Source: Ink People Center for the Arts.]
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PATHWAYS TO HEALTHY YOUTH DEVELOPMENT
MAJOR RESULTS
Youth need to be given a voice, not just for their own benefit, but because adults need to hear them. Susan Rodgerson Executive Director, Artists for Humanity Innovations in Community Development, SEEDCO, May 2003
ARTS IN JUVENILE JUSTICE: INTERVENTION AND AFTERCARE Should I run back & forth into steel cages? Should I give up my heart when the pain becomes outrageous? Will I get taken out the game? The answer to these questions Could fill a million pages So Im a start writing now Until my faith becomes contagious Justin (Age 17) Street Poets Inc. (formerly DreamYard/LA) participant
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ARTS IN JUVENILE JUSTICE: INTERVENTION AND AFTERCARE HEALTH IMPLICATIONS The behaviors and conditions that lead to criminal activity, arrest, and incarceration are deadly risks to young people. Involvement in violence, use of weapons, substance abuse, and isolation all contribute to the risk of injury, homicide, and incarceration. Incarceration itself poses threats of violence and inhumane conditions. Arts programs for incarcerated youth have been shown to reduce violations, and result in less violence and fewer injuries for offenders and staff, allowing more time for constructive activities. When compared with control populations, arts programs for incarcerated youth and youth on probation have resulted in lower recidivism rates and fewer court referrals. Youth in the juvenile justice system who have participated in art programs display important pro-social and mental health characteristics, including greater self-efficacy, the ability to express themselves, improved attitudes toward school, and appropriate behavior and communication with adults and peers. BACKGROUND We cannot build enough prisons to support the three strikes and youre out philosophy over the long term. The wiser course is to invest in positive intervention an approach for which the arts programs for at-risk youth is exemplary. Judge Glenda Hatchett Chief Presiding Judge Fulton County Juvenile Court Partner in Fulton Countys Art-At-Work Program [Source: ArtsUSA] California has the unfortunate distinction of leading the nation in the number of juveniles in detention, and at the same time, leads in the rate of incarceration of young people age ten and older. According to a paper by The Trauma Foundation at San Francisco General Hospital, in 1995, African American youth made up 12 percent of the population, but were arrested at rates double those for Caucasian youth. In the ten years since the passage of Californias Three-Strikes law, statistics reveal that African Americans have been incarcerated for third strikes at rates 12 times higher and Latinos at an incarceration rate 45 percent higher than the third strike incarceration rate for Caucasians. In 2003, the Justice Department issued figures showing that the United States has the highest incarceration rate in the world. More than 5.6 million Americans 1 in 37 adults are in prison or have served time. The Christian
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Science Monitor stated in an August 18, 2003 story, U.S. Notches the worlds highest incarceration rate, If current trends continue, it means that a black male in the United States would have about a 1 in 3 chance of going to prison during his lifetime. For a Hispanic male, its 1 in 6; for a white male, 1 in 17. U.S. Department of Justice 2002 statistics show that the younger the inmate, the higher the probability that he will be re-arrested within three years of being released, and most likely especially in the Three Strikes environment return to jail or prison. [Source: Impact Study of the New Roads Community Partners, Camp David Gonzales, County of Los Angeles Probation Department, Joe Perez]. Recent reports have exposed the dangers and inadequacies of the California Youth Authority (CYA) system, demonstrating that incarcerated youth are exposed to more violence inside corrections facilities. Across the nation, officials in the juvenile justice system are recognizing and implementing arts programs as an effective strategy for transforming the lives of young inmates and those on probation. As a reflection of this development, the City of Los Angeles Cultural Affairs Department hosted a 2003 conference, Art Matters in Juvenile Justice, Education, and Our Community, that attracted national and local participants interested in arts programs for at-risk youth. Tellingly, the morning keynote was delivered by the Honorable Judge Glenda Hatchett, Chief Presiding Judge of the Fulton County Juvenile Court in Atlanta, known for her involvement in pioneering Atlanta-area arts programs that focus on prevention and intervention for youth at risk. The Role of the U.S. Department of Justice, Office of Juvenile Justice and Delinquency Programs (OJJDP) During the Clinton administration, the U.S. Department of Justice, Office of Juvenile Justice and Delinquency Programs (OJJDP) played a leading role in funding partnerships between arts organizations, social service agencies, and probation and corrections officials to develop and support model youth arts programs, many of which are still flourishing. The OJJDP provided important youth development frameworks for crafting community partnerships to deliver serious, sustained arts participation for youth offenders. Relying on the research of scholars such as Hawkins and Catalano (Communities that Care: Risk-Focused Prevention Using the Social Development Strategy, 1993) , Heath and Roach (The Arts in Nonschool Hours: Strategic Opportunities for Meeting the Educational, Civic Learning, and JobTraining Goals of Americas Youth, 1998), and M. Mortimer (Consultation on Afterschool Programs, Carnegie Council on Adolescent Development, 1994), the OJJDP designed multi-component arts programsto prevent and reduce the incidence of juvenile delinquency, crime, and other problem behaviors (e.g.,
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substance abuse, teen pregnancy, truancy, and dropping out of school) in atrisk youth. OJJDP forged partnerships with several federal agencies to fulfill a remarkable agenda. Through its initiatives, the department sought to demonstrate that learning experiences in the arts help youth develop discipline and problemsolving and communications skills while fostering creativity and team building that help to increase self-esteem all important foundations for success in school, employment, and personal relationships. [Source: OJJDP Arts and AtRisk Youth Program, Grant Solicitation, 1998]. New Directions Young people who have been involved in the juvenile justice system and participated in arts programs appear to bear out the findings of programs around the U.S. In an interview for this report, 18 year-old Darlene told us her participation in the arts helped her go from foster care and juvenile detention in Los Angeles County to enroll as a freshman at California State University, Los Angeles. She told us that when you get out of jail, probation gives you a list of the things youre not supposed to do. I didnt have my mind on what I was supposed to do. In the words of Chris Hendrickson, founder of Street Poets Inc., the arts program Darlene participates in, They are desperate for a way out.. Juvenile justice officials are now joining arts advocates in asserting that arts programs provide a more cost-effective approach with better results than traditional programs such as Midnight Basketball or juvenile boot camps. [Source: OJJDP Arts and At-Risk Youth Program, Grants Solicitation, 1998, p. 3] If we can succeed with programs like this, we will not need to spend so many countless millions on jail space and juvenile detention facilities and programs. We will have fewer victims and more citizens leading positive, fulfilling lives. What could be more important? Beverly Stein Multnomah County Chair Oregon [Source: YouthARTS Handbook: Arts Programs for Youth at Risk, p. 189]
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STUDIES AND RESULTS 1. THE ART OF PREVENTION: ARTS SERVING YOUTH AT RISK IN HUMAN SERVICE AND CORRECTIONAL SETTINGS, California Legislature Joint Committee On the Arts, Senator Henry O. Mello, Chairman. April 20, 1994, State Capitol, Sacramento, CA. RESULTS: This hearing before the Legislature Joint Committee featured testimony from agency heads, educators, and distinguished figures in the field of youth arts. It helped establish the efficacy of the arts in the State correctional system, both juvenile and adult, and led to an expansion of funds for juvenile and adult arts programming in the California Arts Council, Department of Mental Health, Department of Corrections, Department of Education, and the California State Summer School for the Arts. The hearing also widened support for Senator Mellos leadership in the Legislature for arts in the justice system. It should be beyond dispute, that the Arts save lives; that they heal broken lives and can motivate the unmotivated to make a U-turn on life, away from crime and illness, and head in a positive and constructive direction. The Arts are not a frill, relegated to the margins of government programs. The Arts are an essential part of of the health and safety infrastructure as well as part of the cultural fabric of our society. State Senator Henry J. Mello California Legislature Joint Committee on the Arts Hearing The Art of Prevention: Arts Serving Youth at Risk in Human Service and Correctional Settings State Capitol, April 20, 1994 2. ARTS PROGRAMS FOR JUVENILE OFFENDERS IN DETENTION AND CORRECTIONS, A Guide to Promising Practices, by Grady Hillman, with Survey and Report by Susan Warner, Office of Juvenile Justice and Delinquency Prevention, National Endowment for the Arts, 2002. RESULTS: The reports author is one of the foremost administrators of joint programs funded by the Department of Justice and NEA. This publication summarizes and popularizes findings from several demonstration projects across the U.S., mentioned below, and provides insight into the operation of the programs. This demonstration project began with enhancement projects in Seattle/Tacoma, Washington; Whittier, California; Bronx, New York; and pilot projects in Gainesville, Texas; Rochester, New York, and West Palm Beach,
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Florida. The goal was to implement and enhance arts-based programming for offenders in juvenile detention and corrections facilities programming that could be used as a model for other regions and that could provide promising practice lessons for arts initiatives nationwide. [Source: Arts Programs for Juvenile Offenders in Detention and Corrections, A Guide to Promising Practices, Grady Hillman, p. 4 5]. Aftercare An important aspect of the programs that were funded as OJJDP pilots and one missing from many juvenile justice programs was the strengthening of aftercare approaches for youth leaving corrections and detentions facilities. The need for multifaceted programs to support youth transitioning into home, school, and communities after their sentences are completed is urgent, if recidivism and the healthful future of young people are to be addressed. Examples of arts programs funded by the OJJDP pilot that provide aftercare include: The Bronx WritersCorps in partnership with the New York Department of Juvenile Justice provides creative writing programs for youth in detention and aftercare facilities, and runs its own postdetention aftercare programs. A young male poet participating in this program represented the Bronx at a nationwide Celebrity Slam where he had the opportunity to slam against poet Nikki Giovanni, an experience juvenile justice staff say transformed his life for the better. The Gainesville State School in Texas houses 340 male offenders ages 14 21 in its maximum-security facility. The arts program is an integral aspect of its high school diploma program, which includes GED and vocational training components. In partnership with The Texas Commission on the Arts, authorities refer homebound youth to community-based arts programs and arts programs at community colleges in order to make the arts part of the re-socialization process for Gainesville students. P.A.I.N.T.S. (Provide Arts Instruction for Neglected and Troubled Students) is a partnership between the Monroe County, New York Childrens Center and Rochester Arts Reach. The Monroe County Childrens Center houses more than 45 youth ages 10-16 awaiting adjudication or placement by the courts. Short- and long-term residents participate in arts programming; long-term residents take part in intensive skills-based residencies in ceramics/sculpture, woodworking, creative writing, and photography over their average stay of 156 days. The artists who lead these residencies also provide community workshops, allowing them to mentor and support youth in making successful homebound transitions.
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In West Palm Beach, Florida, four juvenile correctional facilities, including a county detention center, a halfway house, a long-term residential facility, and a state facility for girls, participate in a prevention, intervention and aftercare arts-in-juvenile justice program run by the West Palm Beach School District. A full array of programs help youth make the transition back to mainstream settings and reflect the programs overall goals of providing creative activities, reducing recidivism, increasing attendance and academic achievement, and promoting effective re-socialization. Several students have progressed to a level of competency that has gained them entry to the Districts regular arts magnet school. [Source: Hillman, op.cit., pp. 1014] 3. A CHANGED WORLD: An Evaluation of an Arts Program for Incarcerated Juvenile Offenders, Mark Ezell, Ph.D. Associate Professor, University of Kansas School of Social Welfare. A Changed World encompasses a visual arts program and experimental gallery for residents of juvenile corrections facilities. RESULTS: x A significant finding of this evaluation is the impact of the arts workshops on youth behavior while in the institution. Participation in the workshops significantly reduced rule breaking and misbehavior.With improved youth behavior, safety increases, injuries to staff and youth are greatly diminished, and the amount of time staff can use for constructive work in greatly increased. An analysis of comments by youth as well as the artists observations indicate that four major processes occur within the participants in this arts program connecting, expressing, learning, and discoveryThe participating youth forge deep connections with artists, with their pasts, their emotions, and with each other as they develop and expand their talents and techniques to express their pain, joy and hope. Workshops demonstrate to students the significance of their own experiences and voices, and provide an environment in which they experience success. A decline of 63% in incidents where a youth violates institutional rules or misbehaves. 70% of participating youth reported positive feelings about their projects. 60% said they had learned concrete vocational skills. Recidivism among participants was reduced by 50%. 16.7% of participants recidivated within a 6-month follow-up period, compared with 32.9% of the comparison group.
x x x x
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4. THE ARTS AND PROSOCIAL IMPACT STUDY: A REVIEW OF CURRENT PROGRAMS AND LITERATURE, David McArthur and Sally Ann Law, Rand, August 1998. Prepared for the City of Los Angeles Cultural Affairs Department. 5. THE ARTS AND PUBLIC SAFETY IMPACT STUDY: AN EXAMINATION OF BEST PRACTICES, Ann Stone, David McArthur, Sally Ann Law, and Joy Moini, Rand, September 1997. Prepared for the City of Los Angeles Cultural Affairs Department. 6. THE ARTS AND PROSOCIAL IMPACT STUDY: PROGRAM CHARACTERISTICS AND PROSOCIAL EFFECTS, Ann Stone, Tora Bikson, Joy Moini, and David McArthur, June 1998. Prepared for the City of Los Angeles Cultural Affairs Department. RESULTS: These studies help set guidelines for identifying, assessing, and analyzing the characteristics of effective youth arts programs. Rand researchers developed a conceptual framework that assisted in the creation of a coding scheme and survey instruments applied to organizations selected randomly from a national database. One of the most useful aspects of this research are Rands recommendations regarding the need for establishing standard evaluations methods, even on a small scale, for nonprofit youth arts providers. 7. THE JUVENILE GANG PREVENTION PROGRAM in Dallas, Texas offers classes at four recreation centers. RESULTS: 80% attendance. Rival gangs peacefully cooperated on projects. 8. MIDNIGHT SHAKESPEARE theater performance and production for Latino youth in San Francisco, California. RESULTS: 90% retention rate, compared with 60% retention rate of other programs. Program has expanded to 16 cities. 9. NEW ROADS COMMUNITY PARTNERS AT CAMP DAVID GONZALES, Calabasas, CA [See programs this section]. Camp David Gonzalez, of the LA County Probation Department, is a residential treatment center for male juvenile offenders. The program of New Roads is committed to broadening the horizons of youth offenders and to better prepare them to become responsible citizens as they make the transition back to their communities. RESULTS: 1. Assessment design undertaken in collaboration with the LA County Offices of Education and Probation. Following assessment, an Individual Action Plan (IAP), will be formulated for each participating minor, with
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guidance provided by the minors parents or guardians, a Probation Officer, Placement Coordinator, and the youth himself. 2. The Placement Coordinator keeps each participant on course as well as actively seeks employment, vocational training, or educational opportunities. An emphasis is placed on personal responsibility. The program provides tracking and support for up to one year, or the 18th birthday. 3. Early research shows: 68 percent of graduates are currently enrolled in school. 25 percent are currently employed. Successful placements: 3 minors to private schools on full scholarship; 10 enrolled in community college; 20+ found jobs. 4. The initial phases of this program are currently being evaluated by Rand.
10. THE NEW YORK ALTERNATIVE SCHOOL, a last chance school for truant youth and dropouts developed an arts partnership with Mill Street Loft in Poughkeepsie, New York. RESULTS: The graduation rate nearly doubled to 83 percent in five years from 1992 to 1997. [Source: ArtsUSA] 11. STARS, a multifaceted arts program for at-risk youth in Ft. Myers, Florida, offers a variety of classes, including modern dance, African Folk dance, poetry, creative writing and vocal arts, as well as tutorials in math, reading, and computers. RESULTS: x The cost for each participant is only $850 per year compared with as much as $28,000 per youth in the typical juvenile boot camp. x In three years between 1994 and 1997, juvenile crime dropped 27 percent. x For youth ages 11 and 12, the rate of repeat criminal behavior dropped 64 percent.
12. YOUTH ARTS DEVELOPMENT PROJECT, [See programs this section] a national demonstration project to develop, test, and disseminate best practice models of arts programs for at-risk youth. A collaboration between the U.S. Department of Justice, Office of Juvenile Justice and Delinquency Prevention; local arts agencies in Portland, Atlanta, and San Antonio; the National Endowment for the Arts; and Americans for the Arts.
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RESULTS: Skills x In Portland, while only 43 percent of the program participants demonstrated an ability to cooperate with others at the start of the programa full 100 percent did so by the end of the 12-week program. x In Atlanta, 85.7 percent of the youth were communicating effectively with peers at the end of the programup from 28.6 percent at the beginning of the program. x In San Antonio, 72 percent of the participants worked on tasks from start to finish; this increased to 85 percent by the end of the program. Additionally, 65 percent demonstrated the skills necessary to produce quality artwork at the start of the program; 82 percent did so by programs end. Attitudes and Behavior x In Portland, 31.6 percent of the arts program participants attitude towards school improved compared with only 7.7 percent of the comparison group. x In San Antonio, 16.4 percent of the arts program participants had a decrease in delinquent behavior compared with only 3.4 percent of the non-arts comparison group. Court Involvement x In Portland, only 22 percent of the arts program participants had a new court referral compared to 47 percent of the comparison youth. x In Atlanta, despite the fact that the arts program participants had, on average, more court referrals that the comparison group at the start of the program (6.9 and 2.2 referrals, respectively), they had, on average, fewer court referrals during the program period than the comparison group (1.3 and 2.0 respectively). Moreover, a smaller proportion of the arts participants committed new offenses during the program period than the control group (50 percent vs. 78.6 percent). x In Portland, the level and type of offense committed during the program period were less severe than prior offenses. [Source: YouthARTS Handbook: Arts Programs for Youth at Risk, p. 1999, and Americans for the Arts website.] PROGRAMS Bay Area Teen Voices, San Pablo, CA 3543 18th St. #18 San Francisco, CA 94110 Phone: (415) 255-7162 Fax: (415) 255-7148 Email: info@bayareateenvoices.org
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Website: http://www.bayareateenvoices.org Founded: 1997 Annual participants: 60 Arts Focus: Media Arts Description: Works with girls in three schools in San Pablo, Richmond, Pinole. Provides workshops in Juvenile Hall, San Francisco. Co-produces multimedia exhibit of work by incarcerated girls. The Beat Within, San Francisco, CA A program of Pacific News Service 275 Ninth Street San Francisco, California 94103 Phone: (415) 503-4170 Website: http://thebeatwithin.org/news/ Founded: 1996 (PNS founded in early 1970s) Annual participants: 10,000 Budget: Approx. $1,000,000. (The Beat Within only) Target age: 13-17 Arts Focus: Literary Arts Mission and goals: Encourage introspection and connection among incarcerated youth. Reconnect youth to society through publications, speaking engagements, and internships/jobs with The Beat upon release. Evaluation methods and outcomes: Program evaluated informally. Measures include feedback, submissions from former participants and quality of writing skills. Collaborations: Juvenile halls, institutions. Description: Outlet for the stories, opinions, ideas of incarcerated youth. Conducts 40 weekly writing/conversation workshops in six Juvenile Halls. Publishes website, two weekly Beats (40-100 pages), eight page Beat Monthly. Broad St. Studio, Providence, RI A program of AS220 790 Broad St. Providence, RI 02907 Contact Person: Sam Seidel Phone: (401) 467-0701 E-mail: sam@as220.org Website: http://www.as220.org/as220/weblog/access/bss.html?seemore=y Founded: 2000 (AS220 founded in 1985) Annual participants: 20 employees, 12 community participants, several hundred audience members each month. Budget: Approx. $350,000 Target age: 14-20 Arts Focus: Multidisciplinary Evaluation methods and outcomes: Weekly evaluations completed with individual participants.
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Collaborations: Rhode Island Department of Health Department of Children, Youth and Families, The Beat Within, group homes, youth programs. Description: Publishes two monthly magazines, The Hidden Trewth (inside juvenile prison system), Muzine. Produces music, theater performances. Students run small arts businesses (magazine, recording studio, orchestra, mural art), are paid for art production, maintenance of organization. Broad St. Sisters program serves young women. Street Poets Inc. (formerly known as Dream Yard/LA) When I got locked up the second time, I got into DreamYard, and I thought it was just an opportunity to get out of the dorm. But I found it was a space, a sacred space. The sacred space is the thing we never had; a space where its OK to let your guard down, to cry; you know nobody is going to violate you. The first thing that was taught to me was to respect that. Daniel, age 22 Former detention camp inmate DreamYard poetry workshop facilitator Street Poets Inc. (formerly known as Dream Yard/LA), Los Angeles, CA 2100 S. Figueroa St. Los Angeles, CA 90007 Contact Person: Chris Henrikson, Director Phone: (213) 749-8545 E-mail: chris@dreamyardla.org Website: http://www.dreamyardla.org/ Founded: 1997 Annual participants: 300 Budget: Approx. $210,000 Target age: 13-19 Arts Focus: Multidisciplinary Mission and Goals: Inspire at-risk youth in LA Countys juvenile detention and social service facilities to discover and develop their voices as writers, artists and human beings. Evaluation methods and outcomes: Pre- and post-questionnaires measure changes in attitude. Progress of alumni monitored via phone, one-on-one meetings, group events, mailings. Alumni involved in program planning. Informal tracking of writing skills. Its rare that we have a kid for four weeks and they dont start to know themselves. Description: Offers team-taught workshops, poetry performance group, jobs program for alumni, mentor program, monthly open-mic poetry events. Publications of student work include Monthly Dream Sheet for foster care facilities, poetry book, spoken-word poetry CD. Drumming for Your Life Institute, Santa Monica, CA 2132 Montana Ave, Suite B
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Santa Monica, CA 90403 Contact Person: Steven Angel, President Phone: (310) 453-2348 Website: http://www.dfyl.org Founded: 1999 Annual participants: 300 Target age: 11-19 Arts Focus: Music Evaluation methods and outcomes: Research conducted on skills transference. Measure improvement in core subjects, test scores. Description: The Rhythm of Transformation program takes place in juvenile justice facilities. Uses rhythm to help at-risk youth cope with emotions, improve self-esteem, connect, communicate with others. Homeboy Industries, Los Angeles, CA 1916 East 1st St. Los Angeles, CA 90033 Contact: Ramon Monxi Flores Phone: (323) 526-1254 Website: http://www.homeboy-industries.org/ Target age: 14-30 Arts Focus: Multidisciplinary Mission and Goals: Engage former gang members and high-risk youth in meaningful employment in the arts. Evaluation methods outcomes: Recidivism rates, gang drop out rate. Description: Teaches hard, soft skills to former gang members, high-risk youth in Boyle Heights area. Job referral, career training program includes silkscreen program, bakery, office administration. Offers tattoo removal, parenting classes. Music Theatre Workshop Cook County Juvenile Temporary Detention Center, Chicago, IL 7359 North Greenview Avenue Chicago, Illinois 60626-1963 Contact Person: Mead Palidofsky, Director Phone: (773) 973-7266 E-mail: mtw@mtwchicago.org Website: http://www.mtwchicago.org/programs.html Founded: 1991 Target age: 13-20 Arts Focus: Performing Arts Mission and Goals: Relate art to everyday living by creating and presenting original plays and musicals. Collaborations: Illinois Juvenile Justice System Description: The Temporary Lockdown workshops teach youth how to write a play, create original music, costumes, scenery. Youth perform for audiences
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that include judges, attorneys, probation officers. Fabulous Females focuses on girls issues. The program helped me make better decisions, and enabled me to get my new jobs. New Roads helped to change my life. I dont know where Id be without them.The people at New Roads believed in me. Now I believe in myself. New Roads should be at every camp. Statements by youth offenders sentenced to Camp David Gonzalez Post-release follow-up telephone survey of program participants New Roads Community Partners, Calabasas, CA A program of Camp David Gonzales 1301 N. Las Virgenes Road Calabasas, CA 91302 Contact Person: Joe Perez, Program Director Phone: (818) 222-1192 Founded: 2002 Annual participants: 150 (from 10/02 11/03) Target age: 4-21 Arts Focus: Multidisciplinary Mission and Goals: Every young person should have access to diverse educational opportunities based on his/her unique talents and interests. Evaluation methods and outcomes: Follow up conducted after youth released from camp. Early results of tracking show 68% of graduates enrolled in school, 25% employed. Rand conducting analysis of program. Collaborations: Los Angeles County Offices of Education and Probation Description: Arts courses in variety of disciplines provided within comprehensive framework of life and career skills, computer training, athletics, academic instruction. Renaissance Program, Springfield, MA A program of Community Music School of Springfield 27 State Street Springfield, MA 01103 Contact Person: Eric Bachrach Phone: (413) 732-8428 E-mail: ebachrach@communitymusicschool.com Website: http://www.communitymusicschool.com/ Founded: 2001 (Community Music School was founded in 1983) Annual participants: 900 Budget: $36,000 (for Renaissance Program only) Target age: 13-18 Arts Focus: Music Mission and Goals: Use music to impact the futures of incarcerated youth.
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Evaluation methods and outcomes: Pre- and post- performance outcome evaluation focuses on self-esteem, identity, teamwork. Feedback collected from youth advisory group, staff, teachers, principal. Collaborations: Robert F. Kennedy Childrens Action Corps, Western Area Department of Youth Services, Massachusetts Cultural Council. Description: Teaches slam poetry, rap, beat and music video production to court-involved and incarcerated youth. Each year produces 30-40 performances in housing projects. UCLA ArtsReach California Youth Authority Fred C. Nelles Facility Whittier, California When we first went in there, we described to the staff some of the things we were going to do. They said, Yeah, sure, right, not a chance. They are not going to write poems. Six months later when we did a performance, they came up and thanked us because these guys were writing poems, together. Good poems, too. They were writing and working together and the incidence of violence in the cottage we were working with went down 60 to 70 percent. Susan Hill, ArtsReach Director (1998) Partnership between UCLA ArtsReach, California Arts Council, California Youth Authority (CYA). Fred C. Nelles, maximum security CYA facility for incarcerated youth, offered semester-long programs in dance, music, visual art, and creative writing, organized around multicultural-themed curriculum. Cited as best practice model in RAND report, The Arts and Prosocial Impact Study: An Examination of Best Practices (1997). Program began in 1980s, following release of Brewster Report, which documented reduced recidivism rates among adult inmates involved in sustained arts programs in California corrections facilities. [Note: The recent exposure regarding the poor conditions at state-run CYA facilities, in combination with the current budget environment, make it difficult to gauge the current status of arts programs in these facilities]. The Unusual Suspects, Culver City, CA 10536 Culver Blvd. Suite B Culver City, CA 90232 Contact Person: Laura Leigh Hughes, Founder, Executive Director Phone: (310) 558-3190 Website: http://www.theunusualsuspects.org/ Founded: 1993 Annual participants: 450 Target age:14-17
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Arts Focus: Performing Arts Mission and Goals: Bring theatre arts to at-risk teens. Foster pride, selfconfidence and racial tolerance. Programs: Juvenile Hall High Risk Male Offender Program involves incarcerated youth serving 25 years to life in writing, performing four productions. Mentors provide literacy training as needed. The YouthARTS Development Project Major report available at www.artsusa.org Purpose: National demonstration project to develop, test, disseminate best practice models of arts programs for at-risk youth. Collaboration: US Department of Justices Office of Juvenile Justice and Delinquency Prevention, three local arts agencies, National Endowment for the Arts, Americans for the Arts. Dates: 1995 1997 Projects: Art-At-Work, Atlanta, GA Partners: Fulton County Arts Council, Fulton County Juvenile Court Participants: 15 truant youth ages 14 16, referred by Court. Description: After-school, multidisciplinary arts program with goal to reduce truancy. Taught business and entrepreneurial aspects of the arts. Students received $5/hour during school year, $100/week during summer. Youth Arts Public Art, Portland, OR Partners: The Regional Arts & Cultural Council, Multnomah County Division of Juvenile Justice Services (MCDJJS) Participants: 45 youth, ages 14-17, referred by MCDJJS Description: Intervention strategy for youth on probation. Offered twelve-week sessions, each one focused on different art medium. Youth produced art exhibitions, performances. Urban 39uttin, San Antonio, TX Partners: San Antonio Department of Arts and Cultural Affairs, San Antonio Department of Community Initiatives, San Antonio School District Participants: 60 middle school students selected by teachers, principals, selfreferrals. Description: Goal to divert low-performing students away from gangs, drugs, contact with juvenile justice system. Professional artists worked as part of team with caseworkers, teachers, and counselors. Youth First Artist-In-Residence Program, Los Angeles, CA A program of Theatre of Hearts, Inc. 672 Lafayette Park Place, Suite 47 Los Angeles, California 90057 Sheila Scott-Wilkinson, Executive Director
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Phone: (213) 955-1828 Website: http://www.theatreofhearts.org/ Founded: 1992 Annual participants: 6,000 Target age: 13-19 Arts Focus: Multidisciplinary Mission and Goals: Prevent and intervene in youth-on-youth violence through the arts.
Evaluation methods and outcomes: Surveys. Participant in 1997 Best Practices RAND study. Collaborations: Los Angeles Unified School District Description: Offers long term, multidisciplinary fine arts workshops to highrisk youth on probation, in juvenile hall, attending alternative high schools, after-school programs.
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RTS IN FOSTER CARE: STABILITY AND EXPRESSION
I had so much stuff pent up inside of me and then I got the opportunity to express myself. Art-Start opened me up to learn more to be more. Luckily, some force guided me to where I am right now. It kind of saved my life. Chris Rolle, former student, current project director, Art-Start Interviewed on The Oprah Winfrey Show, 2000 Were special and unique. We are foster kidsintelligenthuman beingsnot the people who become outcasts of the world, hoodlums or drug dealerspeople with a deeper understanding of the world because weve been through things many people havent. Mission statement Fostering Arts exhibition Zeum, San Francisco
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ARTS IN FOSTER CARE: STABILITY AND EXPRESSION HEALTH IMPLICATIONS Children in foster care have the worst physical and mental health in the nation. Nearly 600,000 young people are assigned by the courts to temporary foster care facilities or families because they have suffered abuse and neglect at the hands of their own parents. Once in foster care these youth then face problems generated by the foster care system itself the lack of a permanent home, the challenges of potential addiction, the threat of violence and homelessness. Even those youth placed in permanent homes suffer from the effects of parental abuse and addiction, and the stigma of growing up in the foster care system. The inadequacy of the system is reflected in studies of young adults who grew up in foster care. Only 54 percent of young adults who grew up in foster care complete high school, 40 percent receive public assistance, are incarcerated, or receive Medicaid, and 25 percent have been homeless for some period. The arts are part of a continuum of caring necessary for conducting effective interventions with foster care youth. They provide an essential outlet for foster care youth to express themselves and establish a sense of stability. BACKGROUND In May 2004, the Pew Commission on Children in Foster Care issued its final report, asserting in the words of its chairman, former Congressman Bill Frenzel, that The nations foster care system is unquestionably broken. The same year, the U.S. Department of Health and Human Services documented that all 50 states are failing on key indexes. Los Angeles County has the largest population of children in foster care. As of January 1, 2000, 48,455 children were in the Los Angeles County foster care system 45 percent of Californias overall foster youth population. Research shows that foster care youth are subject to high-level risks including homelessness and incarceration. Homelessness Shelter Partnership Study: x Each year, 1000 youth emancipate from the foster care system in Los Angeles County. Of those 1000, 45 percent will emancipate either directly onto the streets or will end up on the streets within six weeks of emancipation. A 1995 study conducted by the National Alliance to End Homelessness, Web of Failure: The Relationship Between Foster Care and Homelessness shows: x Substance abuse and mental illness play a significant role in the relationship between foster care and homelessness.
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x x x
A disproportionate number of homeless people had a foster care history. Homeless people with a foster care history were more likely than other homeless people to have their own children in foster care. Individuals with a foster care history tend to become homeless at an earlier age than those who do not have a foster care history.
Incarceration The Bazelon Center for Mental Health Law reports: x Parents without medical coverage for their son/daughters mental health treatment are often faced with the dilemma whether they should turn their child over to child welfare or the juvenile justice system so that their child might receive adequate treatment. National Alliance to End Homelessness study: x Extensive foster care often leads participants to become accustomed to institutionalized living, instead of independent living. Mental Health Report of the Surgeon Generals Conference on Childrens Mental Health: x Children in foster care use mental health services up to fifteen times more often than other children in the Medicaid system. In a 2000 study of emancipated foster youth in Los Angeles, Shelter Partnership estimates: x Foster children occupy 40 percent of the child mental health inpatient beds on any given day. x Among a population of foster care children diagnosed with severe mental disorders, 88 percent were diagnosed with having the same or a more severe disorder three years later. x Those working with mentally ill homeless individuals suggest that there is routinely an ineffective transfer of cases within the county, from the Department of Children and Family Services (DCFS) to the mental health system. Reforms The Pew Commission contains a range of recommendations regarding allocation changes and accountability for federal funds; helping states develop an array of services from prevention to treatment to post-prevention; court performance measurements, and; incentives and requirements for collaborations between child welfare agencies and the courts.
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California has devised responses to the escalating problems in the foster care system. Legislation in California includes the passage of AB 899, the Foster Youth Bill of Rights; AB 1119 that extends foster care benefits to youth from 18 to 23 years of age when they reside in foster care, attend an educational or technical training program, and meet eligibility requirements, and; AB 797 that provides state grants to programs providing direct educational services for foster children and foster care providers. Additionally, in July 2003, the federal court approved a Settlement Agreement that requires Los Angeles County to provide individualized mental health services to a class of children who are in DCFS custody or are subject to DCFS referral and who have an emotional, behavioral or psychiatric impairment. The Annie E. Casey Foundation is making an impact in Los Angeles County through its broadened strategic scope including 1) direct service programs through child welfare agencies; 2) The Pasadena Alumni Support Center to help youth transition out of foster care into educational, housing, and employment opportunities; 3) focusing on safety, permanency and stability, and well-being for foster youth; 4) working with community-based organizations such as Los Angeles Metropolitan Churches and the Childrens International Institute on parenting and parent training to prevent the need for foster care, and; 5) establishing a Neighborhood Kinship Support Center with the Community Coalition Against Substance Abuse to allow grandparents and other kin to care for young relatives that otherwise might be in foster care. [Source: speech by Annie E. Casey Foundation President and CEO, Ruth Massinga, to nonprofit clients of Merrill Lynch, Los Angeles, Casey Family Programs]. STUDIES The researchers for this study were unable to locate research regarding the practices and outcomes of arts programs provided for youth in foster care. PROGRAMS Animation Art Camp, Los Angeles, CA Youth Opportunities United P.O. Box 75118 Los Angeles, CA 90075 Phone: (213) 639-4821 Contact Persons: Julie Rico, (310) 387-3395, julierico@yahoo.com Zelda Harrison, (310) 291-2436, zeldesign@comcast.net Description: Art Camp offered one weekend a year for 35 foster teens identified for their artistic talent. Instruction in fine arts, Claymation, computer graphics. Outgrowth of Animagination Festival, where foster youth learn about careers in animation and graphic arts.
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ArtStart, New York, NY 285 West Broadway, Suite 620 New York, NY 10013 Contact Person: Simon Fulford, Executive Director Phone: (212) 966-7807 Fax: (212) 966-8539 Website: http://www.art-start.org Founded: 1991 Mission: Help children in New York City homeless shelters transform their lives through the creative process. Description: Art in the Shelters offers three levels of artist-led workshops, exhibitions. Media Works Project offers teens in alternative high schools, living on street, or recently released from prison opportunity to work with renowned film directors on yearlong media project. The Hip-Hop Project teaches creative, business aspects of producing a record. Broad St. Studio, A program of AS220, Providence, RI See Arts in Juvenile Justice Street Poets Inc. (formerly known as Dream Yard/LA), Los Angeles, CA See Arts in Juvenile Justice FosterClub.com, Seaside, Or A program of FosterClub, Inc. 753 First Avenue Seaside, OR 97138 Phone: (503) 717-1552 Fax: (503) 717-1702 Website: http://www.fosterclub.com Founded: 1999 Arts Focus: Communicating with media-savvy youth. Mission and Goals: Self-advocacy, access to information, and youth involvement are keys to foster youths well being. Collaborations: Jim Casey Youth Opportunities, National Foster Care Coalition, National Foster Youth Advisory Council, and the National Foster Parent Association. Description: Youth portal offers information, activities designed to increase self-image. Youth can participate in speakers bureau, become involved in advocacy. Fostering Art, San Francisco, CA A program of A Home Within 2481 Clay Street, San Francisco,CA 94115 Contact Person: Jessica Ingram, Instructor Phone: (415) 474-6365 Fax: (415) 474-6409 E-mail: jessicaingram@ahomewithin.org
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Website: http://www.ahomewithin.org/fostering_art.html Description: Program of A Home Within, which offers mental health programs for foster youth. Offers weekly photography classes, visits to colleges, galleries and design shops, mentorship programs. Produces exhibitions of student work. Free Arts For Abused Children, Los Angeles, CA National Office 11965 Venice Blvd., Suite 402 Los Angeles, CA 90066 Contact Person: Rosemarie Boerger, Executive Director Phone: (310) 313-4278 Fax: (310) 313-5575 E-mail: Rosemarie@freearts.org Website: http://www.freearts.org Founded: 1977 Arts Focus: Multidisciplinary Mission and Goals: Integrate healing and therapeutic power of the arts into the lives of children and youth who have been abused. Collaborations: Residential care facilities, foster family agencies, outpatient treatment centers, Los Angeles County Edelman Childrens Courthouse. Description: Offers 20 week, volunteer-led, arts workshops for youth living in protective custody. Mini-arts festival held Saturdays at different residential care facilities. Parents and Children Together with Art (PACT) trains volunteers to help families in crisis communicate through the arts. Free Arts for Abused Children Affiliates in Arizona, Delaware Valley, Illinois, Minnesota, New York, and Oregon. Free Arts of Arizona, Phoenix, AZ 755 E. Willetta Street, Suite 140 Phoenix, AZ 85006 Contact Person: Stephanie Small, Executive Director Phone: (602) 258-8100 Fax: 602) 258-1881 Email: ssmall@freeartsaz.org Website: http://www.freeartsaz.org/ Founded: 1993 Annual participants: 3,000 Budget: $576,915 Target age: 5-18 Arts Focus: Multidisciplinary Mission and Goals: Provide the healing effects of the creative arts to abused, neglected and homeless children. Evaluation methods and outcomes: Number of children served, number of programs serviced. Collaborations: Group homes, residential treatment centers, shelters. Programs: Offers 20-week arts program for youth at group home facilities, shelters. Strengthening Families Through the Arts offers six-week series for parents, children to create art. Camp programs include multicultural arts
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summer day camp, two-week dance, music camp with Arizona Ballet School. Independent Living Skills, Redding, CA Northern Valley Catholic Social Services 2400 Washington Avenue Redding, California 96001 Phone: (530) 241-0552 Fax: (530) 241-6457 Description: Foster youth, ages 16-21, learn skills for exiting foster care. NEA grant, in partnership with Shasta County Arts Council, provides visual, literary arts instruction for students living in transitional housing. Penny Lane, North Hills, CA 15317 Rayen Street North Hills, CA 91343 Contact Person: Ivelise Markovits, Founder and Executive Director Phone: (818) 892-3423 Fax: (818) 892-3574 Website: http://www.pennylane.org Founded: 1969 Annual Participation: 3,000 Mission and Goals: Empower children, adults, and families to achieve their potential. Collaborations: DreamYard/LA (on writing workshops) Description: Penny Lane Dance Company S.H.E. (Seeing Herself Empowered) provides opportunities for students perform, teach workshops, provide mentoring for youth service organizations, programs. The Rowell Foster Childrens Positive Plan 5850 W. 3rd Street, #178 Los Angeles, CA 90036 Contact Persons: Zaid Gayle, Executive Director Victoria Rowell, Founder Phone: (323) 857-1717 E-mail: rfcpp@aol.com Website: http://www.rowellfosterchildren.org Founded: 1990 Annual Participants: Los Angeles 30/year, Boston 23/year Budget: $270,000 Target Age: 8 college age Arts Focus: Multidisciplinary Mission and Goals: Provide structure, support, and encouragement for foster children participating in arts and athletic enrichment programs. Evaluation Methods and Outcomes: Letters from foster parents. Some study by academics at Dominion University. Collaborations: Viacom/CBS, Department of Child and Family Services Los Angeles, Childrens Services Bureaus in Boston, New York, Annie E. Casey Foundation.
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Programs: Provides full sponsorships for foster children to receive instruction at performing arts institutions in Boston, LA, New York. Supports transition out of foster care through job bank program, housing, health care, transportation resources. Sheltering Arms Childrens Services, New York, NY 122 East 29th Street New York, NY 10016 Contact Person: John Krieger, Assistant to CEO Phone: (212) 679-4242 Fax: (212) 779-4252 Website: http://www.sacs-nyc.org Description: The 175-year old agency received National Endowment for the Arts grant for Foster Pride, an arts program providing classes in art, video, computers, animation to children in foster care. The Unusual Suspects, Los Angeles, CA See The Arts in Juvenile Justice Represent, New York, NY A program of Youth Communication 224 W. 29th St. New York, NY 10001 Phone: (212) 279-0708 Fax: (212) 279-8856 Website: http://www.youthcomm.org Founded: 1993 (formerly Foster Care Youth United magazine) Annual Participants: Paid circulation of 10,000 in 46 states. Target Age: Teens Arts Focus: Literary Arts Mission and Goals: Help teenagers develop literary, thinking, and reflecting skills, and access the information they need to make thoughtful choices about their lives. Description: Bi-monthly magazine written by and for young people in foster care. Magazine written by core staff of 15 based in New York City, accepts and receives submissions from throughout the country.
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RTS IN AFTER-SCHOOL PROGRAMS: SAFE AND CREATIVE
HAVENS Every once in a while I wonder where I would be without United Action for Youth. Would I be going to parties every night and getting drunk and smoking pot, or would I be sitting in front of the TV all the time? Im happy to say that I am doing neither and that I spend sixty percent of my free time here at UAY. The rest I spend practicing guitar (which I learned to play here) and enjoying life. Phil Ochs, age 14 Participant United Action for Youth Synthesis Arts Workshop (Iowa City) Coming from an environment that couldnt really afford art, MCG allowed me to find myself creatively. Art wasnt just a hobby there, or a weekend thing, it was a lifestyle. After school, I would religiously make my way to MCG to do what I otherwise couldnt any other time or place. Samuel Massey, MCG (Pittsburgh) Alumnus Industrial Design student at the Rhode Island School of Design
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ARTS IN AFTER-SCHOOL PROGRAMS: SAFE AND CREATIVE HAVENS HEALTH IMPLICATIONS Young people spend only about one-fourth of their time in school. The afterschool hours, between 3:00 p.m. and 6:00 p.m., are the highest risk time for youth. It is when they are most likely to commit crimes, be victims of violent crimes, be killed in accidents, experiment with drugs and tobacco, engage in sex, and become pregnant. Effective after-school programs are proven to cut crime and reduce risky behavior, including drug use and drinking; they also show evidence of contributing to high school graduation rates and postsecondary education. Nonschool and community-based arts programs are especially effective at engaging youth in ways that other programs simply do not. They build on what young people already value, provide safe havens for self-expression, and support complex learning strategies, self-efficacy, confidence, and beneficial peer and community relations. BACKGROUND The program is there to inspire youth so that they can change destiny as it happens and feel hope that the community will be improved with their contributions. Thuong Lee Prevention Specialist Vietnamese Youth Development Center Peer Resource Arts Program [Source: Art Works! Prevention Programs for Youth & Communities, National Endowment for the Arts and the Center for Substance Abuse Prevention, U.S. Department of Health and Human Services, 1997] In the past twenty years a growing field of the practice and study of afterschool programs has developed. National and local initiatives are responding to the knowledge presented in the seminal report, A Matter of Time: Risk and Opportunity in the Nonschool Hours, Carnegie Commission, 1992 that the unsupervised time spent by juveniles outside of school holds the possibility of either the greatest risk or the greatest opportunity to save lives, tax dollars, and achieve positive outcomes for youth, especially in underserved communities. Numerous studies provide data showing that well-run afterschool programs help reduce juvenile delinquency, lower levels of drug use, help youth develop social skills, and increase self-esteem and school success. [Source: Americas After-School Choice: The Prime Time for Juvenile Crime, Or Youth Enrichment and Achievement, A Report from Fight Crime: Invest in Kids, Washington, D.C., 2000; Fact Sheet on After-School Programs, The Childrens Aid Society; After School Resources, Johns Hopkins Bloomberg School of Public Health; Community Programs to Promote Youth Development, Jacquelyne

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Eccles and Jennifer A. Gootman, eds. Board on Children, Youth and Families, Division of Behavioral and Social Sciences and Education, Washington, D.C., National Academy Press, 2001]. Harvards Project Co-Arts defined five characteristics of effective after-school, community-based arts programs: 1. Educationally effective centers espouse and engage the power of art to transform and/or articulate personal identities. 2. Educationally effective community art centers cultivate strong relationships among center constituents (teachers, students, parents, staff). 3. Educationally effective community art centers know and carefully attend to the interests and needs of the communities they serve. 4. Educationally effective community art centers provide enduring oasis for students and families. 5. Educationally effective centers carefully attend to their own process of development and transformation. These characteristics, such as strong mentor relationships, and creating a safe environment, resemble factors at work in all effective youth development programs. The arts programs, however, provide important avenues for development unique to the art-making process. [Source: Safe Havens, Portraits of Educational Effectiveness in Community Art Centers that Focus on Education in Economically Disadvantaged Communities, Project Co-Arts, Harvard Graduate School of Education, 1993] The Research of Shirley Brice Heath When you do something where you create, it builds something inside you that never really goes away. Youth arts participant Quoted in Youth Development and the Nonschool Hours, Shirley Brice Heath and Elisabeth Soep, Grantmakers in the Arts, 1998 In 1987, Shirley Brice Heath, linguistic anthropologist, and Milbrey McLaughlin, public policy analyst, of Stanford University led a team of researchers on a decade-long examination of effective community organizations serving youth in nonschool hours. The organizations studied were narrowed to 124 examplars, all providing high quality and high-stakes learning environments that recognize the creative capacities of youth. The types of organizations included in the study were 1) athletic-academic focused; 2) community-service centered, and; 3) arts-based.

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What Heath and her colleagues discovered, to their surprise, is that arts organizations exhibit a variety of characteristics, experiences, and approaches that provide learning opportunities that contribute to youth development and learning more profoundly and broadly than non-arts organizations. At their core, these organizations represent collaborations between professional artists and young people and are among the most effective learning sites that young people choose for themselves in the nonschool hours. [emphasis added]. This feature of self-selection and motivation is key; a study by Public/Private Ventures, Multiple Choices After School: Findings from the Extended-Service Schools Initiative found that in 60 model after-school programs in 20 cities, higher needs students and older youth were more difficult to attract to the after-school programs. The Heath study uncovered a level of engagement by young people in the arts organizations due to an environment that supported young peoples abilities to critique, take risks, communicate, take responsibility, be leaders, and master complex learning strategies inherent in art-making. The study in its initial seven years gave no particular attention to those organizations that featured the arts. Only when analysis of the data indicated noteworthy patterns among the youth did the study turn special attention to an analysis of ways that the arts worked for learning. [Source: Youth Development and the Nonschool Hours, Shirley Brice Heath and Elisabeth Soep, Grantmakers in the Arts, 1998] The Heath study found that as students move from planning and preparing an arts project to intensive practice and facing the impending deadline of an exhibition or performance, the influence of participation in the arts on language shows up in the dramatic increase in syntactic complexity, hypothetical reasoning, and questioning approaches taken up by young people within four-to-six weeks of their entry into the arts organization. The types of thinking, speaking, listening, and doing available to young people involved in the arts amount to a set of remarkable learning strategies, documented by the study, as follows. x Theory-building and predicting what do you think will happen if? we could think of this in three dimensional terms, couldnt we? x Translating and transforming think about your favorite rap group how do they use metaphors? x Creating Analogies okay so whats this? I mean can you tell me how what Im doing is getting at something else (demonstrating a short sequence of movements that suggests a furtive stranger).
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x Reflecting and Projecting write about how you think you did today and dont forget to put down your ideas for the dance program we gotta get this thing settled. x Demonstrating, Explaining, Negotiating hold it right there. Do that again, Tracy. Now what did you see, Rad? (He explains). Is that right, Tracy, is that how you did it? Tell him x Displaying (trial and error) and Assessing dont forget this performance is only six weeks off and those kids in the Parks program (the audience for the program) can be plenty mean; theyre squirmy. The researchers found that, effective arts-based youth organizations place strong emphasis on communication skills of many types and across an array of contexts and situations. Their adult leaders expect the youth to be able to engage in conversation in highly serious, reflective ways, and these leaders make clear that young people should expect the same of all adults around the organization. Identity and Achievement The study contrasted the self-esteem of arts students with students surveyed in NELS, the U.S. Department of Education Longitudinal database. Although the arts students primarily came from challenging circumstances in their homes and communities, compared with the NELS cohort, the youth involved in the arts showed higher levels of self-esteem. They were 25 percent more likely to report feeling satisfied with themselves; 23 percent more likely to say they can do things as well as most other people can, and; 23 percent more likely to feel they can make plans and successfully work from them than students in the national sample. PERCENTAGE OF RESPONDENTS NELS Feels good about him/herself 76.20 Feels s/he is a person of worth Able to do things as well as others 75.94 76.17
ARTS 92.31 90.91 88.81
On the whole, satisfied with self 69.98 84.62 [Source: Imaginative Actuality, Learning in the Arts during the Nonschool Hours, Champions of Change, The Impact of the Arts on Learning, Arts Education Partnership, Presidents Committee on the Arts and the Humanities, 1999, p. 29]. In further comparisons with the national sample, the study also found higher levels of achievement among the youth who participated in arts programs.

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Youth in arts programs are: x Thirty one percent more likely to say that they plan to continue education after high school x Eight times more likely to receive a community service award x Four and a half times more likely to win an award for writing an essay or poem x Three times more likely to win an award for school attendance x Twice as likely to win an award for academic achievement x Four times more likely to participate in a science or math fair [Source: Youth Development and the Nonschool Hours, Shirley Brice Heath and Elisabeth Soep, Grantmakers in the Arts, 1998, p. 12] Preparing for Adulthood Heaths investigators documented that adolescents have relatively few occasions to work in a sustained way to plan and carry out a project with an adult or guiding expertFor students who did not attend organized nonschool activities and were not extensively involved in extracurricular activities at school, each week offered them at best only 15 20 minutes of interaction with adults in sustained conversation on a single topic that included planning. The youth not involved in nonschool activities received almost no practice in talking through future plans, developing ideas for execution, or assessing next steps from a current situation. But, the Heath research found, young people in arts-based organizations gain practice in thinking and talking as adults. In a two-hour work session in any of the arts, young people can hear and use: x Directives to listen, look, feel, imagine as many as 60 times x Spontaneous demonstrations by a more capable adult or peer of what a performance or product can look, sound or feel like 15 times or more x Small-group talk to work up ideas for a project or to develop a demonstration to be given that afternoon or evening at least once or twice x Verbal illustration or explanation of a routine, technique, or move a dozen or more times x Portrayal or reflection either serious or playful on some event of todays practice at least 6 times x One-on-one attention from an older youth artist or professional for praise, critique, or request for clarification of a particular technique, move, or accomplishment a dozen or more times.
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[Source: Imaginative Actuality, Learning in the Arts during the Nonschool Hours, Champions of Change, The Impact of the Arts on Learning, Arts Education Partnership, Presidents Committee on the Arts and the Humanities, 1999, p. 29; Heath with Laura Smyth, ArtShow, Youth and Community Development, Resource Guide, Partners for Livable Communities, 1999]. Heaths research also stresses the entrepreneurial abilities strengthened in youth arts programs (examined in the Arts and Workforce Development section of this report). In supporting youth, and preparing them for the future, Heath asserts that the arts incorporate all the situations of learning that receive high praise from social scientists and cognitive psychologistsThrough the arts one must engage in the present with the futureConstant practice in the mental gymnastics necessary for such present attention and future action helps create a nimble mind, an observing eye, and a resolute spirit. [Source: Youth Development and the Nonschool Hours, op.cit., p. 15 16]. STUDIES 1. ARTSHOW, YOUTH AND COMMUNITY DEVELOPMENT, A RESOURCE GUIDE, [See Background this section] Shirley Brice Heath and Laura Smyth, Partners for Livable Communities, 1999. 2. AFTERSCHOOL RESOURCES, Johns Hopkins Bloomberg School of Public Health. RESULTS: Website lists national model after-school programs, including Coming Up Taller list of arts programs selected by the Presidents Committee on the Arts and the Humanities, and YouthARTS Toolkit for At-Risk Youth website resources for planning, operating, and evaluating arts programs for atrisk youth. 3. ART WORKS! PREVENTION PROGRAMS FOR YOUTH & COMMUNITIES, Center for Substance Abuse Prevention, U.S. Department of Health and Human Services, 1997, National Endowment for the Arts. RESULTS: Eleven programs received federal funding for their arts and cultural activities to build the academic and social well-being of youth. Programs and evaluations outlined in this report include Corner Stone Project in Little Rock, Arkansas; Peer Resource Program, Vietnamese Youth Development Center, San Francisco, and; United Action for Youth Synthesis Arts Workshop in Iowa City, Iowa. 4. IMAGINATIVE ACTUALITY, LEARNING IN THE ARTS DURING THE NONSCHOOL HOURS, [See Background this section] Shirley Brice Heath (with Adelma Roach) Champions of Change, The Impact of the Arts on

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Learning, Arts Education Partnership, Presidents Committee on the Arts and the Humanities, 1999. 5. MANCHESTER CRAFTSMENS GUILD (MCG), [See Programs this section] Pittsburgh, Pennsylvania. Evaluations of after-school and in-school programs demonstrate that this model facility and its programming are providing at-risk youth with creative opportunities and hope that counteract the despair of their surroundings. RESULTS: MCGs after-school program, The Apprenticeship Training Program (ATP), is the cornerstone of all MCG resources. Studios in five areas ceramics, photography, digital arts, printmaking and drawing, and textile design are open year-round for high school students in the Pittsburgh region. In a September 2003 report to the Heinz Foundation, MCG reported 611 students enrolled in ATP, with 207 students enrolled in the eight-week intensive summer program. All of the 96 seniors enrolled attended at least two college visits, and participated in workshops in portfolio development, essay writing, and financial aid. Seventy-seven percent of these seniors were accepted into a two- or four-year institution of higher learning. [Source: Interview with Bill Strickland, 2/26/04, and 2/2/04, MCG program materials, Genius at Work, Sara Terry, Fast Company magazine, September 1998; Art in Context: Industrial Pittsburgh Catching up with Bill Strickland Gil Ott, High Performance magazine, Fall 1994; Safe Havens, Portraits of Educational Effectiveness in Community Art Centers that Focus on Education in Economically Disadvantaged Communities, Project Co-Arts, Harvard Graduate School of Education, 1993]. 6. MULTIPLE CHOICES AFTER SCHOOL: FINDINGS FROM THE EXTENDED-SERVICE SCHOOLS INITIATIVE, Public Private Ventures, 2002. RESULTS: In 1997, the Wallace-Readers Digest Funds initiated the ExtendedService Schools (ESS) creating 60 after-school programs in 20 communities, based on nationally recognized models. Findings regarding participation, costs, and benefits reinforced that after-school programs help participants work on many of the competencies they will need for the future. 7. SAFE HAVENS, Portraits Of Educational Effectiveness In Community Art Centers That Focus On Economically Disadvantaged Communities, Project CoArts, Harvard Graduate School of Education, 1993. RESULTS: Through portraiture, site visits, interviews and Co-Arts assessement measures, this study presents five exemplary projects selected from a large national sample. 8. YOUTH DEVELOPMENT AND THE NONSCHOOL HOURS, [See Background this section] Shirley Brice Heath and Elisabeth Soep, Grantmakers in the Arts, 1998.

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PROGRAMS Albany Park Theatre Project, Chicago, IL P.O. Box 257995 Chicago IL, 60625 Contact Person: Laura Wiley, Co-Founder Phone: (773) 866-0875 Fax: (773) 866-0913 E-mail: laura@aptpchicago.org Website: http://www.aptpchicago.org/ Founded: 1997 Annual participants: 35-40 in core ensembles, hundreds more in other programs Budget: $230,000 Target age: 13-21 Arts focus: Theater Mission and Goals: Create dynamic original theater. Contribute to the vitality and vibrancy of the Albany Park neighborhood. Evaluation methods and outcomes: Number of productions annually. Some participants have been motivated to finish high school or continue on to college, some are first person in family to graduate from high school. Collaborations: Chicago Parks District, City Arts Grants, Chicago Department of Human Services, various schools. Description: Multiethnic ensemble of teenagers who create original performance works from real-life stories of the immigrant, working-class Albany Park neighborhood. Armory Art High Program, Pasadena, CA A program of Armory Center for the Arts 145 N. Raymond Avenue Pasadena CA 91103 Contact Person: Doris Hausman, Director of Arts & Education Phone: (626) 792-5101 Fax: (626) 449-0139 Website: http://www.armoryarts.org/ Founded: 1992 (Armory Center founded in 1947) Annual participants: Over 35,000 (for all Center programs) Budget: $1,800,000 Target age:14-17 Arts Focus: Visual Arts Mission and Goals: Enrich individual lives and the community through teaching, creating, and presenting the visual, performing, and media arts. Evaluation methods and outcomes: Formal external evaluations, ongoing internal evaluations. Internal instruments include participant, teacher, artist surveys, program directors narrative reports. Collaborations: City of Pasadena, Pasadena Unified School District, California State University Los Angeles, California Institute of the Arts, Art Center College of Design.

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Description: Provides after-school classes in areas including photography, letterpress, graphic design, video. Some classes offer school credit through the Los Angeles Office of Education Regional Occupational Program (ROP).
Art Share Los Angeles, Los Angeles, CA 801 East 4th Place Los Angeles, CA 90034 Contact Person: Tracy Kelly, Program Director Phone: (213) 687-4ART Email: info@artsharela.org Website: http://www.artsharela.org/ Founded: 1997 Annual participants: 750 Budget: $800,000 Target age: 12-20 Arts Focus: Visual Arts, Dance, Film, Music Mission and Goals: Shaping lives through art education and community action. Increase language and art skills and graduation rates. Provide safe space during peak violence hours. Evaluation methods and outcomes: Student surveys used to measure decreased incidents of violent behavior, improvement in language skills. Measures also include grades, attendance rates, and graduation rates. Collaborations: A Place Called Home, Project MuzEd, The Actors Lounge, Latino Theater Company, Gateway Hospital & Medical Center, LAUSD. Description: BLAST (Building Language and Arts Skills Together) program for at-risk immigrant youth integrates English language instruction with art classes. Classes conducted by certified English teachers and professional artists. ArtStorm, Los Angeles, CA 316 Crane Boulevard, Suite A Los Angeles, CA 90065 Contact Person: Steve Bagish, Founder Phone: (323) 221-6887 Website: http://www.spfa.com/SPFgallery.swf Founded: 2001 Annual participants: 100 Target age: 16-25 Arts Focus: Aerosol graffiti art Mission and goals: Help young people become successful, productive artists. Create world-class graffiti art park. Evaluation methods and outcomes: Measures success by how much participating artists are paid for their work, how effectively they are pursuing careers as artists.

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Collaborations: SPF Architecture firm Description: Provides young graffiti artists with tools, space to legally create graffiti murals. Hosts events where the artists create live art for sale. Some participants have served juvenile or adult time for graffiti crimes.
Beacon Street Gallery and Theatre, Chicago, IL Truman College-ORourke Center 1145 W. Wilson Street Chicago IL 60640 630-232-2728 Phone: (630) 232-2771 Website: http://www.beaconst.org/ Founded: 1983 Budget: $310,000 Target age: 10-21 Arts Focus: Multidisciplinary Evaluation methods and outcomes: Participants staying in school, dropouts returning. Some have gone on to college, entered vocational training programs. Description: Art Jobs Program provides youth with arts classes to support positive changes in their lives. Cultural Heritage Program teaches history, art forms of different cultures. Social service agency assists with behavioral issues. Bethune Theatredanse, Los Angeles, CA Contact Person: Zina Bethune, Founder Phone: (323) 874-0481 Website: http://www.bethunetheatredanse.com Founded: 1980 Annual participants: 1,025 Budget: $408,000 Target age: 6-40 Arts Focus: Dance, Theater Mission and Goals: Produce movement theatre rooted in classical dance. Blend digital media with live performance, ability with disability. Transcend perceived limitations of special needs youth. Evaluation methods and outcomes: Instructor tracking, youth selfassessment. Partnering with Cal State Northridge to develop formal assessment. Description: Provides education, productions in multimedia dance theatre. Infinite Dreams program reaches disabled youth through dance, drama. Theater company has performed nationally, internationally. Beyond the Ring, The Big Apple Circus, Ltd., New York, NY Teaches circus arts to youth in East Harlem, ages 8-18. The Boston Photo Collaborative, Jamaica Plain, MA 67 Brookside Avenue Jamaica Plain, MA 02130

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Contact Person: Heather Beard, Associate Director Phone: (617) 524-7729 E-mail: mail@bostonphoto.org Website: http://www.bostonphoto.org/programs.html Founded: 1991 Annual participants: 60-75 Budget: $130,000 Target age: 11-17 Arts Focus: Photography Mission and Goals: Offer cutting-edge, accessible photography education. Evaluation methods and outcomes: Teens complete midpoint, final written evaluations. Weekly meetings with teens, teachers, interns, volunteers to evaluate progress. Collaborations: Recent partners include Bromley Heath housing project, Hyde Park YMCA. Description: Runs Project Image, summer photography employment program for urban teens. Christina Cultural Arts Center, Inc., Wilmington, DE 705 North Market Street Wilmington DE 19801 Phone (302) 652-0101 Fax: (302) 652-7480 Website: http://www.ccac-de.org Founded: 1946 Annual participants: 6,000 Budget: $821,340 Target age: 3-18 Arts Focus: Multidisciplinary Description: Only professionally directed, multidisciplinary arts organization in Delaware. Brings arts, arts education to low-income families. Celebrates African-American culture. Several programs focus on high-risk youth. CornerStone Project, Inc., Little Rock, AR 4323 W. 29th Little Rock, AR 72204 Phone: (501) 664-0963 Founded: 1987 Annual Participants: 125 Target age: 12 18 Arts focus: Multidisciplinary Goals: Increase academic and personal success of neighborhood youth. Prevent substance abuse, HIV/AIDS, teen pregnancy. Evaluation methods and outcomes: Evaluated in 1997 by University of Arkansas Psychiatry Department as part of Center for Substance Abuse Prevention demonstration project.

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Collaborations: The City of Little Rock Arts and Humanities Council, Arkansas Department of Health, Arkansas Department of Human Services, Levi Strauss. Description: Arts program part of a youth center that provides comprehensive services for mostly low-income, African American youth. Annual theater production written and performed by students. In past project, youth worked with Public Relations Society on mass media HIV/AIDS prevention campaign. Creative Arts Program, New York, NY A program of The Door 121 Avenue of the Americas New York NY 10013 Phone: (212) 941-9090, ext. 252 Fax: (212) 941-0714 Website: http://www.door.org/ Founded: 1972 Annual participants: 617 Budget: $75,000 Target age: 12-21 Arts Focus: Multidisciplinary Description: Program of The Door, full-service youth agency that provides comprehensive services to youth. Offers 20 weekly after school and evening classes in various disciplines, master classes, trips to cultural events and institutions, student performances and exhibitions. Dance for Education Foundation, Los Angeles, CA 10008 National Blvd., #390 Los Angeles, CA 90034 Contact Person: Crescendo Ward, Founder Phone: (310) 775-2846 Fax: (310) 839-2724 Email: DFE@laurbandancefest.org Website: http://www.laudf.org/laudf2003/dancefored.html Founded: 1999 Annual participants: 250 participants, 6,000 audience members Target age: 13-24 Arts Focus: Urban dance Mission and Goals: Inspire, support and educate young people through practice and preservation of street dance. Evaluation methods and outcomes: Participant feedback, media reviews. Description: Teaches classes in history and technique of urban dance. Produces annual Urban Dance Festival. The Foundation for the Study of Hip Hop Consciousness, Los Angeles, CA Contact Person: Sebastian El-kouby, aka Dome, Founder Phone: (323) 281-1412 E-mail: info@thefoundationonline.net Website: http://www.thefoundationonline.net

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Founded: 2001 Annual participants: 300-600 Target age: 15+ Arts Focus: Music Mission and Goals: Educate young people and society about hip-hop culture. Evaluation methods and outcomes: Measures participation, demand for programming. Description: Conducts workshops, classes on history, current state of hip-hop culture. Supports hip-hop musicians in fight against censorship. Frederick Douglass Creative Arts Center, Inc., New York, NY Creative writing program for young people, ages 11-14, on Upper West Side of Manhattan. Global Artways, Salt Lake City, UT 855 West California Avenue Salt Lake City UT 84104 Contact Person: Elaine S. Harding, Director Phone: (801) 974-2424 Fax: (801) 974-2401 Website: http://www.globalartways.org/ Founded: 1997 Annual participants: 2400 in classes, 30,000 in audiences at events Budget: $210,000 Target age: All ages Arts Focus: Multidisciplinary Mission and Goals: Expose young people to the arts and the creative process. Inspire young people to understand the past, imagine a positive future, and preserve their cultural heritage. Evaluation methods and outcomes: Parent, student, and teacher evaluations. Collaborations: Salt Lake Public Schools, The Boys & Girls Club, Salt Lake County Recreation Programs, City Libraries, University of Utah Art Ed program. Description: City-sponsored arts intervention program with focus on high-risk youth. Operates out of community centers, parks, alternative high schools. Highbridge Voices, Bronx, NY After school choral training, performance program for ages 5-16. ICP at The Point, Bronx NY Photography program for youth at The Point Community Development Corporation in the Bronx.
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The Manchester Craftsmens Guild, Pittsburgh, PA The Founder From at-Risk Youth to Artist In 1965, Strickland, then a 16-year-old black kid, was bored by school and hemmed in by life in a decaying Pittsburgh neighborhood. He wanted a way out, but he didnt have a clue about how to find it until that Wednesday afternoon, when he went wandering through the hallways of his high school. Its a moment etched so clearly in his memory thathe can still recall the quality of the sunlight streaming in through the school windows. Thats the day he came face to face with hope. Looking through an open classroom door, Strickland saw something hed never seen before: a rotating mound of clay being shaped into a vessel by a man absorbed in his work. If ever in life there is a clairvoyant experience, I had one that day, says Strickland. I saw a radiant and hopeful image of how the world ought to be. It opened up a portal for me that suggested that there might be a whole range of possibilities and experiences that I had not explored. It was night and day literally. I saw a line and I thought: This is dark, and this is light. And I need to go where the light is. So Strickland walked into the sunlit classroom, introduced himself to ceramics teacher Frank Ross, the man at the potters wheel, and said, Id like to learn whatever that is. With Ross as his mentor for nearly 20 years, Strickland not only found the way out one that led to college he also found the way in: the path that lets one person make all the difference in the world. He mastered the art of social entrepreneurship, applying his potters hands to reshape the business of social change. As a result, the people who now work with him and come to his programs at the Manchester Craftsmens Guild (MCG) and at the Bidwell Training Center Inc. (BTC) his Pittsburgh-based organizations for urban change will tell you that the day Bill Strickland walked into that ceramics classroom was the day that he began reinventing this countrys approach to social entrepreneurship. Excerpted from Genius at Work, Sara Terry, Fast Company magazine, September 1998 The Organization Arts-Based Youth and Community Development We have no problem with graffiti, with drugs or crime [at Manchester Craftsmens Guild]. Thats because the message here is one of hope. Thats what the arts are about. Hope.

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William Strickland Art in Context: Industrial Pittsburgh Catching up with Bill Strickland Gil Ott, High Performance magazine, Fall 1994. Description: Award-winning, internationally recognized arts and learning center with 35-year track record of successfully serving at-risk youth. Bidwell Training Center, Inc. offers career development program for low-income area residents. Training programs include computer technology, pharmacy, medical transcription. Culinary arts program operates catering service and 200-seat restaurant. Seventy-eight percent of graduates find jobs. Harbor Gardens Park, Inc., 38,000-square-foot, $4 million, high-tech greenhouse and education center growing hydroponic tomatoes, orchids, and other crops for food, consumption, and economic revitalization while preparing inner city youngsters for careers in horticulture. MCG Jazz runs Grammy Award-winning record label. The Jazz Performing Arts Program provides classes for youth and boasts a 350-seat music hall for professional and community performances. Marin Interfaith Youth Outreach, San Rafael, CA Youth in Film/Video Project provides 30 students, ages 17 to 20, with yearlong, after-school instruction in film, video editing and production. Students create films to be debuted at Latino Film Festival. Media Arts Center San Diego, San Diego, CA Teen Producers Project provides after-school media arts education program for 45 youth living in public housing. Project includes media literacy workshops, video production, and family screenings. Partnership with Metropolitan Area Advisory Committee on Anti-Poverty. Old Fire House Teen Center, Redmond, WA 16510 NE 79th St. Redmond, WA 98052 Phone: (425) 556-2341 E-mail: kwong@redmond.gov Website: http://www.theoldfirehouse.org Founded:1992 Annual participants: 13,000 participants, 12,000 audience members Budget: $280,000 Target age: 13-19 Arts Focus: Multidisciplinary Mission and Goals: Engage youth in the arts and learning opportunities. Evaluation methods and outcomes: Number and quality of arts opportunities offered, student surveys, community evaluation. Youth report real value of organization is sense of community and a place where they

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belong. Collaborations: City of Redmond, Youth Eastside Services, Friends of Youth. Description: Facility includes art gallery, concert hall, outdoor performance caf. Media Lab offers low-cost, state-of-the-art video and audio production facilities, classes. Partners with local non-profits to provide social services. Peer Resource Program, San Francisco, CA Vietnamese Youth Development Center 330 Ellis Street, Suite 507 San Francisco, CA 94109 Phone: (415) 771-2600 Founded: 1989 Annual Participants: 16 Budget: $85,781 (1996) Target age: 14 18 Arts focus: Video, Visual Art, Multidisciplinary Mission and Goals: Teach leadership and life skills to youth from Southeast Asian refugee families. Prevent substance abuse. Evaluation methods and outcomes: Significant increases in social skills, assertiveness, goal-directed behaviors. Program engaged youth not originally invested in their academic and social lives, provided incentive and goals for greater participation. Collaborations: San Francisco Police Department, WritersCorps, the National Asian American Telecommunications Association, San Francisco Museum of Art, the Justice Council, and San Francisco Parks and Recreation. The Pinkerton Foundation, New York, NY Major funder of youth development programs in New York City. Aims to reduce crime, prevent juvenile delinquency. Has expanded support of after school arts programs to meet these goals. Plaza de la Raza, Los Angeles, CA 3540 N. Mission Road Los Angeles CA 90031-1935 Phone: (323) 223-2475 Fax: (323) 223-1804 Website: http://www.plazadelaraza.org/Redone/school.html Founded: 1975 Annual participants: 25,000 Target age: 5-21 Arts Focus: Multidisciplinary Mission and Goals: Foster enrichment of all cultures. Bridge geographic, social, artistic and cultural boundaries of Los Angeles and beyond. Description: Cultural arts center serving Latinos. The School of Performing and Visual Arts provides performing and visual arts classes after school and on Saturdays for youth from the surrounding neighborhood.

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PointBreeze Performing Arts Center, Philadelphia, PA 1717-21 Point Breeze Avenue Philadelphia PA 19145 Contact Person: Dorothy Nolan, Founding Director Phone: (215) 755-1014 Fax: (215) 755-2771 Website: http://www.pbpac.org/ Founded: 1983 Annual participants: 1,250 in classes, 70,000 attend performances, community events. Budget: $1,200,000 Target age: 2-18 Arts Focus: Multidisciplinary Mission: Use the performing arts as a social action strategy that cultivates talent and revitalizes communities. Evaluation methods and outcomes: Reduction in teen pregnancy, criminal activity. Students improve academically, go on to college or post-secondary education, return as interns and volunteers. Description: Provides year-round instruction in performing arts, public performance opportunities. Support services include counseling, mentoring, educational/vocational and cultural exchange programs. Project Self Discovery, Denver, CO A program of The Cleo Parker Robinson Dance Theatre 119 Park Avenue W. Denver CO 80205 Phone: (303) 295-1759 Fax: (303) 295-1328 Website: http://www.cleoparkerdance.org/ Founded: 1991 (Cleo Parker Robinson Dance Theatre founded in 1970) Annual participants: 500 Budget: $300,000 Target age: 13-18 Arts Focus: Multidisciplinary Mission and Goals: Foster appreciation, access and development of new audiences for African-American dance. Evaluation methods and outcomes: Initial evaluations indicate the program is successful in increasing participants resiliency skills. Description: Substance intervention program for youth. Includes arts classes. Santa Fe Teen Arts Center, Warehouse 21, Santa Fe. NM 1614 Paseo de Peralta Santa Fe NM 87501 Contact Person: Ana Maria Gallegos y Reinhardt, Executive Director Phone: (505) 989-4423 Fax: (505) 989-1583 Website: http://www.warehouse21.org/about_w21.htm Founded: 1990 Annual participants: 861

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Budget: $250,000 Target age: 13-21 Arts Focus: Multidisciplinary Mission and Goals: Provide youth with innovative art opportunities. Description: Workshops, ongoing theater, photography, radio programs. Program is teen-initiated.
Synthesis Arts Workshop (SAW), Iowa City, IA A program of United Action for Youth 410 Iowa Avenue Iowa City, IA 52240 Phone: (319) 338-9279 Founded: 1979 Annual participation: 900 Target age: 12 18 Arts focus: Music, Multidisciplinary Mission: Provide a place where young musicians can freely explore their music. Evaluation methods and outcomes: Instruments measure self-esteem, resiliency skills. Comments include, This was the place where I felt the safest, where there were some adults who cared. Collaborations: Iowa State Crime Prevention, State Comprehensive Substance Abuse Prevention, Center for Substance Abuse Prevention, U.S. Department of Health and Human Services. Description: Offers music lessons, classes in recording and sound mixing equipment, studio recording time. Center provides counseling, prevention services. Tucson Arts Brigade, Tucson, AZ POB 545 Tucson, AZ 85702-0545 Contact Person: Michael Schwartz, Director Phone: (520) 388-9553 E-mail: ArtBrigade@aol.com Website: http://www.tucsonartsbrigade.org Founded: 1996 Annual participants: 2,000 participants, 6,000 audience members Budget: Under $25,000 Target age: 4-17 Arts Focus: Visual Arts Mission and Goals: Participatory arts with an emphasis on mural production and professional arts education for youth and adults. Evaluation methods and outcomes: Assessment forms, documentation of work, attendance records, journals, portfolios, interviews.

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Programs: Youth Arts Training Program provides fine art classes, workshops, training and development for teachers, artists. Artist Facilitator in Training Program offers internships, special workshops for adults, families.
The Vera Project, Seattle, WA 1122 East Pike #849 Seattle, Washington 98122 Contact Person: Shannon Roach, Executive Director Phone: (206) 956-VERA http://www.theveraproject.org Founded: 2000 Annual participants: 2,200 in classes and vocational training, 17,000+ audience members Budget: $400,000 Target age:13-19 Arts Focus: Multidisciplinary, primarily Music Mission and Goals: Fuel personal and community transformation in partnership with young people in Seattle. Evaluation methods and outcomes: Participant, performer feedback. Description: Offers performance opportunities for young and emerging artists, musicians. Training in community building, event production. The Village of Arts and Humanities, Philadelphia, PA 2544 Germantown Ave. Philadelphia, PA 19133 Contact Person: Lily Yeh, Founding Director E-mail: lily@villagearts.org Website: http://www.villagearts.org/index.html Founded: 1986 Annual participants: 2,500 (youth) Budget: $1,300,000 Target age: 6 + Arts Focus: Multidisciplinary Mission and Goals: Build community through innovative arts-based programs in education, land transformation, construction and economic development. Collaborations: Cultural organizations, 30 community organizations and schools and 17 national partners and colleges. Description: Learning through the Arts program offers several levels of involvement. Four components are leadership, open workshops, outreach, youth theater. WritersCorps, San Francisco, CA A program of the San Francisco Arts Commission

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25 Van Ness Suite 240 San Francisco CA 94102 Phone: (415) 252-2546 Fax: (415) 252-2595 Website: http://sfac.sfsu.edu/WC/ Founded: 1994 Annual participants: 750 Budget: $307,000 Target age: 7-21 Arts Focus: Literary Arts Mission and Goals: Develop sense of identity among urban youth. Evaluation methods and outcomes: Number of publications and awards, student and teacher evaluations. Description: National service initiative funded by National Endowment for the Arts, Corporation for National and Community Service, Associated Writing Programs. Local writers work 25-40 hours per week for up to one year in schools, youth centers, public housing, other venues serving at-risk youth. Young Chicago Authors, Chicago, IL 2049 W. Division Chicago, IL 60622 Contact Person: Dr. Robert Boone, Founding Director E-mail: YCAGSC@aol.com Website: http://www.youngchicagoauthors.org/ Founded: 1991 Annual participants: 850 Budget: $145,000 Target age: 13-19 Arts Focus: Literary Arts Mission and Goals: Encourage self-expression and literacy among Chicagos youth through writing and performance. Collaborations: Illinois Arts Council, Chicago Community Trust. Description: Provides creative writing courses, performance forums, services that aid educators in promoting creative writing in schools. Workshops offered at central location, community-based sites.
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I wouldnt be in college. Honestly, I wouldnt be in college if I didnt have The HeArt Project in my life. I would probably be working at some minimum wage job. Growing up, college wasnt an option, plain and simple. The HeArt Project gave me encouragement to pursue higher education be it a vocational school or a four-year university. Continuation High School Graduate The HeArt Project Things that have emerged from my work with the arts and at risk young people are that engagement in learning and sense of oneself as a learner are very connected to health, and living with a sense of the future. [Source: Interview with Steve Seidel, director, Harvards Project Zero, 11/29/03]
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ARTS IN EDUCATION FOSTERING ACHIEVEMENT HEALTH IMPLICATIONS Poor school performance, alienation from school, truancy and dropping out are key indicators of risk in young people. Studies show that a disassociation from school is one of the first steps toward additional risks and dangerous behavior. When the arts are integrated into a schools curriculum, and are taught well, particularly through sustained interaction between pupils and professional artists, studies reveal that students develop an attachment to school and regular attendance. The arts as a core part of instruction are also shown to improve academic achievement and test scores while contributing to improved work and life skills demonstrated by youth. The arts can enhance the climate on a school campus and in the classroom, and contribute to a creative energy in students that carries beyond school hours. Importantly, research shows that these results are even more dramatic for low-income students than for high-income students. BACKGROUND According to the Public Policy Institute of California, Once a national model for education in kindergarten through university, California has fallen behind on many measures, including student achievement and spending per pupil. Its education system faces daunting fiscal and demographic challenges, as well as clear inequities in distribution of educational resources. [Source: High Expectations, Modest Means: The Challenge Facing Californias Public Schools]. The challenges to Californias school system include school finance issues. Despite the passage of Proposition 98 in 1988, guaranteeing a minimum for public school revenue, per pupil spending has fallen in California compared to other states. California schools lack the resources available to other schools in the nation they spend nine percent less per pupil than other states, with 25 percent fewer teachers per student. In addition, there is a strong negative relationship between how a school does on the states Academic Performance Index and the percentage of low-income students. Many feel this requires a shift in spending so that these schools can meet the states standards. [Source: High Expectations, Modest Means: The Challenge Facing Californias Public Schools, a report by The Public Policy Institute of California, 2005]. In a January 2005 report by The Education Trust, Stalled in Secondary: Student Achievement Lags in Middle Grades and High School, an analysis shows that three years after enactment of the No Child Left Behind Act, alarming trends persist at the secondary level. In high
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schools, for instance, the Latino-White gap grew or stayed the same in more states than it narrowed. The same pattern was found in the gap between poor and non-poor students. Student achievement in reading and math lags in the middle- and high-school grades, and too many states are not making progress in closing achievement gaps. In the words of Kati Haycock, director of The Education Trust, For far too long, weve been operating on this notion that education is like inoculationthat if we get it right for kids in those early years, we can prevent later school failure. Experience tells us this assumption is wrong. Education is more like nutrition. You have to start early with that quality dietand then continue all the way up the line. [Source: The Education Trust]. The Arts in Low-Income Schools Our analysis found substantial and significant differences in achievement and in important attitudes and behaviors between youth highly involved in the arts on the one hand, and those with little or no arts engagement on the other. In addition and more significant from a policy standpoint the achievement differences between high- and low-arts youth were also significant for economically disadvantaged studentsthe arts do matter not only as worthwhile experiences in their own rightbut also as instruments of cognitive growth and development and as agents of motivation for school success. [Source: Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and Theater Arts, James S. Caterall, Richard Chapleau, John Iwanaga, Champions of Change, Arts Education Partnership, Presidents Committee on the Arts and the Humanities, 1999, pp. 3, 17]. The publication of the report, Champions of Change, marked a signal event in the national discussion concerning the role of the arts in contributing to the development and academic achievement of young people. This study was released in 1999 under the auspices of the Arts Education Partnership, a private, non-profit coalition of more than 100 partners representing arts, education, business, philanthropy, and government, and the Presidents Committee on the Arts and Humanities. Champions of Change compiled the results of seven major studies by research scholars, and revealed the framework of a remarkable consensus across their findings. Some of the most important conclusions include:
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The arts reach students who are not otherwise being reached. Young people who are disengaged from schools and other community institutions are at the greatest risk of failure or harm. The arts provide a reason, and sometimes the only reason, for being engaged with school or other organizations. The arts reach students in ways that they are not otherwise being reached. Problem students often become the high-achievers in arts learning settings. Success in the arts becomes a bridge to learning and eventual success in other areas of learning. The arts connect students to themselves and each other. By engaging his or her whole person, the arts help the student feel invested in ways that are deeper than knowing the answer. The attitudes of young people toward each other are altered through arts learning.
A range of other research supports the conclusions in this study, including a qualitative investigation of reasons given by at-risk students for choosing to stay in school. A Florida investigation found that 83 percent of students who were at risk of dropping out of school stated that participation in an arts course affected their decision to remain in school. [Source: The Role of the Fine and Performing Arts in High School Dropout Prevention, N. Barry, J. Taylor, K. Walls, Center for Music Research, Florida State University, Tallahassee, FL., 1990, Critical Links, op.cit., p. 74]. In an interview for this report, Ford Foundation Program Officer, Cyrus Driver stated that the Foundations work in urban school district reform has developed a focus on arts integration. The Foundation asks the question, What really is an excellent education, a well-rounded, strong, engaging education that keeps kids in school? The pressure is to focus on basic reading and math, but this isnt going to help, if anything its going to make it more difficult in the long run. Arts integration is pluralistic, the arts are responsive and engaging of students and their cultural backgrounds. Systemic reform efforts would try to bring arts education to scale in urban systems. Driver adds, The arts are really challenging for schools, the way they really turn on its head whats expected and how you teach students. The arts help decouple teacher expectations of race, class, and gender of students. Teachers start to see their students in terms of their ability to create and produce, as opposed to digest and regurgitate.
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Based on Fords experience, research, and observation, the Foundation now requires education reform collaboratives seeking funding to develop integrated arts approaches that draw on all sectors of the community for leadership. The Role of the National Endowment for the Arts The loss of arts in the schools threatens to reduce the effectiveness of education in general and endangers the future of many young people in particular. The loss of the arts in the schools also endangers the future of our culture. A generation of students comes forward that knows little of the artistic, literary, or musical environment of the world it lives in, and lacks its own artists to speak for it. [Source: Barbara Carlisle, The Making of a Grass Blade: A Practical Guide to Promoting the Arts in Education, published by the W.K. Kellogg Foundation, March 1990, p. 14]. The federal role in arts education has shifted in significant ways. Since federal legislation created the NEA, charging the agency with increasing accessibility to the artsto all Americans, including diverse cultures and urban and rural populations, by encouraging and developing quality education in the arts at all levels, arts education faces new challenges and opportunities: 1) Severe cuts in the federal budget for the arts in 1996 compounded the abandonment of arts education in the 1980s and affected state and local funding. In California, the State Legislature reduced the California Arts Council budget by 90 percent in 2003, depleting a significance source of arts in schools funding. 2) President Bushs 2002 No Child Left Behind act states that the arts be considered a core academic subject, and makes it possible for federal funds to be directed to schools for arts education. However, integrating arts into the classroom may be left behind, despite studies that show the arts improve school climates and contribute to student achievement. The pressure to meet the demands of the legislation challenges all schools to insure that 100 percent of their students reach high standards by the year 2014. Failure to meet annual targets carries severe consequences. 3) Despite cuts and school pressures, educators formed the Arts
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Education Partnership, a national coalition of more than 100 organizations administered by the Council of Chief State School Officers and the National Assembly of State Arts Agencies, through a cooperative agreement with the National Endowment for the Arts and the U.S. Department of Education a sign of the profound importance educators assign to the arts in schools. Research on the favorable, measurable impacts of arts education particularly for at-risk youth is a primary engine for continued support for school arts programs and the interest in further studies. Reflecting research on the efficacy of after-school arts programs, the NEA has added an emphasis on funding after-school projects as well as providing support for underserved populations in local areas through Challenge America: Positive Alternatives For Youth. To add to the store of data and knowledge about the impact of the arts, in 2002, the NEA began a pilot program using outcome-based evaluation for the agencys Arts Learning grants. These measurements will provide important information to the field. STUDIES 1. CHALLENGE AMERICA: POSITIVE ALTERNATIVES FOR YOUTH, National Endowment For The Arts Select California-based programs included in most recently listed awardees of recent NEA initiative to target funds to communities and schools providing arts for youth in distressed circumstances. 2. CHAMPIONS OF CHANGE, THE IMPACT OF THE ARTS ON LEARNING, Arts Education Partnership, Presidents Committee on The Arts and Humanities, 1999. RESULTS: Landmark collection of seven major studies providing evidence that the arts are a powerful factor for success in and out of school. 3. THE CHICAGO ARTS PARTNERSHIPS IN EDUCATION (CAPE) Multiple evaluations of this major arts curriculum integration partnership in the Chicago public schools have shown that students in CAPE schools, compared with demographically similar students in control schools, outperformed other students on reading and math tests and that the CAPE students show improved behaviors and attitudes, and long-term effects of their arts involvement. At the same time, teachers and principals noted better campus environments at CAPE schools.
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RESULTS: NCREL SUMMARY EVALUATION The North Central Regional Laboratory (NCREL) contracted with CAPE to assess its first planning period (1993 1994 school year) and its early implementation years (1995 1998). NCREL conclusions include: x x x 80 percent of high school students reported positive reported positive attitudes about arts-integrated instruction. Positive changes in school climate resulted because of CAPE. Extensive buy-in by participating teachers. More than 90 percent of teachers reported moderate or extensive integration of CAPE into their schools.
THE IMAGINATION PROJECTS 1998 99 EVALUATION OF CAPE Under the direction of Dr. James Caterall, The Imagination Project, based at UCLA, assessed CAPEs program in the areas of student outcomes, curriculum, conditions for growth, and partnerships, over the 1998 99 school year. This assessment compared 19 CAPE schools to other schools in Chicago with similar demographics that did not have arts partnerships. In addition to other measurements, this assessment performed 52 test score analyses of CAPE and comparison schools in grades three, six, eight, nine, 10, and 11. Findings include: CAPE schools outperformed other Chicago public schools in all 52 test score comparisons. Between 1993 and 1998, they increased their lead over schools using traditional curricula in: x 25 out of 40 reading tests (grades K-8) x 16 out of 40 math tests (grades K-8) x 7 out of 12 reading tests (grades 9 11) x 8 out of 12 math tests (grades 9 12) The Imagination Project also appraised the degree to which integrated arts activities under CAPE contributed to skills important for adults in their work and personal life. Observers reported student growth as very high and medium to high in areas including responsibility, selfmanagement, team participation, work with diverse individuals, motivation to learn, classroom discipline, and long-term effects. Another notable effect is the improved climate on campus and in the classroom. One CAPE coordinator described, the first thing you notice in an arts integrated class is that everybodys working.
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Everybodys on task. Everybody is thinking and doing things and nobody is sleeping or day dreaming, and thats a really significant differencetheres an electricity in the classroom. CONTINUING RESEARCH CAPEs research and evaluation team is continuing the work begun in 1998-99 to correlate levels of arts engagement with measures of academic success in specific curricular areas. Using skills identified by the United States Department of Labor as necessary for a 21st century workforce, CAPE will be examining the role of arts integrated teaching in developing student capacity in the following areas: 1. Resources: students can organize space and time effectively; 2. Interpersonal skills: students can negotiate with others to solve problems and reach decisions, they work comfortably with other students from diverse backgrounds, and they work well both individually and in teams; 3. Information: students can convey information effectively orally, in writing, and through diverse art forms; 4. Self-management: students are able to anticipate consequences and monitor and correct their own behavior; 5. Technology: students who have access to computers are able to use new technology to develop and represent their learning through the arts; 6. Basic skills: students demonstrate capacity in reading, writing, mathematics, science, and social studies as well as basic listening and speaking skills; 7. Thinking skills: students demonstrate capacity in creative thinking, making decisions, solving problems, imaging, knowing how to learn, and reasoning; 8. Personal qualities: students demonstrate individual responsibility, self-esteem, sociability, and integrity. 4. CRITICAL LINKS, LEARNING IN THE ARTS AND STUDENT ACADEMIC AND SOCIAL DEVELOPMENT, Arts Education Partnership. RESULTS: This compendium of arts education research reveals connections between learning in the arts and academic and social skills including reading and language development, mathematics, cognitive skills, motivations to learn, effective social behavior, and improved school environment. Also examines specific arts disciplines dance, drama, multi-arts, music, visual arts and their impact on learning. 5. INVOLVEMENT IN THE ARTS AND HUMAN DEVELOPMENT: GENERAL INVOLVEMENT AND INTENSIVE INVOLVEMENT IN MUSIC AND THEATER ARTS, Champions Of Change, The Impact Of The Arts On Learning, 1999.
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RESULTS: The studies by Caterall, et. al. are the result of statistical analysis of the NELS88 database, culled from the U.S. Department of Educations National Education Longitudinal Study, which tracked 25,000 secondary school students over 10 years. That study demonstrated that, regardless of socio-economic status, high arts studentsearned better grades and scores, were less likely to drop out of school, watched fewer hours of television, were less likely to report boredom in school, had a more positive self-concept, and were more involved in community service. [Source: Critical Links, Learning in the Arts and Student Academic and Social Development, Arts Education Partnership, 2002, p. 69] In the tables below, a sample of the Caterall findings demonstrate the strong link established between academic performance and other positive outcomes and student arts involvement. COMPARING HIGH ARTS VS. LOW ARTS STUDENTS IN GRADE 10 ALL STUDENTS HIGH ARTS Scoring in top 2 quartiles Grade 10 Std. Test composite Scoring in top 2 quartiles in Reading Scoring in top 2 quartiles in History Citizenship, Geography 72.5% LOW ARTS 45%
70.9% 70.9%
45.1% 46.3%
COMPARING HIGH ARTS VS. LOW ARTS STUDENTS IN GRADE 10 LOW INCOME STUDENTS HIGH ARTS Scoring in top 2 quartiles Grade 10 Std. Test composite Scoring in top 2 quartiles in Reading Scoring in top 2 quartiles in History Citizenship, Geography 41.4% LOW ARTS 24.9%
43.8% 41.6%
28.4% 28.6%
[Source: Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and
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Theater Arts, James S. Caterall, Richard Chapleau, John Iwanaga, Champions of Change, Arts Education Partnership, Presidents Committee on the Arts and the Humanities, 1999, p. 3] 6. MANCHESTER CRAFTSMENS GUILD (MCG), [See Programs Arts in After-School Section] Pittsburgh, Pennsylvania. Evaluations of after-school and in-school programs demonstrate that this model facility and programming are providing at-risk youth with creative opportunities and hope that counteract the despair of their surroundings. RESULTS: Select in-school programs and results include: 1. The Arts Collaborative at Oliver High School. Students in this program were measured against two control groups within the high school. During the four years of the assessment, Arts Collaborative students had consistently higher GPAs than the control group students. 2. Arts and Career Exploration (ACE) Middle School. Six targeted Pittsburgh public schools (PPS) work with students at the Pittsburgh Middle School Options Center, which serves students in academic and/or behavioral crisis. Initiated in 2002, the program includes ongoing evaluation. Early results include: out of 348 students, 104 improved attendance by 50%, 212 by 20%, and 12 unchanged. Seventy eight percent attended MCG after-school programs three or more days per week. 3. Alternative High School Aliquippa and Penn Hills. A newly initiated school that will enroll 15 30 students and provide an individualized education plan based on arts, youth development, and community building principles.
[Note: There are two elements that make MCG approaches unique among in-school arts providers. One, MCG is an independent, communitybased facility with its own teachers, trainers, and artists. It provides programming, student training, professional development for teachers, and opportunities for travel, exhibition, and enrichment to public schools within its own alternative schools, and within its own after-school programs. Two, MCG targets the highest-risk young people, those identified as academically or behaviorally in crisis, in contrast to the typical arts magnet approach in many U.S. school districts which use
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this strategy to retain more affluent and white students in increasing nonwhite districts.] [Source: Interview with Bill Strickland, 2/26/04, and 2/2/04, MCG program materials, Genius at Work, Sara Terry, Fast Company magazine, September 1998; Art in Context: Industrial Pittsburgh Catching up with Bill Strickland Gil Ott, High Performance magazine, Fall 1994; Safe Havens, Portraits of Educational Effectiveness in Community Art Centers that Focus on Education in Economically Disadvantaged Communities, Project Co-Arts, Harvard Graduate School of Education, 1993]. 7. THE ROLE OF THE FINE AND PERFORMING ARTS IN HIGH SCHOOL DROPOUT PREVENTION, Critical Links, Learning In The Arts And Student Academic And Social Development, 2002. RESULTS: This study conducted by members of the Arts and High School Dropout Prevention project at the Center for Music Research at Florida State University documents the relationship between arts engagement and students identified at risk of dropping out of high school. 8. URBAN GATEWAYS CENTER FOR ARTS EDUCATION, THE HEALTHY CHILD INITIATIVE [See Programs this section]. This program operating more than 40 years in Chicago conducted a study assessing how the arts contribute to the development of healthy children. RESULTS: In one of the first studies of its kind, Urban Gateways asked Dr. Dennie Palmer Wolf, then of Harvard Universitys Graduate School of Education, to respond to a set of research questions: x x What kinds of healthy behaviors do children engage in during Urban Gateways residency programs? Under what conditions does residency programming produce more or less healthy behavior? What is the evidence? For whom do these benefits occur? What evidence is there that these arts education programs inspired healthy behaviors that persist or transfer beyond the times when the artist is present? What are the implications of this evidence for programming and vision at Urban Gateways?
x x
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The researchers conducted longitudinal case studies of children in the third grade and young adolescents in the seventh grade at two schools, one Marquette West with a broad introduction to the arts for students, the other Greeley with an intense approach allowing its students sustained artist residency experiences through their school careers. The instruments for the study were designed to look at classroom behaviors as well as activities outside the school. Concurrent effects on behavior in the classroom: When programming is of high quality, there is evidence that there are concurrent effects on the children involved in Urban Gateways residencies: x Students engage in productive social relations, display pride based on effort and achievement, and demonstrate heightened levels of involvement. x Teachers notice assets and attitudes in struggling students as they participate in the arts activities. x English Language Learner (ELL) students take productive communicative risks. As they engage in arts activities and as they are interviewed about their work, they attempt more complex language forms and make the effort to express intentions, ideas, etc. More sustained and transferred effects outside the classroom: During the course of a residency, children who participate in sustained and carefully structured residency experiences: x Make productive use of free time. Begin to carry an interest in aesthetic activity with them, much as they carry a native language. x Create as well as consume information. Students with sustained residency experience are more likely to conduct themselves as the producers of information rather than solely as consumers of what other people make for them. PROGRAMS Challenge America: Positive Alternatives For Youth The NEA supports collaborations that provide arts programs for at-risk youth in school and after-school settings. Below are California school-based awardees of 2002 NEA Challenge America: Positive Alternatives for Youth grants.
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24th Street Theatre Company, Los Angeles, CA Five, eight-week theater workshops for 300 children, ages 8-15, in Pico Union and South Central Los Angeles neighborhoods. Led by professional actors, writers. Dramatic Results, Long Beach, CA Four 12-week, multidisciplinary after school sessions for 48 academically low-achieving students, ages 9-12. Artist-to-student ratio of four to one. Los Cenzontles Mexican Arts Center, San Pablo, CA Six older Latino students teach, mentor in after-school traditional Mexican music program for younger children. Training sessions culminate in part-time teaching positions with LCMAC. Nevada Joint Union High School District, Grass Valley, CA Yearlong arts, technology program for students in geographically isolated area of western Nevada County. Program supports Art-Bytes Net Radio, interactive, online station offering access to music, literature, visual arts exhibitions, performing arts Midnight Shakespeare, San Francisco, CA In-depth study of Shakespeare for youth in economically diverse neighborhoods in San Francisco, Oakland and San Jose. United Cambodian Community, Inc., Long Beach, CA Cambodian Community Folk Dance Project: 30-week series of Cambodian folk dance workshops for K-12 students taught by master dancer. Chicago Arts Partnership in Education (CAPE), Chicago, IL 203 N. Wabash Avenue, Suite 1720 Chicago, IL 60601 Contact Person: Dick Deasy, Executive Director Phone: (312) 870-6140 Fax: (312) 870-6147 Website: http://www.capeweb.org/ Founded: 1992 Target age: 3-18 Arts Focus: Multidisciplinary Mission and Goals: Advance the role of the arts in K-12 public education. Build learning communities and transform schools. Description: Creates partnerships that integrate arts into overall educational program of Chicago public schools. Each partnership (composed of Chicago Public schools, arts organizations, community organizations) receives funding to co-plan and co-deliver arts- infused curriculum across all subject areas. Replicated nationally, internationally.
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Digital Playground, Hoboken, NJ Contact Person: Michael Cain, Founder Phone: (718) 857-2879 E-mail: mc@michaelcain.com Website: http://www.michaelcain.com Founded: 1998 Annual participants: 150 Budget: $30,000 Target age: 8-18 Arts Focus: Music Mission and Goals: Offer alternative to traditional music education by placing students musical ideas at the center of their education. Evaluation methods and outcomes: Quality of recordings made by students. Collaborations: Hoboken Charter School. Description: Engages high-risk youth in creation, production of contemporary music. East Bay Center for Performing Arts, Richmond, CA 339-11th St. Richmond, CA 94801 Contact Person: Jordan Simmons, Founder Phone: (510) 234-5624 E-mail: jordan@eastbaycenter.org Website: http://www.eastbaycenter.org Founded: 1968 Annual participants: 25,000 Budget: $2.002,000 Target age: 13-19 Arts Focus: Multidisciplinary, primarily Dance & Theater Mission and Goals: Ensure access to quality arts education. Engage arts as vehicle for social reconciliation and social change. Evaluation methods and outcomes: Has focused extensive, intensive energy and funds on evaluation. Pioneer in field of comparative study, which explores language, vocabulary and methods by which effective cross-cultural exchange can happen. Collaborations: Many schools and social service agencies. Description: Nationally recognized arts training and producing center. Provides long-term, sequential arts education to 3,000 community youth, thousands of classes annually at 17 public school sites, minority artsbased curriculum project for high-risk students, professional development workshops for artists and teachers, collaborations with social service agencies and other organizations.
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Inside Out Community Arts, Venice, CA 2210 Lincoln Blvd. Venice, CA 90291-3971 Contact Persons: Camille Ameen, Jonathan Zeichner, Co-Directors Phone: (310) 397-8820 Fax: (310) 398-0863 E-mail: insideoutca@insideoutca.org Website: http://www.insideoutca.org Founded: 1996 Annual Participants: 1800 youth, 18,000 in audiences. Target Age: 11-13 Mission and Goals: Use arts to promote healthy interaction among diverse at-risk and underserved Los Angeles middle-school youth. Encourage youth to explore new options and make positive choices. Evaluations and Outcomes: Three-phase evaluation includes comparative data from participants and self-selected control group, teacher evaluations, participant case studies. Professor James Catterall writing report on second phase. Early findings show increased scores on state reading and language tests over previous year, improved attendance, fewer discipline referrals. Identified in Rand study, The Arts and Public Safety Impact Study: An Examination of Best Practices. Collaborations: Los Angeles County Office of Education, Los Angeles Unified School District, Los Angeles County Probation Department. Description: The School Project provides 22 artist-led workshops at three middle schools. The Neighborhood Arts Project serves middleschool youth from rival gang areas. Includes arts workshops, parent/child workshops, theater and nature field trips. The Manchester Craftsmens Guild, Pittsburgh, PA See Arts in After-School Programs The HeArt Project, Los Angeles, CA 1047 W. 24th Street Los Angeles, CA 90007 Contact Person: Cynthia Campoy Brophy, Executive Director Phone: (213) 744 1404 Fax: (213) 747 5280 E-mail: cynthia@theheartproject.org Website: http://www.theheartproject.org Founded: 1992 Annual participants: 300 Budget: $400,000 Target age: 13-18 Arts Focus: Multidisciplinary Mission and Goals: Creatively link overlooked teenagers in alternative high schools with professional artists, cultural centers, and communities to imagine, produce and present new work.
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Evaluation methods and outcomes: 2001 evaluation by Institute for Learning Innovation found improved learning (after one year of participation) in four areas: social, aesthetic and re-creative, subjectbased and content, and school and community. Students complete weekly journals, scored using rubric based on four learning areas. Collaborations: Los Angeles Unified School District, Los Angeles County Office of Education, cultural institutions, art colleges. Description: Offers three levels of increasingly advanced opportunities in the arts: 1) Yearlong workshop series with public presentations at cultural institutions, 2) After school residencies at cultural centers (accompanied by leadership training), 3) Scholarships to summer programs at local art colleges and universities. Urban Gateways Center for Arts Education, Chicago, IL 200 West Jackson Boulevard, Suite 300 Chicago, Illinois 60606-6941 Contact Person: Libby Lai-Bun, Executive Director Phone: (312) 922-0440 Fax: (312) 922-2740 E-mail: info@urbangateways.org Website: http://www.urbangateways.org Founded: 1961 Arts Focus: Multidisciplinary Mission and Goals: Help children, teachers, and parents connect arts experiences with their lives, neighborhoods, and classroom subject matter. Evaluations Methods and Outcomes: The Healthy Child Initiative study described in Studies section above. Collaborations: Gallery 37, schools, community centers, cultural institutions, corporations. Description: Provides professional development for teachers, training programs for students at community-based sites. The Cultural Enrichment Program (CEP) provides free arts programming to schools with low-income populations.
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FUTURE
RTS IN WORKFORCE DEVELOPMENT: BUILDING A SKILLED
Being involved here has enabled me to rediscover the parts of myself I thought I had lost forever! When I realized that the mural we were painting would be permanent and forever, I decided Id do anything to ensure that it became a reality! I still cant believe that you guys hired me while I was in the hospital. JAMS is now a part of me. I am not sure I would even be here to speak to you today if I had not been involved in this program. Speech by Anna at mural dedication JAMS (Jobs in the Arts Make Sense), a program of Van Go Mobile Arts, Inc., Lawrence, Kansas Nothing stops a bullet like a job. Father Gregory J. Boyle Jobs For A Future/Homeboy Industries
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ARTS IN WORKFORCE DEVELOPMENT: BUILDING A SKILLED FUTURE HEALTH IMPLICATIONS A major threat to youth is the disadvantage that accompanies unemployment, underemployment, and exclusion from the productive economy. According to the Department of Labor, high school dropouts face a 25 percent unemployment rate, in stark contrast with the national average of four to six percent. For minority youth, the unemployment rate is even higher, in some areas rising to 40 percent. Research shows that unemployed youth face dramatically higher rates of depression than those who are adequately employed, are more subject to aggressive behavior, and at a greater risk of violence and mortality. Involvement in the arts helps young people generate a sense of competence and stay in school, thereby making them more employable, and adding to their earnings. Research shows that the skills developed by participating in the arts are the occupational skills required by employers. Helping youth become employable, and develop career skills in an evolving market, contributes to an increased life span and the ability to make independent choices, including increased education and training. BACKGROUND A report commissioned jointly by The Workforce Investment Boards of the cities of Los Angeles and Long Beach in partnership with the U.S. Conference of Mayors identifies 638,000 disconnected youth in California. These are young people who are out of school and jobless. According to the report, disconnected youth accounted for 14.3 percent of all young adults in the nation and 15.9 percent in California. The report goes on to say that youth from low-income families are least likely to work. The employment rate of poor youth in school in Los Angeles was 25 percent, compared with an employment rate of 42 percent for youth from families with income above three times the poverty line. Despite surveys funded by The California Wellness Foundation showing that 90 percent of California voters say they believe job-and vocationaltraining programs are effective in preventing crime and ensuring safety, only 15 percent of Californias three million young people ages 14-18 had jobs in 2001. Enrollment in vocational education programs in California high schools has dropped 26 percent since 1987-88. And funding levels for public investment programs in youth workforce training and opportunities are either declining, or being cut out altogether. The Los Angeles and Long Beach Workforce Investment Boards study reveals that, Out-of-school youth in Los Angeles city and California were very likely to have dropped out of school without a high school diploma
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or a GED certificate. In the city of Los Angeles, 51% of the out-of-school youth were dropouts, compared with 40% in California and 30% in the U.S. The lack of schooling for disconnected youth has unfortunate consequences. The Pacific Research Institutes California Education Report 2005, citing a range of research studies, adds that the number of years of schooling completed by young people is what matters most for their chances of success in the workforce. Federal Bureau of Labor Statistics tell the story: only 42.5 percent of high school drop-outs participate in the labor force, compared to 65.1 percent of those with just a high school education and 80.4 percent of those with a college degree. The outlook is bleaker for youth who may have criminal records and live in low-income neighborhoods. The California Workforce Development Network The workforce landscape has changed dramatically. The web of publicly funded agencies and programs serving a portion of young people who are at risk of dropping out of school, or who have already left school, includes: x 50 local Workforce Investment Boards (WIB) operating under the federal Workforce Investment Act (WIA) model of long term comprehensive planning and objectives for adult and youth labor market participation. Each has a Youth Council. Statewide, 44,000 youth ages 14 to 21 were served through WIA in 2002 2003. x 68 Youth Employment Opportunity Programs operate out of local Employment Development Departments in 66 cities across the state, providing educational and vocational services to youth, ages 15 to 21. Eligibility is based on attendance at school. If a youth is thinking of dropping out of school, or has already dropped out, he/she is eligible to enroll. x The President signed the Carl D. Perkins Vocational and Technical Education Act of 2006 into law on August 12, 2006. The new Act will provide an increased focus on the academic achievement of career and technical education students, strengthen the connections between secondary and postsecondary education, and improve state and local accountability. This page provides current information on the Department's efforts to implement the new Act.
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x Regional Occupational Centers Programs (ROCPs) serve more than 210,000 students enrolled in vocational and technical education programs with annual state funds exceeding $360 million in 2002 2003. ROCPs integrate work site learning with classroom work in secondary vocational and technical programs. The budget crisis in California threatens the support for this capstone program.
[Source: FACTSHEET Prepared by i.e.communications, LLC, for The California Wellness Foundation]. Demands of the New Economy The restructuring of the worlds economy during the Information Age has transformed the workplace and workforce demands. Some researchers, such as Shalini Venturelli of American University, have moved from the concept of an Information Economy to that of a Creative Economy, in which innovative thinking, multicultural knowledge, and creative ability are critical traits and skills for workers. As put by Jan Polin, former program manager of the General Electric Fund, Employers across all sectors have a tremendous need for workers who are creative, analytical, disciplined, and self-confident. We need employees who can solve problems, communicate ideas, be sensitive to the world around them. And a growing number of our nations leaders recognize that hands-on participation in the arts is one of the best ways to develop these abilities in young people. [Source: Creativity, Culture, Education, and The Workforce, Center for Arts and Culture, Art, Culture & the National Agenda Issue Paper, Ann Galligan, associate professor and co-director, the Cultural and Arts Policy Research Center at Northeastern University, 2000, pp. 21, 24]. The Research of Dr. Arnold Packer Dr. Arnold Packer, former Director of the SCANS 2000 Center, Johns Hopkins University and former Assistant Secretary of Labor for Policy, Evaluation, and Research created a template for viewing documented skills acquired through arts education and their overlap with federally defined occupational skills. He makes the argument that the arts are central to productive employment. Packer identifies four trends in the 21st century world of work and ways in which the arts are essential to mastering them.
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1) Routine blue-collar work is disappearing. Tomorrows jobs will require broad-based workplace know-how. Students who learn how to maintain schedules and stay within a budget from the experience of mounting their productions whether its theater, dance, a concert or an art exhibition will be more valuable workers. 2) Mass production is giving way to a demand for quality. Continuous improvement is the hallmark of successful companies. Experience in the arts is one of the best ways to learn how to strive for quality and continuous improvement. Every dancer, painter, playwright, and musician wants his or her next work to be better than the last.
3) We are entering the information age. The arts are the science of the new forms of information. Art is probably the most powerful form of communication, conveying in an instant or over a few hours what might take years to understand by other means. 4) New technologies marry computers and communications. Because of multi-media technologies a literate person will be expected to be at least as familiar with great images, melodies and rhythms as with great words.
Packer outlines federal content standards for production and creation in the arts and compares them with workplace know-how as defined by the U.S. Labor Secretarys Commission on Achieving Necessary Skills, SCANS. Using table graphs, he demonstrates the relationship between the two and shows how, in three inter-related ways, properly taught, knowledge of the arts can help equip all youngsters with the know-how needed in the 21st century workplace. x Experiences in the arts teach skills that can be transferred to the workplace including allocating time, money, space and staff; technology competency, and; interpersonal skills of working in a team, negotiating, teaching and leading. Knowledge of the arts enhances effective communication. Communicating ideas through the body, expressing musical ideas, interpreting dramatic materials, and creating visual works to effectively communicate ideas help students become effective in the information age.
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The arts help the search for creative solutions to problems. The weighing of intangibles inherent in the process of making and evaluating all forms of art, and the systems thinking inherent in the artistic process teach how parts fit together to produce a quality whole and lead to workplace competency.
[Source: Arts and Earning a Living, SCANS 2000].
Youth Arts and Media Hands-on art production enhances the development of innovation and imagination key traits of the evolving world of work. Researchers have found that thinking tools that help the analytical mind, combined with synosia a unified understanding linking mind and body, sense and sensibility are the key to the creative process. All students should be given early and ongoing stimulation of aural, visual and other senses and be taught to imaginatively recreate sense images. They should learn to abstract, empathize, analogize and translate intuitive forms of knowledge into numbers, words, plastic images, sound and movement. Participation in art making in a disciplined, safe environment with high expectations and artistic mentoring can accomplish this. In the information age, media participation is an important form of art production that teaches workplace and other skills. Youth media represents a significant aspect of the growth of youth arts organizations, combining production and technology skills and applications with creative expression and connections to social issues. The scope of youth media is revealed by organizations such as Listen Up!, a national network of more than 60 youth media organizations. As a part of the nonprofit, community-based infrastructure of arts organizations that emerged following massive cuts in arts education, youth media is filling a significant gap. According to A Closer Look, Media Arts 2003, Case Studies from NAMACs Youth Media Initiative, Although students are sophisticated users and viewers of video, multimedia computing, interactive gaming, and text messaging definitions of school success require young people to park their media skills and cultures at the schoolhouse door. Youth media programs bridge the gap between students use of advanced technologies at home
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and in social settings and their dismal integration into the formal school curriculum. Conversations with practitioners in the online journal, Youth Media Reporter, provide some perspective on the growing phenomenon. Young people have a lot to say and media is a concrete way for them to express themselves. It forces them to think in new ways, and a fast and direct way for them to begin thinking critically about things in their livesMany funders are not clued into how much potential there is in youth media. The problem is the way we are straddling the youth development world and often the social justice world. Twilight Greenaway, Editor of Wiretap in San Francisco I think there are two steps involved in terms of helping youth media makers. A lot of young people have low self-esteem. You cannot push just social or political things, or just the product. When (introduced to) the medium, they should enjoy themselves and feel more comfortable when expressing themselves. And then when they have more confidence, there will be the need to explore their community and other issues that everybodys concerned about. Hye-Jung Park, Project Director of the Youth Channel, New York [Source: Youth Media Spotlight, Youth Channel, and On the Best of Term: Youth Media Defines Itself and Its Problems, Youth Media Reports, Cliff Hahn; a closer look, Media Arts 2003, Case Studies from NAMACs Youth Media Initiative, National Alliance for Media Arts and Culture; The Creative Community, Forging The Links Between Art Culture Commerce & Community, John M. Eger, Van Deerlin Professor of Communication and Public Policy, Executive Director, The California Institute for Smart Communities, California State University San Diego]. STUDIES 1. A CLOSER LOOK: Case Studies from NAMACs Youth Media Initiative, Media Arts 2003, National Alliance for Media Arts and Culture, San Francisco. RESULTS: In 2003, NAMAC launched the Youth Media Initiative, a three-year project to support the growing field and increase the knowledge base about youth media. This report contains seven case studies representing a range of approaches and geographic diversity. These organizations use youth media to support conflict resolution in Cincinnati; as part of a social justice and health initiative among teens in Los Angeles; to promote girls use of information technologies in South Carolina public schools;
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to encourage teens multimedia learning at a shopping mall in Hawaii; as college preparation for underserved youth in Salt Lake City; and to make use of innovative distribution channels in New York City. The report also contains results of a quantitative survey, Mapping the Field: A Survey of Youth Media Organizations, that detail the reach, audience demographics, funding sources, kinds of work produced and activities in the field. Following an analysis, recommendations are presented, including the need to develop organization capacity, articulate the achievements of youth media and raise visibility, cultivate partnerships, and share best practices. Survey results show that a hefty 44 percent of organizations surveyed are in California. 2. ARTISTS FOR HUMANITY (AFH) [See Programs this section]. RESULTS: Internal tracking and documents show that more than 90 percent of alumni go on to higher education and work opportunities. AFH research shows that high school seniors who worked at AFH during the 2001-2002 school year had a 100 percent graduation rate and are now attending college, five on scholarships. The universities and art schools attended by AFH alumni include: Art Institute of Boston; Boston University; Massachusetts College of Art; Museum School of Art; New York University; Northeastern University; Pratt Institute; Rhode Island School of Design; School of Visual Arts; University of Pennsylvania; and Vassar College. 3. ARTS AND EARNING A LIVING, [See Background this section] Dr. Arnold Packer, former Assistant Secretary of Labor for Policy, Evaluation, and Research, Johns Hopkins University, SCANS 2000 Center. RESULTS: Dr. Packer created a significant SCANS tool in analysis and flow charts, linking and overlaying content standards for production and creation in the arts with workplace know-how as defined by SCANS, the U.S. Department of Labors Secretarys Commission on Achieving Necessary Skills. These flow charts and analyses support Packers assertion that It is in employers interest to have arts education strengthened for all students so that the arts are given the same weight as physics or trigonometry. They must tell their school boards that their employees are just as likely to use the skills they learn in dance, music, theater, and the visual arts as they are to call upon their knowledge of Newtonian physics or mathematics. 4. BARRIERS AND PROMISING APPROACHES TO WORKFORCE AND YOUTH DEVELOPMENT FOR YOUNG OFFENDERS, Report to the Annie E. Casey Foundation by the National Youth Employment Coalition,
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the Justice Policy Institute, and the Youth Development and Research Fund, 2002. RESULTS: Major three-part toolkit that is a survey of the field, analysis of exemplary models, and a series of recommendations for government, nonprofit, and employer participants. Includes an Overview, Program Profiles, and Policy Profiles. 5. CREATIVITY, CULTURE, EDUCATION, AND THE WORKFORCE, Center for Arts and Culture, Art, Culture & the National Agenda Issue Paper, Ann Galligan, associate professor and co-director, the Cultural and Arts Policy Research Center at Northeastern University, 2000. RESULTS: Investigation of U.S. school system demonstrates that arts education can help achieve several national objectives: Achieving School Standards, Reaching All Learners, and Helping Youth Develop Positively. Major recommendation is that the nation requires a comprehensive education-workforce development strategy that includes education in the arts and humanities as a principal cornerstone for strengthening Americas cultural capital and for developing the skills necessary for Americans to remain competitive in the 21st century. 6. CREATIVITY: THE KEY TO A SUCCESSFUL WORKFORCE, Virgilyn Driscoll, Director, Wisconsin Champions for Arts Education: Business and Community Advocates, Inc., Economic Summit IV, October 27, 2003. RESULTS: Summarizes research, for example, studies by Burton, Horowitz, and Abeles at Columbia University demonstrating that students deeply engaged in the arts possess better real-life skills than those with lower levels of training in the arts. They are better problem solvers, have more original solutions and more of them, are highly innovative, are more focused, and can integrate diverse facts and ideas better. They also posses better social abilities and personal attitudes. 7. EDUCATING FOR THE WORKPLACE THROUGH THE ARTS, Excerpts from Business Week, October 28, 1996, Getty Education Institute for the Arts. RESULTS: Derived from addresses by John Brademas, former Congressman and president emeritus of New York University. In How the Arts Strengthen the Workplace, Brademas notes: 1) The arts enhance qualities business needs. 2) The arts invigorate the process of learning. 3) The arts and embrace and encourage school participation in atrisk young people. 8. MAKING LEARNING WORK: AFTER SCHOOL MATTERS, Shirley Brice Heath, Stanford University 2000. RESULTS: Draws on Heaths decades-long studies of youth-based community programs with a focus
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on the relationship between philosophies of creativity, collaboration, and communication and those who aim for success in private profit-making enterprises as well as those who promote the benefits of young people working and learning in community organizations during their nonschool hours. Uses the illustrative case of an inner-city theater to elucidate the complex learning and roles undertaken by youth participants in the production of a play. 9. ONE OUT OF FIVE: A Report on Out-of-School and Out-of-Work Youth in Los Angeles and Long Beach, Executive Summary, November 2004, Workforce Investment Boards, City of Los Angeles, City of Long Beach, Paul Harrington, Associate Director of the Center for Labor Market Studies, Northeastern University, Boston, Massachusetts, principal researcher. RESULTS: Describes and analyzes disconnected youth in two Los Angeles County cities. Identifies data from the 2000 census to provide a fact-based portrait of issues influencing youth employment and schooling. Statistical analysis presents information on demographics, educational attainment and youth labor force participation rates. Includes a comparison of the educational and employment behaviors of young adult residents of these areas with that of their counterparts in the state and the nation. The reports basic assumption points out the lifelong risks to youth who are disconnected from school and work. The ages between 16 and 24 young adulthood is typically the time to accumulate human capital in the form of educational attainment or work experience in the labor market. Individuals undertake these activities during young adulthood since the opportunity cost, particularly of seeking education, is lower during this period of their lives when they have not yet started a family and are therefore free from the responsibilities of supporting a family. The value of human capital has increased sharply as the job content of the economy has changed in favor of jobs that require higher levels of formal educational attainment and more sophisticated skills. The changes that have occurred in the labor markets make it imperative that young adults engage in acquiring skills and human capital through formal education and labor market work experience. In todays labor markets, what workers reap over their working lives is even more strongly determined by what they sow during the young adult years of their lives. 10. REACH LA [See Programs this section].
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RESULTS: In 2002 03, Reach LA met 95 percent of its goals as a contractor with the Office of AIDS Programs and Policies through its Come-Feel-Active AIDS prevention workshops; 99 percent of the young women participating have committed to safer sex practices and adopted at least one risk-reduction behavior. Reach LA assessments show that 99 percent of the graduates of its Youth Arts Collective have been placed in scholarship programs, internships, art schools, colleges and universities, leadership programs, and full-time employment. 11. THE CREATIVE COMMUNITY, Forging the Links between Art Culture Commerce & Community, John M. Eger, Van Deerlin Professor of Communication and Public Policy, Executive Director, The California Institute for Smart Communities, California State University San Diego, 2003. RESULTS: Examination of steps taken by smart cities to attract economic development, employers, and bright employees. At the heart of the effort is the recognition of the vital role that art and culture play in enhancing economic development, and ultimately, defining a creative community one that exploits the vital linkages between art, culture and commerce and in the process consciously invests in human and financial resources to prepare its citizens to meet the challenges of the rapidly evolving post-industrial, knowledge-based economy and society. Looks at how the arts in education contribute to smart cities. Examples include: 1) LA Countys Arts for All a regional blueprint for arts education 2) The San Diego partnership School in the Park among ten museums, the school district, university, and Price Charities in City Heights schools 3) The St. Augustine School model in the South Bronx, which built its entire curriculum around dance, music, creative writing and visual artThe discipline and structure resulted in increasingly higher achievement on mastery tests, as well as increased selfesteem 4) Connecticuts HOT Higher Order Thinking program to transform school communities through arts and writing 12. THE IMPACT OF ARTS EDUCATION ON WORKFORCE PREPARATION, Issue Brief, National Governors Association, May 1, 2002. RESULTS: Provides national examples of arts-based education as a money- and time-saving option for states looking to build skills, increase academic success, heighten standardized test scores, and lower the incidence of crimeProvides policy recommendations for states looking to initiate or strengthen arts education programs that improve productivity and foster workforce development.
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13. WEAVING IN A FUTURE TENSE, INSIGHTS FROM THE FIELD, Youth in Community, Youth in Citizenship, A report of the Weaving Project: Youth, Civic and Community Development, The Kellogg Foundation, 2001. RESULTS: In 1996, Kellogg launched the Weaving Project in collaboration with the Kauffman, Johnson, Surdna, Lilly, and International Youth Foundation to explore the assertion that young people are ready, able, and willing to do more. They are resources not just for the future, but also in the present. Sections on Youth as Journalists, Youth as Creators of Culture, Art, and Enterprise, and Youth as Teachers and Trainers, present information on programs assisting young people as creative workers in the economy. 14. WILL POWER TO YOUTH (See Programs this section) Will Power to Youth Evaluation Report, Summer 2001, by Simeon P. Slovacek, Ph.D., Cheryl Anne Gilera, M.A., Hae-Jin Kim, M.A., Laura Pantoja, Program evaluation and Research Collaborative, Charter College of Education, California State University, Los Angeles, September 7, 2001. RESULTS: This report found that the program is exceptionally well received by participants. 94 percent said they would recommend it to other students, 97 percent said they felt either a little more confident or much more confident, 84 percent of the students felt the program definitely helped or helped a little with their future goals, 77 percent of the students thought the program was much better or better than other classes they had taken in school, 83 percent thought the program helped them respect and better understand different people. PROGRAMS Appalshop, Inc., Whitesburg, KY A program of Appalachian Media Institute 91 Madison Ave. Whitesburg, KY 41858 Phone: (606) 633-0108 E-mail: ami@appalshop.org Founded: 1988 Arts Focus: Media Arts Mission and Goals: Develop the critical and creative skills of young people in Eastern Kentucky. Involve them in their communities and the world by making and sharing media. Description: Offers four-month Afternoon Media Lab focusing on web, video, and audio production, 10-weeek Summer Institute on documentary media. Artists-in-residence projects at local high schools integrate media arts projects into non-arts classes. Participants share work through local, national screenings, exchanges with young media makers from across country.
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Art Saves Us, St. Paul, MN A program of Center for Hmong Arts and Talent (CHAT) 995 University Ave., Suite 220A St. Paul, MN 55104 Contact Person: Tou Saiko Lee Phone: (651) 603-6971 Fax: (651) 603-6983 E-mail: tousaiko@aboutchat.org Website: http://www.chat.org Target Ages: 10-18 Arts Focus: Multidisciplinary Mission: Provide alternatives for troubled Hmong youths. Programs: Provides art instruction in variety of disciplines, teaches Hmong traditions of storytelling, performance. Studio 220 is showcase for young professional Hmong artists. Artists for Humanity (AFH) 100 West Second St South Boston, MA 02127 Contact Person: Susan Rodgerson, Founder, Executive Director Phone: (617) 268-7620 Fax: 617.268.7358 E-mail: srodgerson@afhboston.com Website: www.afhboston.com Founded: 1991 Annual participants: 100+ Target age: 14 18 Arts Focus: Multidisciplinary Mission and Goals: Bridge economic, racial and social divisions by providing at-risk youth with the keys to self-sufficiency through paid employment in the arts. Evaluation Methods and Outcomes: Instruments include job evaluation form, participant self-evaluation form, form completed by artists/mentors on attitudes, traits of youth mentees. Stanford University Business School conducted case study on AFH, concluding it is one of few youth arts programs based on small-business model rather than social service model. Harvard University Business School followed with study on model replications. [See Studies this section for more information] Collaborations: Clients for youth artwork include banks, foundations, retailers, corporations. Description: City Teens Design Company places teens in small groups with professional artists/designers, young artist mentors to design, create, sell products in painting, photography, sculpture, silk screen, graphic design. Many projects are client-commissioned. In 2005 employed more than 100 youth. Young Womens Initiative involves
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participants in creating product line of clothing, accessories, and stationery. Epicentre, San Diego, CA 8450 Mira Mesa Blvd. San Diego, CA 92126 Contact Person: Ross Ambers, Executive Director Phone: (858) 271-4000 E-mail: info@epicentre.org Website: http://www.epicentre.org Founded: 1999 Target Age: 13-18 Arts Focus: Multidisciplinary Mission and Goals: Prepare teens for the future by developing their skills and connecting them to businesses and community organizations. Collaborations: Operated by Harmonium, Inc. Description: Facility includes teen-run I, performance venue, digital recording studio, concert stage, DJ booth, multimedia computer lab, retail store. Classes offered in graphic design, cooking, caf management. Music Industry Institute teaches guitar, songwriting, recording, event management. Gallery 37, Chicago, IL 66 East Randolph Street Chicago, Illinois 60601 Phone: (312) 744-8925 Fax: (312) 744-9249 E-mail: info@gallery37.org Website: http://www.gallery37.org Founded: 1991 Arts Focus: Multidisciplinary Mission and Goals: Nurture the creativity and innovation that energizes Chicagos communities and collective future. Provide a forum for people of all ages to express themselves while bridging divides of age, race and class. Collaborations: Gallery 37 is provided through the City of Chicago Department of Cultural Affairs. Description: Offers arts classes, free dance, jazz and drama performances, career training workshops, advanced art education courses, exhibits of youth artwork. Award-winning Downtown Program hires youth as apprentices to professional artists on summer arts projects. REACH LA, Los Angeles, CA 1400 E. Olympic Blvd., Suite 240
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Los Angeles, CA 90021 Contact Person: Martha Chono-Helsley, Executive Director Phone: (213) 622-1650 E-mail: reachla@earthlink.net Website: http://www.reachla.org Founded: 1992 Target Ages: 13 23 Arts Focus: Multidisciplinary, Media Arts Mission and Goals: Educate, motivate, and mobilize youth to maintain healthy lifestyles, improve themselves and their communities, and to help fight the spread of HIV/AIDS. Evaluation and Outcomes: Comprehensive measurements include preand post-tests for youth participants on HIV knowledge and risk assessment, pre- and post-tests for young men to find out what they have learned from the website. Evaluation results include: 99% of young women participating in Come Feel Active committed to safer sex practices and adopted at least one risk-reduction behavior, 99% of participants placed in colleges, internships, leadership programs, full-time employment. Educational website has received more than half a million hits. Collaborations: LA County Department of Health, LA County Prevention Planning Commission, Hollywood Teen Community Project, AIDS Healthcare Foundation, Childrens Hospital. Description: Provides training in health education, media arts, technology. Publishes biannual magazine, Reach for Me, created by teens for teens with content on health issues. Club Prophylactic (Pro Feel Active) is dance club focused on HIV/AIDS education. Street-Level Youth Media, Chicago, IL 1856 W Chicago Ave Chicago IL 60622 Contact Person: Manwah Lee, Managing Director Phone: (773) 862-5331 Fax: (773) 862-0754 Website: http://www.street-level.org/ Founded: 1993 Target Age: 8 22 Annual Participation: 1800 Arts Focus: Media Arts Mission: Educate Chicagos inner city youth in media arts and emerging technologies for use in self-expression, communication, and social change. Collaborations: Wide range of community-based organizations, schools. Description: Facilitates incorporation of media arts into school curricula and community-based organizations. Neutral Ground program offers after-school, summer programs to youth ages 8-18. Specialized programs
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for girls include Female Link, two-week media training and exchange program, and The Mothership, web-based project by and for teen mothers. Van Go Mobile Arts, Inc., Lawrence, KS 715 New Jersey PO Box 153 Lawrence, Kansas 66044 Contact Person: Lynne Green, Executive Director Phone: (785) 842-3797 Fax: (785) 842-4628 Website: http://www.van-go.org Founded: 1997 Target Ages: 14 21 Budget: $300,000 Mission and Goals: Improve the lives of high-risk youth. Foster selfexpression, confidence, and hope. Evaluation and outcomes: A young man that dropped out of school and engaged in illegal activities came back to Van Go and is now a program assistant. He says, Van Go saved my life. Collaborations: Big Brothers/Big Sisters, Southwind Health Collective, Capital City Bank, Lawrence Douglas County Housing Authority, Kansas University, Gould Evans Architects. Description: Founded as innovative way to fill existing gaps in social services. Students create, sell artwork through several job-training and employment programs including commissioned mural project and commissioned benches for local businesses, organizations, and schools. Will Power to Youth, Los Angeles, CA A Program of Shakespeare Festival/LA 1238 West First Street Los Angeles, CA 90026 Contact Person: Ben Donenberg, Producing Artistic Director Phone: (213) 481-BARD Fax: (213) 975-9833 Website: http://www.shakespearefestivalla.org/wpy/index.htm Founded: 1993 Target Ages: 14 21 Annual Participation: 60 70 Arts Focus: Theater, Multidisciplinary Budget: $150,000 Mission and Goals: Participants will develop self-respect, mutual respect, appreciation for the arts, and improved literacy skills. Evaluation and outcomes: See Studies this section Collaborations: National Conference for Community and Justice, Workforce Investment Agency. Description: Seven-week, full-time employment program between semesters. Low-income youth adapt and create a full production of
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Shakespeare play, participate in human relations training. Alumni can participate in leadership program, get internships with Shakespeare/LA, theater companies. Young Artists At Work (YAAW), Toledo, OH A program of the Arts Commission of Greater Toledo 1838 Parkwood Avenue, Suite 120 Toledo, OH 43624 Phone: (419) 254-ARTS Fax: (419) 254-2790 E-mail: info@acgt.org Website: http://www.acgt.org Founded: 1993 Target Ages: 16 18 Arts Focus: Multidisciplinary Annual Participation: 40 100 Mission and Goals: Provide exposure to art as a business. Create public art for the greater Toledo community. Collaborations: Toledo-Lucas County Public Library, Toledo Museum of Art, Owen-Illinois World Headquarters. Description: Six-week summer youth employment opportunity. Students attend job skills training, study one art discipline for the six weeks. Young Artists at Work (YAAW), San Francisco, CA A program of Yerba Beuna Center for the Arts 701 Mission Street San Francisco, CA 94103 Phone: (415) 978-2700 Website: http://www.yerbabuenaarts.org Founded: 1993 Target Ages: 14-19 Annual Participation: 15 Arts Focus: Multidisciplinary Mission and Goals: Challenge young people to use the arts to explore the issues and concerns that affect them. Provide job and life skills that enrich the community. Collaborations: YAAW is partnership between the Center and San Francisco Unified School District. Description: Year-round, part-time employment program. High school students participate in three semesters of workshops culminating in presentations. Scholarship fund supports graduates. Young Producers Project, Seattle, WA A program of 911 Media Arts Center 402 9th Ave N. Seattle, WA 98109 Contact Person: Annie Silverstein
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Phone: (206) 682-6552 E-mail: annie@911media.org. http://www.911media.org/ Mission and Goals: Teach young people the critical viewing skills it takes to be creators of their own identities. Collaborations: El Centro De La Raza, YMCA of Greater Seattle, Seattle Arts Commission. Description: Offers media production classes, video-editing facilities, multimedia authoring stations, screening venue for finished productions. Specialized programs for Native American youth (Native Lens) and teenage girls (Reel Grrls) to tell their own stories. Youth Cultural Arts Mentorship Program, St. Paul, Minnesota A program of the Hmong Cultural Center Youth ages 8-14 matched with older Hmong mentor to share Hmong cultural traditions. YA/YA (Young Aspirations/Young Artists), Inc., New Orleans, LA P.O. Box 52617 New Orleans, LA 70152-2617 Contact Persons: Janis Napoli, Founder and Rondell Crier, Executive Director Phone: (504) 529-3306 Fax: (504) 529-3212 Email: info@yayainc.com Website: http://www.yayainc.com Founded: 1988 Target Ages: 14-24 Annual Participation: 90 Arts Focus: Multidisciplinary Mission and Goals: Empower artistically talented inner city youth to pursue creative careers. Evaluation and outcomes: Participants have exhibited and completed commissions all over the world. Alumni have attended Art Institute of Chicago, Savannah College of Art and Design, School of Visual Arts in New York City. Many are professional artists, designers, photographers. YA/YA is model for similar groups, i.e. Say Si in San Antonio, Weeksville Society in New York. Exposure in 60 plus magazines (Fortune, Rolling Stone, etc.), 15 TV programs (The Oprah Winfrey Show, Sesame Street, TODAY Show). Collaborations: Clients include Swatch Ltd., United Nations, Hammacher-Schlemmer, Burger King, Wembly Tie Company, New Orleans Jazz & Heritage Festival, Alessi.
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Description: YA/YA studio/gallery provides youth with training in commercial arts, fine arts, entrepreneurial skills. Studio focuses on furniture design, painting, fabric screen-printing, batik, computer graphics. YA/YA artists earn design fees, percentage of royalties for artwork sales. Artists progress from Novice to Apprentice to Guild by demonstrating ability, professionalism, leadership. Opportunities to travel, earn money, intern, lead projects increase as artists grow, develop. Youth Radio, Berkeley, CA 1809 University Avenue Berkeley CA 94703 Phone: (510) 841-5123 Fax: (510) 841-9804 Website: http://www.youthradio.org/index.shtml Founded: 1992 Target Ages: 14 24 Arts Focus: Media Arts, Music Mission and Goals: Promote young peoples intellectual, creative and professional growth through training and access to media. Produce the highest quality original media for local and national outlets. Evaluation and outcomes: Students strengthen skills in verbal expression, writing, computer technology, critical thinking, conflict resolution. Programs have won national, local awards, been recognized by Planned Parenthood, California Public Health Association North, many broadcast organizations. Collaborations: Schools, juvenile detention centers, community organizations, media professionals, media outlets such as KQED FM, KCBS AM, CBS Healthwatch. Description: Offers introductory and advanced training in radio, web, video, music, journalism, leadership. Participants produce shows for local, national media. Community-based programs for incarcerated young men, young women in foster care facilities, group homes.
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ECOMMENDATIONS
Weve learned that you cant teach kids algebra if they dont want to live. And the arts does that. It appeals to life. It appeals to the part of the brain where the imagination lives. William Strickland, Founding Director Manchester Craftsmens Guild Speaking at the Inner City Arts Center Los Angeles, 2/26/04
Conclusions and Recommendations
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RECOMMENDATIONS The publication and distribution of this report can afford The California Endowment with opportunities for positioning itself in an emerging field that holds great potential for recognition and growth. Our research and discussions show that there is a readiness around California within major systems schools, juvenile courts, foster care to consider the evidence of the arts as an effective intervention strategy for their youth populations. The refinement of the material in this report, its readiness for publication, and deployment of its findings would assist the foundation in several ways. First, in its role as a major convener, putting together decision-makers to discuss these findings and recommendations. Second, as an agent of systems change, transforming the approach to youth health and development. Third, providing an opportunity to increase the effectiveness of service delivery by helping providers link to arts organizations as access entry points to youth already experiencing favorable shifts because of their involvement in the arts. Finally, this research provides a starting point for a policy platform focused on healthy outcomes for youth. I. Host a statewide convening to discuss the findings of this report. A. Include health services providers, youth arts agencies, funders, officials from juvenile justice, education, foster care and other youth systems. B. Announce the release of this report at the convening. Invite the coverage of community, arts, youth and health media. C. Following the reports release, disseminate it to The Endowment constituency via www.calendow.org, listserve,. D. Make content from the convening and the report available via www.calendow.org. II. Develop a California Youth Arts and Health Access discussion group A. Explore systems change ways to plug service providers, mental health, prevention specialists into youth arts field.
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B. Facilitate dialogues between select model youth arts organizations and health service providers regarding paths and obstacles to partnership. C. Explore policy platform focusing on evidence of health and recovery for youth in arts programs. III. Provide resources for select youth arts organizations to partner with health service providers and conduct evaluations. A. Choose effective model organizations representing Californias geographic and cultural diversity to partner with appropriate health service providers on well-defined projects of treatment and evaluation. B. Work with these partnerships to conduct short and long-term program, organizational, and outcome assessments. C. Develop recommendations to the field from those reports.
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Interviews
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NTERVIEWS CONDUCTED FOR STUDY
Titles of interviewee are as they were at the time of the interview
Arnold Aprill, Executive Director Chicago Arts Partnerships in Education (CAPE) Shirley Brice-Heath, Professor Stanford University Ruth Brousseau, Director of Evaluation and Organizational Learning The California Wellness Foundation Elisa Callow, Arts Program Director James Irvine Foundation James S. Catterall, Professor Graduate School of Education and Information Studies, UCLA Paul Cummins, President New Visions Foundation Julie Fry, Director, Arts & Culture Analysis & Strategy The San Diego Foundation Chris Henrickson, Director Dreamyard/LA Jessica Hoffmann Davis, Director of the Arts in Education Program The Patricia Bauman and John Landrum Bryant Senior Lecturer on Arts in Education Harvard Graduate School of Education Richard J. Deasy, Director Arts Education Partnership Cyrus Driver, Program Officer Ford Foundation Anne Focke, Executive Director Grantmakers In The Arts
Interviews
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Nancy Glaze David and Lucille Packard Foundation Jonathan Herman, Acting Director National Guild of Community Schools of the Arts (NGCSA) Grady Hillman Interactive Anthropologist, Community Arts Consultant, Writer John Kreidler, Executive Director Cultural Initiatives Silicon Valley Shelley Mann-Lev, Coordinator, Student Wellness Santa Fe Public Schools Floyd Morris, Senior Program Officer Robert Wood Johnson Foundation Michael Moore, Director, Arts Programs The Wallace Foundation Joanna Papada, Vice President of Operations Manchester Craftsmans Guild Peter Pennekamp, Executive Director Humboldt Community Foundation Nick Rabkin Chicago Center for Arts Policy, Columbia College Chicago Dr. Steven Seidel, Director Project Zero Harvard Graduate School of Education Holly Sitford Leveraging Investments in Creativity (LINC) c/o New York Foundation for the Arts Lauren Stevenson, Senior Associate for Research Council of Chief State School Officers Arts Education Partnership Bill Strickland Manchester Craftsmans Guild
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Bibliography
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INTRODUCTION ArtsUSA. Arts Programs for At-Risk Youth: How U.S. Communities are Using the Arts to Rescue Their Youth and Deter Crime. Washington, DC: ArtsUSA, 2000. Heath, Shirley Brice and Laura Smyth. ArtShow, Youth and Community Development: A Resource Guide. Washington, DC: Partners for Livable Communities, 1999. Commission on Children at Risk. Hardwired to Connect: The New Scientific Case for Authoritative Communities. YMCA of USA, Dartmouth Medical School, Institute for Medical Values, 2003. Eger, John M. The Creative Community: Forging The Links Between Art Culture Commerce & Community. San Diego: The California Institute for Smart Communities, 2003. El-Askari, G., J. Freestone, C. Irizarry, K.L. Kraut, S.T. Mashiyama, M. Morgan, S. Walton. The Healthy Neighborhoods Project: A Local Health Departments Role in Catalyzing Community Development. Health, Education & Behavior 25, no. 2 (April 1998) Ellis, Ralph D. The Dance Form of the Eyes: What Cognitive Science Can Learn From Art. Journal of Consciousness Studies 6, no. 6/7 (JuneJuly 1999) Kaiser Permanente website. http://kaiserpermanente.org Milkman, Harvey. Better Than Dope helping youth in trouble. Psychology Today, March 2001. Mosaic Voices website. http://www.mosaicvoices.org/ National Endowment for the Arts. Creativity and Youth: Enriching Young Lives Through The Arts. Washington, DC: National Endowment for the Arts, 2002.
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Presidents Committee on the Arts and the Humanities. Arts and Culture Preservation Program, Youth/Elder Initiative. 2001 Coming Up Taller Awards. http://www.cominguptaller.org/awards2001/program3.html Randall, Paula. Art Works! Prevention Programs for Youth & Communities. Edited by Dian Magie and Christine E. Miller. Washington, DC: National Endowment for the Arts and the Center for Substance Abuse Prevention, U.S. Department of Health and Human Services: Washington, DC, 1997. Rodriguez, Luis, Hearts and Hands: Creating Community In Violent Times. New York: Seven Stories Press, 2001. Sanders, Joshunda. Images of foster life: Teenagers express what its like to be raised by someone elses parents, San Francisco Chronicle, April 18, 2004. Tohono Oodham Community Action (TOCA) website. http://www.tocaonline.org/homepage.html Washington, Julie E. Can the arts keep children off drugs? Cleveland Plain Dealer, October 23, 2003. Zeki, Semir. Art and the Brain. Journal of Consciousness Studies 6, no. 6/7 (June-July 1999) ARTS IN JUVENILE JUSTICE: INTERVENTION AND AFTER-CARE Americans for the Arts website. http://www.artsusa.org Brunson, Russell, Zephryn Conte, and Shelley Masar. The Art in Peacemaking: A Guide to Integrating Conflict Resolution Education Into Youth Arts Programs. Springfield, IL: National Center for Conflict Resolution Education, 2002. California Legislature Joint Committee on the Arts Hearing. The Art of Prevention: Arts Serving Youth at Risk in Human Service and Correctional Settings. State Senator Henry J. Mello, Chairman. Sacramento, CA: April 20, 1994. Cleveland, William. Art in Other Places: Artists at Work in Americas Community and Social Institutions. Amherst, MA: University of Massachusetts Arts Extension Service, 2000.
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Durland, Steven. Maintaining Humanity: Grady Hillman talks about arts programs in correctional settings, High Performance 71 (Spring 1996) Ezell, Mark and Michelle Levy. An Evaluation of an Arts Program for Incarcerated Juvenile Offenders. Journal of Correctional Education 54, no. 3 (September 2003) Farnum, Marlene and Rebecca Schaffer. YouthARTS Handbook: Arts Programs for Youth at Risk. Washington DC: YouthARTS Development Project and Americans for the Arts, 1998. Goodman, J.J. Poetry, Welfare, and the Juvenile Delinquent Syndrome. Presentation to The Salvation Army, Los Angeles Metropolitan Advisory Board and Senior Staff, Strategic Planning Retreat. April 20, 2002. Hillman, Grady. A Journey of Discouragement and Hope: An Introduction to Arts and Corrections. Community Arts Network/API (December 2001) http://www.communityarts.net/readingroom/archivefiles/2001/12/a _journey_of_di.php Hillman, Grady with Kathleen Gaffney. Artists in the Community: Training Artists to Work in Alternative Settings. Washington, DC: Institute for Community Development and the Arts, Americans for the Arts, 1996. Hillman, Grady with Susan Warner. Arts Programs for Juvenile Offenders in Detention and Corrections: A Guide to Promising Practices. Washington, DC: Office of Juvenile Justice and Delinquency Prevention and National Endowment for the Arts, 2002. Klink, Marianne and Donna Crawford. Conflict Resolution and the Arts U.S Department of Justice, Office of Juvenile Justice and Delinquency Prevention Fact Sheet, no 80 (June 1998) McArthur, David and Sally Ann Law. The Arts and Prosocial Impact Study: A Review of Current Programs and Literature. Santa Monica, CA: Rand Corporation, 1996. Office of Juvenile Justice and Delinquency Prevention. Arts and At-Risk Youth Program, Grant Solicitation 1998. http://oddkp.ncjrs.org/grants/grantprogrmas/discr13.html
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Perez, Joe. Impact Study of the New Roads Community Partners Project at Camp David Gonzales. PowerPoint presentation of study results. County of Los Angeles Probation Department, 2004. Stone, Ann, Tora Bikson, Joy Moini and David McArthur. The Arts and Prosocial Impact Study: Program Characteristics and Prosocial Effects. Santa Monica, CA: Rand Corporation, 1998. Stone, Ann, David McArthur, Sally Ann Law and Joy Moini. The Arts and Prosocial Impact Study: An Examination of Best Practices. Santa Monica, CA: Rand Corporation, 1997. The Beat Within website. http://www.thebeatwithin.org/news The Center for Young Womens Development. Know Justice: Your Rights in the Juvenile Justice System. San Francisco: The Center for Young Womens Development, 2003. The Presidents Crime Prevention Council. Helping Communities Fight Crime: Comprehensive Planning Techniques, Models, Programs and Resources. Washington, DC: The Presidents Crime Prevention Council, 1997. U.S. Department of Justice Office of Juvenile Justice and Delinquency Prevention. Arts and Performances for Prevention. Youth in Action Bulletin, no 11 (January 2000) ARTS IN FOSTER CARE: STABILITY AND EXPRESSION American Academy of Child and Adolescent Psychiatry. Foster Care. No. 64. American Academy of Child and Adolescent Psychiatry Report, January 2002. Editorial. Schools Make or Break. Los Angeles Times, December 13, 2003. Editorial. Foster Cares Shame. Los Angeles Times, May 8, 2004. Fox, Sue. Overhaul of Foster System Wins Ok, Los Angeles Times, February 18, 2004. Georgetown University. Recommendations to Overhaul Foster Care Released, Georgetown University News, May 19, 2004.
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Harrak, Terry and Maria Garin Jones. Guidelines for the Development of Foster Care Handbooks: What Foster Youth Have to Say. Washington, DC: Child Welfare League of America, 2002. Roman, Nan P. Web of Failure: The Relationship Between Foster Care and Homelessness. Washington, DC: National Alliance to End Homelessness, 1995. Sanders, Joshunda. Images of foster life: Teenagers express what its like to be raised by someone elses parents, San Francisco Chronicle, April 18, 2004. Stassel, Stephanie. As Guiding Lights for Foster Youth, Theyre Brightest Los Angeles Times, June 6, 2004. The Pew Commission on Children in Foster Care. First Meeting of the Pew Commission on Children in Foster Care: May 27-29, 2003, The Pew Commission of Children in Foster Care, http://pewfostercare.org/docs/ index.php?DocID=22 The Pew Commission on Children in Foster Care. Conversation with Youth in Foster Care, The Pew Commission of Children in Foster Care, http://pewfostercare.org/docs/index.php?DocID=35 The Pew Commission on Children in Foster Care. Third Meeting of the Pew Commission on Children in Foster Care: November 24-25, 2003.The Pew Commission of Children in Foster Care Research. http://pewfostercare.org/docs/index.php?DocID=37 The Pew Commission on Children in Foster Care. Results of a National Survey of Voters, The Pew Commission of Children in Foster Care Research, http://pewfostercare.org/docs/index.php?DocID=21 The Pew Commission on Children in Foster Care. Pew Commission on Children in Foster Care Releases First Report, The Pew Commission on Children in Foster Care Newsletter 12, February 18, 2004. http://pewfostercare.org/newsletter/index.php?NewsletterID=12 The Pew Commission on Children in Foster Care. Pew Commission Chairman Testifies on Federal State Oversight of Child Welfare, The Pew Commission on Children in Foster Care Newsletter 11, January 29, 2004, http://pewfostercare.org/newsletter/index.php?NewsletterID=11
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Heath, Shirley Brice. ArtShow: Youth and Community Development. VHS. Washington, DC: Partners for Livable Communities, 2000. Johns Hopkins Bloomberg School of Public Health. After School Resources. Johns Hopkins Bloomberg School of Public Health, http://www.jhsph.edu/ PreventYouthViolence/Resources/after.school.html National Endowment for the Arts and U.S. Department of Education. How the Arts Can Enhance After-School Programs. Washington, DC: National Endowment for the Arts and U.S. Department of Education, 2002. Newman, Sanford A., James Alan Fox, Edward A. Flynn and William Christeson. Americas After-School Choice: The Prime Time for Juvenile Crime, Or Youth Enrichment and Achievement. Washington, D.C.: Fight Crime: Invest in Kids, 2000. Ott, Gil. Art in Context: Industrial Pittsburgh Catching up with Bill Strickland. High Performance, Fall 1994 Randall, Paula. Art Works! Prevention Programs for Youth & Communities. Edited by Dian Magie and Christine E. Miller. National Endowment for the Arts and the Center for Substance Abuse Prevention, U.S. Department of Health and Human Services: Washington, DC, 1997. Terry, Sara. Genius at Work. Fast Company, September 1998. The Childrens Aid Society. Fact Sheet on After-School Programs. The Institute for Cultural Policy & Practice at Virginia Tech with Emc.Arts, LLC. Executive Summary of the Creative Communities Interim Evaluation Report. New York: National Guild of Community Schools of the Arts, 2003. U.S. Department of Health & Human Services, Administration for Children and Families. Executive Summary, Final Report of the White House Task Force for Disadvantaged Youth. Washington, DC: U.S. Department of Health & Human Services, Administration for Children and Families, 2003. Youth Development Institute. Ten Programs for Teens: New York City Beacons. New York: Youth Development Institute, Fund for the City of New York, 2002.
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ARTS IN EDUCATION FOSTERING ACHIEVEMENT Adams, Marianna and Jessica Luke. The HeArt Project Evaluation Report. Annapolis, MD: The Institute for Learning Innovation, 2001. Amdur Spitz & Associates ed. Learning and the Arts: Crossing Boundaries. Proceedings from an invitational meeting for education, arts and youth funders held January 12-14, 2000 in Los Angeles. Geraldine R. Dodge Foundation, J. Paul Getty Trust, and The John D. and Catherine T. MacArthur Foundation, 2000. Arts Education Task Force of Arts for LA. Arts in Focus: Los Angeles Countywide Arts Education Survey. Los Angeles: Los Angeles County Arts Commission, 2001. N. Barry, J. Taylor, K. Walls. The Role of the Fine and Performing Arts in High School Dropout Prevention in Critical Links, Learning in the Arts and Student Academic and Social Development. Ed. Richard J. Deasy. Washington, DC: Arts Education Partnership, 2002. Bier, Nancy Kamprath, Dana Petersen, Lisa Uperesa. Final Evaluation Report: Executive Summary and Case Studies. Evaluation of the East Bay Center for the Performing Arts Art and Public Education Initiative. Menlo Park, CA: SRI International, 2002. Carlisle, Barbara. The Making of a Grass Blade: A Practical Guide to Promoting the Arts in Education. Battle Creek, MI: W.K. Kellogg Foundation, 1990. Caterall, James S., Richard Chapleau and John Iwanaga, John. Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and Theater Arts, in Champions of Change: The Impact of the Arts on Learning. Ed. Edward B. Fiske. Washington, DC: The Arts Education Partnership and The Presidents Committee on the Arts and the Humanities, 1999. Caterall, James S. and Lynn Waldorf. Chicago Arts Partnerships in Education (CAPE): Evaluation Summary, in Champions of Change: The Impact of the Arts on Learning. Ed. Edward B. Fiske. Washington, DC: The Arts Education Partnership and The Presidents Committee on the Arts and the Humanities, 1999. Cummins, Paul F. and Anna K. Cummins. For Mortal Stakes: Solutions for Schools and Society. Peter Lang Publishing: New York, 1998.
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Cummins, Paul F. Proceed with Passion: Engaging Students in Meaningful Education. With Anna Cummins and Emily Cummins. Red Hen Press: Los Angeles, 2004. Deasy, Richard J. ed. Critical Links, Learning in the Arts and Student Academic and Social Development. Washington, DC: Arts Education Partnership, 2002. Deasey, Richard J. Cutting the Arts Imperils Student Achievement. The State Education Standard (Winter 2004). Fiske, Edward B. Fiske ed. Champions of Change: The Impact of the Arts on Learning. Washington, DC: The Arts Education Partnership and The Presidents Committee on the Arts and the Humanities, 1999. James, Donna Walker, Sonia Jurich and Steve Estes. Raising Minority Academic Achievement: A Compendium of Education Programs and Practices. Washington, DC: American Youth Policy Forum, 2001. Los Angeles County Arts Commission. Arts for All: Los Angeles County Regional Blueprint for Arts Education. Los Angeles County Arts Commission: Los Angeles, 2002. Marks, Susan. Evaluation Design for the East Bay Center for the Performing Arts Pilot Program. Menlo Park, CA: SRI International, 2001. National Endowment for the Arts. Learning Through The Arts: A Guide to the National Endowment for the Arts and Arts Education. Washington, DC: National Endowment for the Arts, 2002. National Endowment for the Arts. 2002 Grant Awards: Challenge America: Positive Alternatives for Youth. National Endowment for the Arts, http://www.arts.gov/grants/recent/02grants/PAY1.html Ott, Gil. Art in Context: Industrial Pittsburgh Catching up with Bill Strickland. High Performance, Fall 1994 Palmer Wolf, Dennie. The Healthy Child Case Study conducted for Urban Gateways. Chicago: Urban Gateways Center for Arts Education, 2002. Pankratz, David B. ed. Current Research in Arts Education: An Arts in Education Research Compendium. Sacramento: California Arts Council, 2001.
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Petersen, Dana, Susan Marks and Lisa Uperesa. Evaluation of the East Bay Center for the Performing Arts Art and Public Education Initiative: Year 2 (2000-01): Accomplishments and Recommendations. Menlo Park: SRI International, 2001. Rose, Heather, Jon Sonstelie, Ray Reinhard, and Sharmaine Heng. High Expectations, Modest Means: The Challenge Facing Californias Public Schools. San Francisco, CA: Public Policy Institute of California, 2003. Schouten, Fredreka, ed. Stalled in Secondary: A Look at Student Achievement Since The No Child Left Behind Act. Washington, DC: The Education Trust, 2005. Terry, Sara. Genius at Work. Fast Company, September 1998. ARTS IN WORKFORCE DEVELOPMENT: BUILDING A SKILLED FUTURE Americans for the Arts. Arts Programs: Positive Alternatives for At-Risk Youth. Washington, DC: Americans for the Arts, 2001. Packer, Arnold. Arts and Earning a Living. SCANS 2000, The Workforce Skills Website, http://www.scans.jhu.edu/General/arts.html Brown, David, Sarah Maxwell, Edward DeJesus, and Vincent Schiraldi. Barriers and Promising Approaches to Workforce and Youth Development for Young Offenders. Baltimore, MD: The Annie E. Casey Foundation, 2002. Driscoll, Virgilyn. Creativity: The Key to a Successful Workforce, Economic Summit IV. Paper presented at Wisconsin Economic Summit IV, Milwaukee, WI, October 27-28, 2003. Eger, John M. The Creative Community: Forging The Links Between Art Culture Commerce & Community. San Diego: The California Institute for Smart Communities, 2003. Galligan, Ann. Creativity, Culture, Education, and The Workforce. Art, Culture & the National Agenda Issue Paper. Arlington, VA: Center for Arts and Culture, 2000. Getty Education Institute for the Arts. Educating for the Workplace through the Arts. Excerpts from Business Week, October 28, 1996.
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Oregon Public Education Network, http://openc.k12.or.us/start/visual/resource/ narts5d4.html Hahn, Cliff. Whats NEXT in Newspaper Youth Pages? Open Society Institute, February 1, 2003. http://www.soros.org/ Hahn, Cliff. Youth Media Evaluation. Open Society Institute, December 1, 2002. http://www.soros.org/ Hahn, Cliff. Valuing Evaluations: Youth Media Begins Proving Itself. Open Society Institute, December 10, 2002. http://www.soros.org/ Hahn, Cliff. How Do Foundations View Youth Media? Open Society Institute, July 16, 2002. http://www.soros.org/ Hahn, Cliff. Radio Rookies Bring Fresh Voices to Public Radio in NYC. Open Society Institute, July 1, 2002. http://www.soros.org/ Hahn, Cliff. Beyond Girl Talk, Young Women Find a Voice. Open Society Institute, June 18, 2002. http://www.soros.org/ Hahn, Cliff. Media Girls Make Their Mark. Open Society Institute, June 1, 2002. http://www.soros.org/ Hahn, Cliff. Teen Media Makers, Coast to Coast. Open Society Institute, May 1, 2002. http://www.soros.org/ Hahn, Cliff. A Matter of Balance: Youth Media Programs Juggle Dual Objectives. Open Society Institute, April 15, 2002. http://www.soros.org/ Hahn, Cliff. Youth Channel. Open Society Institute, April 1, 2002. http://www.soros.org/ Hahn, Cliff. On the Best of Terms: Youth Media Defines Itself and Its Problems. Open Society Institute, March 2, 2002. http://www.soros.org/ Hahn, Cliff. Developing Youth and Media, Too. Open Society Institute, December 10, 2002. http://www.soros.org/ Heath, Shirley Brice. Making Learning Work. After School Matters 1, 2000.
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Minkin, Melissa. Shaking Up Shakespeare, All the worlds a stage for low-income youth from Los Angeles, who earn a paycheck, credit, and life experience by 121utting on the Bard. Hope, September/October, 2002. NGA Center for Best Practices. The Impact of Arts Education on Workforce Preparation Issue Brief, May 1, 2002 National Endowment for the Arts. Creativity and Youth: Enriching Young Lives Through the Arts. Washington, DC.: National Endowment for the Arts, 2002. Slovacek, Simeon P., Cheryl Anne Gilera, Hae-Jin Kim, and Laura Pantoja. Will Power to Youth Evaluation Report. Los Angeles: Program Evaluation and Research Collaborative, Charter College of Education, CSU Los Angeles, 2001. Tyner, Kathleen, ed. A Closer Look: Media Arts 2003. San Francisco: National Alliance for Media Arts and Culture, 2003. W.K. Kellogg Foundation. Weaving in a Future Tense: Insights From the Field. Battle Creek, MI: W.K. Kellogg Foundation, 2000. MISCELLANEOUS Davis, Jessica, Becca Solomon, Meredith Eppel, and Wendy Dameshek. The Wheel in Motion: The Co-Arts Assessment Plan From Theory to Practice. Cambridge, MA: Harvard Project Zero, Harvard University,1996. Davis, Jessica. The Co-Arts Assessment Handbook. Cambridge, MA: Harvard Project Zero, Harvard University, 1993. Pistone, Nancy. Envisioning Arts Assessment: A Process Guide for Assessing Arts Education in School Districts and States. Washington, DC: Arts Education Partnership, Council of Chief State School Officers, 2002. Smith, Allison, ed. Arts Education Program Toolkit: A Visual and Performing Arts Program Assessment Process. Sacramento, CA: California Department of Education, 2001. Surdna Foundation. Powerful Voices: Developing High-Impact Arts Programs for Teens. New York: Surdna Foundation, 2002.
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Program List
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ROGRAM LIST
ARTS IN JUVENILE JUSTICE Bay Area Teen Voices, San Pablo, CA The Beat Within, Pacific News Service, San Francisco, CA Broad St. Studio, AS220, Providence, RI Drumming for Your Life Institute, Santa Monica, CA Homeboy Industries, Los Angeles, CA Music Theatre Workshop Cook County Juvenile Temporary Detention Center, Chicago, IL New Roads Community Partners, Camp David Gonzales, Calabasas, CA Renaissance Program, Community Music School of Springfield, Springfield, MA Street Poets Inc.(formerly DreamYard/LA), Los Angeles, CA UCLA ArtsReach, Los Angeles, CA The Unusual Suspects, Culver City, CA The YouthARTS Development Project, multi-state Youth First Artist-In-Residence Program, Theatre of Hearts, Inc., Los Angeles, CA ARTS IN FOSTER CARE Animation Art Camp, Youth Opportunities United, Los Angeles, CA ArtStart, New York, NY Broad St. Studio, AS220, Providence, RI Dream Yard/ LA, Los Angeles, CA FosterClub.com, FosterClub, Inc., Seaside, OR Fostering Art, A Home Within, San Francisco, CA Free Arts For Abused Children, Los Angeles, CA Free Arts of Arizona, Phoenix, AZ Independent Living Skills, Northern Valley Catholic Social Services, Redding, CA Penny Lane, North Hills, CA The Rowell Foster Childrens Positive Plan, Los Angeles, CA Sheltering Arms Childrens Services, New York, NY The Unusual Suspects, Culver City, CA Represent, Youth Communication, New York, NY
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Program List
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ARTS IN AFTERSCHOOL Albany Park Theatre Project, Chicago, IL Armory Art High, Armory Center for the Arts, Pasadena, CA Art Share Los Angeles, Los Angeles, CA ArtStorm, Los Angeles, CA Beacon Street Gallery and Theatre, Chicago, IL Bethune Theatredanse, Los Angeles, CA Beyond the Ring, The Big Apple Circus, Ltd., New York, NY The Boston Photo Collaborative, Jamaica Plain, MA Christina Cultural Arts Center, Inc., Wilmington, DE CornerStone Project, Inc., Little Rock, AR Creative Arts Program, The Door, New York, NY Dance for Education Foundation, Los Angeles, CA The Foundation for the Study of Hip Hop Consciousness, Los Angeles, CA Frederick Douglass Creative Arts Center, Inc., New York, NY Global Artways, Salt Lake City, UT Highbridge Voices, Bronx, NY ICP at the Point, The Point Community Development Corporation, Bronx, NY The Manchester Craftsmens Guild, Pittsburgh, PA Marin Interfaith Youth Outreach, Marin, CA Media Arts Center San Diego, San Diego, CA Old Fire House Teen Center, Redmond, WA Peer Resource Program, Vietnamese Youth Development Center, San Francisco, CA The Pinkerton Foundation, New York, NY Plaza de la Raza, Los Angeles, CA PointBreeze Performing Arts Center, Philadelphia, PA Project Self Discovery, The Cleo Parker Robinson Dance Theatre, Denver, CO Santa Fe Teen Arts Center, Warehouse 21, Santa Fe, NM Synthesis Arts Workshop, United Action for Youth Tucson Arts Brigade, Tucson, AZ The Vera Project, Seattle, WA The Village of Arts and Humanities, Philadelphia, PA WritersCorps, San Francisco Arts Commission, San Francisco, CA Young Chicago Authors, Chicago, IL ARTS IN EDUCATION Challenge America: Positive Alternatives for Youth California Grantees: 24th Street Theatre, Los Angeles, CA Dramatic Results, Long Beach, CA Los Cenzontles Mexican Arts Center, San Pablo, CA Nevada Joint Union High School District, Grass Valley, CA Midnight Shakespeare, San Francisco, CA
Program List
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United Cambodian Community, Inc., Long Beach, CA Chicago Arts Partnership in Education, Chicago, IL Digital Playground, Hoboken, NJ East Bay Center for Performing Arts, Richmond, CA Inside Out Community Arts, Venice, CA The Manchester Craftsmens Guild, Pittsburgh, PA The HeArt Project. Los Angeles, CA Urban Gateways Center for Arts Education, Chicago, IL ARTS IN WORKFORCE DEVELOPMENT Appalshop, Inc., Appalachian Media Institute, Whitesburg, KY Art Saves Us, Center for Hmong Arts and Talent, St. Paul, MN Artists for Humanity, Boston MA Epicentre, San Diego, CA Gallery 37, Chicago, IL Reach LA, Los Angeles, CA Street Level Youth Media, Chicago, IL Van Go Mobile Arts, Inc., Lawrence, KS Will Power to Youth, Shakespeare Festival/LA, Los Angeles, CA Young Artists At Work, Arts Commission of Greater Toledo, Toledo, OH Young Artists at Work, Yerba Beuna Center for the Arts, San Francisco, CA Young Producers Project, 911 Media Arts Center, Seattle, WA Youth Cultural Arts Mentorship Program, Hmong Cultural Center, St. Paul, MN YAYA, New Orleans, LA Youth Radio, Berkeley, CA
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Contributors
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ONTRIBUTORS
Susan Anderson Susan Anderson is a writer, civic activist and historian. She has served on the boards of The HeArt Project, Dunbar Economic Development Corporation, the Jane Addams Conference and the Rosa Parks Sexualt Assault Crisis Center and was honored by her alma mater when selected as the 2005 2006 Scripps College Lois Langland Alumna-in-Residence for her research on the history of Col. Allensworth State Historic Park. While the principal of the company she founded, CivicArts, her clients included Laufer Green Isaac, Assemblyman Mark Ridley-Thomas, The Campaign Against Proposition 51, The Virginia Waring International Piano Competition; The Los Angeles Urban Dance Festival at the Hollywood Palladium; The Italian Cultural Institute; and, the Los Angeles Museum of Contemporary Art. For eight years she was the national director of External Affairs for the largest community development funder in the U.S., Local Initiatives Support Corporation. In addition to her other community activities, she was appointed a member of Mayor James Hahns Arts Council and was principal author of its report, The Arts And Culture: Priorities For the City Of Los Angeles, The City of Los Angeles Mayors Arts Council. Ms. Anderson has supervised numerous editorial projects for the Ford Foundation, the Alfred P. Sloan Foundation, the Annie E. Casey Foundation and the Aspen Institute. Nancy Walch Nancy founded Walch Consulting in 1973 based on her passion for supporting inspired leaders and making life better for people by building strong, healthy relationships among the business, nonprofit and government sectors. She enjoys the challenge and creativity involved in responding to the rich diversity of her client's needs, which include refocusing the efforts of well-established corporate foundations, providing guidance to those developing new foundations, and coaching individual leaders with the responsibility of taking their organization to the next level. From its inception, Nancy has provided leadership development and strategic planning services to a wide range of clients, from Fortune 500 companies (Nissan North America, Edison International, Southern California Edison, A.G. Edwards & Sons, Inc.), leading national nonprofit organizations (The California Endowment, Kaiser Permanente, The J. Paul Getty Trust, Japanese American National Museum) to local and regional start-up community service organizations. Nancy has served for many years on the Corporate Committee of Southern California
Contributors
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Grantmakers, the Executive Committee of ArtTable and made numerous presentations at conferences sponsored by ArtTable, Southern California Grantmakers, the Conference Board and the Association for Small Foundations. Kate Becker Kate Becker has been founding and sustaining non-profit youth arts programs for 15 years. In 1992, she founded the Old Fire House Teen Center in Redmond, WA which served more than 25,000 young people annually in the decade she administered the program. In 2001, Kate co-founded the Vera Project, a youth arts and music non-profit in Seattle and she currently serves on the Board of Directors. In 2005, the Recording Academy awarded Kate the prestigious Grammy Honor award for her work with young people. Kate is the Executive Director of Art Share Los Angeles, an arts incubator that strives to change lives through art, education and community action.
Also contributing to this report were Ruth Shaer; Tamara Campbell and Julie Glazer.
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Contributors
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Photo Credits Cover: Manchester Craftsmen's Guild Pittsburgh, PA Page 3: Artists For Humanity Boston, MA Page 24: Albany Park Theatre Project, Albany, NY Page 25: Dreamyard/LA Los Angeles, CA Page 41: Inside Out Community Arts Venice, CA Page 49: Art Share LA Los Angeles, CA Page 70: The HeArt Project Los Angeles, CA Page 86: Homeboy Industries Los Angeles, CA Page 105: The Beat Within San Francisco, CA Page 126: Youth Movement Records Oakland, CA
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Prepared for The California Endowment by Susan Anderson, Nancy Walch, and Kate Becker

106. FINDINGS AND RECOMMENDATIONS

110. BIBLIOGRAPHY 122. PROGRAM LIST 125. CONTRIBUTORS

PATHWAYS TO HEALTHY YOUTH DEVELOPMENT

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The Arts as an Effective Intervention Strategy for at-risk youth

ABOUT THIS REPORT

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

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The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

The Arts as an Effective Intervention Strategy for at-risk youth

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The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

YOUNG PEOPLE AT RISK

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The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

The Arts as an Effective Intervention Strategy for at-risk youth

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PATHWAYS TO HEALTHY YOUTH DEVELOPMENT

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

| The Power of Art

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth

Arts in Juvenile Justice

The Arts as an Effective Intervention Strategy for at-risk youth