On July 24 and 25, the Creative Youth Development National Partnership will host nearly 100 leaders from across sectors in Boston for the 2017 CYD National Stakeholder Meeting with a charge to broaden and deepen the impact of Creative Youth Development throughout the United States and the world. This group will include practitioners, youth, funders, policy makers, thought leaders, researchers and government officials who all recognize CYD as a vehicle for positive youth outcomes.
We invited Katie Wyatt and Dalouge Smith to share a conversation around two different models of growing creative youth development programming at the city and state level.
Katie Wyatt is the Founder and Executive Director of KidzNotes and the Executive Director of El Sistema USA. Dalouge Smith is the President and CEO of the San Diego Youth Symphony and a national leader in crafting an inclusive future of music and education in and out of schools.
Their conversation provides insight into the challenges and successes of working with public schools to achieve community goals, the potential policy implications and challenges that are facing this work today, and the gap between rural and urban environments. The recording is approximately 1 hour long and features a curated discussion by these two innovative leaders.
Hear the recording by selecting the player above, or read the transcript.
Booth, one of the foremost experts in the world on teaching artists, discusses the field and craft of teaching artistry. He says while teaching artists are recognized as learning catalysts – by the education, business, and healthcare sectors (to name a few) – there continue to be insufficient growth pathways to support the expertise that’s been developed by this global workforce.
New Collective Impact Strategy to Strengthen Community-Based Organizations and Empower Practitioners & Youth
Today marks the formal launch of the Creative Youth Development National Partnership between the National Guild for Community Arts Education, Massachusetts Cultural Council, The President’s Committee on the Arts and the Humanities, and Americans for the Arts. These four organizations have signed a Memorandum of Understanding to formalize their joint commitment to advancing creative youth development (CYD) as a field of practice nationwide.
Creative youth development is a recently coined term that organizes a longstanding community of practice that intentionally integrates the arts, sciences, and humanities with youth development principles, sparking young people’s creativity, and building critical learning and life skills that carry into adulthood.
This new coalition is collaborating to organize and accelerate the CYD movement through a collective impact strategy with a common agenda, shared systems and activities, cross-sector engagement, and continuous communications. The Partnership aims to strengthen community-based organizations working in youth development and the arts, sciences, and humanities; develop and support adult practitioners in the field; and benefit youth by increasing access to CYD opportunities throughout the United States.
See the full announcement on www.creativeyouthdevelopment.org.
The National Guild for Community Arts Education, on behalf of a coalition of national partners, has been awarded an NEA Art Works grant for $100,000. The award will support a collective impact initiative and the creation of the first-ever blueprint to advance Creative Youth Development (CYD).
The funds are part of more than $82 million granted in the NEA’s second major funding announcement for fiscal year 2016. “The arts are all around us, enhancing our lives in ways both subtle and obvious, expected and unexpected,” said NEA chairman Jane Chu. “Supporting projects like the one from the National Guild for Community Arts Education and its CYD partners offers more opportunities to engage in the arts every day.”
Creative Youth Development is a new term that brings together a longstanding community of practice that intentionally integrates the arts, humanities, and sciences with youth development principles, sparking young people’s creativity and building critical learning and life skills. Representatives of the field met in 2014, to form its first-ever national policy and advocacy agenda and charged a national partnership to oversee implementation. Initiative partners include the National Guild , Americans for the Arts, the President’s Committee for the Arts and the Humanities, and Massachusetts Cultural Council. The blueprint project will engage additional cross-sector organizations, cultivating partners from the youth development field.
“This Art Works award is a huge honor, and a recognition of the dedicated organizations across the country offering CYD programs that support young people in developing creative skills and becoming active members of their communities,” said Jonathan Herman, executive director of the National Guild. “Our national partnership hopes to organize this field, maximize its social impact, and produce a structure to inspire more organizations to develop programs that unleash the creative potential of youth.”
Learn more about Creative Youth Development as part of Americans for the Arts’ (AFTA) webinar series: “Arts Education: What You Need to Know” on Tuesday, September 15 at 3pm. MCC’s Dr. Erik Holmgren will join partners from the President’s Committee on the Arts & the Humanities, and National Guild for Community Arts Education, to discuss this emerging field. Register for the 20-minute webinar, and continue the conversation in Twitter using #CYD from 8-9pm (ET).
The Massachusetts Cultural Council approved a spending plan yesterday for the coming year that will invest more than $12 million in grants to nonprofit cultural organizations, local cultural councils, education programs, and working artists across the Commonwealth.
Of that spending, more than $1 million will go to supporting Creative Youth Development programs and services , including:
- Three-year grants of $15,000/year awarded to 63 organizations:
$675,000 invested in 45 YouthReach projects, which promote integration of substantive out-of-school arts, humanities, and science opportunities into a collaborative community response to the needs of young people – specifically those at risk of not making a successful transition to young adulthood.
$270,000 invested in 18 SerHacer projects, which support the growing number of intensive, ensemble-based music programs that create music as a vehicle for youth development and social change. SerHacer is the first public support system for El Sistema-inspired work in the nation.
- $10,000 for the creation of a new YouthVoice Program that will provide small grants to young people in funded YouthReach or SerHacer programs to support projects that demonstrate their value as artists in the Commonwealth.
Training: The pilot of a Creative Youth Development Fellows Program to prepare young teaching artists and youth workers to be effective in the classroom, in non-profits, and in their work across sectors with schools and funders.
Research: Support for studies that demonstrate the social, academic, and economic impact of Creative Youth Development.
Resources: The Johnson String Library, which works to remove the musical instrument as a barrier to participation and as a burden to programs, families, and young people.
How can creative change makers walk their talk and more effectively enact the change they want to see in the world? What do innovation and adaptive change look like for organizations that have social change as their core mission? A collection of profiles released this month as part of EmcArts’ Innovation Labs explores these questions in their publication, “Innovation in Action: Three Case Studies from the Intersections of Arts and Social Justice.”
Featuring Massachusetts’ own The Theater Offensive, as well as Alternate ROOTS, and Jane Addams Hull-House Museum, this publication examines the contours, possibilities and limitations of innovation and adaptive change at the intersection of arts and social justice.
The Theater Offensive entered the Innovation Lab to design a national organizing model to support and encourage Lesbian, Gay, Bisexual and Transgender (LGBT) youth theaters nationally through
the Pride Youth Theater Alliance (PYTA). PYTA’s mission is to “connect and support queer youth theater organizations, programs, and professionals committed to empowering lesbian, gay, bisexual, transgender, queer and allied (LGBTQA) youth in North America.” Through the Innovation Lab process, the The Theater Offensive team explored these questions:
- How can youth leadership be operationally central to PYTA, and
- How can the national PYTA network take advantage of the capacities of the locally grounded organization (The Theater Offensive)?
“I’m working with a student whose drawings always depict someone getting shot or stabbed. What should I do?”
“The other day, a student told me that he’s thinking about coming out to his parents and he’s scared about how they’ll respond. I’m not sure what to tell him.”
“I think that one of my students may be homeless right now. Should I ask her about it?”
“One of the students in my class gets really angry and tearful any time that someone critiques his work. How can I help him and the other students handle critiques?”
In our work with youth, we encounter difficult issues on a weekly, if not daily (or hourly), basis. Working with students means dealing with situations that we may never have previously encountered. It means asking the question: “What should I do?” on a regular basis. Sometimes, the issues that students bring to us don’t seem to have an answer. In these situations, two heads are most always better than one. Consulting with colleagues can help guide your next steps and allow you to talk through an issue to gain a better understanding of it.
To help support students and staff, many schools have brought in behavioral health specialists, such as social workers, psychologists, and counselors. Depending on their areas of expertise, these specialists may be able to provide support in a number of areas, including:
- Student behavioral health concerns (ex. depression and suicidal ideation, anxiety, trauma exposure, etc.)
- Accessing local resources (ex. immigration services, family and child services, education advocates, etc.)
- Crisis management (ex. addressing abuse/neglect concerns, providing support after trauma exposure, etc.)
- Building social-emotional support systems (ex. helping develop structures and policies for helping staff address student’s behavioral health needs.)
How can after-school programs access support in addressing students’ behavioral health needs?
Last year, I began thinking about this question with the staff of Fast Forward, a teen program at the Institute of Contemporary Art, Boston (ICA). They have developed an education team that is passionate and knowledgeable about what they do, as well as highly engaged with and supportive of their students. As their programming has expanded and students have developed deeper relationships with staff, more issues that students are facing have come to the surface. To address these complex issues, the ICA reached out for a behavioral-health perspective.
Now, once every few weeks, the ICA education staff and I sit down together to discuss current concerns that they are facing in their work with students. Our conversations range from the staff’s work with individual students to issues around systems and policies. To give an example, three issues that we discussed in a recent meeting include:
- A number of students were exposed to a violent incident in the community. How might the students respond to this event? What are typical responses to trauma exposure? When should staff be concerned about a student’s response and what should they do if they are concerned?
- A student told a staff member that she was having suicidal thoughts. What next steps should the staff member take? What could the staff member have said when the student brought this up to her? What are signs of depression and suicidal ideation that staff can look out for?
- One student has missed class for two weeks in a row. What is the ICA’s official policy around absences? Is it better to contact the student directly or to contact the student’s parents?
For each issue, we discuss the concern, think about the context of the issue, and consider possible ways to address it. We develop concrete next-steps for each problem and make sure to check in during the following weeks to determine whether any further steps are needed.
Our goal, in the partnership, is to support the education staff in their immediate work, as well as to build the team’s capacity for supporting their students’ social-emotional needs in the future. We supplement the meetings with phone calls and emails to address crisis situations, occasional trainings to develop skills that the staff would like to strengthen, and collaboration to build policies around supporting students. This work allows the education staff to focus on the mission of the ICA’s programming while also ensuring that they are meeting the needs of their students.
Have your staff faced issues that they are unsure how to address? Would a behavioral-health perspective be helpful in addressing your participants’ needs? If so, consulting with a social worker, counselor, or psychologist might be something to explore.
Melissa Rocklen is a clinical social worker and an artist. As a social worker, she has focused on working with students, families, and staff within the Boston Public School system. She has conducted individual and group therapy, taught lessons on social-emotional skill building, assisted people in accessing local resources, provided trainings for teachers, and built protocols for addressing student needs.
Guided by the question of how can we foster creative capacity in our children?, the Sam Francis Foundation recently hosted a roundtable discussion at the Isabella Stewart Gardner Museum to surface new perspectives on nurturing creativity in learning.
Although some familiar themes emerged in our conversation—the importance of material resources, access to mentorship, and the necessity of safe spaces in which to create—one aspect brought to light was especially compelling: participatory creativity.
The group wrestled with the ways in which popular notions of creativity (ie. the “lone genius”) create unintended barriers for participation for many young people. In response to this dilemma, Project Zero researcher and creativity scholar Edward Clapp argued that we should move away from an individually-based understanding of creativity toward a participatory understanding of creativity:
Maintaining an individual orientation towards creativity is harmful to young people in a few different ways. First, it suggests that some people are more or less creative than others, or that some people are creative whereas other people aren’t. This misconception puts students on false career tracks that don’t take advantage of their potential… in contemporary workplaces, we don’t bring lone geniuses together to solve complex problems, we bring teams of people together to solve problems. If we think of creativity in terms of ideas rather than individuals, we open up the possibility for multiple people with many abilities and perspectives to participate in the creative process.
Reframing our understanding of creativity as a social and distributed process, Clapp argues, is a necessary first step in ensuring that a greater number of students can access creative learning experiences and develop their creativity.
Given MCC’s commitment to ensuring that a greater number of our young people have access to creative youth development opportunities, we’re excited by this line of thinking and how participatory approaches to creativity may increase equity throughout the field of creative youth development.
Does this idea of a Participatory Understanding of Creativity resonate with you/your work?