Category Archives: Voices

Access to Opportunities

May 16, 2014 Guest Blogger Leave a comment

As the YouthReach Initiative winds up its 20th anniversary, Seen & Heard asked Donna Folan, cofounder of Access to Theatre, a program of Partners for Youth with Disabilities, to reflect on the impact of the state’s investment and her aspirations for the initiative going forward.

For 20 years, Access to Theater (ATT) has provided young people with fully accessible afterschool workshops, summer institutes, one-to-one mentor pairings, peer leadership opportunities, and countless performances for the Boston area community. ATT has also provided opportunities to work with artists with and without disabilities as mentors and collaborators. YouthReach was ATT’s first and only consistent annual funder for those 20 years. It is hard to image the program’s long success without this consistent support.

YouthReach serves as the strongest model of how to create and support youth-driven programming. The initiative has supported innumerable opportunities for young people to discover personal expression, and has challenged its grantees to maintain the highest standards of excellence in programming. At the same time, the program has been responsive to adapting to the needs of its grantees. YouthReach funding has helped to build a community of practice among a diverse set of programs across the state. As a result, organizations have been able to develop programs that are safe and nurturing environments for the people they serve. In many cases I believe YouthReach has saved lives with their support of these safe-havens for vulnerable young people.

In the 20 years to come, it is my hope that arts and cultural programs receive the true respect they deserve. I encourage the MCC to help YouthReach-funded organizations continue to develop a deeper understanding of physical and programmatic accessibility and how it can be integrated into each individual program.

YouthReach programs have produced many talented and knowledgeable emerging artists. It is important now to have places for these young artists to rehearse and collaborate as they take the lessons learned to the next level. Our communities and society will ultimately benefit from the advancement of these experienced artists, thanks to YouthReach and their partners past, present, and future.

Donna Folan is the Artistic Director of Until Tomorrow Productions. She was cofounder and Artistic Director of Access to Theatre, a program of Partners for Youth with Disabilities, which provides young people with disabilities and those without disabilities the opportunity to come together to create original theater and other forms of art that reflect their individual and collective viewpoints.

Visual Arts, Voices

Full Circle

May 8, 2014 Guest Blogger Leave a comment

Recently, Lynn Stanley, Curator of Education at the Provincetown Art Association and Museum, was named Arts Educator of the Year by the Arts Foundation of Cape Cod. Following are her remarks upon receiving the award.

Picture it: I am five and drawing a picture in my kindergarten class. Lacking the color pink, I put a layer of red crayon down, then find a piece of white chalk and apply that on top. As it turns out, I’ve taken Miss Roger’s chalk. Worse, the red crayon has stained the chalk. I’m afraid that if she finds out, I’ll be in big trouble. Instead, when she sees what I’ve done, she is delighted that I know how to mix colors. Thus I become aware that I know something that not everyone else knows—and instead of punishment I’ve been seen and understood.

When considering the roles that art and education have played in my own life, what comes to mind is this 50-year-old memory—one of the first I can associate with being valued in the world as a creative being. I could say that it is because I work with children, teens, and young adults as an administrator and teacher at the Provincetown Art Association and Museum that the connection to that 5-year-old me continues to be alive and present in me today. But really, I think it’s the other way around—that feeling of being valued as a creative young person is at the foundation of my life as an educator. I doubt that Miss Rogers knew the importance of her actions that day.

Fast forward ten years. I’m 15 and as a teenager I’ve experienced things I can’t yet put language to. Instead, I engage in all kinds of risky behavior—I skip school, take drugs, hitchhike, and run away from home. As my grades take a nosedive and my parents struggle to understand what has become of their once comprehensible daughter, art remains a place where I can make meaning, find meaning, and be valued. Art has become a way of being and a lifeline for me.

I don’t know what the fifteen year old I was would think if she could see your recognition of my efforts today. But I can guess that there would be a few school officials—the administrators who hauled me into the office for any number of offences or sentenced me to what we called the “rubber room” during school suspensions, and the teachers who tried to reach me and failed—yes, I’m guessing there would be a few who would be shocked that I survived my youth and have actually joined their ranks.

So I stand here before you today as a reminder to every hard-working educator and arts administrator that you can not possibly know all the good you do or the changes you enact in the lives of the young people you work with. Some of your work will not bear fruit for many years. But I’m living proof that your efforts—along with the love and compassion that fuels them—bring about change that is real and infinitely good.

Twelve years ago I joined the staff of PAAM. Some of you have heard me say that when I started working on out-of-school youth programs I had no idea what I was doing. This is not false modesty. However, what I lacked in knowledge I made up for in the desire to provide a safe, accessible, creative environment for all kinds of kids. I was lucky–very lucky–to find myself in the right place at the right time, among colleagues and leaders who supported my efforts. I thank the very gifted artists who have made PAAM’s programs exemplary. My parents for their love, and for my mother’s example that one never stops learning. My partner Tracey Anderson—whose brilliance illuminates every aspect of my work as an artist, an educator, and a human being. Chris McCarthy for her courage and her far-reaching vision—thanks to you we have a beautiful museum and museum school that youth can grow and flourish in—may it continue for another 100 years. I thank the Massachusetts Cultural Council—I doubt that PAAM’s youth programs would have gotten off the ground without the support I received from the MCC—and I’m not just talking about financial support—every step of the way. I want to thank anyone and everyone who has ever given a cent to support arts education—your money is well spent and an investment in the best of all possible worlds. Representative Sarah Peake and Senator Dan Wolf for their commitment to the arts. Kevin Howard and the staff of the Arts Foundation of Cape Cod.

Finally I want to thank the young people in our lives who take the biggest risks, the most courageous risks, when they forge into the unknown and make something new.

Work from PAAM’s ArtReach program will be on view in Doric Hall at the Massachusetts State House May 12-16. Join Lynn, the young artists, and others for a reception May 14, 3:30-5:00 PM to help advance Collective Action for Youth: An Agenda for Progress Through Creative Youth Development – a dynamic new policy agenda created during the recent National Summit on Creative Youth Development.

Dance, Performance, Voices

Beautiful Moves

February 14, 2014 Guest Blogger Leave a comment

Maureen Finnerty relishes the moments in which the audience is shocked by what the performers can do. She cites many instances in which audiences gasped when the performers abandoned pairs of crutches or relinquished their wheelchairs during the performance, “You can sense that people wonder if they should get up and help [the performer]. It’s the fact that they can’t, we’re on stage and that shows people just how much anyone can do.”

Maureen remembers parents who could not have imagined their child as a dancer, students who ask her to call their teachers to explain that they can physically do much more, and students who understand that being stared it can be ok.

“People [are] looking at them, but now it’s for the right reasons.” Indeed, for Maureen the real reward is seeing how the attitudes of the performers change about themselves. The audience’s misinterpretation of the performance’s intent is negligible. “[The students] come away with a different idea about what the pathways for people with disabilities are,” she explains, “the audience will have their own perspective on the performance, and they will have their own perspective on my disability.”

According to performer and movement educator Maureen Finnerty, the audience often misunderstands the performers.

“I’ve had people come up to me after a show and say, ‘Wow. I really loved what that piece said about disability.’ But the piece had nothing to do with disability.” When asked if the audience’s misinterpretation of her students’ performance bothers her, Maureen is quick to explain that, “… we’re giving a present to the audience. Everyone will unwrap it differently.”

For Maureen, the beauty and power the ensemble members bring to their performance stems from their personal investment in the roles they craft. She says the investment happens because the students at Access to Theater are never told their characters. “We choose [our character] and through rehearsals [we learn] the impact of our words and movement before we’ve even performed it.”

And the end result? “The parents always cry. I don’t get it,” she laughs.

Despite her self-assured way of talking about her experience as a performer and an educator, Maureen was not always comfortable in the realm of creative movement. Only after joining Access to Theater at a friend’s suggestion did Maureen begin to explore movement as a form of self-expression.

“My only idea about movement came from my physical therapy,” she explains, recalling her initial hesitation to learn movement techniques. “When I started [at Access to Theater] I realized [movement] was no longer a painful thing I did for physical therapy. It could be beautiful.”

Through many years as a student, an intern, and now a staff member at Access to Theater, Maureen has come to see movement as a tool for self-discovery. “It helps people accept who they are. [Access to Theater] gave them confidence.”

As the Movement Director for Partners’ for Youth with Disabilities’ Access to Theater Program, Maureen Finnerty teaches children and adults with and without disabilities that “everyone has a place in theater and that each person enriches the creative process when he/she keeps an opened mind.” She has been a resident artist for VSA Massachusetts for seven years and has assisted with workshops that focus on teaching the elements of improvisational theater to participants of all ages and abilities; included in these workshops has been the concept of access for all through universal design. She also performs in community movement productions.

Civic Engagement, Environmental Awareness, Job Training, Science, Voices

From Seedling to Gardener

January 31, 2014 Guest Blogger Leave a comment

In 2000, high school student Kacie Breault got involved with Seeds of Leadership at Seeds of Solidarity in Orange, MA. She went on to study sustainable agriculture at Sterling College in Craftsbury Common, VT, and graduated in 2008. She is now working on her Masters in Education and Waldorf teacher training at Antioch University New England in Keene, NH. Here Kacie reflects on her experience at Seeds of Solidarity:

I was 15 years old, a sophomore in high school seeking a new after school routine. After school the public transit bus would pick me and other students up at the high schools. It would take 30 minutes to drive past Lake Mattawa, up the bending roads that narrowed and turned to dirt. Old stone walls bordering sugar maples stood on either side of the road, letting us know we were almost there. Seeds of Solidarity (SOS) Farm and Education Center and its SOL (Seeds of Leadership) Garden program is off the beaten path and even off the grid.

Arriving at SOL Garden, we would share healthy snacks and talk about agriculture and other environmental concerns together, then get to work. Like many out-of-school programs, SOL was based on experiential learning, mentoring, and authentic, meaningful relationships. The staff worked alongside us sharing their life stories and listening to ours. They interacted with us as young adults with something to contribute, not as dumb high school students needing to be corrected, and they gave us the opportunity to learn through doing. They allowed us to take on responsibilities and grow not only food but confidence.

I got to know the other students I worked with in the gardens really well, many of whom I would have never taken the time to befriend in school. We built friendships and camaraderie, connections you can only have with people with whom you have weeded, hauled compost, harvested endless amounts of beans, or constructed buildings. Together we sold produce from the SOL garden at the farmers market, where I found myself educating the public about local food, the biodiesel/grease conversion van, GMO’s, and the importance of using alternative fuel and solar energy to limit our dependence on oil.

The work ethic and confidence I gained through SOL garden spilled over into other parts of my life. The following year I got an A+ in my English class, and by senior year I had planned an independent study at the SOS farm to do some season-extending experiments in the greenhouse. I was self-educating and self-motivating. I applied to college and got in! I would be the first in my family to go to college. I chose to study sustainable agriculture. The seed was planted and it took root.

Kacie Breault working in the garden It has been 13 years since the first time I walked down the path to Seeds of Solidarity. When I visit, I am overcome with so many familiar smells and feelings of hope, inspiration, beauty, busting life forces, and love. I have always been drawn back to my hometown to stay involved with the ever-growing education center and farm. SOL Garden instilled a sense of responsibility in me that motivated me to become an educator. Seeds of Solidarity is living proof you can succeed in doing what you love especially when your passion is to live a more sustainable and beautiful life. The SOL garden seed continues to grow through me and sends out new shoots every time I find myself working in the garden, especially with children.

Kacie still considers herself to be an SOL Gardener and always will be. In her words, “an SOL Gardeners’ work is never done.”

Civic Engagement, Job Training, Visual Arts, Voices

MA State House Testimony

January 17, 2014 Mark Smith Leave a comment

Rep. Sarah Peake with Cat Van Buren and Lukas Hernandez

On January 15, Boston Children’s Chorus and Art Reach at Provincetown Art Association and Museum were honored at the MA State House for winning the National Arts and Humanities Youth Program Awards by the President’s Committee on the Arts and Humanities. There, Cat Van Buren of Harwich, MA, spoke eloquently about the role an out-of-school arts program plays in her life.

Hi I’m Cat Van Buren. I’m a sophomore at Harwich High School on Cape Cod and I attend the Art Reach Program at the Provincetown Art Association and Museum… Going to Art Reach every Wednesday and Saturday are the highlights of my week because they allow me to take a little step back from school and other work that I have to do and focus on having fun and doing what I love. It’s a welcomed break from stressing. …

Cape Cod is just the small, flexing arm of Massachusetts and yet it holds a treasure trove of hidden talents, artists, and interests. Going to Art Reach allowed me to meet and befriend people I would not have met without this program “reaching” to us all. … It so surprising and comforting to know how many people on the Cape share my interests.

I am so happy I can go to Art Reach every week and do what I love. Drawing is my outlet for my imagination. If I could not do that I have no clue what I would do! Art Reach allows me to practice my trade and be with people that share my interests. It is an escape for young artists!

I think youth art programs are one of the most beneficial things that could be placed anywhere. Art Reach as one of them gives a creative and productive outlet to the students in it while allowing the feeling of social communion and acceptance. Art programs are a place to belong. It allows students to explore and express themselves in the world of art. With Art Reach I have definitely learned that art is what I want to do for my career. Learning about different materials and computer programs and utilizing them. I belong at Art Reach. There, I feel like nothing can get to me; everyone is just doing things they enjoy, swapping stories, and sharing techniques. It’s great. I am so glad I learned about Art Reach because without it I think I would just be bored, to put it plainly. Bored.

Without Art Reach I think my life would be black and white, but with it there is color!

Civic Engagement, Dance, Job Training, Performance, Voices

Giving What Was Gained

December 23, 2013 Mark Smith Leave a comment

Luis Sanchez, then (2008, age 14) and now (age 23). Luis danced with Ritmo en Accíon, a dance troupe sponsored by Hyde Square Task Force in Jamaica Plain, MA, for 3 years beginning in 2005. Recently, Harvard Graduate School of Education student Lisa Yolansky had an opportunity to sit with Luis as he reflected on his years with Ritmo “back in the day.”

Lisa: How did you get so involved in Ritmo en Accíon?
Luis: I used to take classes at the Brookline Community Center, and one of the people I loved taking classes with was the Ritmo en Accíon choreographer, Burju Hurturk. She asked me to join Ritmo, which was just around the corner from my house. Over time my involvement got bigger. I actually got to perform at the White House and at a Red Sox game.

How did the opportunities to dance at the White House and at Fenway impact you?
We were like, “Wow, we are actually important. We are really doing something huge.” I think that really made me feel like I could accomplish anything, and that I could accomplish something with dance even though not everyone felt like dance was that important.

Wasn’t the work at Ritmo viewed as important?
Yes and no. A lot of people undervalue the arts and the aid the arts give. Specifically to teenagers, you know? During my teenage years, everything was awkward, and I don’t think people realized how much stability the dancing gave me.

What have you been doing since graduating high school and leaving Ritmo?
I have a lot of projects going on, but my work at Charlestown Community Center is what I am most excited about. It brings back memories of what I got as a high school student out of Ritmo en Accíon and what I can have the teenagers I’m working with get out of my program. I am one of the dance coordinators and I’m working with other young people to establish a range of arts programs. That way we can build the students’ skills and tell the community, “This is what your young people can do.”

You said you want your students to get similar things out of your program as you got out of Ritmo en Accíon. What things did you get from your work in the arts?
The thing that Ritmo en Accíon did very well was providing us with an art that we loved, but also showing us that we had to work hard, have discipline and be responsible—that we can get good results for the effort that we’re putting in. And that carries over to school because if you put in that same kind of effort you’ll get good grades, get scholarships, etc. It was also really great to be a youth member of Hyde Square Task Force and to go out and do something for the community—teach classes, paint peace signs, and just being able to use my passion to help other people.

Do you have any advice for people working with youth in the arts?
Always take the opinions of the youth members seriously. Even though [the program leaders] have the broader prospective, the youth have the inside scoop on how to make it better and on what they want to get out of it.

What do you want policy makers and funders in the arts to know?
I want them to know that in arts programs in general, there are so many benefits. The United States in particular is really missing out on using the arts. All these other countries are using the arts to prevent crime, increase motivation, and so on. We are missing out because in the U.S. people say, “oh, it’s just an arts program” instead of looking at the powerful good the arts do.

Civic Engagement, Spoken Word, Voices

Slam Dunk

November 21, 2013 Guest Blogger Leave a comment

SLAMCAMP poet boldly shares her soul at Pittsfield’s WordXWord Festival slam 2013.

On my way to the first day of SLAMCAMP, I had plenty of time to doubt myself. What if the kids don’t like me? What if I can’t control their behavior? I’ve never actually slammed before… how exactly am I qualified to teach it? What if nobody shows up? What will I do if someone says something problematic? How am I going to do this by myself? By the time I arrive, I am an emotional mess. I take a deep breath, set up the room, and wait.

– SLAMCAMP creator Crystal Hope Garrity from her teaching journal

Over the past two decades, a network of seasoned administrators, managers, and teaching artists has been cultivated, and it is a great privilege to work with these colleagues. But it is equally important for the field, and a joy for me personally, to come across new and emerging leaders, as well. One such rising star is Hampshire College senior Crystal Hope Garrity. In the summer of 2013, Crystal secured a Community Partnerships for Social Change grant from Hampshire to run a slam poetry camp through the Northern Berkshire Community Coalition in North Adams, MA. Following is her reflection on the experience:

SLAMCAMP was simply the best thing I could have done with my summer.

Running SLAMCAMP was an intense learning process for me. I had to apply for the grant by making a budget and creating goals for the program. I wrote the curriculum and planned out the snacks and transportation and guest poet workshops. I also had to make a case that the program was designed to bring about social change. But the most terrifying part for me was the actual facilitation of the program. I’ve always been the second-in-command, the support. This time, I was the one in charge of everything and the person keeping the whole program running smoothly, and at first I was quite doubtful of my ability to do so. But I will never forget how relieved I felt when the young poets came bursting through the door that first day. Their excitement filled up the entire room.

Ten young women participated in SLAMCAMP. They all come from working class or poor families. A few had experienced life in the foster care system and homelessness. They all had beautiful tales to tell and songs to sing.

The program culminated with our participation as poets (not “youth poets” but “poets”) in Pittsfield’s WordXWord Festival poetry slam, and the night of the preliminaries was the best! We were in it together. The girls laughed and cried and shook in fear together. They slammed together and cheered louder than anyone in the audience for not only each other, but the other poets that they were competing against. Elizabeth’s poem, “Mapping Out Vaginas For Boys,” received so many laughs after every line that it put her over the three-minute time limit. Skye made it to the semi-finals with her touching poem that got a high score from even the toughest judge. I watched Jeannette’s entire face light up when her favorite poet, Jon Sands, gave her a hug and told her how much he loved her piece. It is moments like that that make the program truly worth it.

Thanks, Crystal, for sharing your experience—and welcome to the network. We are glad you are here!

Crystal Hope Garrity discovered her love of education and creative writing at the Berkshire Arts and Technology Charter Public School in Adams, MA. She is currently a senior at Hampshire College concentrating in Poetry, Photography, and Education and interns for the Youth Action Coalition in Amherst.

Juvenile Justice, Visual Arts, Voices

Self Portrait by “Tommy”

November 21, 2013 Mark Smith Leave a comment

I bought this piece last June at an amazing art show at The State House sponsored by the Mass. Department of Youth Services. (“Tommy” is an assumed name, to protect the artist’s anonymity.)

The piece drew me from across the room because it was familiar—it reminded me of so many young men I see on the T and around my neighborhood. I was also drawn by the drama of the color choices, and I was moved by the emotions revealed in those eyes. I knew I had to purchase the piece, though, when I read Tommy’s simple artist’s statement:

“I was really intimidated by this project, but I finally finished it.”

I love that I live in a state where there are art teachers within the Department of Youth Services. And I love that Tommy’s art teacher pushed him to do something really hard, and that the art teacher knew he could accomplish it, even if Tommy didn’t. And I love that Tommy stuck with it. But most of all, I love that Tommy had the courage to admit he had been intimidated.

Giving young people the opportunities and supports to succeed at things they couldn’t imagine they could accomplish—isn’t this what powerful youth development programs accomplish? And in the arts, the added benefit is that young people produce a powerful connection with others, whether they know it or not.

Tommy was able to work through his fears to create something very strong and beautiful. Now, hanging on my wall, I can look at Tommy’s work to encourage me to push through my own fears and get a difficult job done.

Thanks, Tommy, wherever you are.

Job Training, Theater, Voices

Impact: A Two-Way Street

November 19, 2013 Guest Blogger Leave a comment

Kate McGuire and Daryl backstage at the Colonial

Pittsfield’s Juvenile Resource Center (JRC), a collaboration between the Berkshire County Sheriff’s Office and the Pittsfield Public Schools, provides education, casework, counseling, and employment services to young people at high risk of dropping out of school. With the help of YouthReach funding, Berkshire Theatre Group (BTG) launched a partnership in 2012 with the JRC, using theatre tools to build confidence and communication skills while placing the young people in jobs throughout Pittsfield’s Colonial Theatre. Kate McGuire, Artistic Director and CEO of Berkshire Theatre Group, reflects on the partnership’s first year:

In the theatre, we learn to listen. For me, I was able to hear and understand the nature of these kids’ lives and learn about the challenges they face minute to minute.

At the beginning, there was so much noise. They were loud, and so aggressive towards each other in their language and sometimes, physically. By the end of the semester, we all learned to attend to each other, to listen more carefully. Order and calm and a real sense of joy set in.

The first week of the program, we went to see a movie. It was a disaster. I was amazed they didn’t get thrown out as they could not keep quiet, keep still, or keep their hands off each other.

Over the course of six months, we used actor-training exercises to encourage each young person to find new tools of expression and at the same time, sharpen our awareness of ourselves as part of an ensemble, a community. Meanwhile, BTG staff worked with each participant’s interests and ambitions to build custom internship experiences for each.

In the final week of this first year, we all went out to dinner. The youth were polite, well spoken, and we might as well have been celebrating Christmas. There was such a warmth and genuine care among us all.

We had accomplished something remarkable, and we were all aware that each one of us had changed, grown, and learned to care about each other and each others’ lives in profound ways.

The Colonial Theatre must be comfortable for everyone to walk through. We have succeeded with these young people. By the end, the kids were not a part of the BTG. They were integrated into the entire organization. Three of them continued through the summer: one in the box office, one onstage for Peter Pan, and one providing technical support. JRC staff noted the value in the relationship, and the region’s Sheriff lauded our work to one of our trustees.

Years ago I entered the theatre with the belief that we could transform lives profoundly. This work is serving that belief. What I did not know was how deeply I could still be impacted by the power of the theatre to help and change lives. I am grateful to the young people I have worked with through the JRC, and I can’t wait to meet a new class later this fall!

Kate McGuire
Artistic Director and CEO
Berkshire Theatre Group