I am not a novice with Social Media, dipping my fingers in various pots; even so, there are still many, many more pots waiting to be stirred. I’m also not a novice in regards to the arts and arts education.
I received the following from a FB acquaintance (thank you Susan Shatz), and knew I had to pass this on:
There are many people who live, breathe, eat, sleep, etc. The Arts (capital letters on purpose) but don’t have the exposure or professional gravitas which would give them the recognition that they deserve. They may be young in age, or “still new” in their respective turn at this part of their career. In Barry’s words:
Regular followers of this blog know that late every August I publish a list of the Most Powerful and Influential Leaders in the Nonprofit Arts. Most people understand that the list isn’t meritocracy based; it isn’t based on specific achievement or accomplishment per se; it doesn’t purport to necessarily identify the “best and brightest”, rather it merely identifies who has power and influence.
There has been some past comment that unfortunately the list excludes a whole cohort of serious thinkers – a group of younger (not necessarily chronologically younger) leaders omitted because their careers have not been long enough for them to develop the requisite power and influence the Most Powerful list embodies, and that there ought to be some mechanism that gives this cohort of leaders a voice and some recognition. They are, after all, our future.
If you are interested/concerned about the state of the arts and nonprofit arts, I strongly suggest that you click HERE for the full blog entry. I know I’ll be giving this some serious thought.
Opening up dialogue with new thinkers, the ones who are doing the work, who resist hearing & living “we’ve always done it this way”…this is one way to acknowledge those who might seem behind the scenes but need to have a more national, if not international voice.
Let me know what you think.
Thanks.
About Barry: Former Director of the California Arts Council; President of the California Assembly of Local Arts Agencies; Executive Director LINES Ballet. Author (Hardball Lobbying for Nonprofits – MacMillan & Co.; Youth Involvement in the Arts – 2 phase study for the Hewlett Foundation; Local Arts Agency Funding Study for the Aspen Institute; City Arts Toolkit), consultant, public speaker. Barry’s Blog is a service of the Western States Arts Federation (WESTAF). The opinions expressed here do not necessarily reflect the views of WESTAF.
I’ve heard that since I was a child, and a statement that was reinforced not only by my parents, but grandparents, teachers and mass media (although, in the early 60’s, mass media was nothing like it is today). Elders used to be those we looked to to run the family, supply support and leadership, hear the history of the family, and to pass along traditions, both familial and often religious ones.
Now, we need to fight for respect for any elder, more times than not.
Vitality, purpose, health (both physical and mental), self worth, connections with others. These are only a smattering of things that can be accomplished when our older citizens are not talked down to or dismissed.
In Part Two, I wrote about the other group that presented during the Open Opera Conference: Creative Resurgence. Today, I’d like to present the work that I was honored to be part of:
Zach Redler (composer/pianist) and I (creative drama/creative writing) were brought onto a grant funded project by Laura Day Giarolo, Director of Learning and Community Engagement for OPERA America. Working in conjunction with Project Find in NYC, Zach and I were brought together on creating an ensemble musical experience, stemming from the life stories of our participants.
We discussed our program: at a senior center in the upper west side of NYC, for sixteen (16) weeks, we were allotted an hour and a half, once a week, to meet with our group. In May, we had a culminating “work-in-progress” performance of songs and short personal story bites as performed by the elder group we had worked with.
What was lovely were the connections the group made with each other. In sharing their stories, both in small groups and large, they found commonalities: this was not a homogenous group in regards to nationalities, only in age group. New friendships grew out of the process. Many, if not all, were asking when we would be coming back, doing this again, continuing the work we started. That, to me, is the success. They were energetic, bright eyed and happy…and in the end, that should account for a lot.
The beginning sessions were split in half between music and storytelling/writing.
Zach introduced musical concepts and structure that served our performers well: he gave them not only rehearsal material, but strove to deepen the understanding of what was being created, how it all fit together, and how it can evolve. As the process continued, many of the participants continued to contribute, offering key or tempo changes that only strengthened the songs. Zach was gracious throughout, adding what worked and then building on it. During the rehearsals, Zach modified his conducting style for the comfort of the group, finding new ways to bring them all together when they were getting nervous as the performance date got closer.
Starting off with a story game the first week, we dove into writing personal stories the following week. From there, I introduced a Japanese poetry form, a Tanka, that I felt would help them self edit their stories to the story beats. A Tanka is where Haiku’s came from: a longer piece, it has five lines instead of three. In American English syllables, a Tanka form is 5-7-5-7-7. This was a challenge for some of the elders, but the majority worked well with it. By this point, we had them working in small groups; Zach would then take these works and, with the whole group, start creating the songs for our performance.
Zach’s musical safe environment to work was continued in what I did. Seeing that some judgements were being made of others in our first session, I introduced the Liz Lerman Critical Response Process, which I’ve used with just about every age group I’ve worked with. If you click on the link above, you’ll find the full details: you start off with positive affirmations (“I liked…”; “I appreciated…”), and the only thing the presenter/performer can say is “Thank you.” Other sharing critique is asked for or garnered, creating a very different form of peer level support and notes. Critique is to help each other grow, not to tear someone down, and for the most part the members of the group were diligent in following these rules.
Time was our enemy in that we didn’t always get the full allotted time scheduled (due to other programs going on in the center) and in the way Zach and I planned out the program. We needed more rehearsal time then we thought we would, and I know I should have better time management in getting the stories to poetry. Hopefully we will get the chance to do this again and learn from it.
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In Part Four of Creative Aging and the Arts, I’ll be discussing the responses/reactions of the attendees from the full day seminar, reactions from these posts that I have received, and ideas of where to go from here.
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ATTENTION:
I am available for consulting on Inter-Generational Program Development
“There is a fountain of youth; it is your mind, your talents,
the creativity you bring to your life and the lives
of the people you love. When you will learn to tap
this source, you will have truly defeated age.”
The creative arts should be, to me, flexible and adaptable. Embracing new concepts, moving along with the social/economic/political spectrum, can allow new discoveries as well as keep things afloat. What good is it if you master your art, stick to that one idea, but the times have left you behind?
Arts administrations need to do the same, as the economic landscape has changed so drastically in the last five+ years. A new, or renewed, interest in Life Long Learners can be key in keeping organizations going well past the base of the school ages that many focus on.
What was inspiring to me was participating, through OPERA America, a section of the Open Opera Conference: Creative Resurgence. Opera companies are looking at involving the older adult population in more ways than just filling seats. A number of opera companies from across the US and Canada attended this day long workshop/program on Creative Aging, with many of them already utilizing interactive, participatory programs.
Storytelling is one of the primary arts disciplines that seems to be in wide use: delving into true life testimonials, musical works have been formed, from revues to full mini-operas. Being part of the creative process, the participatory input ranged from storytelling and writing to either performing the work or having professional singers enact their life stories. The librettos ranged from true life to fictionalized non-fiction.
In Creative Aging and the Arts (Part 1), I spoke about our morning session with Ms. Susan Perlstein, an advocate for the creative aging movement, and is the Founder Emeritus for the National Center for Creative Aging (NCCA). In the afternoon two groups shared with the assemblage two recent projects that had just been completed: the pilot project I did with my musical collaborator Zach Redler for OPERA America, and Opera North’s latest operatic collaboration with an elder population.
Presentation: Transitions: Sung Stories
Opera North, Inc. worked with NewCourtland (a service for older adults) to produce Transitions: Sung Stories. Gathering oral history from Philadelphia, PA elders, Jules Tasca (Librettist) and Leslie Savoy Burrs (Composer and Executive Director of Opera North, Inc.) created a moving story that stemmed from the real life interviews.
Relating the details of the process to the group, both Mr. Burrs and Mr. Tasca laid out a professional program that produces positive results. In a video that showcases Mr. Burrs, we got to obverse how he interacted with a group of physically challenged elders. Working with a variety of percussive instruments, the participants helped lead Mr. Burrs, wielding a flute, to compose one of the pieces that became part of their opera.
What was apparent, watching the video, was how involved and engaged everyone was. No one just sat on the side, a spectator. This was a vibrant community coming together for a project that celebrates their lives, and also celebrates the worth they still have in the greater society.
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In Part Three of Creative Aging and the Arts, I’ll be discussing the work that I had the pleasure to experience with our group as well as responses/reactions of the attendees from the full day seminar.
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ATTENTION:
I am available for consulting on Inter-Generational Program Development
as well as Project Management/Facilitation
I am willing to travel or work over Skype with your organization
What is your first thought when someone mentions a Senior/Elder Center or Nursing Home?
Did you envision the elderly sitting around, doing little, just passing time until…? Did you see them as audience members at a performance, or just sitting around large round tables eating? Were they napping, or just gazing off into the distance, seemingly not connected to their surroundings?
Hopefully those days will be behind us as a new awareness is sinking in. Actively engaging the growing elder community is key to the growing number of organizations that work with this population. Inter-generational programming (from the 50’s and up, as the baby boomers join the elder sector) is being spoken of across the United States in all areas of the arts.
I was invited to be a Guest Speaker for OPERA America‘s Creative Resurgence conference, speaking to those opera companies (from Canada and the US) whose education departments reach out now to the centers, nursing homes, group homes and special organizations that cater to the older adult. A number of them make partnerships with libraries as well, helping build connections in their communities.
I was asked to attend this conference due to my recently completed pilot project with a senior center in NYC. We had worked on creating a musical experience crafted from the personal stories of our participants. I will talk more about this in the next part of this series.
Ms. Susan Perlstein, an advocate for the creative aging movement, led the day with the credo “Embrace This Moment!” Ms. Perlstein is the Founder Emeritus for the National Center for Creative Aging (NCCA). By the year 2030, it is anticipated that there will be over 70 million people over the age of 65, and that the number of those over 85 will double. There is also the chance that many will have to work, if possible, past what we normally determine as retirement age due to the economic realities we face.
There is evidence based research, as first conducted by The Research Center for Arts and Culture (RCAC) that has shown that interactive, participatory arts programs with the older person promotes a vitality in the aging process, helps to build vibrant communities, and has positive results in both the physical and emotional states of the participants. Dr. Gene D. Cohen, the primary investigator of the research, stated that “Art is like chocolate to the brain.”
Entering into fairly new territory in the arts is exciting in the different challenges it gives to professional teaching artists and arts organizations. The methodology we’ve used for youth programs has to be modified, and in many cases whole new approaches have to be discovered for successful programs for those participating. Understanding the various cognitive and physical changes that go on, and embracing the life history and stories that the elders bring with them are only the tip of what needs to be explored.
In Part 2, I will discuss more of my work in the field, and some observations from the conference attendees.
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ATTENTION:
I am available for consulting on Inter-Generational Program Development
as well as Project Management/Facilitation
I am willing to travel or work over Skype with your organization
As of May 5th, 2012, over $419,000,000 (that is 419 MILLION US dollars) has been contributed to all candidates to run for the position of the President of the USA. Combined, not just one party, so I am not playing favorites here.
$419,000,000
Instead of bombarding us with ads and campaigning, wouldn’t it be lovely if that amount of money went somewhere else…oh, like say create or keep 8,038 teaching jobs (at $50,000 for the school year) for one year, or over 11,000 jobs paying as low as $35,000 a year?
Yeah, drop in the bucket, one may say…but to those 8,000 to 11,000? No, it would be a big deal.
Hard to judge who should get it, where it should go, etc etc etc…yes, it is, especially with so many out of work: According to the Bureau of Labor Statistics:
Household Survey Data
Both the number of unemployed persons (12.5 million) and the unemployment rate (8.1 percent) changed little in April
Splitting all that money amongst all unemployed would only garner a check for $35.52. Not much of a help for anyone (well, for someone starving…).
I would rather see that money at least go to something good, something that would be helping others.
I would rather the President’s $191,000.000 fund education, or the Arts (yes, my personal bias: those in the arts need to live too), medical/health care, anti-violence/hate crime programs, the elderly, or something that would help other people. Better that then take up advertising time, spin negative ads against Romney, and such.
THAT would be the person I want running this country. Raise money from those who are fighting being taxed fairly and use that money for the common good.
No religious, political or personal agenda: just helping others.
One of the most disturbing things that I have heard from a student was:
“Why should I try? I’ll only be working at McDonald’s.”
I was an Artist-in-Residence for a year for a large school district in Westchester County, NY. Still early in my profession, that statement was both a shock and a revelation of a point of view I had never considered before: low expectations given, and projected; leading this student to live that that is all they can do. The young lady who said that to me was in a ninth grade repeat class. Most of them, I was told much later, were on their THIRD repeat of ninth grade.
Yes: she was a third timer.
It was not that working at McDonald’s is such a negative job, but the expectation of that is all she could expect in life is. There are jobs that many would never consider ever doing in their lives as “beneath” them; there are people who feel that there are jobs that are forever out of their reach.
I worked at a private Prep school (the capital P is on purpose) for five years. They were a usual sort of kids, except for one basic thing: their parents had power (=Money). Money enough to afford the very high K-12 tuition. If I remember correctly, all of these students went on to Ivy League universities , or “back-packed” across Europe, before coming back to such schools.
Were they born smarter, more diligent? Driven, yes, by their parents status. Academically as well. They were not taught to pass a test as the NYC public schools are (and have been) but really had a well rounded curriculum.
I’ve already written, a number of times, about this inequality in teaching. If Bloomberg and other mayors really cared, they’d look at the educational platforms that these private schools use. Yes, money pushes those kids along. We can’t fight that, but…we can elevate the level of how students are taught, what the curriculum is, and the entire structures of schools. I wrote about some ideals of mine in What Constitutes Education? and also in Public vs. Private Schools (there is a comparison of NYC schools and the same private prep school mentioned above…hopefully, it’s eye opening).
The other part, and it is a huge part: The Parents.
Parents have to be involved. Not just in making sure that their kids do their reading/homework, but support them, encourage them, take the time to invest in what they are learning, get involved in outside of school learning (excursions outside of their neighborhood)…being parents, not just adults whose house the kids reside in.
So, the next time you see your lawyer go to a McDonald’s drive through (or his/her aide), think of who is doing the ordering, and who is serving.
Taking a short hiatus from things can be good, now and then. I’ve wondered what to do with this blog: the guest posts have given me a wonderful respite, allowing me time to get better as well as well lend time to write when I felt like it, as opposed to just churning out something to post.
So…a huge thank you to all who have already guest blogged here, and to the ones that I still have in wait. I’m going to set up that schedule soon.
As to right now, I again find myself questioning directions for the next segment of my life. I am tired of all the negative chatter that surrounds us; doing something, anything, is preferable than sitting in a corner (to me). I am not sure if this is the proper forum for achieving any goals.
Is blogging just another Tower of Babel?
I took on the mantle of blogging just a wee bit more than a year ago: “get an internet presence!” was what my (then, hopeful) agent said to me, as well as others. In that year time, I am still not sure what greater good this has done for me or anyone else. So…
Now that I have that down, I need to take another step back, post the guest posts I have in hand, and figure out “What Comes Next.”
One thing: I commented on Bonnie Copeland’s (My Rivendell) The Foundations of Character post about what I feel breaks down character. I do think we are lacking in character, overall, and bend to who shouts the loudest. I called it a “non-community of yellers”, the age we’re living in.
Listen—really listen to someone’s POV. Place your own concerns aside for the moments it takes to really click with where someone is coming from. Communicate back: don’t condemn, place judgement (moral or religious or political) and LISTEN. Ask questions “Why?” or ask for clarification.
Does it take time? Sure, a bit more. But…we’d all be better off if we agreed to really hear what someone else has to say, really try to care why they feel that way.
Thanks for all of your support. It DOES mean a lot.
Do you: Go with your gut reaction? Weigh the pros & cons, and come to a decision you can back up and justify? Do you follow what your friends/family/confidants say &/or do, without question? Do you go against what you believe due to outside pressure?
On my way home from a great Interactive Theater workshop in NYC, I turned on the local NPR station (WNYC 93.9 FM). The program This American Life was on, and just in time: I had been hearing the teasers for the program and was hoping to catch it. A group of 5th graders (ten/eleven years old) were undergoing an amazing Process Drama:
“What if, say, the U.S.-led invasion of Grenada in 1983 had been decided, not by Ronald Reagan, but by a bunch of middle-schoolers?”
The students were led on an amazingly detailed program. Three rooms were set up for them: a press room, a command center, and the President’s office/war room. Split into three groups, the students were in role, being asked to make the hard decisions that adults with “experience” in these matters had struggled with almost thirty years ago.
I don’t want to spoil it for you. I included the link above (first one) so you can listen to the program (there are two other “acts”: one with a 14 year old discussing Global Climate changes and a school in Brooklyn that is governed by…the students). I hope after you listen you’ll come back here and leave some comments.
The second link is from the blog Woman Wielding Words about an amazing experience with practicing drama with kids from a very different culture.
The third link: really, the nuts and bolts of what I love to do with students: have them make personal discoveries and to think for themselves. Weigh it all out, find out what they feel is right or wrong, and then also look at how someone else see’s the same situation; How it is sometimes hard to make a decision at all.
There are applications for Arts in Education in all core curricula, as there is in Art in all aspects of life. That is part of what creativity comes into play.
Since the middle of October, I’ve been asking people across arts disciplines and other careers to answer a few basic questions about creativity in their lives, how they use it, how it impacts them and/or others.
Only a few educators answered my call.
Now, the easy answer is that creativity is being deleted from many schools. Many Arts-in-Education programs are being terminated; new ones are rarely appearing. Arts organizations are scrambling for grants as the schools are losing the fundings they’ve had to bring in Teaching Artists.
I don’t believe that the only creativity comes from the Arts classes: theater, music, dance and fine arts. I feel that a good teacher finds creative moments daily, when the student surprises them in a positive or negative way. Finding learning moments, working around the boundaries that seem to hamstring some, how they find creative life outside of the classroom and use it…I’m only touching the topic here.
So…why have so few educators answered my call?
Busy? Sure, I do understand being busy. There are times I’ve got so much on my plate it IS overwhelming. Forgetting? Oh yeah, that happens too. Life happens. I get it. (BTW: I asked for 300-600 word essay; this post is 319 words and took me a half hour: just saying)
Now that schools are coming to a close for the holiday break, I do hope to see some of the guest posts promised and maybe a few unexpected ones, not just from people in the arts but outside of it, who find creativity in their lives, whether it’s in their career or daily life outside of “work.”
Personally, I feel there is a LOT of creativity in Education, and it extends far beyond a classroom. Learning happens far beyond a school setting, and it should be life long. I know I search for new things.
Open your eyes.
What creative educational moments do you find in your lives?
“This week, Kurt Andersen asks: can computers make art? And if so, when? Will it be any good? We’ll meet a program named AARON that’s been painting for nearly 40 years, a filmmaker who replaced her editor with an algorithm, and professor who thinks what computers need is more Shakespeare.
It’s 4pm, and I’m in my car. I put on WYNC, the local NPR station, and the program Studio 360 begins. The question that starts the show is “Are Computers Creative?”, and the first thing you hear is about a computer named Brutus that is writing a novel.
What?
Well, the creator of Brutus goes on to say that all Brutus is doing, through its algorithms and pathways and thingamajigs is a copy of what he and the other programmers have, well, programmed it to do. It’s aping the apes, so to speak.
Then there is the inventor of The Creativity Machine, Stephen L. Thaler, Ph.D. An A.I. (Artificial Intelligence) computer that he states that yes, machines CAN be original and creative, and they have the machine to prove it. They just send a jumbled signal through, and it produces music and more.
Then there is AARON above, that has been painting for almost 40 years (photo on the linked page); a machine named Darci that judges Art, and…well, the program link is above. Just click on the title and it will take you to the Studio 360 page. Well worth the listen.
bornstoryteller 