Ypulse Youth Marketing Mashup, May 24-25, 2010

The 2010 Ypulse Youth Marketing Mashup is where top brand, corporate and social marketers, media professionals, educators and non-profit organizations gather to share best practices, research and latest strategies on marketing to youth with technology.
The Ypulse Youth Marketing Mashup Event takes place May 24th and 25th at the Hotel Nikko in San Francisco, CA.
For more information, visit http://mashup.ypulse.com/.

The Smithsonian Latino Center’s 2010 Young Ambassadors Program / Summer Leadership Development Program — Apply Now!

The Smithsonian Latino Center is pleased to announce the open application season for the 2010 Young Ambassadors Program. The Young Ambassadors Program is a national, interdisciplinary leadership development program for high school seniors. The mission of the program is to foster the next generation of Latino leaders in the arts, sciences, and humanities via the Smithsonian Institution and its resources. This program is made possible through the generous support of Ford Motor Company Fund.
Students with an interest in and commitment to the arts, sciences, and humanities as it pertains to Latino communities and cultures are selected to travel to Washington, D.C. for a week-long, leadership development seminar at the Smithsonian Institution. The seminar encourages youth to explore and understand Latino identity and embrace their own cultural heritage through visits to the Smithsonian’s Latino collections and one-on-one interaction with anthropologists, artists, curators, historians, scientists and other museum professionals.
Following the training seminar, students participate in a four-week interdisciplinary education internship in museums and other cultural institutions in their local communities, including Smithsonian-affiliated organizations.
Participation in the Young Ambassadors Program is underwritten by Ford Motor Company Fund and includes meals and accommodations for the duration of the one-week training seminar, round-trip travel costs to Washington, D.C., and a program stipend. Students selected are responsible for all expenses during the four-week internship, including transportation, accommodations, and meals.
Upon completion of the 5-week program, participants will receive a $2,000 program stipend towards their higher education. Students that do not complete the seminar and four-week internship will not receive the program stipend.
The deadline to apply is April 7, 2010. For further information and
application guidelines and to apply, please visit http://www.latino.si.edu/programs/youngambassadors.htm or contact Emily Key, Education Programs Manager, at 202.633.1268 or by email at slceducation@si.edu.

Greater Boston Area | Part I • Volume 4 • Issue 1


Welcome to YMR’s first issue in 2010, documenting the Greater Boston Area “Investigating Youth Media Practice,” with support from Open Society Institute.
Practitioners in the Boston area are a fantastic group. Many are part of RYMAEC, a consortium of youth media educators, which you can read more about in this issue.
About 25 people gathered at the Institute for Contemporary Art (ICA) on January 8, 2010–thanks to Joe Douillette, YMR’s newest Peer Review Board member–to talk about the challenges, experiences and insights to youth media happening in Boston. Because so many attended and aim to participate, the Greater Boston Area will be split in Part I and Part II (out April 15).
In this issue, you will find that Boston youth media have an interesting landscape to navigate. In particular, race issues; bridging the divide between Universities and local community members; mediating between different neighborhoods and stereotypes; partnering with health providers to make local change; using different mediums like graphic design; and, balancing the process of creating media with the demands of a youth-led film festival.
A warm thanks to all nine contributors for their dedication and hard work:
• Wendy Blom (Somerville Community Access Television, Next Generation Producers)
• Angelica Brisk and Maura Tighe Gattuso (Arts Bridge, My Allston Brighton)
• Joe Douillette (RYMAEC/ICA)
• Eryn Johnson and Melina O’Grady (Do It Your Damn Self!! National Youth Video and Film Festival)
• Alison Kotin (The Urbano Project, Teen Graphic Design Curators)
• Joanna Marinova (Press Pass TV)
• Susan Owusu (Youth Voices Collaborative/Wheelock College)
A special thanks to Christine Newkirk, senior program associate at AED who edited and coached writers in this issue. Many thanks to YMR’s Peer Review board for giving helpful feedback to each writer.
And, applause and thanks to Joe Douillette, the director of the Fast Forward program at ICA and founder of RYMAEC, who was instrumental in organizing and leading the cohort.
We welcome you to join the conversation for each of these articles using YMR’s “comment” feature. You can also send feedback or comments directly to idahl@aed.org. If you are interested in posting a pod or vodcast response, please contact YMR’s media crew or email idahl@aed.org.
To reserve your copy of YMR’s up-and-coming release of the annual print journal (Volume 3), you can subsrcibe and purchase via credit card or by check.
Warmly,
Ingrid Hu Dahl, Editor-in-Chief, YMR

Youth Media Reporter is managed by the Academy for Educational Development

Health-Related Teen Media Partnerships

Somerville is a densely populated city of 77,500 people in the Boston urban area. Its residents are a mix of middle class, well-educated young professionals and low income, immigrant families with children in the public schools. The students must deal with issues of acculturation as well as the mainstream American problems of alcohol and substance abuse, gang involvement, teen pregnancy, depression, obesity, and domestic violence.
The City of Somerville and youth-serving organizations in the city have been proactive in dealing with these problems, especially since 2004 when a rash of student suicides shook the city. As a result, the city now provides after school activities, many grant-funded, that deal with educating youth about how to make healthy choices. Federal and state grants are available for youth projects that deal with substance abuse, and many urban social service groups use these grants to fund projects.
As a result, we’ve seen some important changes. For example, Somerville youth have seen underage drinking decline among middle school peers by 50% over two years since they began working with the Health Department and Somerville Community Access Television on community outreach, including media projects that reach their peers via cable TV and the Web.
Youth media in partnership with health providers truly are making a difference in our community, benefiting young people and increasing the overall effectiveness of the field.
Next Generation Producers
As a public access center, SCATV’s mission is to provide a free speech venue for the city on cable TV, providing equipment, facilities, and training to produce programs for the Channel. Youth media is an integral aspect of the mission, as youth rarely have a voice in mainstream media, and the images they see of urban youth are often negative. Next Generation Producers (NGP) is the youth media program of SCATV, which aims to give teens the tools they need to express their world using up to date media technology.
NGP has worked on health-related media programs with teens through a variety of partnerships, including the Boys and Girls Club, a Latino immigrant support organization, a counseling center, an anti-poverty organization with a Latino youth group, and most consistently with a youth group of Somerville Cares About Prevention (SCAP), a community based coalition supported by the Somerville Health Department.
NGP has found these collaborations an excellent way to help achieve citywide goals of having healthier young people, which in effect, increases the value of SCATV to the community. I will focus on the partnership between SCAP and SCATV as a case study as it has been the most frequent and successful.
A Working Partnership
The mission of SCAP is to bring together and mobilize the diverse community of Somerville to prevent and address issues associated with substance abuse while promoting positive mental, spiritual, and physical health, especially among youth. Their youth group is called Somerville Positive Forces (SPF) and its mission is to empower youth to make healthier decisions regarding the use of alcohol, tobacco and other drugs.
Since 2007, SPF and NGP have worked together to produce public service announcements, magazine shows, and short original dramas on the topics of underage drinking, prescription drug abuse among teens, and depression.
SCAP benefits our youth media efforts because they diversify our pool of applicants, further uniting young people across cultural groups that might not have a similar opportunity in school settings; and, SCAP issues an annual high school student health survey to follow the rates of alcohol and drug use, depression, and domestic violence in the lives of teens (see: http://www.somervillema.gov/CoS_Content/documents/SomervilleHS08_ExecutiveSummary.pdf). Working with factual percentages related to one’s community is powerful for the young people we serve.
SCAP sees media production, which we provide, as a tool for getting their message out and directly affecting young people through their prevention efforts. For example, for a recent NGP project, students videotaped a skit of a peer saying no to alcohol among a group of friends, representing the statistics in clear graphics throughout the piece. The piece was powerful for both the youth producers and the audience; and, it gave SCAP a direct means to get their message across to a target demographic.
Besides the efficacy of the message, a key to the success of the partnership has been the funding that SCAP receives to support their work at SCATV. SCAP’s primary funders are the Federal Substance Abuse and Mental Health Services Administration (SAMHSA) and the MA Bureau of Substance Abuse Services (BSAS). According to the Director of SCAP, the funders appreciate the wide distribution via cable TV and the Web of the health-related messages that our youth produce.
SCAP contracts NGP to guide the media production aspects of the program, usually providing about $2,000 for a ten-week workshop. NGP has its own cameras and laptops to use for production, and two staff members who are dedicated to the program for a portion of their hours. SCAP has an adult leader who works with the teens as well, keeping the projects on target with the information to be presented. In addition to learning production skills, speaking in front of groups, and conducting interviews with strangers in the streets, teens begin to believe in the positive impact they can have on the local community using media.
Suggestions to the Field
If you are able to identify a health provider that is interested in partnering with your youth media organization, consider emphasizing the win-win partnership that this article highlights. The topic of health is a popular and growing trend and youth media and its distribution capabilities are increasingly attractive to many of these providers.
Consider networking with other youth serving organizations to determine if they have received health-related grants for programs that could incorporate media elements. Suggest co-authoring grants with these organizations.
Once you establish a partnership, here are a few important tips to be mindful of:
Research what health issues are the most important to teens in your community. Have a group advisor on board who is knowledgeable about the topic so that the projects are factual and relevant.
Make sure that the media production skills you offer are interesting and fresh. One challenge we found is that we needed to keep our media technology and instruction hip and new to keep the teens invested. Encourage participants to experiment, to write more abstracted scripts, and even incorporate stop-motion animation. Statistics presented in graphics are effective and give authenticity to the projects—they can be used in multiple creative ways.
Distribute the end projects far and wide through all means of distribution available, including live screenings, cable TV, Facebook, YouTube, and community websites. Enter videos in film festivals to gain recognition for participants, further spreading the information and message forward. This not only helps inform a wide array of viewers but also encourages health-providers to sustain partnerships with youth media.
Next Steps
It is in the best interest of youth media programs to seek out partnerships with youth-serving organizations in their communities to produce health-related media projects, attracting larger partnerships with local and national health providers. We have the right tools, approach, and methodology to make major changes in the areas of health education and access, which will enrich our communities and the young leaders in our programs.

Wendy Blom is the executive director of Somerville Community Access Television in Somerville, MA. She has an MA in Mass Media from Emerson College and an MA in Theater Arts from the University of Colorado. Blom has been active in public access television since 1997. Previously she served as Community Programming Director for the Lowell, MA access center, and as Outreach and Education Coordinator at Boston Neighborhood Network.

Uniting a Neighborhood: Youth Media as a University-to-Community Bridge

Known for being the heart of Red Sox Nation and home to much of the U.S.’s history, Boston is undoubtedly a college town. More than 100 colleges and universities surround Greater Boston. Higher education is one of the largest employers in the city and owns significant quantities of real estate. Because of this, residents often have a conflicted relationship with these massive institutions.
In spite of Boston’s positive assets, a tension exists between the various members of the community—especially between long-term residents and the universities. As a result, large institutions are searching for ways to work with area organizations and schools, creating targeted grants to increase cultural and educational resources for the neighborhoods.
Boston College, Boston University and Harvard University, while seen as a source of aggravation also have enormous potential for institutional partnerships. Locals like us who attended these schools wonder how we can connect the amazing brainpower, resources and funding from these institutions with our communities. This article outlines the process of, and progress we are making, in creating new alliances within one of the most embattled neighborhoods of Boston.
About “My Allston Brighton”
Allston Brighton, is a section of Boston, MA. The residents of Allston Brighton are as diverse as they come; artists, recent college grads, deeply rooted families, new immigrant families, the elderly and youth. It is a neighborhood with innumerable stories to share.
Despite the fact that several important production companies and a handful of radio and television stations are located in Allston Brighton, including WGBH (the flagship station of PBS), and Brighton High School (which has offered a media production track to juniors and seniors), there is still a large discrepancy between the access to arts/media education available to Harvard students and that which is available to the community surrounding the University.
In response to the lack of arts/media for urban public school youth, the Boston Public School (BPS) Arts Initiative encourages urban education leaders to look outside the system to teaching artists and community arts organizations to fill the void. More funds are being pledged to promote partnerships with arts organizations, including youth media educators, creating new opportunities to connect media programs to funding.
Allston Brighton Arts Bridge has been able to identify a way to promote youth media education that serves the dual roles of providing arts experiences for urban students and communicating across the growing tensions between Harvard and the neighborhood. Allston Brighton Arts Bridge’s pilot program “My Allston Brighton” is a case study of an urban teen arts program that works to unite the local community among itself and with Harvard University through offering arts experiences. As an organization, we have personal and professional ties to the neighborhood.
“My Allston Brighton” is designed to teach members to tell cogent and compelling stories about their lives and their neighborhood. Our goal is to build individual and community identity through this pilot program. It is not only a response to the dynamics of a neighborhood, but also to the overwhelming lack of arts education available to Boston Youth. Interestingly enough, Harvard Allston Partnership Fund, is the main funding source for “My Allston Brighton.”
Case Study
Rachel, a participant in our program, made a documentary of her favorite creative places in Allston Brighton as an effort to dispel the myth that the neighborhood belongs to college students and the elderly. It is one of four projects being produced by the members of My Allston Brighton and demonstrates the fact that behind the scenes, the work of youth media enables us to meet our central goal: to bridge or connect members of the community through new creative media.
We see Rachel, a young woman connecting to other youth, to area resources, and experimenting with new art forms. She explores places she has never been—like the West End House, a chapter of the Boys & Girls Club. “I never knew this existed!” she expresses. The process of documenting the local community and organizations supports our collective efforts. Now, Rachel is a proud member of West End House, taking drum lessons and meeting new peers.
Call to the Field
At Arts Bridge, we are navigating the challenges of serving the local community, balancing an arts/media experience for urban teens, and acting as a mediator between Harvard and local residents. Connecting theory and academic research to practice allows us to create and refine quality programs. In the future we plan to expand new creative media experiences in the neighborhood and to build sustainable collaborations. As one of our youth producers explains, “The neighborhood needs us, cause we’re creative.”
Many institutions have identified the need for more arts in our culture, both within the campus and among the communities they exist in. We encourage youth media educators to seek partnerships with local institutions. Long-term community building is the key to success. Funding is crucial, but partnerships do not have to be tied exclusively to dollar signs, for each stage of a youth media project is an opportunity to enhance partnerships and build community.
Youth created media is an opportunity to help teens connect with and serve their community, filling the divide within neighborhoods. Allston Brighton needs young people to bring out the many players in the community: not just college students or the elderly, but political representatives, business owners, artists, and other teens. Youth media makers allow the community an occasion for reflection, evaluation and celebration. Everyone in the community is a potential partner and has insights to offer.
Despite the looming challenges of recruitment, curriculum development and time, we recommend that the field actively seek out collaborations and partnerships with local actors and with universities. Youth media can act as a bridge between universities and the local community—an unmet need found nation-wide.
Angélica Allende Brisk is an award-winning filmmaker, producer, editor, and teaching artist currently teaching at Cambridge Rindge & Latin High School and the lead instructor for My Allston Brighton. In production she has worked for American Experience, La Plaza, Curious George, Zoom, Postcards From Buster, Peep and the Big Wide World, Nova, Blackside and with a several independent filmmakers. Her latest film Hyman Bloom: The Beauty of All Things will premier at the Museum of Fine Arts in March 2010. She has taught at The Workshops in Maine, Simmons College and in a variety of afterschool programs around Greater Boston. She is a former president and board member of Women in Film and Video in New England, and current President of Tied to the Tracks Films, Inc. a woman owned documentary film company.

Maura Tighe Gattuso is the former owner of Maura Tighe Casting and has worked on feature films, independent films, and noted educational television shows such as “Zoom,” “Fetch with Ruff Ruffman” and “Design Squad” for WGBH. She has directed professional theatre in New York City, taught stage and film acting for over 20 years, worked as a drama teacher in a public high school and is the founder and Executive Director of a thriving, neighborhood 501(c)3 educational non-profit youth theatre on the South Shore. She currently teaches film acting at Emerson College and Boston Arts Academy and has appeared as guest lecturer on the film industry and acting at Brandeis University, UMass Boston, and other area colleges. She is a member of Emerson College’s Alumni Board of Directors, and a former board member of the Massachusetts Production Coalition.

Building the Youth Media Arts Community in Boston: A History of RYMAEC

With many divergent philosophies, funding priorities, field-professionalizing efforts and screening venues in the greater Boston-area, it has been a challenge to identify the core community of youth media practitioners.
As a group, we have struggled to determine our common goals and needs, and how to identify to the public who we are and what makes us unique. I have been intrigued by this challenge since I began working in the youth media field as a Boston-based professional in 1993.
But, in 1997, a youth media consortium was birthed.
That year, I was working at the Community Art Center running the Teen Media Program and the Do It Your Damn Self!! National Youth Video Festival. The local youth media field, at that time, consisted of about six agencies and individuals who were working with youth in various settings.
The Massachusetts Cultural Council was funding most of us through its YouthReach program, and the New England Film and Video Festival (NEFVF) still existed through Boston Film and Video Foundation (BFVF). Three of the youth programs still exist today, but neither NEFVF nor BFVF survived.
After many conversations with Jared Katsiane, one of the youth media practitioners, we agreed it would be beneficial and fun to have our students meet regularly and share their work. The result gave rise to the Reel Eyes Consortium, a traveling presentation of youth work that screened in each of the youth programs’ neighborhoods or institutions, culminating at the Museum of Fine Arts.
In those days, egos in the field were big, as the field was fresh and more funding was available. To prove your program was the most deserving was sometimes weighted more heavily than community building for the welfare of us all. For this reason, the consortium dissolved, and Jared and I vowed not to put effort into it again until the climate changed and funding was available for the consortium itself. We continued to work together unofficially, as we had been doing prior.
In 2003, I left the Community Art Center and decided to leave the world of youth media, returning to school. Yet, a week later, I applied to and was hired to run the Fast Forward Teen Video Program at the Institute of Contemporary Art (ICA), where I currently work.
Shortly after I started at the ICA I suggested that the institute support a youth media consortium. The ICA agreed, and began to support the consortium first, as a fiscal sponsor, and eventually as a part of the ICA’s program budget, as part of a 3-year Wallace Foundation grant.
Together, the consortium established an advisory group, created a website, and formalized our mission, which is: “to create a community of Boston area individuals, organizations, and community-based groups committed to supporting and strengthening the youth media arts field through exchanging information, resources, and youth-produced media.”
With its latest iteration, the Regional Youth Media Arts Education Consortium (RYMAEC), in discussion to be a permanent program at the ICA, we have discovered the benefits of being affiliated with a large cultural institution while simultaneously we grapple with how that relationship influences the practice and perception of the community.
At the same time that I was excited to finally have our vision funded, I was unsure of how an institution might exert its own mission and practice, voluntarily or not. Under the umbrella of the ICA, the immediate challenge for me was to define RYMAEC in such a way that it maintained its identity as a true consortium with decision-making coming form its members.
Another challenge was to protect RYMAEC from being absorbed into a position or to a budget line within the institution. I wanted to ensure that the consortium always had sufficient time and money allotted to it as a unique effort.
In addition, outside of the institution, the field had changed. Youth media in Boston was no longer 6 individuals working in organizations with a few kids. It was every student with a cell phone, every teacher with some excitement for the Internet and iMovie; it was Drupal, Ning, Facebook and YouTube.
As we witnessed the youth media field changing, we realized that those of us who had been doing this for 10 years or more have much to offer the field, but that the new developments in the technology along with the new way in which it is being used has developed a new generation of “experts.” Connecting these generations and experiences with each other would be of great benefit to the field and the youth we all serve. As a consortium, we created these connections through two actions that yielded key insights.
First, we formalized the make up of the advisory board by identifying 12 types of institutions or individuals who would represent that breadth of experience, from small non-profits to institutions of higher education. Having a representative from MIT’s Comparative Media Studies program, a Public Access Station Staff member, a Boston Public School teacher and a filmmaker who works in a small non-profit in a small city outside of Boston allowed us to more fully understand the possible uses and needs of curricula and practice in youth media arts. The diverse representatives allow us to be more creative and inclusive in our outreach to attract and support those who are doing this work.
Secondly, we decided to risk over-population in our consortium and offer an event that was open to all who were working with new media technologies in education. Our first “Web 2.0penMic” was a success, allowing public school teachers stand up next to Second Life Gurus, each demonstrating her skills and enthusiasm for new media technologies and arts. By opening up this presentation and dialogue to a wide spectrum of educators, we were taking a risk by suggesting that we were not the experts, and that our community might benefit from being larger than just the youth media arts teachers.
Beth Balliro, RYMAEC Advisory group member and Visual Arts teacher at the Boston Arts Academy, attended the event and remarked, “It was inspiring to see non-media teachers taking risks and exploring ways that new technologies could enhance their academic curricula.”
Through all of this, my fear of the influence of the institution had turned into a healthy dialogue between myself and my colleagues at the ICA about how membership of a self-determining consortium, many of whom work outside of the scope of the “art” world, can exist as, and be funded by, a program of a contemporary art institution.
I have come to appreciate how the perception of such an institution can attract a wider following. Contemporary art is highlighted by experimental uses of information and technology, so the stage is set for our members to feel comfortable taking risks. Furthermore, the expectations of attending an event at such an institution are already met through the perception, setting and exhibition nature of the institute.
Although community building is a concerted effort between individuals, organizations, and time, in Boston we have learned that a mix of patience and persistence has allowed programs to establish roots deep enough to sustain and build a lasting consortium. As a collective, we recognize that we cannot stay relevant and flourish if we are unwilling to embrace, celebrate and incorporate new ideas and individuals into our curricula and methodology. Furthermore, we have learned that patience and longevity can lead to the right partners, even if they are as unlikely as I might have guessed RYMAEC and the ICA would be. We must actively communicate with as many relevant community members and institutions as possible in order to support youth media’s efforts to navigate through the ever-changing world of media, art and technology.

Joseph Douillette is a video artist and educator who lives and works in the Boston area. Since 2003, he has directed the Fast Forward Teen Video Program at the Institute of Contemporary Art. He has directed various other youth media art programs, including the Teen Media Program/Do It Your Damn Self!! Youth Video Festival at the Community Art Center, and the Video Program at the Creative Arts at Park Summer program in Brookline. Joe served on the Board of Directors of Cambridge Community Television from 2000–2008. He also runs Egg Rock Media, a local media production and consulting business, and JP Sucks, a local gourmet lollipop company. Joe has two daughters and he oversees the work of about 20,000 honeybees.

Do It Your Damn Self! National Youth Video and Film Festival

In Cambridge, Massachusetts, where world-class universities sit alongside low-income residential districts, local teens from one public housing complex were tired of being rejected from adult festivals and decided it was time to start their own.
Since that critical moment in 1996, the “Do It Your Damn Self!!” National Youth Video & Film Festival (DIYDS!!) has been screening youth-produced films from around the country to an audience of the general public every November.
While some suggest that youth media programs should prioritize the use of media products and their impact on audiences over youth development (Sloan, 2009), we found the opposite to be the case when running a festival. Consistent among our findings is that supporting youth leadership is fundamental—even for a festival that aims to reach a growing audience.
We found that when we ran DIYDS!! in a way that put the primary focus on generating audience for the films, the needs of teens in our own program were neglected and we lost the investment of our core group of leaders. Putting youth development at the center of the festival’s goals, allows DIYDS!! to retain a true youth voice and not become a festival run by adults making assumptions about what youth need.
History of the Festival
DIYDS!! is the longest running youth-produced and youth-curated film festival in the country and attracts over 1,100 youth and adults to public screenings and workshops each year. According to its founders, the mission of the festival “was, is and always will be, to give youth producers like ourselves a place to be heard.”
The core elements of the festival have included: engaging a group of youth to screen entries and select a final reel, presenting the festival to youth-only as well as general audiences, and encouraging as many featured filmmakers as possible to travel to Boston for a weekend of events.
DIYDS!! is curated and organized by youth from the Community Art Center, which operates year-round arts programs for children and media programming and internships for teens. For many years, there was a core group of youth who had grown up in the Community Art Center’s afterschool program who led the festival each fall, supported by one full and one part-time staff member. It was the teens that provided institutional knowledge of the festival process. In its ninth and tenth years, when the festival was at its fullest capacity, up to 50 teens would surface to help make the festival happen. Among their many roles, they led discussions during festival screenings, inspiring hundreds of young people to share their stories and influencing the impact these stories have on the audience.
However, over time, the core group graduated from the program, and there was no strong pipeline of new leaders, partly due to organizational instability. Supporters and adult allies appreciated the raw voices presented at DIYDS!!, and pushed for more venues for the festival, beyond what the teens had the capacity to present.
We realized that promoting the festival had taken priority over our training program for youth, and questioned whether the festival should continue as an effort of the Community Art Center, should be handed over to another agency to run, or whether it had even run its course. Our model needed to change.
Challenges to Youth Participation and Leadership
DIYDS!! has always promoted youth leadership, but the level of youth involvement has shifted over the years as adults began taking on larger roles: connecting with schools, organizing events, and promoting the festival. As the staff and volunteers saw their work as independent of that of the teen leaders, tensions arose between responding to the input of youth leaders, and the potential expansion of the festival.
As the festival grew, the youth became disconnected. Helping DIYDS!! by increasing distribution and seeking larger venues was not addressing the needs of the Cambridge teens who presented it. We needed to resist the push for bigger, better venues, and to retain a focus on the artistic and developmental needs of the teens in our midst.
As a result, the teen program moved the curating of the reel to the summer, freeing up time and energy for other projects in the fall. In an effort to offer more space for the growth of youth leadership, we lengthened the timeline of the festival planning process to one full year. The scale has stayed relatively the same for the past few years. As a result, the goal of deepening the experience for Cambridge youth and sustaining a high level of quality has become a higher priority.
Screening youth-produced media in order to raise awareness among adults has become our secondary goal. We found that the interest of the general public is considerable, and we can leverage that interest to give Cambridge and national youth producers a larger forum to communicate their message, but it should never be at the cost of offering consistent support to youth. As one teen expressed after being asked to serve as a Festival Committee Chair, “but I just learned how to make a website. How can I be in charge of a website for a whole national festival? What if I can’t do it?”
Now, we are building a new core group of leaders, exposing a larger pool of teens to both filmmaking and media literacy, alongside festival planning and developing criteria to judge films. We have also piloted new festival events in response to youth input and will continue to increase youth investment by implementing their ideas.
Although we no longer see the influx of as many teens at festival time, we have succeeded in building a loyal and dedicated group of youth leaders invested in the festival. Fundraising and staff time will be focused on supporting this core group as they continue to deliver DIYDS!! with a unique presentation each year.

Community Art Center Video for Advocacy Day from Paulina Villarroel on Vimeo.

Suggestions to the Field
Know your goals. If you want to screen youth media in order to raise awareness among adults about prominent youth issues and youth’s ability to create interesting media, throw your energy into marketing, promotion and educational supports. If your goal is focused on developing young people, spend time collaborating with local groups, organizing youth leadership and creating environments where youth can come together to network and exchange ideas.
Provide significant support along with significant opportunities. Start where the youth are and let them drive the process forward. Where youth are taking risks or being asked to lead, educators must instill appropriate supports to ensure they succeed.
Collaborate and leverage partnerships. Find partners who can help generate an audience in addition to supporting youth with internships or volunteer positions. Look to colleges, independent theatres, libraries and community centers as potential screening venues. Hold school-day screenings predominantly for youth, giving them a chance to connect with and question their peers.
Build the Field. Use the gathering of youth and their supporters to continue to build the field and address relevant issues. Survey audience members and find ways for supporters to contribute, promote or act on what they experience. Bring together adults who work with youth media producers to support and learn from each other. Provide forums for discussion of content as well as design, to allow viewers to open their minds and create bridges of understanding.
The survival of DIYDS!! speaks to the impact of youth media, and even more so to the importance of gathering youth together to share stories about their lives. Young people still struggle to have their own voices heard, to tell their own stories in their own words.
Raising youth voices, particularly those who have been marginalized by poverty, language, culture or geography, is realized in the convergence of youth who can come together through their filmmaking—learning, growing and reshaping the world around them by participating in it.
Eryn Johnson is the executive director of the Community Art Center in Cambridge, MA and has worked for more than 12 years as a youth advocate and manager in youth-serving arts programs including ZUMIX, Inc. and Proyecto Ak’Tenamit in Izabal, Guatemala. Prior to managing the Community Art Center, Eryn was director of education at Citi Performing Arts Center. She has presented on arts and youth activism for the New England Women’s Studies Association Conference, the ArtCorps Program and at Tufts University. She has her BA in Theatre from Oberlin College and her Master’s in Performance Studies from New York University.

Melina O’Grady is an education consultant with roots in Boston and San Francisco. She is on the Advisory Committee of the “Do It Your Damn Self!!” festival and currently resides in Boston, where she is working on an anthology of youth workers telling their stories.

Graphic Design: A Youth Media Strategy

Young people still struggle to tell their own stories in their own words, and to effectively use contemporary artistic media to express themselves to diverse audiences.
As we challenge teens to be more creative and more thoughtful in their engagement with the world and their communities, graphic design offers a focus for young people’s fascination with new media technologies, and an outlet for their urgent desire to make their voices heard.
As tools for both media production and consumption become ever more accessible, it is vital that we equip young people with the technical and critical skills to evaluate and take ownership of the media that pervade their lives.
Why Graphic Design
Graphic design offers young people a unique entry-point to the broad field of media arts. Contemporary design, essentially an entirely digital practice, gives teens an opportunity to make a direct connection between “analog” artistic work in the studio, and a digital product mass-produced for a large audience. Design encourages teens who are new to media studies to connect previous studio artwork with their future media production, providing tools uniquely suited to revision, experimentation and adjustment, and collaboration. Teamwork fostered by collaborative design in turn forms the basis of a teen arts community where young people support each other, articulate and share ideas, and undertake ambitious projects that cross and combine diverse artistic disciplines.
Ongoing examination of design and media in the urban landscape makes students more aware of the presence and effects of design in their lives, from advertising, to textbook layouts, to cell phone interfaces. Design can help students learn to think visually and clearly articulate their ideas to others as they learn to evaluate the success (or failure) of design work they see every day.
As preparation for higher education and future careers in many sectors, design teaches students to approach communication with others with an open mind and an ability to be flexible, to work across disciplines, and to articulate ideas that they care deeply about and affect change.
Teen Graphic Design Curators
The Urbano Project—a Boston, MA non-profit that seeks to empower urban teens, professional artists and community members to use art to affect social change in—partners Teen Visual Art, Film, Spoken Word, and Graphic Design Curators with professional artist-mentors during the school year to brainstorm themes for teen-led performances, screenings, and art exhibitions. The Teen Curators develop calls for submissions, lead outreach to teen artists from all over the country, and jury submitted works to create public events.
The Teen Graphic Design Curators—intermediate and advanced teen artists—consider their work and that of their peers in the context of Boston’s arts community, and are challenged to think critically, express their ideas in different ways to diverse audiences, and consider the role of an artist in his or her community.
The 2008-09 Teen Graphic Design Curators, Jeffrey Cott (age 18), Jake Giberson (age 19), Lauren Li (age 17), Hazel Manko (age 18), and Dianna Willard (age 19), came to the group with skills ranging from spoken word poetry, to film, to silkscreen and comic book design.
From handmade collage with found typography, to silkscreen, to digital photography, the Curators became comfortable expressing their ideas in the visual language of graphic design and working as a team to translate their thinking into digital production. Curators worked across nearly every artistic medium, employing drawing, printmaking, collage, digital imaging, and even video to complete the final work.
Suggestions to the Field
Make the leap to new media. Encourage teens who have experience with drawing, printmaking, photography, and other studio arts to become involved with a graphic design class or project. Students who my not initially feel comfortable working with digital media or working as part of a team may be receptive to design instruction that draws on their previous artmaking experience.
Develop a creative space. A traditional digital classroom can have the effect of isolating individual students, fostering the relationship of teen-to-computer at the expense of inter-personal communication and cooperation. Initiate “hands-on” projects based on design techniques and concepts, and make clear connections from digital design concepts to the production and physicality of a finished work.
Use media to play and experiment. Encourage students to see the computer and design software as expressive tools open to revision, duplication and adjustment, and experimentation. Seek out instructors skilled in other media (printmaking, drawing, video, etc) and develop collaborative lessons that add to teen participants’ repertoire of artistic approaches to design challenges. Through discussion and class projects, help teens draw connections between the “gestural” movements of drawing and other studio arts and their own design practice.
Foster a community of teen artists. Design is an ideal context in which to develop teamwork and collaborative projects. The importance of input from many different artistic media, the designer’s mandate to create work that speaks to (or for) a particular audience, and the flexibility of the digital process, all support teens to work together and become deeply invested in the group. “If the effort is put in from every individual,” Jeffrey explained, “the final product becomes more powerful and serves as the voice of all those people and their ideas.”
Explore the field. Offer teens frequent opportunities to examine and discuss contemporary and historical graphic design work. Find examples of design concepts such as composition, rhythm, and contrast in media that teens will be familiar with, for example, comic books and Japanese manga are an excellent source. Discuss connections between design movements such as Dada or Modernism and the political climate of the times, and encourage teens to consider how their own design practice responds to the current social and political moment. Visit local design exhibitions, and encourage teens to collect samples of contemporary design that they find compelling.
Next Steps
In the current era, when graphic design is changing quickly and semantic divisions between “art” and “design” are becoming increasingly irrelevant, collaboration across media during the creative process is vital to the creation of truly innovative work.
For teens who frequently feel that their voices are not being heard, and who feel uncomfortable or even threatened in an unfamiliar neighborhood, graphic design provides an opportunity to take ownership of mass communication and forge a community that crosses social and geographic boundaries.
The youth media field must expand to cater to teens interested in graphic design—a medium that affords young people a viable career option, a platform for expression, and skills to work collaboratively.
Alison Kotin is communications + youth programs coordinator at the Urbano Project in Jamaica Plain, MA. A Massachusetts native, Alison works as a visual artist and graphic designer while pursuing an MFA in Dynamic Media at the Massachusetts College of Art and Design.
[Credit: Photo by Jennifer Webb]

Youth Media: A Professional Development Strategy

In Boston, where there is a long history of racial segregation, social realities are exponentially exaggerated by the persistently negative and stereotypical mainstream media. Young people in Boston are apt to perpetuate these negative stereotypes because media plays a pivotal role in shaping their identities and attitudes.
What young people need is a lens through which they can see all the positive representations and untold stories in their communities, and tools to tell these stories. Press Pass TV aims to provide young people with the tools to critically process the information they see on television, to rise above the influence and to shape a healthy image of self and others.
We have found that when professional development is integrated with a curriculum designed to train young people to produce powerful stories, we counteract the effects of mainstream media’s stereotypes on youth and the local community.
About Press Pass TV

At Press Pass TV we envision a world of engaged and informed individuals, where youth are leaders and our communities are inspired by media that supports a healthy democracy based on truth, benefiting the greater good.
Press Pass TV is a non-profit that trains youth to produce socially responsible video journalism, which promotes a more diverse media, empowers communities, and increases civic engagement. We partner with local non-profits and offer innovative courses which engage youth in becoming “change agents” and provide professional skills, raising young people’s chances to have a happy and successful life. Here is an example of a story that Press Pass TV youth reporters “broke” and was subsequently picked up by NBC and other major channels:

With issues such a domestic violence, incarceration, educational disparities and transportation rights, our news stories have become tools for community mobilization and organizing. Even with these difficult topics, Press Pass TV remains solution-oriented and dedicated to giving a voice to those most affected. In particular, Press Pass highlights the positive, hopeful, and untold stories of Boston.

In our program, youth are not bombarded with the negative statistics recapitulated by mainstream media, but instead are given the “so what” and the “now what.” In other words, we use media to build a bridge of understanding from how these issues affect them to the tools they can use to take action and change their plight. Press Pass TV offers programs that start with media literacy (using games created by the youth such as Media Jeopardy) and end in hands-on media production.
At Press Pass TV we have found a way to support both creativity and professionalism in a model where these skills complement each other. We provide professional development and time management workshops at the beginning of each program. As a result, our program runs more efficiently, gives our students valuable transferable skills and results in higher quality content. Ultimately, this approach improves the reach of distribution of the content our young people produce, while equipping them to be active participants in their community.
Our professional development workshop takes youth through a curriculum covering topics such as email and work place etiquette, resume development, and professional interpersonal skills (including how to leave a voicemail, shake hands, say no, etc.). It is important to note that this success has been achieved despite the fact that Press Pass TV only recently started paying youth for their work (the majority of our work has been done on a volunteer basis).
Suggestions to the Field
Set high expectations for youth while providing specific tools and pathways to meet them. At Press Pass TV, we have found that the low expectations our community sets for the young people we serve is one of the greatest barriers they face when striving to reach their full potential. In fact, low expectations often further victimize “at-risk” youth rather than empower them. We have watched our young people meet and exceed the high expectations we lay out for them, and this gives them a sense of pride and empowerment.
Add a broader relevancy to the work the youth are producing, by connecting youth to major decision makers and striving to distribute their media broadly. Young people are more engaged in their work when they know they have a strong voice in their field. At Press Pass TV, we encourage youth to interview politicians, businessmen and artists alike, to produce content that contributes to public dialogue and fosters healthy communities.
Incorporate the ways youth adapt to your city when designing your professional development workshops. The key to a professional development workshop is meeting youth where they are. We found that our youth had a hard time showing up on time for reasons as simple as being unable to read a map or know how to use Google maps. Therefore, we go over how to navigate the MBTA (public transportation) and discuss how weather impacts travel time in Boston.
Design professional development workshops with the help of youth or with your program alumni, to eliminate the “top-down” approach that often does not resonate with young people. Work together to identify barriers that prevent your participants from achieving their full professional potential and then create and provide the tools that will support that growth.
Avoid assuming common knowledge—just because you know the difference between “cc” and “bcc” doesn’t mean they do. You can get a sense of what they do and do not already know by observing them at work. For instance, at Press Pass TV the main reason production would slow down was around “follow-up” on leads. We observed that the majority of youth would not leave voice-mails and when they did, crucial contact information was left out. A simple remedy was to create a “phone script.”
Call to the Field
Since the implementation of our “professional development” workshops, Press Pass TV no longer struggles with program attendance and work effectiveness. By setting clear and accessible standards of production, our youth produced content now has distribution through all Public Access channels in Massachusetts as well as nationally through Free Speech TV. We have quickly built a reputation in the city for our fair reporting and our deep ties to the community.
We see professional development as a crucial cornerstone in building the skills necessary for a successful and happy life. Regardless of whether or not the youth you work with will go into media production careers, teaching them how to manage their time, skills and resources will ensure success in their higher education and will level the playing field when it comes to employment opportunities. In short, by joining a strong professional development component with media production we can achieve much needed systemic change.
“Having your voice respected and a say in your destiny is an unalienable human right. I do this work because I believe in the value of our communities, the richness of diversity, and the power of our stories to transform. I dedicate my work to giving the silenced people, issues, and communities a voice.” Joanna Marinova, is the co-director of Program and Operations at Press Pass TV. With a B.S. in International Relations and Economics from the University of Toronto, Joanna has solid corporate experience having worked for Citizens Bank and Wellington Financial Management. She was the founder and president of Women in Life Learning, a Toronto based nonprofit. Joanna has over 7 years of experience and a proven track record in management, operations and development work in nonprofits.

Using Media Literacy to Combat Racism

Boston has a storied past, and race has played an important part in a number of those stories. From abolitionists and the early NAACP to the ugly scars of bussing, Boston has a reputation. Even with about 50% of the population made of people of color, Boston remains a segregated city. For years, many community groups and initiatives have worked toward racial amity. How Boston learns to overcome barriers of racism and come together in a new era of race relations can have important lessons for other communities as America approaches its own majority-minority shift.
For example, in the spring of 2003 I was teaching media literacy classes once a week at a small charter school in the Mission Hill area of Roxbury. We had been talking about stereotypes and magazine ads one afternoon when Nancy, a young girl, normally boisterous, came creeping back in after the others filed out. I could tell she had a secret question that she didn’t want her friends to hear. She sidled up to the desk and covered her mouth when she informed me, “I want to ask you something,” in a low voice.
“What am I?” she said, eyes intent on mine.
Confused, I asked, “What do you mean what are you. You’re you, you’re Nancy.”
“No, but I mean, what am I? See, my mother’s white but my father’s black so I wanted to know what that makes me.”
We talked for a while about this question present for so many “mixed race” youth, but before she left, I had a question of my own: “Why ask me?”
“Because I always wanted to know, and you were the first person I found to ask.”
I was floored by her comment. Her parents had different responses to issues of race, and outside the house, she had no opportunity to talk about the issues of race. From a media lit class, for the first time she found the space to dialogue with her peers about race, what it meant to act white, or be too light or too dark. But she wanted to examine not just how race was represented in the media, but how it showed up in her own life and family.
What does media literacy have to do with race?
Teens spend hours a day consuming media, much of it with messages about race and culture. What does it mean to be black or white, who are the heroes and villains? Without the ability to understand these messages, powerful political and corporate press machines too easily sway teens. Many like to think of Obama’s ascension to the presidency as the herald of a post racial America. But a look at media in 2009, from Professor Gates, to the guidettes of Jersey Shore showed us that prejudice and racism are still alive and well. How can we expect youth not to repeat the prejudices of the past if they are consuming the same stereotypical messages that have existed for years?
Organizing to address media content is important to creating lasting change, but in the meantime, we have a responsibility as educators to aid our students in thinking critically about how race is constructed, and prepare them to participate in shaping the conversation about race in this country.
Media can powerfully shape ideas about people or groups. Media messages are too often a poor substitute for real world multicultural experience in a society still as segregated as America.
Like Nancy, many students have no place to talk about race. Because mainstream media is rife with the stories and stereotypes that support racial prejudice it provides a perfect opportunity for students to examine and create messages about race. Since so much of the national debate about race takes place in the media, media educators have a special opportunity—and responsibility—to help students understand the way that ideas and beliefs around race are socially constructed.
Addressing Race in Afterschool Programs
I began my work in media literacy at Youth Voice Collaborative (YVC), a nonprofit youth serving after school program. YVC was created in 1991 by Marti Wilson Taylor, who had the vision to see that youth of color would need—and love—programs that helped them understand and make media. When I became the program manager in 2000, my job was to recreate YVC with renewed focused on media literacy to better connect to the YWCA’s larger mission of addressing racism.
With grant funding to support development, I created the Media Minds curriculum: an eight session media literacy curriculum designed for after school programs. The curriculum, which we continued to adapt over the years, has served as the core content for YVC.
YVC helped teens understand how media shapes the way they see themselves and the world around them, especially around issues of race and gender. We begin the program cycle for our on site after school program in the summer, hire a group of peer leaders and train them in media literacy, cultural competency and community organizing. During the school year, the peer leader works with adult staff to facilitate groups for teens at other programs, in addition to producing media and hosting events such as talent shows, poetry nights, conferences and discussion groups.
I also train small cohorts of teachers and youth workers to identify ways media literacy can advance their work, and each trainee choses to use the curriculum in different ways. For example:
• Start the school year with a section on critical analysis that becomes the framework for examining text and media throughout the year.
• Hold weekly media lit groups that apply critical analysis to class material.
• Create documentaries and community PSA and newsletters that increase cultural awareness
All the trainees reported that students enjoyed thinking and talking about media, making critical analysis skills fun to build. The challenges in training staff are numerous, from time and resources, to turnover and resistance, but the potential payoff makes addressing these challenges worth it.
Media literacy is an important strategy to open a dialogue on race and culture. Teens are hungry for a place where they can think and talk about issues of identity and the important role race and culture plays in their lives. Our discussions about the news reporting of youth violence, or the latest music videos, were inevitably discussions about the teens and their values.
By examining media, we examine ourselves, and the experience is life changing. One teen leader, Jamal, starred in YVC’s feature length docudrama on civil rights and the Voting Act, called Selma 2050. After researching, interviewing politicians and activists, and editing the film, he found—like his character in the film—a new awareness around race: “I used to think that being black was some kind of curse or something. Making this made me feel better about not just being a black man, but about black people period.”
Prepping Educators to Facilitate Race and Media Programming
As the director of the communications and media literacy program at Wheelock College and a trainer for Culture Shop I help train the next generation of media literacy educators. I can see their anxiety around addressing race and culture in their work with youth. While the issues of race and culture are real and complex, we can address these issues in simple ways.
The following are tips for any educator interested in addressing race and culture with youth. I call these Zen tips, because they’re simple, but take reflection and practice to make them work.
Check yourself: Race is still a taboo topic in many ways. You may be afraid to offend someone, or just unsure about how to talk about it. Take a deep breath, relax, and give yourself permission to talk about race. Reflect on your own ideas, experiences, and attitudes. No matter what your intentions, attitudes and beliefs about people of different backgrounds may be uninformed. That shouldn’t stop our work or make us feel guilty, but it means we must constantly debunk these messages and stereotypes internally.
Ask yourself questions to begin to get a sense of your own starting point:
• What do I mean by race?
• Do race and culture play an important role in my life or the lives of my students?
• What stereotypes and limiting beliefs do I hold about different cultural groups?
• How are my beliefs shaped by news, movies, and blogs?
Remember, race includes whites as well as “minorities.” Answering questions like these in a thoughtful reflective way can prepare us and make us feel more confident addressing issues of race.
Get real: Now that you are ready to begin talking and teaching about race it’s time to set some realistic expectations. If charge your group with eradicating racism in your community this year, you are setting your group up to fail. No matter how hard we work, none of us should expect that we can dismantle the system of racism on our own. When you honestly talk about race in a meaningful way you should expect that it is not going to be easy or get solved in a week. Be prepared that members of your group are likely to disagree when talking about their racial attitudes and assumptions.
Just talk: If it is going to be hard, and your group may not be able to affect widespread social change, you may be wondering what you can accomplish. Just by opening up dialogue and giving students the tools to think and talk critically about race and representation is creating a space for awareness. Many of the college students I see in classes have not had the chance to have thoughtful critical discussions about culture and race during their high school experience. When you develop an environment where youth are actively talking and thinking about race, you are making a difference. The conversation is enough to affect social change on the personal level.
Create culture: With your expectations clear, set a culture in your program that supports deep discussion around personal values. When we talk about personal values naturally it gets personal, so facilitators must be able to make the group feel safe. Educators should take the role of a neutral facilitator to be sure that everyone’s voice is heard, and to allow the students to carefully listen and consider each others views. Make sure that you have strong ground rules that are clearly and fairly enforced. Participants should be willing to speak and listen to each other respectfully. Without disagreement, your group will lack the chance to explore alternative viewpoints. The group should agree to disagree, leaving room for dissenting voices.
Keep calm: Finally, once your group begins to talk, think and create around issues of race, you may find you run into some opinions that you just do not like. Resist the urge to tamper with youths’ values. No matter how strong your own personal view, your role is not to tell youth what is right and wrong, but only to give them the tools to search for the truth themselves. Create an environment that encourages and accepts multiple viewpoints. You can stay neutral and be prepared to relate the historical, social and political context the message is created in. Helping students understand the societal factors that contribute to media messages will give students the information they need to make their own informed decisions.
Next Steps
Issues of race can be layered and complex, but there are small actions each of us can take each day to improve awareness in our own environment. Youth need tools to begin to peel back the layers now while they are still developing their own values around culture and diversity. The very idea of race is socially constructed—race is whatever we say it is, and mass media is where we say what it is. Media literacy and youth media production can provide a powerful pair of skills that work together to help youth analyze the way that race is represented in American culture, and participate in creating change through youth media production.
Armed with her new critical analysis skills, Nancy got her own surprise: the answer was hers to give.
Media literacy, critical thinking, and media production are powerful tools for youth to combat racism. Whether we have the chance to address it in the classroom, after school program or community, we have a responsibility as educators and citizens to work toward that more perfect union—a truly post-race society.

Susan Owusu was born and raised in and around Boston. She started working with young people in 1993 at the Charles Hayden School, a residential placement site for boys with emotional and behavioral disabilities. She supervised a 12 bed unit for students with ADD and trauma histories for 5 years before seeking a more empowering pathway to supporting youth. After two years organizing youth leaders in the Boston Public Schools, she had the opportunity to mange Youth Voice Collaborative. Susan joined YVC in 2000 and spent 10 years rebuilding one of Boston’s first youth media programs. She worked to develop the Media Minds curriculum, combining media literacy with cultural awareness for urban teens. Now as director of the communications and Media Literacy program at Wheelock College, Susan hopes to inspire a new generation of teachers, youth workers, and independent producers to user the power of media to tell a new story the reshapes and supports our communities, making them stronger and more connected.