letter from the editor (volume 1: issue 3)

Letter from the Editor
Welcome to March 2007 (Volume 1: Issue 3) of Youth Media Reporter (YMR).
I had the fortune to travel to the Portland, OR and San Francisco, CA the last week of February to meet several key figures in the youth media field—all of whom are exceptional, unique, and radical people—and to perform at Noise Pop with my band Boyskout. My time out west was truly inspirational and I would like to thank everyone I met for their time, insights, and shared dialogue.
Based on the success of this trip, YMR will visit several other cities to meet youth media professionals: New York City (our own backyard) in April, Baltimore, MD & Washington, D.C. in May, and Chicago, IL in the summer. If you would like to meet up for coffee and discuss your work, youth leaders, and organization, feel free to contact me directly.
After meeting over twenty diverse youth media professionals on the west coast, I realized that each of us has our own radiant, brilliant, and almost humorous stories about ourselves, and how we entered this field. These are stories that would be of interest and value to current or future colleagues. As a resource that serves professionals and leaders in the youth media field, YMR will now feature a spotlight on a professional’s life every month. Along with a photo, individuals will explain what they were doing before their youth media profession, their inspiration or motivation to join the youth media community as well as short facts about their life and experiences.
Taking time out of our busy lives to learn about our shared and different pathways to this field can not only put the faces to names, but also build bonds we may not otherwise discover. Let us know if you or someone you know should be a featured youth media professional.
In our next YMR issue, I will write a reflection piece on the youth media professionals I met in the bay area. Many are also future contributors to YMR: stay tuned.
It is our hope that as a youth media professional, you will find the perspectives and learned outcomes in each article refreshing, enlightening, and resourceful. As a field-building initiative, we hope to continue serving the youth media field, expand its’ audience, and make a difference as we go.
Thank you for your continued support and enjoy this month’s issue.
Warmly,
Ingrid Hu Dahl
Editor, YMR
Report from the field and make a difference!

Finding Youth Voice in Print Media: The power of zines in a digital age

What is the value of teaching youth to create print media in an increasingly digital-based world? How can youth develop their written voices and develop strategies to creatively express their opinions and speak back to power? From 2002-2004 I was an educator at the Independent Publishing Resource Center in Portland, Oregon. There I ran a 4 week long Zine Camp for teenagers ages 12-18. Zines are small, self-published magazines that are accessible to youth in a do-it-yourself (DIY) fashion.
As a teenager growing up in a rural area, making zines enabled me to connect with other young people around the country. They provided a forum with which to express myself and discuss issues surrounding feminism, queer identity, mental health and political activism. From my own experience, I knew that making a zine and participating in zine communities could provide young people with important skill sets and opportunities to express themselves creatively. Thus, my envisioned goal of Zine Camp was to teach youth about the history and contemporary status of independent print publications and how to express themselves through making their own personal zine.
Zines are important in a digital age. They serve as creative spaces to share feelings, opinions, ideas, and artwork in a self-made booklet. For many youth, having physical documentation of their thoughts, feelings, and work is very important. Just as many people learn differently, are drawn to visual or spatial thinking versus written and coded understanding, zines provide hand-made alternatives to youth made technology. Whereas some young people may be drawn to video, film, radio, and music, there are many young people who may defer to a more introverted and reflective medium, which zines provide.
The power of zine culture provides zinesters a community, which acts as a vessel for idea exchange, collaboration, shared experience across difference and physical distance, and dialogue for introverts, extroverts, and creative types in between. Plus, anyone can make a zine with paper, glue, sharpies, and access to a photocopier (available in most public libraries, convenient stores, and office jobs).
Despite the affluence of computer and internet-based technology, not everyone has access to a computer or the Internet. In zine communities, youth who do not have access to technology, youth in marginalized or disparate communities, and youth who may have access to such privileges, are all a part of the greater zine culture. Zine communities provide zinesters (of all ages) despite differing levels of accessibility a medium to be part of youth voice and social change.
The Independent Publishing Resource Center (IPRC) is a not-for-profit, membership organization in downtown Portland, Oregon that serves the needs of self-publishers with an extensive zine library, computers, workspace, photocopy machine and letterpress print shop. They offer low-cost workshops that cover a wide range of the independent publishing processes—from the basics of creating a zine to how to use an old-fashioned tabletop letterpress. Because of its central location and established educational partnerships with local schools and organizations that serve youth, Zine Camp was a natural evolution of the IPRC’s many educational offerings. In contrast to daily workshops IPRC typically offers, Zine Camp enables young people to develop a long-term relationship with the center and a deeper understanding of the zine making process.
When I created Zine Camp in 2002 by proposing the idea to IPRC as a semi-professional zinester, teaching young people about the process of creating their own self-published magazine served two main goals. The first goal was to recognize and value how voice and expression are forms of empowerment. The second goal was to encourage young people to become more media literate and analytical.
The five youth enrolled in Zine Camp in 2004, for example, were encouraged to express themselves, whether it was about skateboarding, the music they loved, or frustrations with school. One zine camper, a former homeless young woman and slam poet, used the zine format in a different way, to collect and publish her poems and photographs. In her zine, a natural outgrowth of the voice and empowerment that she normally felt from just writing and performing slam poetry was enhanced through a more tangible record of her work. Through the process of making her zine, her personal record was collected, shared, and documented.
Zine publishers often find zines as outlets not just for expression, but as a means of connecting with one another. As Collete Ryder-Hall stated in her zine Looks Yellow, Tastes Red, “I realized one of the most profound effects of publishing a zine…was that it showed me I wasn’t alone, that we have similar experiences.”
Built into Zine Camp were strong media literacy components; youth compared and contrasted zines at the beginning of Zine Camp each summer with glossy, mainstream magazines. Campers quickly learned that the format and content of zines gave the creator complete control (in design, timing, approach, and process). In contrast, glossy magazines were determined by market-driven decision makers and teams that worked to digitally manipulate images to appeal to consumers in the mass populous. Having to create their own zines, each summer youth became more aware of the decisions that go into making a publication including writing, editing and layout. This enabled them to better understand the power of their own artistic devices, the importance of skill-development, and how media can be used as an expressive tool.
During the camp, campers were encouraged to review 3-5 zines, from the IPRC’s library, each week for ideas and inspiration. During each meeting they reported back on 1 or 2 of their favorites to all the campers. This turned campers into active readers and critics of media produced by other young people. By viewing zines as something they could draw inspiration from, campers were part of a burgeoning movement of other young people in youth media, beyond the zine community. If zines have such a powerful community and history, what other forms of media may be out there to collaborate or learn from? By informing zinesters to a long history of self publishing and involving them to participate in communities of like minded people, their horizons of ways youth can unite artistically expand. At Zine Camp, reading and reviewing zines helped campers see new ways of analyzing and understanding other forms of mainstream and independent media.
At the end of camp we hosted a public reading and culminating party at Reading Frenzy, a hip, local, independent bookstore. Campers shared their completed zines with each other, the audience of friends, family, and community members, to show them off and feel proud of their accomplishments. Youth need to know that they matter. One major way youth media professional can affirm youth is to recognize their accomplishments and expressive work in both private and public domains. By publicly recognizing youth for their zine-making, the Portland community became more informed of perspectives youth in their community experienced – which is part of involving youth voice to enter the concerns of community members.
As well as being a celebration and method to connect youth with adult allies in the community, this public event gave zine campers a goal to reach for and served as a concrete incentive to finish their projects. By having the event outside of the IPRC, it further tied zine campers to a creative community and showed them there was a larger, potential audience for their work and expressive voice.
Part of the success of Zine Camp actually occurred at the beginning of the program. Young zinesters were expected to create ‘mini zines’ on a single them the first week. This enabled them to move away from the idea that a zine needs to be ‘perfect,’ and launch into the endless possibility of their creative ideas. It satiated young people’s desire for instant results – a feeling often encouraged by web sites and blogs.
Making a mini zine presented to zine campers what was to come and enabled them to explore the creative possibilities of a zine without being overwhelmed by the process. For example, after making several more “basic” zines in camp, a former camper began including multiple colored spray paint stencil paintings in her zine, stretching the format farther than even I, a zine maker for 8 years, could imagine.
Having quick and successful projects at the beginning of programs, such as the mini zine approach at Zine Camp, is a method other youth media professionals ought to consider in their longer term youth media projects and programs. Short projects that coincide with larger programmatic pieces benefit both the level of creativity and productivity in young people as well as the general positive outcome of organizations which serve youth media makers.
Creating zines enable young people to emerge with finished “products” they can be proud of. A zine is a physical object that serves as a record of a moment in an individual’s life. Therefore, completing a zine can give young people a concrete sense of accomplishment, the importance of documenting their own history and their social and political beliefs, provide a space to express their feelings and perspectives, and involve them in alternative and like-minded communities.
While zines are not the only form young peoples’ written self expression can take, they certainly merit an important place in the youth media landscape. When youth are encouraged and taught how to create print media that reflects their ideas and perspectives they are better equipped to understand how mainstream print media represents perspectives of those in power.
Working on a zine builds youth confidence by using self-expression in written form. The process of making a zine creates new ways of media making that serves youth from a variety of personalities and identities, and encourages their involvement with both zine and local communities. A very accessible medium, zines provide an alternative space from blogs and websites for youth to document their thoughts, feelings, and creativity in empowering, media driven ways – even in a digital age.

Continue reading Finding Youth Voice in Print Media: The power of zines in a digital age

Being a Media Mediator: Preliminary notes on practice

I have an odd job. I work in a New York City public school, but I’m hired by a non profit organization, the offices of which I step foot in once or twice a month. Most people familiar with the non-profit world or public school world conclude I’m a consultant or teacher; I’m neither.
Officially, I’m a partnership coordinator or ‘media mediator.’ I work at a small public school, founded under the umbrella of a non-profit organization that launches theme-based, partner-focused college-preparatory schools for underserved New York City youth. The school currently serves 300 students in grades 9-11 and will grow to capacity next year with students in grades 9-12. The most unique element of this school is our focus on media. Media is a core part of our school in three ways: integration across curriculum, specific media studies classes, and community partnerships.
The school partners with corporate, non-profit, academic and government organizations focused on media and media production. Partnerships do not translate directly to financial gifts—our partners give time and energy. They open their doors for site visits and office tours so students can see the variety of work available in the media industries. In addition, our academic partners open their classrooms so students can be exposed to college and know that they can continue studying the media—or any other subject matter—after high school. Partners come into the school to speak with students about their jobs, career opportunities in media, and simultaneously offer mentoring. They help develop internships so students have real-world experiences, provide social justice documentaries from their private collections, invite special guests to our classrooms, and offer broadcasting opportunities so student-made productions are aired on television. It’s my job to cultivate the relationship and organize the activities, between students and partners. I am a media mediator—and I am new at it.
I know a lot about the media. I focused on media studies in college and graduate school, with a particular focus on young people, identity development and media education. I have conducted qualitative research with young people from a variety of social, geographic, economic and ethnic backgrounds.
I spent the past several years working on a Master’s degree, then a PhD in media studies, all while teaching in a college classroom—a wildly different environment than public school. When I defended my dissertation, I realized I was tired of talking about media, young people and media education; I wanted to work directly in media education and with young people.
With this job I get to reach that goal I realized. Now my job lets me:
• manage a media team,
• schedule students in media classes,
• develop a 4-year media education curriculum,
• develop a research protocol that measures the long-term efficacy of our work, and
• create and disseminate public information to promote our school.
These activities strengthen work with our partners and the culture of the school. I chase kids around to remind them of paperwork they owe me for partner activities, field trips, internships, and/or mentorships. I chase teachers around to provide them with updated schedules and plans. Students chase me down when they want Metrocards, binders, Bandaids, or passes to the nurse—none of which I possess. Admittedly, I have had a learning curve to figure out the New York City public school system (a quagmire, at best); the culture of working daily with young people (a very different task than conducting research with them); how to develop intellectually and academically rigorous partner activities; and how to bring structure and organization to a largely unstructured and disorganized environment.
In seven months of work on cultivating and organizing partner relations, juggling the development of a 4-year scope and sequence of media classes, dealing with the daily hectic life of a NYC public school, and learning everything I possibly can about our students, I have learned a few best practices.
Think big, plan small
I started the year with a big picture in mind. By the time we reach capacity—a full 9th-12th grade student body—there will be a variety of internships and mentorships associated with partners who will actively involve our students in multiple tasks. In addition, all 11th and 12th graders will be regularly exposed to college and careers in media through regular site visits. In order to plan for this, I schedule discreet activities, such as monthly film screenings in classrooms to introduce students to social justice issues and experts in the field. In addition, a bi-monthly guest lecture series, where representatives from our partner organizations come speak to students is provided.
Once a month, I bring students to record an interview with each other for a StoryCorps project to encourage their own storytelling and provide a public outlet for their stories. Once a month, a crew of students produces a television show capturing a slice of life from our school community. These two activities are an invaluable asset to students’ self-perception, self-confidence, and maturity. When they tell their stories at the StoryCorps booth, there voices and stories are acknowledged as important and they become part of the national record. When they produce the television show, their hard work has a visible and immediate reward.
These small activities open the door for me to plan larger activities. I am in development with several partners for after school and summer internships. I want students to have internships, mentorships, visit offices, watch movies, hear guest speakers, and be actively and regularly involved in media production, including photojournalism, video production, editing, web design, music production and writing. And they want it, too. But it takes relationship building. Partners and students need to know each other and there needs to be a routine and ascending contact so that the students, partners, teachers and staff are familiar with each other —including each other’s contexts and needs—in order to deepen relationships.
I am developing a college shadow program where once a month where I bring a small group of students to NYU to sit in on a freshman media lecture class and meet with media professors afterwards for lunch. Once a month for a more intensive experience, one student spends a full day with a college student and gets to sit in on advanced, discussion-based media classes to get a richer, more nuanced exposure to college and career options. Simultaneously, I develop intensive video production workshops for advanced students to give them additional experience.
Students at this school are underserved and uninformed on many things deemed valuable by mainstream society. Overall, they do not have regular exposure to college and for many students awareness of college comes through our program. These students need an edge in order to succeed at the university level. One of the ways to achieve this is to excite and involve youth to use media to express their perspective, teamwork, talent and creativity.
Strive for structure
One thing I have learned from working with underserved youth is that their lives are anything but structured or consistent. As much as they resist the boundaries of school, it is sometimes the safest, most consistent place they are at throughout the day.
Regular media partner activities takes safety to the next level and brings structure and organization to students’ daily schedules. Nevertheless, structure comes in baby steps: a regular film screening; a regular lecture series; a regular production deadline.
Striving for structure takes trial and error. For example, I have a group of bright students who produce a monthly television program. They come up with the topics and then shoot and edit the corresponding video. Their drive impressed me so much that once I left them to their own devices and quickly learned that was not the best way to support them. While they were bright and self-motivated, they had not learned how to budget their time, to arrange and write for interviews, to put together a script, to shoot B-roll, or talk to people other than their friends. So I imposed regulations: outlines, deadlines, script checks, and footage checks to name a few. It worked for an episode. Then, I left them alone again, assuming both our lessons had been learned. Two kids skipped class, skipped lunch, played on the computer, assured me everything was okay and got no show done. The other crew members struggled between violating their friends’ confidence—as snitching is frowned upon—and wanting to produce work with quality and substance.
Now we have regular meetings where I leave them to their devices, but I monitor their progress. Now that they have a realistic grasp of their abilities and a better idea of the time frame required, they work on getting a show out every other month. These are bright students, after all: they are quick and dedicated learners.
Listen to students
It is the students who do my job best: they tell me what they want to do. They tell me what’s most interesting and most rewarding. They are right more often than I am.
I started the year with film screenings after school. I thought this was a brilliant idea as it served three purposes. First, it exposed students to partners. Second, it exposed students to vital social justice issues. And third, it did not interrupt students’ class schedules.
However, it was students’ feedback that changed my approach. They informed me that after school, they were so tired, they could not focus on a film and those two hours in the dark was too tempting to sleep through. Based on their feedback, I decided that missing class once a month to watch a film and meet the filmmaker was incentive for both students who worked hard and students who wanted an out from the daily grind or a rigorous school schedule.
Another example of how students helped shape the media program is at the beginning of the year, I thought that watching movies—even social justice documentaries—would be fascinating. When I began implementing these documentaries, students reminded me that they watch movies a lot and documentaries are the film version of reading yet another book: interesting and valuable but the process is still school-related.
To them, visiting offices was more intriguing: office buildings are deliciously unfamiliar, and therefore, instantly exciting. Offices typically have great conference rooms, giveaways, and compelling professionals. Office buildings—especially the offices of magazines and television shows—have the added bonus of a chance encounter with a celebrity. They are new, different and vibrant places. Therefore, I work on scheduling a lot of office visits these days as it gets them out of the classroom and into the ‘real’ world where they can observe different career options and adults in the field.
Talk to teachers
Our teachers teach underserved youth for a variety of reasons and they care deeply for these students. That means they are swamped with work, they have great ideas and beautiful vision, but no time. Talking to teachers—half-started conversations in the hallways and spontaneous run-ins on the subway or at the photo copier—spark some of my best ideas and help them move their ideas to fruition.
* * *
When I first started graduate school, my dad laughed and told me I was on my way to becoming a snob because I used words like ‘dialectic’ in everyday conversation. Now that I work in public schools, I use words like ‘best practice’ in everyday conversation; and when I’m having a bad day, I borrow from the students and express how I’m ‘mad-tight’ because this job is ‘OD’. This essay is the first time in 6 months I’ve talked about the media, young people and media education. I’m generally too busy talking with students to think about talking about them.
My job as a media mediator is creative, open to possibilities, and links partners and media programs directly with youth in school. It is possible to implement media studies in high schools by partnering with non-profits. The atypical position I have needs to get duplicated in the youth media field. As a ‘media mediator’ I am the direct working link between developing youth media programs in schools and building partnerships so that youth develop their media expertise, their future careers, and the media field at large.

Continue reading Being a Media Mediator: Preliminary notes on practice

Eradicating Stereotypes: Initiatives for Culturally Aware Leaders

As last month’s YMR articles suggest, Community-based Research (CBR) has become recognized as a powerful strategy to engage students in hands-on research projects in service of non-profit community agencies or community groups. However, under-addressed in the CBR literature is what students need for participation in productive, collaborative, and meaningful community-based research partnerships.
This article advocates for programs to assist college students, teens, community partners and adult allies to become active and informed citizens (in view of their career goals) by being more culturally aware of stereotypes and institutionalized racism. In addition, this article suggests ways media can inspire projects such as Professor Beth Paul’s. Musician Petula Clark’s song “Downtown” spurred Paul’s desire for student civic development through a community-engaged learning initiative that breaks down racial and class stereotypes and motivates activism for social justice.
Youth media professionals invested in work with an anti-oppression focus might consider ways to bridge with programs such as the Trenton Youth Community-based Research Corps at The College of New Jersey, which collaborates—side-by-side—with community partners using anti-racist approaches for teen empowerment.

Petula Clark croons in her classic rendition of Downtown, “And you may find somebody kind to help and understand you. Someone who is just like you and needs a gentle hand to guide them along … So go downtown, things’ll be great when you’re downtown – don’t wait a minute more, downtown – everything’s waiting for you.” This classic sixties tune celebrates the wonders of urban life—in the face of the realities of urban economic decline and the societal disparagement of poor inner-city life. Downtown takes a wide-eyed look at the hard realities of inner-city poverty while appreciating the assets and strengths of its residents. We have so much to learn from this balanced perspective; indeed, the ability to appreciate strength while working to empower is critical to accomplish social change and social justice.
These powerful lyrics inspired a community-campus collaborative course entitled, Downtown: Inner City Youth and Families that serves as the foundation for a three-semester community-based research (CBR) program, The Trenton Youth Community-based Research Corps (TYCRC) offered at The College of New Jersey. TYCRC developed out of my interest in engaging undergraduate students in research that would help non-profit community organizations make a difference in the lives of children—particularly those living in poverty—in Trenton, New Jersey, a neighboring city to our suburban campus.
CBR includes students and faculty collaborating with community organizations to address a specific problem identified by the community organization. In recent years, students have: designed primary research projects to provide information for decision-making, completed planning and implementation tasks necessary to develop programs, and conducted program evaluations. This work involves a powerful partnership between community and college where students work side-by-side with leaders of organizations to address community problems in a developmental learning process.
Leaders of these organizations participate in the classroom with students, creating a community unique to academia. These partners come from non-profit agencies that often lack resources to hire external researchers to conduct community needs and assessment (or to study the effectiveness of their programs). Such research is increasingly necessary for the economic survival of non-profit community-based organizations, not to mention for developing maximally-effective programs and services. All partners are both teachers and learners. Community partners (which may include youth media professionals) are respected as experts in working with the target community and issues at the focus of the community and of the social service agency mission.
In creating the course Downtown, I sought to link students not only with community partners, but directly to the community itself. In doing so, students needed to think critically about identity, race, class, and sex while being exposed to inner city life. A reality at most universities, the majority of students involved in TYCRC have had little to no exposure to the realities of inner-city children and families living in poverty. While many have had well-intentioned community service experiences, the students were frequently sheltered from up-close exposure to the hard realities of social injustice and rarely engaged in meaningful reflection to deepen their understanding. Thus, initial exposure to these realities and awareness of the mission and strategies of community organizations is necessary.
Indeed, the course Downtown has become a humbling experience for students, replacing their stereotypes of inner-city residents as dysfunctional and helpless with open-eyed awareness of these individuals’ strengths and the formidable challenges with which they must cope minute-by-minute.
Learning across Difference
In the Downtown course, students learn in situ about pressing inner-city issues. In class sessions held in Trenton, they get to know many Trenton citizens; they learn through observation, interaction, and testimonials about Trenton youth and families; they learn about numerous social service agencies—including their economic pressures; and they develop familiarity with and comfort in traveling to Trenton.
Students discuss urban youth issues and the role of research and social service agencies with local professionals. Students meet weekly for team-building activities and interactive exercises that challenge stereotypes and build awareness of privilege and prejudice. Conversations evolve into discussions of dynamics of privilege and social status and ways in which stereotypes sometimes seem to hold a “kernel of truth” but can be challenged and eroded. Making an effort to get to know individuals by identifying common interests but also appreciating individuality is a powerful strategy for weakening the prejudicial power of stereotypes.
Partnership goals
Overall, the mission of Downtown is to have college students and community partners work together on several goals. Specifically, students focus on:
• Analyzing factors that contribute to youth issues in inner city communities such as child neglect and abuse, early substance use and abuse, gang involvement and violence and larger factors such as poverty, prejudice, privilege and power;
• Deconstructing simplistic ‘pat’ theories and homogenized beliefs by using different perspectives and sources of information in order to understand societal functions of simplistic, external stereotypes and assumptions;
• Creating supportive spaces to share observations, collaborate, and work with teens and community partners;
• Providing exposure to and stimulating awareness of the complex lives of inner-city youth and families, particularly those who live in poverty;
• Viewing real-life urban complexities (needs and assets) through multiple lenses, including disciplinary and community-based perspectives;
• Building cultural competency skills necessary for working with and on behalf of inner-city youth and families;
• Developing an understanding of social services and gaining comfort interacting with community professionals and gaining familiarity with and comfort in traveling around Trenton;
• Engaging fully in a collaborative CBR partnership upon course completion.
In order to reach these objectives students complete several assignments during the course of their experience. The capstone assignment in the course is a community agency-sponsored “Issue Investigation” that includes: a study of hopelessness among contemporary urban youth, curriculum development for a new life skills and mentoring program for urban teenage girls, and/or ways to stimulate healthy peer relationships among urban youth.
We give students a taste for doing something “real”—with importance, relevance, and impact. For most of the students, this is the first time they will create something that is seen by eyes other than a teacher or professor for the sole purpose of assessment. As one student explains, “I feel like I’m part of something real, something meaningful.” The students surprise themselves with the quality and depth of their work and have a great sense of pride in their final product.
Youth to Youth Relationships
Some of the most powerful and insightful experiences are when college students interact personally with Trenton youth, as part of the course objective. Mid semester, students attend Trenton Teens Talk youth forums on pressing youth issues (e.g., youth violence, challenges to healthy relationships, gang involvement) where nearly 100 Trenton youth from the local public high school, alternative high school, YouthBuild site, and youth detention center come together.
Each TYCRC student joins one of the small groups at the forum and gets to know the teens as real people (rather than as a stereotyped abstract category). The college students’ participation in youth forums, which coincides with the course as a result of collaboration between academia and community organizations, is a turning point in Downtown, stimulating movement from exposure to growing understanding. As one student remarked:
“I think inner-city youth should be listened to more closely. They should have a seat at the table when parents and teachers are deciding what’s good for them. They need to be nurtured more. Trenton kids are a promising group of individuals that have a wealth of untapped potential. I want to be involved in healing their pain and mind so they can feel encouraged and hopeful about their future.”
Assessment & Reflections
From 2003 – 2005, 80 individuals participated in the TCOC; 57% were non-students and 43% were TCNJ TYCRC students. Half of the participants were non-Hispanic Caucasians (there were more Caucasian TCNJ students than non-student participants); 31% were African-American, 11% Hispanic, 2% Asian, and 3% described themselves as multiethnic. Participants ranged in age from 19 to 59 years.
All TYCRC students reflected on how wide their eyes had been opened in TCOC and Downtown. One student remarked: “Since I had never been exposed to the many issues facing children in inner cities before, it was a very eye-opening experience for me. The most positive result for me personally was that not only did I become aware of these issues, but I also came in contact with many people who made me feel that I could contribute significantly to these issues.”
For many of the students, reflections on the new realities to which they were exposed led to a deepened understanding of life experiences and communities different from their own. One student observed, “It really has helped me to realize that there’s so much more to people than they might convey by their first appearance.”
Another student realized, “I learned so much about the issues facing children in Trenton and inner cities. I value social context more than I have in the past and better understand the reasons that youth make some of the ‘decisions’ that they do. Many times, in order to survive, there aren’t many other options.”
I have also come to appreciate the transformative power of Downtown for students who have grown up in urban environments and who are very familiar with the challenging realities of inner-city life. Luis, a student who grew up in Trenton, described his experience in Downtown:
“I joined TYCRC because someone has to help kids in Trenton! It’s a tough place, you know. And kids, they just give up. I got out. But I can’t just walk away, but I don’t know what to do. I began to think maybe there really isn’t any hope. Being in the Downtown course really opened my eyes. I started thinking about what is really going on in Trenton and what could actually make a difference. Talking with kids in the forums – I heard them in a different way. I guess even I was buying into the “loser theories” about us. I started thinking more about what is going on outside the kids and how kids took that in. But then I thought that maybe we need to reach inside and put that on the outside. What I saw is that even one person could make a difference. I could do that.”
As result of this course, student’s change their perceptions of inner-city youth. Consider this pre- to post-course reflection:
Pre-Downtown: “I don’t really know enough about inner-city youth to even begin to answer this question. I know they usually end up in gangs, and get into drugs and violence. Most have no focus and no goals in mind.”
Post-Downtown: “I think inner-city youth cannot control the environment they were born in and thus have to face many hardships that suburban youth never see. I think inner-city youth may need an extra push in the right direction sometimes because their environment is so harsh. I don’t think that all inner-city families are abusive or consist of one parent, however, there are definitely more problems in the inner city that could put stress on familial relations. I think most inner-city youth are talented and can contribute greatly to society.”
A key aim of our work is to stimulate advocacy efforts on behalf of children. A very broad sense of advocacy is promoted, including such actions as interacting one-on-one with youth, registering concern about a youth issue with a local leader or state politician, serving as a youth advocate, or committing to advance a cause through activism or community leadership. One student explained:
“This course opened my eyes to the prevailing situations that affect today’s youth. [It] helped me to see the many organizations that are in place and are out there fighting to save today’s youth. It also opened my eyes to the limitations of such programs due to a lack of funding or people to join in on the work in progress. I’ve come to understand that every little bit helps. I can make a difference.”
Another student’s reflection at the end of her TYCRC experience:
“I shocked myself to the ultimate when I took control of things that I never thought I was good at. Being put under pressure, knowing that what I have done will help real people, made me work 1,000 times harder than I ever have. It made what I was doing worthwhile. When given a chance to do CBR and to work in the community, your whole world view is readjusted and renewed. It has impacted my future because now I know what I am capable of and what is important to me—to the world.”
All community partner participants were asked four times during the program to respond to reflective prompts about “the experience of being in a class that is a mix of college students and community members.” Responses were overwhelmingly positive.
One community participant commented:
“I think that this is a great combination because you get to know all aspects and views of the community and create ties and relationships/friendships with many that you wouldn’t otherwise communicate on any level. I have no problem working or being a part of a group that has students and community members. It makes me feel knowledgeable to the students.”
Recommendations
This course has demonstrated the value of college students’ collaboration with community partners to identify issues and needs of inner city communities. Building competency skills for working with, and behalf of, inner city youth and their families is the key to our approach. We have learned that this partnership is most effective when students are provided the resources and space to fully understand the cultural context(s) in which they are working. Adults, participants, and potential university partners supporting youth media should make time, resources and space to reflect on inner city and race-related issues to make their partnerships with youth that much stronger.
Petula Clark foreshadowed this magic in her prescient Downtown lyrics: “Just listen to the music of the traffic in the city; Linger on the sidewalk where the neon signs are pretty. How can you lose? … Downtown—you’re gonna be all right now.”

Continue reading Eradicating Stereotypes: Initiatives for Culturally Aware Leaders

Girls Write Now: A Showcase of Intergenerational Learning

At first glance, The Library of the General Society of Mechanics & Tradesmen of the City of New York looks like it sounds—old, austere, and a bit secret. It sits tucked away on New York City’s “literary row,” stomping grounds of The New Yorker magazine, Harper’s magazine, and the Algonquin Hotel during their heyday in the 1920s and 1930s. The stately exterior opens up into a graceful chamber of warmth, wood and learning. It does not look like it would be the setting for a vibrant display of intergenerational learning. Talented, fearless teen writers—whose thoughts are too often tucked away like volumes on the library’s shelves—and adult, professional women working in publishing, education, media and the arts would come together to share co-written stories. But, on the evening of January 24, 2007, the Library challenged more than one misconception by hosting the Second Annual Girls Write Now (GWN) Winter Pair Reading.
“We haven’t had this kind of energy here in a long time,” said Janet Wells Greene Ph.D, Director of The Library. “I love it…Part of our mission [here at The Library] is to promote an understanding of urban work, and we think this is a great opportunity to honor the craft of writing and the occupation of writer.” She concludes, “This event [was] an opportunity to see reinvention of apprenticeship in action.” Maya Nussbaum, Executive Director of Girls Write Now comments, “[The reading is] a wonderful opportunity to see the Girls Write Now community in action…The spirit of our mission is perfectly encapsulated in the collaborative pieces written and read aloud by our mentor-mentee pairs.”
Girls Write Now
Founded in 1998, Girls Write Now (GWN) is a New York City-based non-profit committed to helping New York City high school girls discover their voice and have the courage and confidence to share it with the community. Through one-on-one mentoring, workshops, readings, and events, Girls Write Now provides a safe and supportive environment where girls can expand their natural talents develop independent voices and build confidence in making healthy choices in school, career, and life. In today’s society, young women are often silenced by all consuming images and messages in the media that stereotype and objectify women. Women are a target group of consumerism, thus, most marketing strategically promotes women as objects to “appear” or “attract” rather than to act, build alliances with each other, or support and develop their talents and interests.
Research in adolescent development consistently shows that relationships with caring adults other than parents can make young girls significantly less likely to engage in drug use, underage drinking and sex, and more likely to succeed in school, peer, and family relationships. Mentors benefit from involvement with the program as well. Adult mentors report that their experience in the program increased their self-esteem, as well as their sense of responsibility and accomplishment. Additionally, studies indicate that mentoring improves morale at work and relationships colleagues, friends and family.
GWN matches at-risk high school girls who have a love of writing with professional women writers. The goal: to help these girls develop their unique voices, their writing skills, and the confidence to tell their stories, as well as the ability to make healthy life choices. GWN is the only youth program that combines a rigorous, but fun creative writing curriculum and girls-only programming within the context of mentoring that benefits mentees and mentors alike.
Mentors & Mentees
The Winter Pair Reading was designed to celebrate the collaborative creative work of GWN mentors and their teen-age mentees. GWN mentors and mentees presented only collaborative works for the event, specifically single pieces written by a mentor-mentee pair, or two complementary pieces written separately by the mentor and mentee but read together. Many of the night’s poems, stories and essays were born in GWN workshops, which are followed by take-home exercises for pairs to do together.
Ebony McNeill, a Brooklyn teen attending an adolescent employment and educational program and her mentor, freelance editor Karen Schader developed their collaborative poems from a writing exercise in which they walked together through a neighborhood, observing it with all of their senses except sight. This exercise allowed both women, despite their differences in age and experience, to work as equals. By observing their surroundings with different senses, they view the world in new ways—a great leadership perspective.
Other mentor-mentee collaborative topics ranged from the sweet stuff of teenage dreams to memories of growing up and everything in between. Emceed by Penny Wrenn, Talent Director of GWN, the night kicked off with a pair of earthy and heart-wrenching poems about chances in love not taken by Anna Witiuk, a junior at New York City’s Beacon High School and her mentor, teacher, author, and literary agent Caron K. Stengel. This is Anna and Caron’s second year working together in GWN. Their pride in working together is easy to see during their performance and shows the power of linking women across generations.
Ebony, Mona, and each of the other 28 girls enrolled in GWN meet with their writing mentors weekly for one school year to develop their skills and understanding of the writing process. Pairs are made by a “matchmaking committee” consisting of board members and veteran mentors who consider geography, genre interest, and the unscientific but no less meaningful “x-factor” (or chemistry) between a mentor and mentee (members are alerted to the presence of the matchmakers, encouraged to share their preferences, but warned there are no guarantees the matchmakers will grant them).
This simple, but unique approach has worked to build a strong community of writers to nurture one another and their creative freedom. “The relationship between girls and their mentors is symbiotic,” said Nussbaum, “As pairs work together, they become apprentices of each other, learning the art and craft of writing through life experience.” The workshops provide fertile ground for learning as the community of mentors and mentees collaborate under GWN’s guiding principle of writing as a communal enterprise — to be created and shared.
Intergenerational Learning through Mentoring
The intergenerational learning fostered by this approach is built on multiple layers of commitment that mentees and mentors make to each other — and to GWN — each season. The first of these layers is between each pairing and the organization itself. Carefully screened candidates undergo a rigorous application process, which includes detailed applications, writing samples, and reference checks. GWN seeks mentors who have impressive academic and writing resumes, as well as a demonstrated commitment to teaching, tutoring, or mentoring girls, and the drive to contribute to the organization’s growth. Mentees must demonstrate a commitment to growing as writers, regardless of their skill level upon entering the program. Upon acceptance into the program, each new member signs a series of forms confirming her commitment.
The second layer is a commitment between the mentors and the idea of teaching and learning through the mentoring process. Each mentor undergoes an intensive full-day training conducted by the Girls Write Now program board in conjunction with experts from Columbia University, NYU, Community Word, Girls Scouts of America, Planned Parenthood NYC, and Urban Word, among other community institutions. This training serves as an introduction to adolescent development, diversity issues, mentoring tools, editing and revision for teens, and writing workshop facilitation.
The mentor-mentee pairs seal the third and final commitment shortly after they are matched at the start of the season’s first workshop. Each mentor-mentee pair signs a mutual agreement explicitly outlining the responsibilities of their writing partnership and through it, their commitment to learning as a team. Mentees learn the nuts and bolts of writing, while their mentors are reintroduced to the magic and art of creative writing, free of the limitations often imposed by professional writing. Mentors are often surprised to find within their pair writing sessions a spark to ignite their own creative passion, and — through knowledge obtained by working with a teen girl — the tools to approach their work in new ways.
Workshops
Weekly pair writing sessions are punctuated and informed by monthly, genre-based full-group workshops, featuring whole-group, pair, and small-group activities. The workshops are carefully balanced between spirited fun and curriculum rigor. Each workshop begins with an icebreaker to warm members to each other as well as to the idea of writing for four hours on a Saturday afternoon. One recent prompt was “My character for the day is [insert lovely, fun, or energetic color + food you like the sound of].” No one wants to miss reinventing herself as “Rainbow Meatball” or the chance to be introduced to “Royal Blue Hot Dog.”
At the close of each workshop, we engage in “Warm Fuzzies,” which are constructive, anonymous comments shared by all mentors and mentees around the circle. “Warm Fuzzies” begin with a prompt, such as the following from the fiction workshop: “If you could fly off with any character from today, who would it be and where would you go?” The anonymous nature of this exercise help to remove the mentor/mentee labels we initially assign, allowing for true reflection and intergenerational learning. It also fosters an environment wherein the relationships between mentors, mentees and the entire community transcend racial, ethnic, and religious boundaries in a city where many young people rarely leave their neighborhood.
In response to the fiction workshop prompt, one participant said: “I’d take off with black strawberry, the girl whose eyes change color. I would go to the park and watch people with her. I bet her eyes would show me great things.” Another member, prompted at GWN workshop to “name one thing in the world you would like to see change and how you would help make it happen,” put it this way: “I want people to stop being so skeptical and to not give up on their dreams just because their dreams are taking too long to get realized. How am I going to change this? By not giving up on mine.”
These statements echo GWN’s greatest achievement: mentors and mentees learning from one another as peers. Girl-only programming, with an intergenerational approach to mentoring, creates a space for communal voice, collaboration, and social, gendered change.
Michele Thomas lives in Brooklyn, NY and works as a K-8 writer and editor in children’s educational publishing. She is also a mentor and Communications Director of Girls Write Now. www.girlswritenow.org

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Young gypsies document their life

Youth groups around Scotland have been researching and writing the site, www.time-travellers.org.uk, which includes photographs, interviews and sections on history and modern culture. Shantelle, 15, from Edinburgh, said: “We want to show them what we’re really like and get some more positive feedback. “A lot of travellers get bullied at school, so I don’t really talk about it very much. People don’t understand us.”
To read an article about these young gypsies, go to: http://edinburghnews.scotsman.com/edinburgh.cfm?id=364492007

Resource for Media Educators

The Common Language Project offers media literacy and production workshops in a variety of educational settings throughout the United States and Canada. Their curriculum varies according to educational level, and can be custom tailored to specific classroom needs.
For middle school and high school classes they cover basic media literacy, discussing the role of independent media in society and issues of diversity and ownership in media. They also offer trainings on basic multimedia production.
For undergraduate and graduate courses they cover multimedia production, the nuts and bolts of international reporting and web-publishing, and career development in independent media.
They provide workshops free of charge for public schools in Western Washington, and often ask for little more than the cost of transportation from other institutions.
CLP is traveling and may be in your area. Contact CLP to find out and to schedule a workshop.
To find out more, or to schedule a workshop, email: education@clpmag.org.
About The Common Language Project:
The Common Language Project is a nonprofit online multimedia magazine and collective commmitted to covering underreported issue as well as teaching young people how to critically consume media as well as how to create their own content. The CLP offers free media literacy workshops in any public middle schools and high schools.
www.commonlanguageproject.net

Unicef calls for Entries for Children’s Broadcasting Award

NEW YORK, 7 March 2007 – UNICEF and the International Academy of Television Arts & Sciences today called for entries from broadcasters for the 2007 International Children’s Day of Broadcasting Award. The ICDB Award will go to the broadcaster whose programming best reflects the 2006 International Children’s Day of Broadcasting them, Unite for Children, and Unite Against AIDS, and who demonstrates an overall dedication to youth participation in media.
Radio broadcasters also are encouraged to submit their programs, as UNICEF will also be awarding the 2007 ICDB Award for Radio Excellence.
To be eligible for the ICDB Award, broadcasts must have taken place on or around Sunday, 10 December 2006 in conjunction with the 2006 International Children’s Day of Broadcasting. The deadline for entries is 18 May 2007. More information and entry forms can be found at www.unicef.org/icdb.
To encourage more youth participation in media throughout the year, the award judges will not only consider the quality of the work, but also will consider the commitment broadcasters make to engaging with youth on an ongoing basis.
“Children have the right to voice their opinions and broadcasters around the world are making that happen by getting youth voices on the air – not only during one day in December but throughout the year,” said Stephen Cassidy, chief of UNICEF’s Internet, Broadcast and Image Section. “We want to reward them for their dedication and commitment.”
Said Fred Cohen, Chairman of the International Academy, “We are immensely proud of our 16 year relationship with UNICEF through the ICDB Award. Not only does this special award recognize the finest contributions in children’s programming, but it serves as a beacon to furthering broadcasters’ commitment in helping improve children’s lives throughout the world.”
UNICEF also announced the theme for the upcoming 2007 International Children’s Day of Broadcasting: The World We Want. Five years ago, youth around the world met in New York to attend the Special Session for Children. The outcome of that meeting was the agenda “Building a World Fit for Children,” which laid out four main priorities: Promoting healthy lives; Providing quality education; Protecting children against abuse, exploitation and violence; and Combating HIV/AIDS. On the fifth anniversary of this agenda, how far have we come? Have these goals been achieved in your communities? What problems still exist? What suggestions do the youth have to solve them? What can be done to build a world for children?
UNICEF is calling on broadcasters, both television and radio, to participate in the International Children’s Day of Broadcasting on December 9, 2007 to highlight youth voices concerning the state of the world and their place in it. Participating broadcasters will be eligible to submit entries for the 2008 ICDB Award.
For the third year, the ICDB Award judging will take place in 8 regions with broadcasters eligible for prizes. Entries are due to UNICEF’s regional offices by May 18, 2007. The top-scoring television entry in each region will compete for the ICDB Award, to be presented at the International Emmy® Awards Gala, November 19, 2007 in New York. The top-scoring radio entry will become a finalist for the ICDB Award for Radio Excellence, to be presented at the ICDB Awards Breakfast in New York.
Information about regional judging and entry forms are now available at www.unicef.org/icdb.
Last year, the Award went to Teleradio Moldova for their program “Let’s Play!” Teleradio Moldovia was one of 6 regional ICDB prize winners, in addition to ATN Bangla (Bangladesh), RCN (Colombia), Gambia Radio and Television Services (Gambia), TVE (Spain) and Syrian Broadcast TV (Syria).
Established in 1991, the International Children’s Day of Broadcasting encourages broadcasters to produce programming by, with and for children. UNICEF and The International Academy of Television Arts & Sciences jointly celebrate this initiative with the International Children’s Day of Broadcasting Award.

10th Annual Urban Visionaries Youth Film Festival

Celebrate the 10th Annual Urban Visionaries Youth Film Festival on Thursday, March 29 and Friday, March 30, 2007.
Urban Visionaries is New York City’s only film festival produced, promoted, and presented by youth. The festival features documentary, fiction, PSA’s, and experimental pieces made by youth filmmakers exploring issues critical to youth, including: hip hop, art, community, culture,
violence, sexuality, and more. Come check out the films, youth performers, Q+A with filmmakers, video slam, and after party. Also, featuring a special Media EXPO on Saturday, 3/24 at Manhattan Neighborhood Network.
The Youth Committee proudly presents the following three packages featuring 25 films as part of this year’s program:
Package title: STUCK IN NEUTRAL
(Screening times: THURSDAY 10-12pm and FRIDAY 1-3pm)
What is normal? How does one define the term? These films question and confront the ideas and stereotypes surrounding the concept of normality. Is there really such a thing as normal?
Package title: DEAL WIT IT
(Screening times: THURSDAY 1-3pm and FRIDAY 4-6pm)
“Deal Wit It” is about what happens in our communities, families, and schools. The pieces reflect issues in our society, sometimes showing the ugly truths that surround us. The films challenge us to ask, “What should we do about them?”
Package title: SKULTURE
(Screening time: FRIDAY 10-12pm)
Prepare yourself to experience a mind-expanding group of films that are guaranteed to inspire. Skulture is a brain blower, experimenting with different forms of art involving skating, culture, expression, heritage, and more.
*VIDEO SLAM! (THURSDAY, 4-6pm)
Open call to all youth media makers! Bring a mini-DV copy (with DVD backup) of your work at 3pm, cued to the place you want it to begin, and screen up to 3 min. before a live audience! RSVP recommended at rsvp@listenup.org.
All screenings are FREE!
Thursday, March 29 & Friday, March 30, 2007
Hosted by the Museum of Television and Radio
at 25 W. 52nd St, b/w 5th and 6th Ave, New York City
For group or individual booking, call:
The Museum of Television & Radio
Rebecca Fisk, 212-621-6663
For more info, visit: www.urbanvisionaries.org
And be our friend on myspace! www.myspace.com/urbanvisionaries
Contact:
Wendy Cheung
Festival Coordinator
(212)594-9577
uvffcoordinator@yahoo.com

Continue reading 10th Annual Urban Visionaries Youth Film Festival