3rd International Youth Media Summit (for teens)

Media Education Centre will be organizers of the 3rd International Youth Media Summit for teens ages 13-17, held in Belgrade summer of 2008.
International Youth Media Summit was founded by Ms. Evelyn Seubert from Cleveland High School USA and Ms. Aileen Marshal from South Lanarkshire Council in Scotland. During July 21-30, 2006, the first summit was held in LA presented by ‘Listen Up!’ and ‘Learning for Life’ as well as being mainly funded by IRMAS Charitable Foundation and HealthNet.
Nearly 90 people from 26 countries attended the Summit in 2006 and represented diversity in identifying and addressing seven core issues:
Racism | Violence | Poverty | Youth Empowerment | Women’s Empowerment | Health
| Environment
The outcomes are Public Service Announcements (PSAs) filmed and edited by student filmmakers as well as researched and prepared by the student diplomats.
This program is exclusively designed to provide Skill and Professional Development as well as familiarizing young participants with codes and standards of Media. The program also provides a media platform for young adults to express and present the above significant issues around the globe.
All delegates chose an issue group, and when in Belgrade they worked with others in their issue group to:
• Create resolutions of action and present them to both the United Nations and home countries.
• Create public service announcements that encourage teens to become actively involved in creating change.
• Share past successes using video, collaborative projects, and work done at other teen summits and organizations.
• Plan future work using international media exchange projects.
If you are organization working with young people or an individual young filmmaker (13 to 19) and media and you are interested on 3rd International Youth Media Summit please register and write your question-comments on the IYMS Blog Category. http://www.roamingreporters.net/RRWP/

On the Town: Stories of New York in WWII contest for youth

Students across the New York tri-state area are encouraged to enter The War contest, On the Town: Stories of New York in World War II. To apply, students must create a multimedia project that addresses the theme: Where Were They Then: New Yorkers and World War II. The project can be a podcast or Web site, an image montage or a flash animation. They can work independently or collaborate in teams.
The contest is for students in grades 8-12 to create a multimedia project that can inform young people about World War II, integrates three generations of tri-state residents, and inspires student creativity.
The deadline is December 31, 2007 and winning students and their teachers will be invited to attend a reception at Thirteen. For more information, rules and regulations, and the entry form, please visit http://www.newyorkwarstories.org/student_contest.html.

World Savvy Media and Arts Program Intern

World Savvy is looking for an intern to support the 2007 Media and Arts Program. Since World Savvy is a small start-up nonprofit, there is opportunity to take on responsibility and see significant returns in the short term.
This is an unpaid internship. We provide equal employment opportunity for all applicants without regard to race, color, religion, sex, national origin status, sexual orientation, age,
marital status, veteran status or disability.
Hours: 12-21 hours a week; details to be negotiated.
Dates: Oct 8- Dec 21 (open to negotiation)
Location: 540 Madison Avenue @ 55th Street
Key Responsibilities:
-Research public school standards and create a document linking
Media and Arts Program curriculum to state standards
-Help develop teacher resources on Immigration and Identity
including lesson plans, contemporary artists, and a calendar of
local arts events Jan-June 2008
-Solicitation of in-kind donations
-Other administrative or programmatic work, as required
Qualifications:
-BA preferred
-Excellent communication skills
-Excellent research and writing skills
-Background in arts or media
-Interested in education and/or youth development
-Interest in media and arts education
-Interested in immigration and identity issues
-Responsible and reliable
-Good with computers and comfortable with internet and word-
processing
-Ability to take initiative and work unsupervised
-Willingness to be flexible and adaptable to change
Please email your resume and a short letter of interest to
victoria@worldsavvy.org

Exalt Youth Program Coordinator position

Title: exalt Program Coordinator
Reports to: Executive Director
Summary:
exalt youth is a new nonprofit seeking a dynamic, passionate individual to join our team. exalt’s mission is to transform the lives of youth along the spectrum of criminal justice involvement by equipping them with the skills and experience they need to be self-sufficient, self-fulfilled, productive members of society. We fulfill this mission by providing a cohesive program with four components: employment readiness and life skills training; paid internships in youths’ fields of interest; post-internship education and career development services; and an alumni network that provides ongoing access to resources. exalt partners with criminal justice agencies, community based programs and schools to serve youth ages 15-20, both in and outside of the criminal justice system.
exalt’s Program Coordinator conducts all aspects of the program including recruiting and selecting youth from partner sources, facilitating a month long preparation class, developing and monitoring internships that meet participants’ interests, and providing support to youth throughout all aspects of the program.
Responsibilities
· Marketing exalt’s program to youth in partner organizations and schools.
· Interviewing and selecting youth from partner sources to participate in exalt’s program.
· Facilitating five week long pre-internship preparation class, which runs two hours per day, four days per week.
· Developing internships throughout New York City in a wide range of employment sectors to meet youths’ various interests.
· Developing strong relationships with employer partners and youth to support their participation and success in internship experiences.
· Conducting regular out reach to internship sites throughout duration of internships through regular site visits, phone calls.
· Facilitating weekly seminars with participants during their internships to help youth process their experiences and continue developing education and career development skills.
· Facilitate monthly post-internship seminars for participants to assist them further their skill development and make progress towards achieving longer term educational and career goals.
· Work closely with Executive Director to continuously develop program to meet youth and employer needs and interests.
Qualifications
· Bachelors Degree required.
· Experience working with “at-risk” youth in educational contexts (e.g. schools or nonprofit programs). Experience working with court-involved youth preferred.
· Ability to engage youth typically resistant to educational settings.
· Experience facilitating groups utilizing creative curricula and pedagogy.
· Ability to network with a diverse range of external constituents including employers from multiple sectors, participants’ families, school and other agency staff.
· Excellent communication skills (both written and verbal).
· Interest in and ability to develop creative and rigorous programming for youth.
· Demonstrated ability to work independently and take initiative.
· Strong organization skills and attention to detail required.
· Bilingual (Spanish speaking) a plus.
Please send resume and cover letter to info@exaltyouth.org
(Please indicate in cover letter what interests you about the position. Resumes without cover letters will not be considered.)
exalt is an equal opportunity employer. www.exaltyouth.org

Urban Word NYC Fall 2007 Teacher Training

– self- expression – critical thought – self- confidence – educational achievement
Silver Center, 100 Washington Square East Room 714, Silver Center , NYC
Opening Panel and Performance: free to public
FRIDAY Sept 21, 2007, 7-9pm
Speaking Dreams, Living Words:
An Evening of Performance and Conversation on Justice and the Power of Poetry
David Kirkland Ph.D., Moderator
Panelists: Marcella Runell Hall, Queen GodIs, Piper Anderson, K~Swift
The arts have always served an important role in education to cultivate visions of justice and liberation. To some educators social justice is an act of changing the world outside of us. To others it means changing the world from within us. This conversation brings personal stories to center stage, examining the power of spoken word in education to reclaim identities and unleash powerful new voices. Through spoken word, social justice takes on new meaning beginning with one individual, a paper, and a pen whose words when spoken have the power to transform society and the self.
And weekend workshops:
SATURDAY, September 22, 2007 10am – 3pm
(100 Washington Square East, Manhattan, Room 520 Silver Center)
10-11:30am
Urban Word NYC Introduction to Student-Centered Pedagogy
Parker Pracjek & Michael Cirelli
We will discuss the cornerstone principles of Urban Word NYC pedagogy (student-centeredness, non-censorship, and mentoring model), and what it means to carry these principles as systems of belief that bleed into every aspect of our roles as educators. We ask: In what ways do I foster active listening to my writing students? In what ways do I re-enforce the status-quo (suspicion of and disappointment in inner-city youth) or invite deep questioning? In what ways do I model positive social dialogue? In what ways do I foster collaborative teaching?
11:30-1pm
NYCoRE
Educator as Activist
This workshop encourages teachers to examine the ways in which institutionalized education serves to maintain the predominant status quo. We will look at the ways in which a teacher may redefine their role from the traditional classroom-based professional to one who takes a stand on issues of educational justice. Curricular resources developed by NYCoRe on Katrina, immigration and militarism will be available.
1:30-3pm
Kamilah Forbes, Hip-Hop Theatre Festival
Hip Hop Theater 101
This workshop will cover the beginnings of hip hop culture in relationship to a performance aesthetic; discussion will include the history of hip hop theater: how, where and who started it as well as some of the social and political aspects that brought it into being. The workshop will also be interactive in exploring the basics of theater and storytelling in a performance context. Time permitting, other aspects of hip hop theater techniques will be explored, including using rhyme as the basis for dramatic scene, incorporating movement into the physicalization of a character and the utilization of a live DJ as the sound track that pushes a dramatic scene forward.
SUNDAY, September 23, 2007 10am – 3pm
(100 Washington Square East, Manhattan, Room 520 Silver Center)
10-11:30am
David Kirkland, Ph.D.,
Language and Liberation
This session examines the politics of language, exploring the power of the spoken and written word, always articulated in dialect, to construct our identities and unleash our powerful voices. In this way, language plays an important role in both poetry and the arts. A contested site, language is the place where youth struggle with words, theirs and others, to cultivate visions of justice and liberation. In language, youth take on new meaning beginning with a voice and verb, where words when spoken have the power to transform the world inside-out.
11:30-1pm
DJ Reborn (Robyn Rodgers)
Young Women Reborn: Through Popular Music, Media and Culture
The powerful voices, energy and brilliant analytical perspectives of young women deserve to be explored through alternative mediums. The “Young Women Reborn: Through Popular Music, Media and Culture” workshops seek to do just that. Robyn Rodgers will lead a mini version of this model with a discussion of the impact of media on girls, a writing exercise and a dj demo.
1:30-3pm
Rachel McKibbens
RELEASING THE HOSTAGES: How to Negotiate Poems Out of Our Youth
We cannot teach imagination, but we can encourage it. In this workshop, you will discover how to build your own custom fit exercises from poems, write poetry of your own to be used as prompts (even if you don’t think of yourself as a poet) and acknowledge the risks you must take as educators to earn the trust of your students; if they don’t believe we care about them as writers, they will not deliver the poems they are capable of.
REGISTER NOW!
Suggested donation for weekend training is $100.
Please be sure to pre-register by emailing Program Director, Parker Pracjek at parker@urbanwordnyc.org
Training is free for NYU students and staff, NYCoRE Members, and the Hip-Hop Theatre Festival staff.
For additional information, please call 212-352-3495.
About Urban Word NYC:
Founded in 1999, Urban Word NYC™ (UW) is at the forefront of the youth spoken word, poetry and hip-hip movements in New York City. As a leading nonprofit presenter of literary arts education and youth development programs in the country, Urban Word NYC offers a comprehensive roster of programs during the school day and after-school hours and conducts diverse programmatic offerings in the areas of creative writing, journalism, literature and hip-hop. UW presents local and national youth poetry slams, festivals, reading series, open mics and more. All told, Urban Word NYC works directly with 15,000 teens per year in New York City alone, and has partner programs in 42 cities across the United States. For more information, visit: www.urbanwordnyc.org.
About NYCoRE:
New York Collective of Radical Educators (NYCoRE) is a group of public school educators committed to fighting for social justice in our school system and society at large, by organizing and mobilizing teachers, developing curriculum, and working with community, parent, and student organizations. We are educators who believe that education is an integral part of social change and that we must work both inside and outside the classroom because the struggle for justice does not end when the school bell rings. Visit: www.nycore.org
About the Hip-Hop Theatre Festival:
In six years, the Hip-Hop Theater Festival (HHTF) has grown into one of the most influential outlets showcasing hip-hop performing arts in the country. The Hip-Hop Theater Festival aims to invigorate the fields of theater and hip-hop by nurturing the creation of innovative work within the hip-hip aesthetic. The core of HHTF’s programming is its annual Festivals. Visit: www.hiphoptheaterfest.com

The September/October 2007 IndyKids is Out!

Go to www.indykids.net to download the paper and teacher’s guide, find out how to get copies and to subscribe.
The new issue includes stories about the Jena 6 case in Louisiana, United States military bases worldwide, Coca-Cola’s attack on workers’ unions in Colombia, the Khalil Gibran Academy, Harry Potter reviews and a Harry Potter scavenger hunt.
Visit:
http://www.indykids.net/teachers/index.html
for the Teacher’s Guide that accompanies the new issue.
Free copies of the new issues are currently available in New York City at:
• Bluestockings Bookstore, 172 Allen St (between Stanton & Rivington), Manhattan
• Revolution Bookstore, 9 W. 19th Street (between 5th & 6th Avenues), Manhattan
IndyKids is a free newspaper and teaching tool for kids in grades 4-8 and high school English language learners. IndyKids aims to inform children on current news and world events from a progressive perspective and to inspire a passion for social justice and learning.

Expanding Low-Power FM Radio

Low power FM stations broadcast at 100 watts or less, making them affordable and useful tools for noncommercial and community groups. In 2000, the Federal Communications Commission issued hundreds of licenses for free to community stations, but Congress limited the service, keeping it from thousands of other communities, particularly inside big cities.
A repeal of these restrictions and a new issuing of licenses could benefit the youth radio field by increasing access to the airwaves and making more spaces for youth voices to be heard.
On June 21, 2007, Congresspersons Mike Doyle and Lee Terry introduced the Local Community Radio Act, which, if passed, will expand radio access across the country.
According to organizers at the radio access advocacy group, Prometheus Radio Project, the bill is moving forward, but support is needed to get representatives to cosign it.
For more information and to sign the petition to expand low power FM radio, go to http://www.expandlpfm.org/ or http://www.prometheusradio.org.

this month’s youth media professional


Erin Yanke, 37, is the Youth Advocate at KBOO Community Radio in Portland, OR. She is one of the hosts of Life During Wartime, a late night punk show, and a part of the Circle A Radio Collective.
Erin did her first radio show at the age of 15 at a Community radio station similar to KBOO and was involved with her college radio station by 18. She was attracted to radio because it helped her discover how big the world could be, mostly through the punk rock shows on KDVS, and radio stations out of the San Francisco Bay Area.
She explains, “I was a DJ and engineer, and when I moved to Portland in 1994 I came immediately to KBOO and began volunteering. We were still editing with reel-to-reel tape and razor blades at that time. I think about that, and the way that computers and Digital Editing have revolutionized the ability for people to be citizen reporters, and do-it-yourself artists and archivists, and it blows my mind. I’m sure my past helps me do my job well, but the thing that I think is more important is that I am still a volunteer here.”
In the non-radio parts of her life, Erin plays drums in the punk rock band Social Graces, works as a house cleaner, lives collectively, reads voraciously, and hangs out.

letter from the editor

Letter from the Editor
Welcome to September 2007 (Volume 1: Issue 8) of Youth Media Reporter (YMR).
This issue is focused on youth radio and its importance to the youth media field. Many thanks to this month’s contributors from Generation PRX, and Youth Radio (CA), Radio Arte, and interviewees from KBOO Youth Collective, Blunt Radio, Voices of Youth, Radio Rookies, and Radiobus.
The radio pieces in this issue cover:
• Teaching and understanding the value of diversity in Latin American youth radio classrooms;
• How providing leadership and career opportunities can engage youth to become peer-to-peer teachers and graduates-turned-employees at Youth Radio;
• The importance of radio partnerships; and
• The unique elements of youth radio that make it stand out across the field.
In addition to this month’s feature radio articles, check out our professional of the month Erin Lanke, the Youth Advocate at KBOO Community Radio in Portland, OR, who started radio at the age of fifteen and rocks out in a punk rock band.
YMR has two more issues left in the year 2007 and will be releasing a print version of the journal with 8-10 “special feature” articles that investigate trends, issues, and challenges current to the youth media field early 2008. If you would like a copy of the print journal, send a request to idahl@aed.org.
The next issue (#9) of YMR will come out on October 15th with a focus on cross-continental youth media work. In October, YMR will co-sponsor a two part “Youth Media Forum” at NAMAC’s Frontier is Here conference with Global Action Project, Youth Media Learning Network, and Listen Up! on the 17th and 19th in Austin, TX. Reflections from these forums will be available as in-briefs in next month’s issue.
If you are interested in writing an in-brief or a feature article about a youth media event, program, or challenge your organization has experienced or solved, contact YMR. We are interested in learning about you and your viewpoints.
If you would like to be published in YMR please contact me at idahl@aed.org. As always, we also encourage you to provide feedback or begin a conversation about any of the current articles, simply use the comment feature next to each article on the YMR website.
Warmly,
Ingrid Hu Dahl
Editor, YMR
Report from the field and make a difference!

Generation PRX: Creating a Youth Radio Network


Photo: Blunt Youth Radio Project
Above the sound of running water and dishes being cleaned, Elizabeth Pliego explains the plight of her Tia Ophelia. “I can’t imagine the pain of a mother who has left her kids to work in another country,” she says, describing Ophelia’s difficult border crossing. Elizabeth’s voice is soft but clear, and the piece, “To My Aunt, Who Crossed the Border,” is part letter, part wish, part documentary. This is a different kind of radio. Instead of reporting or debating immigration, Elizabeth speaks from her personal experience. The work is honest, touching and deeply compelling. This piece is unique in another way: it wasn’t commissioned by a station, but produced in a high school English class on Chicago’s Southwest side.
Without the Public Radio Exchange (PRX), you might never hear Elizabeth’s voice on your local station. With the help of Generation PRX, however, hundreds of youth producers are reaching new listeners around the country. Through the network Generation PRX provides, the impact of youth radio stories is multiplied: young producers are showing how local issues resonate nationally while connecting with other producers. Radio teachers are sharing resources and developing training together, and stations are airing more youth work.
The story of how GPRX grew from a concept to a network of over 50 youth radio groups is a study in collaboration and connection with roots in radio, youth media and new technologies.
Why youth-made radio?
As a medium, radio presents unique tools. Radio is cheap, accessible, mobile and entertaining. Because it relies on how listeners imagine what they hear, sound is visual without being image-based; a nice break from the extreme image saturation and dependency across mainstream consumer-based media. Good radio is deeply compelling. For all these reasons, radio has emerged as a powerful tool for both social justice and digital literacy.
Pioneers like Blunt Youth Radio in Portland, ME and Youth Radio in Oakland, CA first cropped up some ten years ago. Today you can find youth-produced radio all over the country; at places like The Appalachian Media Institute in Kentucky, Radio Rookies in New York and KBOO Youth Collective in Oregon, youth have been discovering the power of their voices to entertain, inform, and mobilize.
Youth producers are brave with their questions and keen with observations. They also better represent this country than conventional “adult” public radio producers. As the field has grown, youth radio has emerged as a truly diverse collection of voices: geographically, economically, ethnically and racially. As their stories reach the airwaves, youth producers are changing the face of conventional media.
For the youth radio movement, the question of how to harness the power of youth-produced radio to reach a larger audience while maintaining the integrity of each individual group was central. Generation PRX was created to fill this need by amplifying youth voices and, ultimately, support youth to enter into public radio—radically changing the way public broadcasting looks and sounds.
Generation PRX
Generation PRX (GPRX) is a website for youth radio producers to share their work, write reviews and get licensed by non commercial stations across the country. Through GPRX, visitors can listen to work produced by youth from Anchorage, AK to Baltimore, MD. They can hear stories about dating, racism, families, and the current status of the war. The website provides a space for visitors to hear what youth are talking about, find out how to get involved in radio, support others, or start their own youth radio group.
GPRX leverages the technology of PRX to distribute youth-made radio. But because PRX’s model for distribution is new, explaining the project usually elicits some puzzled expressions:
“So you’re a station?”
“No, but we work with several hundred stations.”
“So you’re a producer?”
“Well, we connect producers with those stations.”
“Okay, so you’re helping listeners.”
“Yes! But we’re helping listeners by supporting stations and producers…”
Short of pointing to the PRX video, the basic model works like this: individual producers upload their work to PRX, where it sits in an ever-ready catalogue of digital audio. Listeners can hear the pieces through the PRX website and write reviews of the work and stations can download this work to broadcast on their own airwaves. Take the example above: Elizabeth’s piece about her Tia Ophelia was produced in a classroom and uploaded to PRX. In the month since it was posted, it has been played by stations in Pennsylvania and California, reviewed by a youth producer in New Mexico, an adult producer in Ohio, and a station program director in Seattle.
The role of mediator
Although Generation PRX differs from most youth media organizations in its role as a mediator rather than a direct service trainer, its evolution can provide some helpful best practices for others looking to collaborate meaningfully with a network of producers and groups.
When the project launched in the fall of 2004, it was challenged to both explain its services—a new way to distribute digital radio—and gain the trust of youth radio groups. From the start, GPRX—a project that would be led by youth—needed to confront issues of style, ownership, vulnerability and power.
To launch GPRX, we invited fifteen youth radio leaders, professional journalists and youth producers from around the country to an initial convening meeting at PRX headquarters in Cambridge, MA. We chose participants carefully to represent the breadth and experience of the youth radio field and include youth that would lead the project, including practitioners from Blunt Radio, Radio Rookies, Youth Radio, Appalachian Media Institute, Radio Arte, Atlantic Public Media, and funders (OSI and Surdna). Several topics arose during the meeting that helped guide how GPRX could best serve the youth radio field such as:
• What would be the consequences of sharing youth audio on a public, professional site?
• How would the project ensure that youth were well represented and supported?
• How could GPRX address and encourage the diversity of youth radio?
• How could GPRX ensure that youth themselves were engaged as leaders of the project? How could we foster youth participation and investment?
While these topics came up during the convening, others emerged soon afterward. As with all youth media, the familiar tension between a product-versus process-based approach to production came up in the stylistic differences between groups. In addition, the dubious “youth” designation provided special attention that could cut both ways—sometimes sought out as representative of a young perspective, other times denigrated as amateur or cutesy. How would listeners know that a piece of work was youth-produced? And should they?
Important cornerstones
With the help of an engaged advisory board of youth radio leaders and producers, we found helpful solutions.
The Youth Editorial Board: To address the dual concerns that youth work shared on PRX would be either harshly reviewed or ignored, we established a Youth Editorial Board (Youth EB) tasked with reviewing radio produced by peers. For the most part, individual youth radio groups identified members that were interested in taking part in the Youth EB, and these members then contacted Generation PRX for follow up. Each Youth EB member sits on the board for three months, receives training on reviewing, writing and providing feedback, and is paid a small stipend in gratitude for her work. In addition, Youth EB members choose pieces that they would like highlighted on the Generation PRX homepage and podcast, acting as curators of site content. Because it creates new connections between youth producers and meaningful conversations around work, the Youth EB has been one of the most singularly satisfying aspects of Generation PRX. It’s also been a terrific tool for recruiting new youth radio groups to join PRX, with youth themselves at the helm of PRX immersion and participation.
New Channels for Sharing Work: YouthCast, the Generation PRX podcast through alt.NPR, helped launch a whole new way for listeners to find youth content. With the introduction of a fantastic host—Kiera Feldman, herself a youth producer at Brown Student Radio—YouthCast presents a new youth-produced piece every other week, and a blog full of interviews, audio news and interesting radio bits. YouthCast has helped focus the public face of Generation PRX where it belongs—on youth producers and their work. In addition, placing YouthCast on MySpace has created a sounding post within a popular website, and helped specialize Generation.prx.org as a destination for those in the youth radio field.
Resources to connect and support youth radio: Signal, our email-newsletter, comes out every other month with updates from the field (subscribe and see past issues of Signal and a host of teaching/listening resources are available on the site). Generation PRX also runs an email list exclusively for youth radio leaders. All of these elements help foster a sense of community within the field by making spaces to share ideas, ask questions, find resources and get recognized.
Leveraging the power of PRX: In order to put youth work on the radar of stations and producers, the Generation PRX project and individual youth pieces are prominent on the PRX site, in the PRX podcast and in emails to stations. To address the issue of recognizing, but not tokenizing, youth work, youth producers can elect to designate their pieces as “youth-produced,” but they will appear on the site like all other work.
Youth radio features: Generation PRX joined forces with KUOW in Seattle to create two youth-produced radio specials, “Getting Raised”, on parenting and “The Migration Project,” on immigration. Both shows were hosted by a teen and included stories from Generation PRX members around the country. To date, The Migration Project has been licensed over 12 times, and the listener response has been vocal and enthusiastic. When you consider that each license reaches thousands of listeners, the timeliness of the topic, and the need for youth perspectives—like Elizabeth’s—on these topics, these pieces are making a significant impact not only on radio, but on public debate as a whole.
These specials are an entirely new model for hearing youth producers on the radio. Rather than limiting youth voices to token 4-6 minute slots, the specials demonstrate the breadth and depth of youth experience and knowledge. The specials include not only youth voices from a vast array of perspectives and places, but an experienced youth host. In this way, youth are publicly engaged as directors of the debate, rather than actors being spoken for. The fact that stations are licensing these specials in such high numbers (The Migration Project is breaking all previous records for licenses of a youth-produced piece) shows the promise of this model moving forward.
Moving forward
Several key elements emerged out of the Generation PRX model that may help others hoping to establish youth media networks.
• From the outset, we addressed issues head on and asked participants to help problem solve. We take feedback as our directives—always returning to members for their ideas—and follow through on concerns and ideas.
Youth serve as active leaders in the ongoing evolution of the project. Their contributions shape the content, and their ideas lead development.
• We work with industry professionals and stations to serve as third party curators and provide exposure to youth radio work—allowing Generation PRX to focus entirely on providing support to the field without favoring any single group.
We do not over extend ourselves. Our mandate is to support, connect and distribute youth-made radio, and we remember that youth radio groups themselves are the primary providers of direct training.
We are in a constant state of evolution. Each year, convening meetings and regular conference calls with youth and adult advisors address the issue of “what next?” We look outwards to hear from members and look for new channels—podcasts, MySpace, LiveJournal, email lists—to amplify youth voices.
Since the project began, youth work has been licensed through PRX over 700 times, and the online catalogue has grown to include nearly 550 youth pieces. Several dozen youth have come through the Youth Editorial Board, and many more have gone on to impact local stations and local communities. We’ve come a long way in the last 3 years, and see great possibility ahead.
In regards to next steps, Generation PRX will expand the resources and support it provides to youth radio groups, and create new channels to reach more listeners. We hope to find ways to build a site that is increasingly multi-lingual, with expanded online training resources, and more opportunities for young people to get involved. Although multi-linguality is a ways down the road technologically speaking, it is a crucial step in creating a democratic space that truly supports a diversity of voices. At the moment, a few groups are uploading Spanish-language pieces, and we are in contact with a handful of international youth radio groups to provide support and resources. GPRX aims to support youth radio and transform the look and sound of “adult” radio. With such powerful and accessible technology, the site has the capacity to transform public media into a much more expansive and inclusive forum.
As more youth producers age out of the “youth” category, we need to find ways to keep them connected to public radio and supported in their work. What kinds of training, opportunities and peer networks would provide the most powerful support? Partnerships with college radio groups, meetings with youth advisors and interviews with youth producers who became radio leaders are helping GPRX develop strategies. Public radio needs the experience, honesty and diversity of youth-produced radio. We have much work to do, but our vital network engaged in finding solutions is adding to the success, sustainability, and widespread distribution of youth-made radio.
Johanna (Jones) Franzel is the director of Generation PRX. Before joining PRX, she worked as the Bilingual Coordinator for the Community Programs Department at the Center for Documentary Studies where she co-founded Youth Noise Network. She holds a Masters in Education from the Harvard Graduate School of Education, and has been teaching for 10 years.