A National Service Opportunity for Media Literacy Education

Join our team! Develop your expertise in media literacy education through the Americorps CTC Vista Volunteer Programand work with a team at the Media Education Lab during the 2009-2010 year. You will develop, implement and assess lesson plans and activities that strengthen “active reasoning” skills of children in response to media and technology, building upon and extending the impact of our faculty development program and summer media literacy camp. The entire program is developed with an intensive research component, where lessons and activities will be carefully tested through a process of formative and summative evaluation.
http://mediaeducationlab.com/news/be-vista-volunteer-media-education-lab

Tribeca Film Institute: Our City, My Story 2009

Every year, hundreds of NYC students pick up cameras and tell their stories. Our City, My Story is Tribeca Film Institute’s annual celebration of the incredible vision, excellence and diversity of New York City youth-made media. Students from all five boroughs continually create powerful films–each exploring a unique perspective or take on the city they live in. By presenting the year’s most exciting youth-made media, this special curated program gives a voice to the best of NYC youth work during the Tribeca Film Festival. Large audiences are welcome.
http://www.tribecafilminstitute.org/youth/our_city/

Southeast • Volume 3 • Issue 2


(Left) Ingrid Hu Dahl, editor of YMR & (Right) Antoine Haywood, YMR peer review board member/People TV Atlanta
Letter from the Editor
Welcome to YMR’s Southeast Volume 3 | Issue 2, where practitioners in Atlanta, GA and Chapel Hill, NC investigate youth media practice and share their insights to the field. With support from Open Society Institute, these practitioners and their colleagues met on February 18, 2009 at People TV to discuss the most pressing challenges of their work. Following this meeting, contributors wrote and revised drafts that were reviewed by a local peer, a member of YMR’s national peer review board, and AED/YMR staff, as a means to engage a youth media rich and yet underrepresented region to the field.
These articles present an insider’s view of the landscape of the city as well as ideas for the field to partner with corporation “CSR;” to instill diversity curriculum in youth media programs; to utilize the cell phone as an accessible means of content creation and distribution; and to partner with local access centers so young people can present their media on Television, a medium that they consume more than create or critique.
I want to thank all four writers—Selah Abrams, Dominick Brady, Jeremy Taylor and Rachel Wallack—for their dedication and hard work. A special thanks to Kelly Nuxoll, YMR’s writing coach, and Christine Newkirk, YMR’s graduate intern, for their suggestions, feedback and editing.
Many thanks to Antoine Haywood, YMR’s peer review board member based in Atlanta, who was instrumental in organizing and leading this cohort. The following is his introduction to readers of the Southeast issue titled, “Southern Voices:”
“As a youth media practitioner, I believe it is healthy to always seek out ways we can further the quality and amount of collaborative work—especially in regions like the southeast—that are sometimes isolated from nationwide efforts to expand the field.
In six years of working with youth and community technology programs, I have been fortunate to meet a number of people within the region who are passionate about the type of work we do. I have made it a personal mission to help these individuals and organizations through networking youth media organizations, practitioners and academics throughout the southeast. Sharing resources, exchanging ideas about best practices and strategic models enables southeastern youth media organizations to provide better services for our communities.
When invited to participate in a regional cohort for Youth Media Reporter, I jumped at the opportunity. A southeast-focused issue of YMR provides us a unique opportunity to raise awareness about our successes, needs and future visions of enhancing the field.
I am proud to have had this opportunity to facilitate the convening of southeastern regional practitioners for YMR. Overall, youth media work in the southeast is in dire need of funding, capacity building and human resource support. This issue of YMR provides a space for southeastern youth media organizations to communicate our challenges and successes, to reach out to similar organizations in other regions of the country, and demonstrate the strength and geographical expanse of the youth media field to potential supporters. As stakeholders in youth media, we have to speak up and strengthen our ties to national efforts that strive to expand the field.
I’d like to thank YMR, AED and Open Society Institute for giving us an opportunity to make our voices heard.”
We welcome you to join the conversation for each of these articles using YMR’s “comment” feature. If you are interested in posting a pod or vodcast response, please contact idahl@aed.org.
P.S. Subscribers to YMR’s annual print journal now can reserve copies of Volume 3 via credit card!
Warmly,
Ingrid Hu Dahl, Editor, YMR
Youth Media Reporter is managed by the Academy for Educational Development

Corporate Social Responsibility: A New Funding Opportunity for Youth Media


In my fifteen years as an audio engineer for a major media organization and as a volunteer educator for youth media programs, I have seen both sides of the relationship between corporations and community based organizations (CBOs). In a down-turned economy, equitable partnering can be a tall order; however, with some basic knowledge of the landscape, good strategic planning, and a clear assessment of what both sides have to gain, CBOs can end up with much more by partnering with corporations than they might achieve from a grant application.
Moreover, community-based youth media programs have a major advantage when it comes to corporate partnerships: documentation. Not only is documentation a natural outcome of every project we do, but having a documentarian or documentation team filming a project, interviewing participants, and editing the package is great training in itself.
Corporate Social Responsibility: A Win-Win for Corporations and Youth Media
Youth media organizations seeking partnerships with corporations can take advantage of the movement in business toward Corporate Social Responsibility (CSR). Practiced by many larger corporations, CSR was designed to “meet or exceed the ethical, legal, commercial and public expectations that society has of business” (Wikipedia’s definition). CSR became better known throughout the 80’s and 90’s with the concept of the “Triple Bottom Line: People, Planet, Profit.” In terms of money, socially responsible investment has risen over 324% from $639 Billion in 1995 to over $2.71 Trillion in 2007 (1).
For youth media organizations, this investment represents corporations as an untapped source of funding. For corporations, demonstrating a commitment to youth media can be a creative new way to achieve their goals: gain customer loyalty, enhance their brand value, differentiate their reputation, and better attract and retain employees.
Moreover, since young people specifically are a target for most CSR initiatives, youth media can introduce corporations to the work force’s next generation, while giving young people a chance to be part of a professional experience. The company will not necessarily recruit employees directly from the program, but it is an easy way for young people to become aware of potential career paths and have some exposure to the necessary skills they will need to acquire.
Once youth media establishes a relationship with a corporation, it is often easy to arrange job shadowing, speakers, and mentoring—great ways to build relationships from the ground up and opportunities that carry great value on both ends.
Here are a few questions that CSR departments look for when selecting new partners:
• How efficient is the organization?
• Are they quick responders when communicating?
• How does the staff present themselves?
• Is there a prior relationship with the company?
• What relationships exist with other companies? (proven successes)
• What personal relationships exist?
• Does this fit a current corporate cause?
• What can the organization do for the company, in terms of finances, volunteerism, and recognition (for instance, if Company X funds a radio show, do they get a ‘sponsored by’ message on every broadcast?)
• Are any groups of employees already volunteering? Is a higher level employee active on their board?
Corporate Volunteering: Creating a Link between Youth Media Organizations and Corporations
In general, CSR departments are highly selective as they partner with an organization. Instead of immediately pursuing a grant request, youth media organizations may find it worthwhile to start small and explore Corporate Volunteerism.
Teambuilding. Companies are much more likely to offer financial contributions to organizations that can show a history of employee involvement, especially in terms of teams. For instance, a youth media organization may engage a team to enhance a company’s website, make a promotional video, or interview company founders. All of these examples provide a solid benefit to the company and can easily be reflected in its performance reviews and/or year-end goals.
Youth media organizations may find that a great question to dig into with the company’s CSR office is what volunteer teambuilding opportunities have been successful in the past, and what projects may be good targets that fit both the organization’s and the company’s needs. Youth media organizations in particular provide great models of team work through their peer-to-peer support and peer-to-adult mentorships. These models can be applied to employee-involvement events.
Micro-volunteering. Youth media organizations might also make use of micro-volunteering: volunteering done in very small, manageable pieces.
For instance, one great micro-volunteering opportunity for a youth media organization might be to create a web application that empowers people to identify and collectively micro-fund small community projects (similar to www.kiva.org (2)).
Users can describe community cleanup or citizen reporting efforts, obtain microgrants to fund them, perform the services, and post the results. On the end-user side, donors can sort through project proposals, pick one they like, and with a few clicks collaboratively micro-fund the project.
Tied to a blog, the application could also afford users, funders, and the entire community to see the results in pictures, words, and even video.
In general, corporate volunteer projects should include at least some of the following criteria:
• Is youth media related
• Creates jobs and/or community service hours for participants
• Builds funds and resources for the youth media organization
• Gains publicity for both the youth media organization and the corporation
• Helps to train package producers (people who prepare the finished media piece)
It is my experience that when community-based organizations re-engage the corporation for another project or for funding, they can point out that the initial project was well-organized with clear objectives, provided a fun way for employees to bond, and required minimal time and preparation.
Be Open to New, Equitable Relationships
Achieving equitable relationships between community-based youth media organizations and corporations requires both sides to make sure they get the resources they need, achieve the desired results, and provide a major benefit to the organizations’ dynamics, especially in terms of skill development and teambuilding. Hopefully these approaches can open up some new relationships that will benefit the youth media field for many years to come.
Selah Abrams is a broadcast production engineer at Turner Studios in Atlanta, GA and a leader of NextGen Business Resource Group, that evolves the businesses in new and diverse directions. Selah is very active in the new media and social media fields, including entertainment, journalism, and community-based organizing, and recently won the inaugural CNN MyHero award for A Guiding Hand, a male mentoring program with participants from the Fulton County, GA juvenile court. In the mid-90’s, Selah co-founded Uprising!, a CBO based in the West End of Atlanta that trained homeless men to rehab and occupy abandoned houses, and ran a network of community gardens that provided food to the community.
Footnotes
(1) Social Investment Forum’s 2007 Report on Socially Responsible Investing Trends
in the United States http://www.socialinvest.org/resources/pubs/documents/FINALExecSummary_2007_SIF_Trends_wlinks.pdf.
(2) Kiva Microfunds is an organization that allows people to lend money via the Internet to microfinance institutions in developing countries which in turn lend the money to small businesses. Modeling after this site is recommended due to the clean, intuitive, appealing design and quick transactional process.

Answering the Call: Youth Media and the Cell Phone


With its sprawl extending over 50 miles and 28 counties, Atlanta harbors pockets of communities that are disjointed and frayed, limiting opportunities for public discourse. The problem is amplified by a weak and marginalized public media infrastructure. Though Atlanta Public Broadcasting has two NPR affiliate stations and two Public Broadcasting television stations, local content is sparse. There are only six local non-music related programs broadcasted between the three.
Moreover, the Atlanta community radio station WRFG is weak in broadcasting power, audio quality, and programming; many of its daytime non-music programming is piped in from cities as far away as California and New York. Its mandate is progressive programming, which further constricts subject matter to the ghettos of public policy and radical civic engagement. Currently there simply is not space provided for open and in-depth discourse about local arts, politics, and activities.
In light of the lack of distribution opportunities, how can youth media organizations help young people find their voice? How can young people have their voices heard?
The cell phone could be an answer to what are thought to be insurmountable odds for youth media. Cell phones and their capability to interface various forms of media are ubiquitous in Atlanta and in many other cities around the world where other means of communication are unreliable. Audio, video and text messages can be broadcast, conferenced and narrow casted.
Cell phones are a readily available medium for connectivity. Combining new and old media concepts to a distribution channel the public already has access to, depends on and is comfortable with, is a concept that should not be ignored.
The Challenges of Media Access in a Fractured City
The Internet provides useful tools of engagement via social media and crowd sourcing. In theory, anyone can create a sustainable network providing media access, media literacy and multi-platform journalism—however, how many disenfranchised youth have access to broadband media at home (1)?
Due to foreclosures and urban blight, Atlanta is the third emptiest metro area in the United States (2). The lack of tenants in area housing is a disincentive for broadband companies to develop and maintain infrastructure in these communities. Therefore, in many minority communities in Atlanta’s outer suburbs and in the inner city, Internet service distribution is inconsistent, or unavailable. Case in point, Comcast lines in the Atlanta section of West End come in and out of service regularly, and here in the Historic Westside, where I reside, the situation can be described as seen on my block: 14 homes, 2 with Internet access (3).
When I talk to youth in my neighborhood about the access to free facilities like WonderRoot, a community arts organization in East Atlanta that offers youth media programs, they become disheartened because they understand that travel is an issue. Most of Atlanta’s metro area is not fitted with sidewalks. Residents are forced to drive in order to get from residential areas to business and commerce districts. Public transit is a monster as well. With seven bussing authorities all having limited routes in the suburbs and inner city coupled with light rail extending into only 2 of the metro area’s 28 counties, access to physical structures is limited to clientele with cars or within walking distance.
For some, their ability to use resources like WonderRoot and other youth media organizations comes only through summer youth programs able to bus them. This cripples audience participation and retention and constrains the impact of organizations like WonderRoot.
Cell Phones as a Potential Bridge
WonderRoot and other youth media organizations could overcome some of the obstacles around media-making and dissemination by using cell phones. With a tool as ubiquitous and familiar as the cell phone, young people could create both long- and short-form media pieces that can be accessed by anyone who subscribes, texts, or dials into a database for information wherever they are, whenever they want it.
According to Media Bistro, firms like City Search have recently gone live with mobile solutions for their own hyper-local content (see the recent iPhone application and City Search’s recent news). A USAID paper declares mobile technology “The 7 Mass Media;” a sophisticated, interactive tool for citizen media and a way of engaging and unifying communities.
Likewise, youth media organizations could help youth create content such as newsletters, photo documentary, radio documentary, audio slides, and video for dissemination to the desired public through the cell phone. Options for the end user to follow up is quick and easily accessible. Availability of material can be either low-cost or free depending on the mode of distribution and individual cell phone provider plans. By using SMS messaging systems, young people could send 160 word reports and headlines. Users with Smart Phones could access audio slide presentations, video, and audio clips via a mobile-accessible website.
Hundreds of millions of phones are equipped with a built-in camera. And several of these phones have short video capability. Around the globe, organizations are using cell phones to interview and document local communities, where citizens report on issues or perspectives important to them. See Media Focus on Africa.
Brough Turner, Chief Technology Officer NMS Technology suggests in his article “Mobile Web: Limited but Getting Better,” that technology and competition are increasing access to the internet. He informs that within a few years, 3-Generation cell phones—linked 24/7 to the World Wide Web—will be the same cost of 2-Generation cell phones, which currently make up 80% of all mobile phones around the world (4). Once the world switches to the 3-G network, the world will have access to the internet. Thus, for youth media organizations, cell phones will be a critical tool for the field and young producers to connect with, share, and distribute material.
Next Steps
Writing leads, creating audio, photo and video content are all critical aspects of journalism; however, youth media professionals must find innovative methods to involve young people—within and outside youth media programs—to the process of generating their own media, connecting with communities, and sharing/distributing their messages widely and daily on their cell phones.
Imagine an opportunity for content creators across fractured metro areas to create a clearinghouse for material where Internet access and transit is no longer an issue. Imagine the capability to use both the lure of specialization and the ability to practice multi-platform skill sets necessary in a world of media convergence. The possibility is here, in Atlanta and other metro areas, for youth media professionals to provide extended coverage and creatively and proactively use a tool that many young people already have at their fingertips.
Dominick R. Brady is a freelance journalist volunteering for WonderRoot. He resides in Atlanta, GA.
Footnotes
(1) For more information, contact Computers for Youth, an organization that has technology access data for 915 families and 6 schools in Atlanta, GA and 5,000 families nationally in 2008. www.cfy.org.
(2) See Kevin Duffy’s, “Atlanta Trails only Detroit, Las Vegas as Emptiest City,” in the Atlanta Journal-Constitution. February 17, 2009. www.ajc.com/services/content/business/stories/2009/02/17/emptiest_cities_atlanta.html?cxtype=rss&cxsvc=7&cxcat=6.
(3) www.atlantaregional.com/documents/Housing_article.pdf. Landmatters. March 2008.
(4) Stakeholders in the field interested in using cell phones as such a tool might tap the shoulder of experts such as James Katz of the Center for Mobile Communications Studies at Rutgers University who is currently looking at how personal communication technologies (such as the Internet and mobile phones) can be used by teens from urban environments to engage in informal science and health learning. See: http://www.scils.rutgers.edu/ci/cmcs/staff/.
Refrences
Brough Turner, “Mobile Web: Limited but Getting Better,” in Katrin Verclas (with Patricia Mechael)’s, A Mobile Voice: The Use of Mobile Phones in Citizen Media, November 2008. http://pdf.usaid.gov/pdf_docs/PNADN040.pdf.
Verclas, Katrin with Patricia Mechael. “A Mobile Voice: The Use of Mobile Phones in Citizen Media” November 2008. http://pdf.usaid.gov/pdf_docs/PNADN040.pdf.

Youth Generated Media on Local TV


Youth are spending more and more time in front of a TV. Just a click of a remote opens a gateway of information. Yet instead of regurgitating the same messages and stereotypes they see on say, MTV, young people could be creating their own media or relaying their position on issues ranging from music to the local LGBT community.
But where can young people go to gain access to the tools necessary to read and create their own media and have them aired back on the same medium that captures hours of their daily attention? Fortunately, a few Community Media Centers (CMC) across the U.S. specialize in teaching young people how to participate in media and air their own stories and messages on Public Access Television.
The Peoples Channel
The Peoples Channel (TPC) in Chapel Hill, NC is such a center with programs geared toward engaging youth in media. Our center strives to empower youth by providing training, equipment, and a space to broadcast the ideas and issues most important to youth.
Since 1997, when the town of Çhapel Hill applied for a public access channel space free of corporate influence, TPC’s mission has been to provide education and tools to local residents to produce and distribute, via cable television, their media productions on a first come, first serve, First Amendment basis. We provide media training, technical assistance, and production facilities to serve and amplify the diverse opinions in our progressive, active community. We reach 30,000 households in the Chapel Hill area. TPC realized that young adults rarely have an outlet to share their ideas, values and stories in the media and wanted to change that. As a result, our youth media programs were born.
At present, TPC provides programs for youth to get their hands on the tools to make media—equipment that is often hard to come by, especially in communities with lower incomes. With training ranging from field production, studio production, and non-linear editing software, TPC makes it easy for youth to get their voices on the airwaves. All sessions are student driven: once they’ve participated in lectures and demonstrations on interpreting the media, students lead the content and instructors act solely as facilitators. Each session’s final product is premiered on The Peoples Channel, Time Warner Cable channel 8 in Chapel Hill and students are certified to use TPC’s facilities and equipment for any future projects they wish to produce.
Our youth media programs change the relationship of young adults from passive viewers of media to active agents in the media. Our programs are typically for youth ages 12-17, with a focus on the issues that spark the interest of local youth. The sessions give young adults the technical and creative skills needed to produce a variety of media, encouraging students to look at the media differently in the process of creating their own.
Providing opportunities for young people to make and react to media transforms their relationship to media—from consumer to producer. For example, Coren, came into TPC a shy but talented musician with aspirations to move into video. After taking a Field Production course and participating in TPC’s Summer Youth Production camp, he was transformed from a quiet teenager into a confident producer who has created many pieces, including documentaries of local football games. Coren is now applying to Full Sail University in Florida to study film production.
Access to Youth Programs
Courses at TPC are not free; however, since TPC believes that every opportunity for access to media tools should be provided to every youth, we offer a slate of innovative opportunities for youth participation. Youth media organizations that charge a fee for their programs might consider the following:
Provide scholarships. TPC wants to ensure the opportunity for all youth to attend its media programs, so it asks local businesses and organizations to contribute funds for scholarships that are distributed based on need. TPC also uses a sliding scale to determine fees.
Offer sweat equity. TPC offers sweat equity, where youth may use volunteer time to pay for the production classes. Students take the course and then gain more experience by using those skills by volunteering to film local events like our community’s Earth Action Day celebration. Students help create content for broadcast while honing their productions skills and paying off the fee for the class.
Consider school credit. Volunteer time can also be used as a means to earn high school credits. One student, Jen, became involved with TPC because she needed credit to graduate, but she also needed help producing a short piece to submit with her application to the Savannah College of Art and Design. She mixed her production time with volunteering with TPC, earning the sweat equity to receive the certification on TPC’s equipment and complete her project for submission. Her project, a short narrative on dreams, can be seen broadcast on the station.
Serving the Local Community
TPC brokers both the resources and the relationships between schools, the community, and after-school programs. For instance, Omuteko Gwamaziima, a charter school down the road in Durham, NC that focuses on African-American culture and empowerment, was using TV studio and field production as an education tool but lacked the necessary studio equipment. They were turned down by larger, more corporate production companies for budgetary reasons. They learned of TPC and wanted to expand their existing on-site production to include an interview formatted studio program.
After receiving training from TPC, Omuteko Gwamaziima students produced over 10 studio programs that ranged from conversations with members of the local Black Panther movement to educational pieces incorporating footage they shot on location. Moreover, TPC also made it a point to educate youth on the messages buried within an image.
High schools, charter schools, and youth media organizations can easily partner with Community Media Centers. Although policies differ with each center, one goal is maintained: every person should have the tools necessary to make his or her own media. With classes and special events focused on expanding the media experience, Community Media and Public Access Centers make sure that every voice is given a path to an audience, making a positive impact in local communities using neighborhood resources.
Suggestions to the Field
Building partnerships with CMCs will further link youth media products in the local community to local cable access. Teaching young people how to participate in media and seeing their products and messages aired on TV is an opportunity that Community Media Centers and youth media organizations must join forces to sustain.
It is critical that young people learn how to decipher when they’re being entertained from when they’re being sold a product. Media training programs and CMC’s must teach young people how to see through the subtle messages that elicit emotional reactions to products and ideas so they can speak back through a similar medium.
Each city and town has an opportunity to apply for Public Access Station. To learn more about how your area may become involved, take a look at the Alliance for Community Media. This great organization strives to connect CMCs and other public, educational, and government channels with a combined mission to allow access to the media for everyone.
Jeremy Taylor is the programming director for the Peoples Channel in Chapel Hill, NC. He is also the lead instructor for video production for TPC as well as the Arts Center in Carrboro, NC. Jeremy began working with TPC in 2003 volunteering with NC Indy Media & crewing on other local productions. He quickly became an asset to TPC & was hired as staff shortly after. With a background in graphic design & I.T., Jeremy uses his skills to help the mission of TPC succeed by teaching anyone who wants to learn how to make their own media. In his spare time, Jeremy is an avid skateboarder & motorcycle enthusiast.

Putting the Pieces Back Together: Youth Media in a Fractured City


“Who lives here?” asked Moony as the car filled with five teen girls drove through Atlanta’s West End neighborhood. Veronica may have winced inside but she said clearly: “I do.” The dirty streets and closed storefronts near the historic Washington High School–the academic home of Dr. Martin Luther King Jr. –were a shock to Moony, whose suburban high school neighborhood looked quite different from Veronica’s urban one.
This anecdote reflects the reality experienced by teens living in Atlanta today—communities are separated from one another, and movement between communities is rare, as many public institutions discourage communication and community-building across social groups and geographic distance. For this reason, many teens experience Atlanta as a fractured city.
For democracy to survive, we have to find a way to have civil dialogue across differences. Youth media programs provide a space for young people to move outside of traditional institutions, and challenge segregation and stereotypes. With a dual focus on teambuilding and skillbuilding, VOX has created a set of practices that encourage diversity and inclusion.
Prioritizing Diversity and Inclusion
In order to provide a space where diverse groups of young people work together and thrive, creating a media outlet that reflects their experiences and thus inspires a broad audience, VOX emphasizes the following:
Outreach. Workshops and interactive activities can help teens, staff and Board/volunteers identify who is at the table and whose voices are missing;
Transportation. A few teens can get rides from family members. Most use public transportation, so meetings and work sessions have to be in spaces accessible by public transportation. Rides are organized for those who didn’t have bus fare or when the walk from the bus stop is just too far.
A safe environment. A work environment where teens from different backgrounds together establish ground rules, organizational philosophies and ways of working together to which all agree; understood agreements about confidentiality, mutually agreeable definitions of respect that identify safety from hate language and put-downs, and a process for airing concerns or challenges.
Transcend barriers. Teens who work together to create their own shared goals (the nonprofit community calls this impact outcomes; we call it a “so what”) do so with a vigor that allows them to cross the invisible boundaries of race, economics, gender, faith, sexual orientation and age that often keep people separated. As writers and artists collaborate on articles and page designs, they can transcend the barriers that otherwise polarize them.
Teambuilding and diversity. As teens lead icebreakers, teambuilding games, and diversity appreciation activities, they foster relationships that forge into meaningful friendships and positive peer connections. As a result, they choose to spend time in the newsroom because it is a fun and positive place to work and hang out. Twice a year VOX also hosts a “cultural expression buffet” – a pot luck where students contribute a dish of food representing something they appreciate about their culture to help teens see their commonalities and honor their differences. Additionally, as a matter of necessity, the meetings also need to be fun, and students need to get to know each other well enough to come to consensus about stories’ name, design and content.
Recruitment and partnerships. Make sure that all collaborative program partnerships are with organizations and schools/classrooms that serve specific outreach populations of youth. Prioritize outreach to work with populations of teens growing up in foster care, who are refugees or immigrants, who are adjudicated delinquent and the least heard and least likely to participate in after-school programs. In addition, specifically and avidly recruit writers, artists, poets, and videographers who represent the diversity of the community the organization aims to serve.

Building Community through Youth Media
Crafting an authentic, safe space, getting to know each other as real, whole people, and breaking down barriers through collaborative storytelling allows teens to dissect issues such as power, privilege, inclusion, and exclusion. This process is supported by group activities, but ultimately grows from the process of designing and producing media representations that reflect teen experiences across social boundaries and communicate teen concerns to the wider community. Teen participants in VOX tell us that no other environment engages them with people who are different from themselves. The following suggestions stem from their feedback and comments:
Helping young people understand how divisions between race, class and gender operate. Sara Powell, an alumna of VOX, explains: “During a group diversity training, we were all given dots of different colors on our forehead. Some people received the same colors as others, and some did not. The only instructions we were given was to ‘divide.’
“And so divide we did, by color. Some people had no one with a same-colored dot, so they were singles. Two of them tried to band together anyway, and I tried to stop it, saying that they weren’t the same color. Afterwards, the goal behind the activity was revealed, and it was pointed out that we’d only been told to divide, and no parameters had been given to govern said division. The color-based division was of our own design.
“I got the point. It hit me in such a profound way that, 12 years later, I still recall that training. It made me look at the artificial boundaries we put up to shut out other people and experiences. It made me look inside myself at my own fears and prejudices. And it made me really grateful to be a part of VOX and thus able to have a share in the celebration of diversity it represents.”
Joining two young people from different backgrounds to work on media projects together. Rebecca Stein, a VOX writer, explains: “Being in Jewish, Orthodox schools my entire life, I had been exposed only to one main view about Israel’s tension with the Palestinians.
“I wrote a VOX article on Israel’s military actions from a Jewish perspective that opposed the view of a VOX staff member who wrote from a Muslim point-of-view. It would seem that the two of us would find no common ground, but through our collaboration on a ‘history of the conflict’ and ‘relief organization’ sidebars, we were able to find areas in which we thought alike. Through this experience, I learned that it is possible to find common ground with those who, at first, may seem to have opposite views on the world than I do.”
Providing young people a platform outside of schools and families to talk about sexuality and how it differs among their peers. Simit Shah explains: “Like many people, almost everybody I interacted with was almost exactly like me. I never thought this to be unusual and the only regular dose of diversity was delivered through the TV set or the occasional trip downtown to a sporting event.
“For example, in my community and household, homosexuality was a topic that was either not to be breached or the subject of scorn and ridicule. Just a few weeks at VOX changed that, as I saw the realities and heard the stories. Granted, I think most people mature, along with their opinions and viewpoints, as they reach college and the real world, but being a part of VOX really accelerated that process for me.”
Encouraging young journalists to push beyond their boundaries. Co-founder Jeremy explains: “The process of researching and writing stories for VOX gave me entree into the lives of people to whom I might not normally have access. They recognized that as a journalist I could help them tell their story. By opening up to me to talk about teen pregnancy, sexual orientation, race or just their hopes of winning a local talent show these people made my world that much larger.”
VOX’s teambuilding and the process of sharing stories through journalism makes a profound impact on both the writers and their readers. Last year, VOX’s annual citywide readers’ survey found that 89% of readers said they were more understanding of people who are different from themselves as a result of what they read in VOX. Since community dialogue begins with interaction, youth media programs that allow diverse voices to speak and be heard are contributing to local and national social change.
Take Away
Youth media organizations may be the only place teens are compelled to examine their own experiences with bias and exclusion—and the power that communication and publishing holds for reducing the isolation that keeps feeling down about themselves and their communities.
By building effective bridges among groups, youth media programs can not only create a transformational experience for everyone involved but impact the community beyond even the work our teens unite to create.
Rachel Alterman Wallack, MSW, is the executive director of VOX Communications in Atlanta, GA. A native Atlantan, Rachel’s experience growing up in Atlanta and then writing for Junior Scholastic and Business Atlanta magazines inspired her to help start VOX Teen Communications with a team of volunteer teens and adults in 1993. Rachel earned her bachelor’s degree in Journalism from the University of Texas in Austin, but knew quickly after working with teens at VOX that they needed much more than just an editor. She went back to school and earned master’s degree in social work at night in order to better support teens involved in VOX’s programs, and she has since volunteered and consulted with several local non-profits in the area of youth development, youth in governance and organizational leadership, and non-profit organizational development. Her role at VOX today is to guide strategic planning and Board Development, support adult staff to secure the resources for youth voice in metro-Atlanta.

Baltimore/D.C.• Volume 3 • Issue 1


Clockwise: Adam Goldstein, Tonya Gonzalez, Kathleen Mannix, Emma Nolan-Abrahamian, (Heather Reilly from Critical Exposure), Tennessee Watson, (Marie Moll and Ronald Chacon from Latin American Youth Center), Ingrid Hu Dahl, and David Sloan.
Letter from the Editor
Welcome to YMR’s first issue of 2009: Volume 3 | Issue 1. This issue marks a new focus for the journal, investigating youth media practice in six regional locations across the U.S. In order to increase the visibility of youth media happening between the coasts, the six issues we will publish will focuss on Baltimore/D.C., Atlanta, Chicago, Minneapolis/St.Paul, Albuquerque and New Orleans.
This first issue, with support from the McCormick Foundation, represents six impeccable practitioners in Baltimore/D.C. who met as a cohort January 28, 2009 at the Latin American Youth Center, Art + Media House to discuss the most pressing challenges of their work. Following this meeting, each member particpated in a professional writing and review process to document their perspectives and leading practices, represented in this issue of YMR. Each writer received one-on-one time with a writing coach and support from their cohort pair to develop a high quality, professional article.
Topics include:
• social justice and media censorship;
• economic shifts and re-location of youth media organizations;
• youth media must reach a teen/peer audience through new stylistic approaches in video production;
• photography is a critical medium in the field; and
• the importance of having an on-site social worker at youth media/development programs.
The writers who investigated youth media practice in Baltimore/D.C. represented in this issue of YMR are:
• Adam Goldstein, Student Press Law Center
• Tonya Gonzalez, DCTV
• Kathleen Reilly Mannix, Young D.C.
• Emma Nolan-Abrahamian, Critical Exposure
• David Sloan, Wide Angle Youth Media
• Tennessee Watson, Latin American Youth Center, Art + Media House
We welcome you to join the conversation for each of these articles using YMR’s “comment” feature. If you are interested in posting a vod or podcast, please email idahl@aed.org.
Warmly,
Ingrid Hu Dahl, Editor, YMR

Youth Media Reporter is managed by the Academy for Educational Development

Empowering Youth to Knock Down Walls

As an attorney for the Student Press Law Center, I have responded to just over 9,000 requests (and counting) from high school and college students, media advisers, and those working on their behalf. Both nationally and within the region, the bulk of these calls involve censorship of student media.
Youth media professionals know that censorship is damaging. They don’t always know their response to censorship can be damaging, too. Consider the following hypothetical:
Two students arrive at a fifteen-foot high brick wall that stretches as far as the eye can see in either direction. They turn to each other and share ideas, their reactions varying with their experiences.
The first student, from an under-funded school in D.C., says, “We should turn back. I’ve seen walls like this everywhere I go, and there’s no getting around them. They stretch for miles until they join other walls, which join still other walls. We’re just wasting our time. I don’t even know if I want to go over the wall.”
The second student, from a suburban Midwestern school, replies, “Well, some walls join other walls, but some don’t. Besides, we can build a ladder. And sometimes things can knock walls down. We can just walk along the wall, and even if we don’t get to the other side, at least we’ll figure out whether this side of the wall is the inside or the outside.”
The first student looks back at the wall thoughtfully, just in time for both students to be scooped up by an adult, thrown into a catapult and launched over the wall, ending all conversation.
The temptation to resort to a catapult is the problem I intend to highlight. Professionals for youth media programs with a focus in social justice face two potential stumbling blocks that may not be immediately apparent. The first is that many projects presuppose the end content of the media before student producers can offer input. The second is that, at the first sign of outside censorship or other resistance to youth media products, adult producers assume control and defend the work. In either case, the feelings of marginalization and irrelevance inculcated in the school environment are perpetuated—and that in turn alienates students from the very right to speak that we purport to champion.
The Difference between High School and Prison: Taco Wednesday
The Student Press Law Center was founded in 1974 with the mission to help students and those working on their behalf with legal information and assistance. When necessary, we make referrals to local attorneys who offer pro bono legal representation. The impetus for the Center was a report by the Commission of Inquiry into High School Journalism titled Captive Voices.
“Censorship is the fundamental cause of the triviality, innocuousness and uniformity that characterize the high school press,” the report said [1]. For thirty-five years, the Student Press Law Center has sought to combat that triviality and uniformity by empowering students with an awareness of their rights and the power of their words, images, and projects.
The courts, including the Supreme Court, have consistently acknowledged that students are entitled to a degree of free expression rights even in a public school setting [2]. School administrators often believe that the opposite is true, and that a student sent to public school can have his or her speech controlled without limitation or constitutional obligation. Because of this, students get a mixed message: “the Constitution grants everyone the right to free expression, but you’re not part of everyone.” Youth who don’t feel protected by the Constitution have little reason to value it or protect it; similarly, youth who don’t feel their expression is worth protecting have no incentive to generate media filled with that expression.
This conditioning has a profound effect on students attempting to produce media. Many students simply accept censorship, having seen firsthand for years how school officials ignore Constitutional rights. Others, backed into a corner by suspension or expulsion, are utterly lost, not having any concept of what the Constitution might actually mean or how they might actually vindicate their rights. A small number of students—often those who have lawyers for parents—have a much more concrete idea of the wrongdoing they’ve suffered, and immediately want to seek legal redress.
Very few students realize they have the ability to oppose censorship without needing an adult to take the lead.
Be an Adviser, not a Vice Principal
Youth media professionals are people of conscience. Very few master criminals have a line in their plans for world domination that reads “start a student newspaper.” No one passionate enough to inspire the creation of student artwork could be foolish enough to believe that becoming a youth media professional is the path to great riches and fame.
Permitting that passion to overwhelm student decision-making, however, undermines the basic goals of social justice and youth media. If social justice includes civil rights, and civil rights includes the right to free expression, then students need to determine the content of that expression, whether their decision is a documentary video of an anti-war protest or a video feature on their favorite kind of sandwich. In plain language, social justice has to include the right to give the finger to social justice.
It also means letting students address censorship themselves. Too often, professionals try to defend student media when they should be teaching youth how and why to defend their own media. While it can be hard for professionals in youth media to stand back and watch the struggle, an assumption of control undermines the message that youth media can be powerful, even though the intent is only to help reach a quicker resolution.
Overall, youth media professionals working for social justice should start from the perspective that advocacy needs advocates, and the creation of a strong, independent youth voice is of much more value to social justice than a project with a laser-focus on the topic the adults happened to find interesting. This process begins, as it must, with educating students about their right to publish, the effect their work can have on others, and how the First Amendment was created specifically to defend this process against manipulation by the government.
Suggestions to the Field
There are a myriad of resources available to assist in having these conversations with young people facing censorship, and the subject matter is too diverse to cover in any depth here. But empowering students to create and defend their work begins with teaching them that they own their investment in their work. Practitioners should reinforce the following points at every opportunity:
1. Students own their words and images, literally. Copyright law permits them to sell their works, and they should treat their work with the same care (if any) they use to handle the iPods, canvases or computers that contain the works.
2. Within the bounds of the law, a student’s expression is in the student’s control. What they choose to do with that liberty will determine how people view them.
3. Media products are powerful and valuable. We ended up an independent country because (more or less) a few people decided to tell off King George. Right now someone somewhere is getting sued for stealing someone else’s work.
4. The purpose of the First Amendment was to protect speech someone tried to stop. Speech that no one is censoring doesn’t need any protection.
5. If someone is trying to censor a student’s work, that work is probably powerful and valuable, and it is what the First Amendment was designed to protect. And because of the First Amendment, student authors have a lot of ways to defend their rights, should they choose to do so.
From these basic lessons, students and professionals can forge an understanding that a professional’s role is to alert the student to options and help provide information necessary to make an educated choice, rather than being another adult seeking to impose by fiat a system of rules that deny autonomy and the value of the individual’s work.
Social justice seems abstract to many students because they haven’t experienced any, particularly at over-populated and under-funded schools in urban areas. The difference between a student who surrenders at a wall and one who scales the wall is the knowledge that a student has the right, the power, and the tools to make the climb.
Adam Goldstein is Attorney Advocate for the Student Press Law Center who is licensed to practice in New York. Beyond media law, his Internet work has included representing domain name complainants in arbitration and authoring several legal articles on online copyright and trademark issues. Before entering legal practice, Goldstein spent three years as a freelance producer and editor for FoxNews.com, handling day-to-day and breaking news coverage.
Endnotes
[1] Captive Voices, The Report of the Commission of Inquiry into High School Journalism 49 (J. Nelson ed. 1974).
[2] Tinker v. Des Moines Independent Community School Dist., 393 U. S. 503, 506 (1969) (finding students do not “shed their constitutional rights to freedom of speech or expression at the schoolhouse gate”); see also Morse v. Frederick, 127 S. Ct. 2618 (2007) (citing Tinker as valid).