THESIS

Success Indicators of Effective Literary Arts Programs For K-12 Scholars

Presented in Partial Fulfillment of the Requirements for

The Master of Science in Arts Administration Drexel University

By

Kenyetta Overton, MS

Drexel University

Drexel University

2012

Approved by

_______________________________

Advisor Name, Degree

Advisor

Graduate Program in

Arts Administration
 Copyright by

Kenyetta Overton

2012

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 ABSTRACT

Across the United States and in many communities worldwide, illiteracy among youth has

reached crisis proportions. Today, there are more high school drop outs than graduates. Most

become unemployable as adults, because of lack of necessary literacy skills required to participate

in the workforce. This is a challenge that requires the input of many players. Literary Arts program

organizations by design are passionate about literacy. Organizations like Young Chicago Authors,

Mighty Writers, Philadelphia Young Playwrights, and many others have been committed to being

integral parts of the solution to the literacy crisis in the United States. Many organizations across the

globe have also been on the frontlines of improving literacy among young scholars using the

creativity of Literary Arts.

Focusing on the principal goal of improving reading and writing skills among youth and

young adults, successful Literary Arts organizations have designed imaginative, fun, and student-

centered programs to help equip emerging scholars with tools that enable them to thrive. Each

believes in results. Each believes that when scholars are empowered to write well, magic happens:

grades improve; confidence increases and meaningful alliances are forged. And, each believes that

Literary Arts like other arts and culture programs are an integral part of core studies in young

scholars’ education and learning process.

Organizations with workshops in disciplines such as poetry, playwriting, and journaling allow

young people to use their words instead of violence and help bridge gaps across socio-economic,

racial, ethnic, culture roads. Literary Arts programs also help build community among youth and their

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contemporaries from the inside out, in environments that are safe havens for scholars to explore and

articulate dreams freely and make the impossible, possible.

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 Dedicated to my family:

Jamil Overton

Travis Bryant

Nile Overton

Also dedicated to the success of the following Literary Arts programs:

The Murals of the Mind (M.O.M.) Project

Lindy Scholars Saturday Program

Philadelphia Young Playwrights

Young Chicago Authors

Mighty Writers

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 ACKNOWLEDGEMENTS

I’d like to personally thank my support network. You encouraged me to continue writing this paper,

even when I believed I was without direction or resources. I thank and greatly appreciate all the

poets, writing program professionals and administrators, teacher, and young scholars that took time

out of their schedules to speak with me in person and on camera about our mutual love of literature,

especially poetry - most specifically performance and spoken word poetry, and storytelling; and the

benefit the Literary Arts offers young scholars. Special thanks goes to:

Kevin Coval Kent Martin Jeff Kass

Anna Festa Rachel Smith Scott Beal
Lamar Jorden Lydia Merrill Keith (Blue) Warfield
Rachel Loeper King Keith Ivery "Poison Ivery" Johnson
Nathaniel Marshall Sophie Rough Keiyetta Guyon
Peter Kahn David Gilmer Kuumba Lynx
Adam Levin Greg Jacobs All LTAB 2012 Teams

Special thanks to all of the Louder Than A Bomb (LTAB) 2012 participants and the Mighty Writer

scholars. Your enthusiasm for writing helped energize me during this process. I also offer a most

heartfelt thank you to the Lindy Scholars and Murals of the Mind Breakout Scholars (MOMbos). You

prove everyday why Literary Arts is important. Each of you has encouraged me more than you know.

And, to my adviser, James Undercofler whose continued support and consistent, sage direction,
suggestions and strategies helped make this research paper more focused and more representative
of my passion for Literary Arts. Thank you for your faith in me, time, energy, and insight.

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To the professionals who contributed to the research document, Literary Arts in the K-12 Curriculum.
My research was greatly enhanced by your work. Thank you to:
Ernest Boyer, Elliot Eisner, Jane Emig, Howard Gardner, Jack Hailey,
Judith Lynne Hanna, Sara W. Lundsteen, et al, Bill Moyers, Andie Tucher
Robert Protherough, Craig Sautter, SCANS Report
National Endowment for the Arts

Thanks also to all those unmentioned yet remembered!

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 TABLE OF CONTENTS

ABSTRACT…………………………………………….…………………………...………………………….……………………… PAGE 3

DEDICATION…………………………………………….…………………………...………………………….……………………. PAGE 5

ACKNOWLEDGEMENTS…………………………………………….…………………………...………………………….………… PAGE 6

TABLE OF CONTENTS…………………………………………….…………………………...………………………….………….. PAGE 8

INTRODUCTION…………………………………………….…………………………...………………………….…………………. PAGE 9

LITERATURE REVIEW …………………………………………………………………………………………………………………. PAGE 10

IN THE BEGINNING: CREATIVE WRITING COURSES IN THE HIGH SCHOOL ENVIRONMENT…….…………………………… PAGE 11

LITERARY ARTS PRE 1960S……………………………………………………………………………………………………. PAGE 13

LITERARY ARTS POST 1960S ……………………………………………………………………….………………………….. PAGE 21

NEXT STEPS: BUILDING CHARACTERISTICS OF SUCCESSFUL LITERARY ARTS PROGRAMS ………………………………. PAGE 29

METHODOLOGY………………………………………………………………………………………………………………….. PAGE 40

MOTION REPORT…………………………………………….…………………………...………………………….………………. PAGE 47

POETS IN SCHOOLS ……………………………………………………………………………………………………………... PAGE 55

OUT OF SCHOOL…………………………………………………………………………………………………………………. PAGE 57

PROFILES OF SUCCESSFUL LITERARY ARTS PROGRAMS…...…………………………….………………………….................. PAGE 62

YOUNG CHICAGO AUTHORS...…………………………….…………………………....................................................... PAGE 62

LOUDER THAN A BOMB……………….…………………………........................................................................... PAGE 67

MIGHTY WRITERS...…………………………….…………………………..................................................................... PAGE 70

PHILADELPHIA YOUNG PLAYWRIGHTS...…………………………….…………………………......................................... PAGE 78

CONCLUSION.……………………………….………………………………………………………………………………………... PAGE 84

BIBLIOGRAPHY…………………………………………………………...…………………………….…………………………….. PAGE 85

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INTRODUCTION

Considered a part of the Humanities the Literary Arts is also a vital part of core subjects

taught to K-12 scholars. The disciplines that encompass Literary Arts engages all forms of

expression, and serves as the textual mechanism to explain, decipher, convey, and connect all

forms of art, science, history, language, mathematics, politics and religion. Literary Arts encourages

scholars to take experiences (education or otherwise) personally; feel deeper, express themselves

with greater passion and authenticity; see in new ways; slow down and observe the world more

closely, and create new portals of understanding about themselves and the broader world. 1

“I wanted to teach Creative Writing because when I was in high school, I never had the
chance to learn it…” Jeff Kass, Spoken Word/Slam Poetry Professional & Creative Writing
Teacher

Although Literary Arts in many cases has been relegated to before and afterschool

programming and private lessons like so many arts and arts and culture-related forms of study due

to major cuts in education budgets, there is still a great need and great benefit to its inclusion in

school education matrices nationwide and around the world. The discipline can serve as the

roadmap to enhanced interest in learning and understanding other core subjects. Literary Arts

challenges scholars to dig deep; to see themselves as archeologists in the learning process,

excavating other core subjects layer by layer, powered solely by their own imaginations and

eagerness to know, understand and share.

1
Kass, J. and Beal, S. 2011. Underneath: The Archeological Approach to Teaching Creative Writing

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 Scholars involved in Literary Arts and other arts and culture-related activities are better

students, better family members, better community and global citizens. Organizations, schools, and

communities that understand the value of and how to create opportunities for scholars to become

engage and successful, using Literary Arts programming as the gateway are themselves positioned

to build on those successes and reap the benefits through sponsorship, funding and governmental

support.

LITERATURE REVIEW

Creating art in any form is one of the most natural, human responses to our surroundings.

The arts are alternative forms of communication when words become insufficient. The Arts have

been used as a teaching tool by parents, communities and other educators since time immemorial.

Widely used in public schools around the country, the arts have had measurable influences

on K-12 youth. Schools (public and private) providing arts programming have consistently realized

positive outcomes, including increased attendance, improved language and critical thinking abilities.

As a result, scholars whose education is augmented by arts related activities have a higher high

school graduation and college entry rate than those with no arts curriculum. Among schools with arts

education programming scholars exhibit improved social interactions and increased participation in

extra-curricular activities.

In general, arts education: in school, afterschool and summer arts programs focused on

truancy, delinquency and violence prevention, engaging school-aged youth in tangible ways. K-12

scholars, who are classified as at-risk have the opportunity to realize a rise in overall academic

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performance; increase social engagement with cohorts and adults; and are better able to express

their view of the world through art creation. Identifying success indicators in Literary Arts programs

can aid educators and organizations that are in the business of molding K-12 scholars examine how

to best integrate the discipline into programming matrices in order to help youth and young adults

better relate to other core subjects, while deepening their overall learning experience.

There are a number of benefits resulting from successful Literary Arts education programs

specifically targeted to K-12 scholars, including increased school attendance, improved language

skills, use of imagination, higher grade point average, greater participation in extracurricular

activities, and college entry; as well as a reduction in youth violence and improved social interaction

among peers and other groups. Although there are many other gauges that can be used to evaluate

K-12 successes, the following chosen text within this literature review will highlight success

indicators that are directly linked to Literary Arts education programming as related to K-12 academic

excellence and social improvement, and are of the greatest importance with regard to the topic of

this paper.

IN THE BEGINNINGS: CREATIVE WRITING COURSES IN THE HIGH SCHOOL ENVIRONMENT

The arts serves as a teaching tool for educators, parents and communities. The discipline is

one of the most natural, human responses to our surroundings. The arts and arts and culture

activities in all forms help humans communicate. Arts disciplines invite open discussion that can help

children relate to other core courses by allowing them to examine those subjects through tangible

outcomes found in creating art. The arts encourage youth to think about themselves, their

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communities, those abroad, and their place and impact on the world; and enables young scholars to

put their various experiences into perspective. However, not always has the arts been looked upon

as such in the United States. Prior to the nineteen sixties the rule of the three Rs: Reading, Writing,

and Arithmetic, reigned supreme. The arts were reserved for the elite, and as a part of the settlement

house movement, which in part assisted new American immigrants in learning English and life skills.

Initially introduced as practical training for industrial employment, the arts entered the classroom in

the last quarter of the nineteenth century through technical drawing and drafting (Hamblen 1985). As

the economy grew, a new middle class emerged that sought access to aesthetic elements of culture.

The arts were no longer seen as simply the purview of the wealthy upper class. These changes in

the social structure brought with them a different attitude toward teaching the arts (Smith 1996). 2

The study of art appreciation in America began with the Picture Study Movement in the late

1800’s and began to fade at the end of the 1920’s. Picture study was an important part of the art

education curriculum. Attention to the aesthetics in classrooms led to public interest in beautifying

the school, home, and community, which was known as “Art in Daily Living”. The idea was to bring

culture to the child to change the parents.

Picture study was made possible by the improved technologies of reproduction of images,

growing public interest in art, the Progressive Movement in education, and growing numbers of

immigrant children who were more visually literate than they were in English. The type of art included

2
Heilig, J.V., Cole, H., and Aguilar, A. 2010. The University of Texas at Austin, Austin, Texas, USA. From Dewey to No
Child Left Behind: The Evolution and Devolution of Public Arts Education

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in the curriculum was from the Renaissance onward, but nothing considered “modern art” was

taught. 3

Settlement Music School was founded in 1908 as the music program of the College

Settlement in the Southwark section of Philadelphia. The College Settlement was a typical turn-of-

the-century settlement house offering a variety of services to the newly arrived immigrants in the

community. 4

LITERARY ARTS PRE 1960S

“Where words prevail not, violence prevails…” 5 In the 1998 study, “Living the Arts through

Language + Learning: A Report on Community-based Youth Organizations,” conducted by Shirley

Brice Heath, Stanford University and Carnegie Foundation For the Advancement of Teaching, and

Americans for the Arts Monograph; found that young people, who participate in the arts for at least

three hours, three days a week for a year are: four times more likely to be recognized for academic

achievement, three times more likely to be elected to class office within their schools, and four times

more likely to participate in a math and science fair. The study also found that youth that receive art

education participate in youth groups nearly four times as frequently as those who do not; read for

pleasure nearly twice as often as their counterparts; perform community service more than four

times as often.

3
Grimms, K. 2010. The History of The Picture Study Movement, Then and Now
arteducationdaily.blogspot.com/2010/12/history-of-picture-study-movement.html
4
www.smsmusic.org/about/history
5
Kyd, T. 1582. The Spanish Tragedy

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 Arts education has been available in American schools since the 1800’s, beginning with

lessons in song and moving on to include instrumental then orchestral music in the early and mid-

twentieth century respectively. Visual arts education began to appear in the late nineteenth century.

The arts is as much of an integral part of the fabric of America as the right to the pursuit of

happiness. As a culture, the United States of America has always been one to go against the grain,

breaking rules of the status quo for the sake of freedom of expression. The arts is no exception. 6

Literary Arts most especially, enable citizens to become literate, well-read and well-informed about

the world within and outside of self in ways that spur creativity and innovation.

The study of Literary Arts is essential for all students in a democracy which promises life, liberty

and the pursuit of happiness. Through learning to write clearly and creatively, students are better

equipped to survive in the world. Students who have learned the lessons of the Literary Arts have

greater knowledge of their own thoughts and feelings, which gives them a greater personal liberty.

For many people, literature and the Literary Arts provide an opportunity for life-long learning and a

source of great joy. Through the Literary Arts, students also learn to identify and respect voices from

diverse cultures and societies. Thus, Literary Arts education contributes to peaceful human

coexistence. The following ten reasons comprise a compelling rationale for why the Literary Arts are

essential to fulfilling the educational potential of all students, K-12: 7

6
Consortium of National Arts Education As. 1994. National Standards for Arts Education: What Every Young
American Should Know and Be Able to Do in the Arts
7
Boyer, E. et al. N.D. Literary Arts in the K-12 Curriculum

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1. The Literary Arts teach students depth and variety in human communication, including creative,
cognitive and affective content. The Literary Arts are essential to a complete education for all
students because communication is at the core of human experience. Language, visual image,
music and other symbol systems are the means by which individuals, societies, and human
beings as a species communicate and survive.

Toward Civilization, the 1988 NEA study of arts education states:

“As great orators and writers through history have shown, speaking and writing are art forms; the
best of writing becomes ‘literature’ and is studied as such. But all writing, whether it is a political
speech, advertising copy, a novel or a poem, is an attempt to communicate to readers.”
(Toward Civilization, 1988).

To fully understand and participate in written communication, students must know that language
is both a practical and a creative vehicle to transmit ideas, feelings, dreams, and experience. To
comprehend or make a written piece of communication, students must see that choice and
organization of words can infuse language with a meaning that is much more revealing than the
literal translation of the words. The Literary Arts teach students about symbol systems, figurative
language, metaphor, rhythm, repetition, and connotation which are among the techniques that
give language its substance and deeper significance.

Elliot Eisner of Stanford University, in Cognition and Curriculum: A Basis for Deciding What to
Teach, writes: “Reading requires an ability to hear the melody of a paragraph, to visualize a
scene as portrayed, to feel the pulse and power of a trenchant passage. To write requires the
ability to see, to hear, and to feel the world so that the writer will have a content to express and a
desire to share it with others. Such achievements are not educationally marginal. (Eisner, n.d.).

2. The Literary Arts confirm and extend students’ natural affinity for language. When students
arrive in elementary school, most have already developed abilities in language and
communication. A Literary Arts curriculum builds upon what children have naturally acquired and
appreciates the skills children bring to school. Helping children use and extend their language
affirms their own experiences at home and in their culture. This affirmation can help children
adjust to school and find greater success.

As Robert Protherough writes in Encouraging Writing: “There seems to be a natural drive in

young children to write: they leave their early scribblings everywhere, on the wall paper, in
printed books, on steamed-up windows, on any available scrap of paper, in chalk on pavement
and walls…One research study concluded that, ‘in almost any setting, children’s unassigned
writing exceeds their writing on assigned topics.’ (Lundsteen, 1976, pg. 7) It seems a reasonable
hypothesis that writing is a natural, enjoyable activity, like painting, singing or dancing, until
something happens to inhibit this form of expression.” (Protherough, 1983, 433-437).

3. The Literary Arts assist in the development of human intelligence and address diverse learning
styles of students. New theories and definitions of intelligence acknowledge that what has been
traditionally considered a single cognitive function actually is comprised of several types of

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 functions. Howard Gardner in Frames of Mind postulates seven basic intelligences: linguistic,
musical, logical-mathematical, spatial, bodily-kinesthetic, personal knowledge of oneself and of
others. (Gardner, 1983) The Literary Arts can engage these intelligences.

Educators and others concerned with the development of human potential use various terms
that converge on the central issue of a more encompassing approach to intelligence. “Educating
the whole child,” “addressing various learning styles,” “participatory learning through the senses,
body, and mind,” and “teaching towards both sides of the brain” are among the phrases that
validate the diverse intelligences and the many models of learning that schooling must consider:

According to Elliot Eisner in “The Misunderstood Role of the Arts in Human Development”:

“In the context of much of today’s schooling, the lessons taught by the arts are much closer to what
successful and intelligent corporations do and to what cognitive psychologists are discovering
constitute the most sophisticated forms of thinking. These recent psychological discoveries are
lessons artists have long understood. What are these lessons? They are that solving complex
problems requires attention to wholes, not simply to discrete parts; that most complex problems have
no algorithmic solutions; that nuance counts; and that purposes and goals must remain flexible in
order to exploit opportunities that one cannot foresee. These newly discovered cognitive virtues are
taught in every genuine work of art. Yet, ironically, the arts are typically thought of as non-cognitive.”
(Eisner, 1992, 591-595).

4. The Literary Arts can play a role in improving the school atmosphere and can aid in increasing
student attendance and decreasing student dropout rates. The literary and other arts often give
students reasons for staying in school and actually play a role in lowering drop-out rates. Some
students who have not found satisfaction in other realms of learning excel in the arts.

Support for this rationale abound in studies, for example: “Florida researchers discovered that
students in the arts learned to take criticism from peers, teachers, parents, and audiences. The
constructive use of criticism, they said, built confidence in at-risk students. It helped the students
come to value themselves and their achievements. The arts promoted a ‘family’ concept among
the Florida at-risk students, and the students developed a special respect for one another.
These students also found in the arts an expression of their individuality and an inner discipline.”
(Sautter 1994).

5. The Literary Arts are important to the development of 21st century job market skills.
Contemporary society needs workers with specific abilities that can be acquired through
participation in the Literary Arts. Workers with these skills will have a better chance of securing a
place in the labor market. According to the 1991 SCANS Report called “What Work Requires of
Schools,” workers need to be problem- solvers, creative and critical thinkers, and strong
communicators. (SCANS, 1991).

Judith Hanna, a researcher for the Department of Education, referred to the importance of the
arts to the future economy in an article called “Connections: Arts, Academics, and Productive
Citizens: “The public discourse on U.S. competitiveness in the world economy has stressed the
value of problem solving, higher-order thinking, risk-taking, teamwork, and creativity. These

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 goals are part of the arts and of arts education. Yet American society seems oblivious to the fact
that the arts are far more than a frill or a source of entertainment. Many other societies, by
contrast, consider the arts important and hold them in high esteem.” (Hanna, 1992, 6001-607).

6. The Literary Arts teach creative and critical processes which are applicable to many situations in
human life and work. Through making their own works of creative writing, students learn about
the creative process, including visualizing alternative scenarios, attending to detail, tolerating
ambiguity, making choices, making leaps. They also learn the discipline which comes from
writing, revising, and completing a written work. Through critique of the work of others, students
learn how to analyze and evaluate.

In Teaching Writing, Jack Hailey asserts that “the Literary Arts let one think, reason, decide,
engage, and scrutinize a variety of activities.” (Hailey, 1988) In Writing as a Mode of Learning,
Janet Emig suggests: “Writing serves learning uniquely because writing as process-and-product
possesses a cluster of attributes that correspond uniquely to certain powerful learning strategies.
Higher cognitive functions, such as analysis and synthesis seem to develop most fully only with
the support system of verbal language; particularly it seems, of written language.”
(Emig, 1977-28).

7. The Literary Arts encourage exploration of the timeless issues of human existence. Through
literature, students deliberate on great human dilemmas of life and death proportions. As Ernest
Boyer writes in Why We Need the Arts: “If we are going to prepare students to live in an
increasingly interdependent world, we need to teach them to respond with courage and certainty
to life’s most fundamental questions. And this is where you in the arts can make an especially
powerful contribution to school renewal by helping to inspire imagination within the human spirit.”
(Boyer, 1989).

8. The Literary Arts give students knowledge and insight into human history. The Literary Arts
provide a primary way by which human history is known. Without the existence of the texts and
artifacts form the literary and other arts, much of the knowledge of previous civilizations and
cultures would be lost.

“The first purpose of arts education is to give our young people a sense of civilization,” assert the
authors of Toward Civilization. “American civilization includes many Cultures-from Europe, Africa, the
Far East and our own hemisphere. The great works of art of these parent civilizations, and of our
own, provide the guideposts to cultural literacy. Knowing them, our young people will be better able
to understand, and therefore build on, the achievements of the past; they will also be better able to
understand themselves. Great works of art illuminate the constancy of the human condition.”
(Toward Civilization, 1988).

9. The Literary Arts encourage students to know and respect voices from a variety of cultures and
societies. Not only does literature ground people in the past, it helps people live in our
contemporary multi-cultural world. By educating students to see and respect alternative
perspectives and visions, the Literary Arts contribute to peaceful and joyful coexistence of
people of diverse cultures.

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 10. The Literary Arts value the students’ own viewpoint and life experiences and allow the
development of strong individuals. In addition to learning to understand the ideas, feelings,
dreams, and experience of other people, the Literary Arts allow the formation and transmission
of the individual’s own ideas, feelings, dreams, and experience. To understand oneself and to
gain integrity is one of life’s great endeavors. Students, as they confront a piece of paper in
creative writing, cannot help but confront themselves and their own misperceptions and
conceptions, fears and hopes. Through the Literary Arts, students can feel the uniqueness and
excitement of their own journeys.

Novelist Maxine Hong Kingston in an interview with Bill Moyers said: “… Writers and artists free
themselves to imagine (a healthy world.) We need to imagine the human being so we can put
that archetype out there. So that we can become it. If we don’t imagine it, how are we going to
become it?” (Moyers, 1990, p18).

Literature serves children in four major ways: it helps them to better understand themselves,

others, their world, and the aesthetic values of written language. When children read fiction, narrative

poetry, or biography, they often assume the role of one of the characters. Through that character's

thoughts, words, and actions the child develops insight into his or her own character and values.

Frequently, because of experiences with literature, the child's modes of behavior and value

structures are changed, modified, or extended.

When children assume the role of a book's character as they read, they interact vicariously

with the other characters portrayed in that particular selection. In the process they learn something

about the nature of behavior and the consequences of personal interaction. In one sense they

become aware of the similarities and differences among people.

Because literature is not subject to temporal or spatial limitations, books can figuratively

transport readers across time and space. Other places in times past, present, or future invite

18
children's exploration. Because of that exploration, children come to better understand the world in

which they live and their own relationship to it.

Written language in its literary uses is an instrument of artistic expression. Through prose

and poetry children explore the versatility of the written word and learn to master its depth of

meaning. Through literature, too, children can move beyond the outer edges of reality and place

themselves in worlds of make- believe, unfettered by the constraints of everyday life. 8

Environment

The three principal settings in which children's literature functions are the home, the public

library, and the school. In each of these settings, the functions of literature are somewhat different,

but each function supports the others and interacts with them.

Home. Irrefutable evidence indicates that those children who have had an early and

continuing chance to interact with good literature are more apt to succeed in school than those who

have not. Parents who begin to read aloud to their children, often from birth, are communicating the

importance of literature by providing an enjoyable experience. The young child makes a lasting

connection between books, which provide pleasure, and the undisputed attention from the parent

who takes time to do the reading. During the preschool years, books contribute to children's

language structures and to their vocabulary. Children acquire a sense of language pattern and

rhythm from the literary usage of language that is not found in every day conversational speech.

8
Hartig, J.,2010. Poets & Writers Magazine38.3 (May-June 2010): p79 Literature in the Lives of Children

19
Then, too, children discover that print has meaning, and as they acquire the ability to read print as

well as understand pictures, children find further pleasure in books. In finding that reading has its

own intrinsic reward; children acquire the most important motivation for learning to master reading

skills.

Public Library. Public libraries have taken on an increasingly important role in serving

children. Children's rooms, which were once the domain of a few select children, are inviting places

for all children, whether or not they are inveterate readers. Libraries organize story hours, present

films, and provide computers and quiet places to do homework as well as present special book-

related events and sponsor book clubs and summer reading programs. Children's librarians guide

the reading interests of children and act as consultants to parents. Full exploitation of the public

library in the broader education of children has not y et been achieved, but growing acceptance by

the public of the library as a community necessity rather than a luxury will help it to continue to play

an increasingly important role in the lives of children.

School. Literature did not begin to make broad inroads into the reading curriculum until the

1950s. Before that time many schools had no library, and a good number of these schools did not

even feel the need for one. Many schools relied almost exclusively on textbooks for instruction. By

the end of the twentieth century, however, nearly every curriculum authority had come to recognize

the importance of trade books (books other than textbooks) in the in- school education of children. In

the early twenty - first century most schools have central libraries staffed by trained librarians and

some schools provide financial support for classroom libraries as well. When this is not the case,

teachers, recognizing the value of good literature, often reach into their own pockets to provide trade

20
books for their classrooms. A 1998 survey of school library media programs by the Center of

Education Statistics of the U.S. Department of Education found a mean of twenty - eight volumes per

elementary school child in both public and private schools. 9

LITERARY ARTS POST 1960S

“The arts are one of humanity’s deepest rivers of continuity. They connect each new

generation to those who have gone before…” 10 The arts are so inextricably connected to humans

that most are hardly aware of the effect they have on daily life. When in times of upheaval, unrest,

protest, and dissidence visual and performing arts serve as voice for the people while Literary Arts

serves as stenographer, the textual archivist and historian; keeping record of all that occurs to which

new generations can have access, learn from and use in order to improve a community, a nation,

and the world.

In such an environment, where creativity is seemingly boundless children of all ages thrive.

However, to have a lasting affect such an affinity, which can encourage a passion for learning other

core subjects: math, science, history and literature, must be cultivated at the earliest stages. Like

members of the global family the arts and other core subjects are all are interconnect, all

interrelated.

Between the 1960’s and the 1980’s the arts was in what was later to be considered the

golden age and was heavily supported by all areas of government: municipal, state and federal.

9
Keifer, B.Z. and Root Jr., S.L. N.D. Children’s Literature – History, Literature in the Lives of Children,
Environment, Awards. education.stateuniversity.com/pages/1829/Children-s-Literature.html
10
Anrig, Taylor, 1994

21
Each arts discipline shared equal time in the classroom with other core subjects. During this time the

arts helped reinforce other core subjects, served as outlets for those who learned in more abstract

ways, allowing educators to introduce subject matter that some young scholars considered boring or

uninteresting in more creative formats. The relationship between the arts and other core subject was

perfect. Music, visual and performing arts helped youth better understand simple and complex

Mathematics and Sciences. 11

Literary Arts emboldens imaginations, making Arithmetic, Science, History and Literature

hip, current and relatable. The marriage between the arts and other core subjects aided in producing

creative, innovative, conscientious, fearless thinkers like former and current presidents, Jimmy

Carter, Ronald Reagan, Bill Clinton and Barack Obama; activist, Falaka Fattah, founder of the

House of Umoja in Philadelphia and California politician and Gay Rights Activist Harvey Milk,

computer and social media pioneers, Steven Jobs (Apple), Bill Gates (Microsoft), and Larry Page

and Sergey Brin (Google); as well as business and media moguls, Reginald Lewis (Beatrice Foods)

and Oprah Winfrey (Harpo Studios).

Scholars do not learn when taught strictly for standardized testing. Scholars memorize for

short periods of time then forget. Learning by rote is not learning. When teachers are bound by such

restrictive guidelines as “teaching the test” they are not teachers, who like sculptors mold young

minds into becoming great thinkers and visionaries. Teachers are more like circus act trainers,

instructing scholars for specific tasks through repetition. This method has no long term benefits and

11
Consortium of National Arts Education As. 1994. National Standards for Arts Education: What Every
Young American Should Know and Be Able to Do in the Arts

22
ignores the whole child, whole mind process of learning. Using arts education to augment learning

produces greater results during in-class lessons, homework and testing.

Recent changes in the curriculum emphasize the integration of subjects commonly taught in

elementary and secondary schools, especially in the use of literature to enrich the social studies

(History-Social Science Framework for California Public Schools: Kindergarten Through Grade

Twelve 1988). Children's literature offers a wealth of potentially useful material for accomplishing

prescribed goals in the social studies. Jarolimek states:

Literature and literary materials should play an important part in social studies instruction because
they con vey so well the affective dimension of human experience. The realism achieved through
vivid portrayals in works of literature stirs the imagination of the young reader and helps develop a
feeling for identification with the topic being studied.

With well-planned activities based on carefully chosen selections of children's literature,

teachers can accomplish a variety of social studies goals and purposes. The following four

components exemplify areas of the social studies program that can be enhanced by integrating

children's literature 12:

• Cultural studies that teach students about our multicultural world. Barnes (1991) notes that
children are accepting of cultural diversity and that well-planned activities can influence their
attitudes toward cultural groups. The affective nature of children's literature helps students
become vicariously involved with the lives of people who are different from themselves and
to develop an empathy with and an understanding of values, beliefs, and aspirations of a
variety of people and cultures.

• Geographical studies that emphasize both physical and cultural regions. Children's
literature typically involves a setting that can be used to stimulate students' curiosity and stir
their imagination about places as well as characters. Through a judicious selection of

12
Savage, M.K. and Savage, T.V. 1993. Children's literature in middle school social studies; The Social Studies. Jan 1993

23
 literature, teachers can address topics related to location, movement, and regions as well
as the relationship of people to their environment.

• History that develops students' concepts of "then" and "now" as well as change and
continuity. Well­ chosen books help students under­ stand that there can be alternate
perspectives in interpreting historical and contemporary events. The authentic, realistic
creation of events in quality children's literature can help students identify with people and
events that often seem re­ mote and dull in their social studies text.

• Economic concepts that help students learn that all people not only have needs and wants
but also face the problem of scarcity. The variety of coping mechanisms people use to deal
with the problem of scarcity is often realistically and vividly portrayed in children's literature.

At the elementary level, a number of studies have examined curriculum and instruction in

classrooms where students have made unusual progress in reading and writing achievement, in

contrast with classrooms where achievement is more typical. Wharton-McDonald, Pressley, and

Hampston (1998), for example, studied nine first-grade teachers in New York State who differed in

their effectiveness in promoting literacy. In the most effective classrooms, there was a high level of

engagement in challenging literacy activities, a web of interconnections among tasks (so that writing,

for example, was often related to what was being read), and skills were taught explicitly but in

connection with real reading and writing activities. In a related study, Pressley et al. (1998) studied

30 first grade classrooms in five states, contrasting typical teachers with outstanding teachers in the

same school. The most effective teachers were again characterized by high academic engagement

in challenging literacy tasks, explicit teaching of skills, interconnections among activities, and careful

matching of tasks and instruction to student competence levels. 13

13
Langer, J.A. 2001. Beating the Odds: Teaching Middle and High School Students to Read and Write Well

24
Approaches to Skills Instruction

Throughout at least the 20th century, there has been an ongoing debate about the manner

in which instruction is delivered, with some scholars positing the effectiveness of skill and concept

learning through experience-based instruction (e.g., Dewey, 1938) and others stressing mastery of

concepts and skills through decontextualized practice (e.g., Bloom, 1971). This has led to a

pedagogical side-taking that continues in English and literacy today. For example, Hirsch (1996)

calls for students to remember culturally potent facts, and genre theorists (see Cope & Kalantzis,

1993) call for teaching students the rules of organization underlying written forms, while Good-man

and Wilde (1992) and Graves (1983) call for teaching skills and knowledge within the context of

authentic literacy activities. Yet, studies of reading and writing instructional practice throughout the

century (see Langer & Allington, 1992) indicate that teachers tend to blur distinctions, using what

may appear to theorists as a fusion of theoretically dissimilar approaches.

Connecting Learnings

The education literature on learning and instruction is replete with evidence that student

learning and recall are more likely to be enhanced when connections can be made to prior

knowledge gained from both in- and out-of-school experiences than when the content of instruction

is treated as if it is entirely new (see for example, Bransford, Brown, & Cocking, 1999; Brown &

Campione, 1996). Well-developed knowledge is also linked around important concepts and its

relevance to other concepts is well understood. Although many curriculum guides as well as scope

and sequence charts have attempted to depict links among specific learnings within and across the

25
grades, too often the connections have been implicit at best, and often in the mind of the teacher or

curriculum developer rather than shared with the students (see Applebee, 1996).

Enabling Strategies

During the last 25 or more years, a sizable group of research literature has emphasized the

contribution of students' strategic awareness to learning and performance and the importance of

teaching students strategies for carrying out reading, writing, and thinking tasks (e.g., Hillocks, 1995;

Paris, Wasik, & Turner, 1991; Pressley et al., 1994). This work highlights the importance for students

to learn not only content, but also intentional ways of thinking and doing. In response, instructional

approaches have been developed to help students become aware not only of the content, but also of

the particular tasks. Although the fields of science and mathematics have always seemed to be

natural environments for teaching strategic approaches that enhance student performance (e.g,. the

scientific method, steps to mathematical solutions), teaching strategies and helping students to be

strategic in the ways in which they approach a task (e.g., process approaches to writing, reflective

literacy, or reciprocal teaching) are newer to the English language arts.

Conceptions of Learning

What counts as knowing has become a much-used phrase in the educational literature. It is

often used as a way to make distinctions among educators who focus on facts and concepts and

those who focus on students' abilities to think about and use new knowledge. At one time a student's

ability to give definitions, select right answers, and fill deleted information into sentences and charts

26
was considered evidence of learning. But at least two bodies of research changed that: one focused

on disciplinary initiation, where the goal became to help students learn to better approximate expert

thinking in particular fields, such as thinking like an historian (e.g., Bazerman, 1981); and the other,

on critical thinking, where the focus was on higher levels of cognitive manipulation of the material

(e.g., Langer & Applebee, 1987; Schallert, 1976). More recently, the issue has turned to engagement

(Guthrie & Alverman, 1999). Here concern goes beyond time on task to student involvement with the

material. Although all three bodies of work have had an affect on literacy pedagogy, the most recent

National Assessment of Educational Progress (NAEP) (1998) reports that fewer than 7% of students

in Grades 4, 8, and 12 perform at the “advanced” level, which is the highest of four possible

achievement levels in reading. This level represents students' grade-appropriate ability to deal

analytically with challenging subject matter and to apply this knowledge to real world situations. 14

Children enter the primary grades ready to write. The Literary Arts curriculum should validate

students’ natural pre-writing activities, like personal and imaginative story-telling, through words and

drawings. Because children in the younger grades have better oral skills than writing skills, relating

stories orally is effective, possibly with the help of the teacher or older students as scribes.

Through a teacher’s choice of reading materials, including pictures or artwork, students can

see their own cultures validated and gain a greater multicultural perspective. At this age, it is also

important and easy for teachers and students to find natural linkages between the Literary Arts and

other areas of study, such as family histories in social studies, and writing about animals in science.

14
Langer, J.A. 2001. Beating the Odds: Teaching Middle and High School Students to Read and Write Well

27
Most children come to school with self-confidence that their life and their experiences are

meaningful. Through story-telling activities—including solo and group—the Literary Arts emphasize

the importance of the individual and of the collective experience and revelation.

“Students in grades 5-8…love words and begin to experience the connection between

writing and reading.” An open-minded environment allows students to discuss, analyze, express

opinions, and receive feedback from their peers. In such a setting, students’ paradoxical need for

independence and security is met. The Literary Arts can be used to help students sort out their

decisions and actions.

Writing can also provide an outlet for many emotions and allow students to reflect on their

own experiences. Many students come to school with emotional instability and need help with their

own instincts. The Literary Arts can provide positive alternatives to many destructive choices

confronting adolescents. By using structure, such as encouraging metaphor and suggesting poetic

forms, teachers will often find success with students at this age.

In high school, students develop an understanding of how works of literature both affect and

reflect historical periods and diverse cultures. Teachers need to provide ever more challenging

literature as students move from books intended for adolescents to adult prose and poetry. For some

students, however, writing poetry, journals, and creative prose becomes a personal outlet. Because

these students are beginning to look beyond themselves, teachers can encourage service learning

related to Literary Arts such as cross-age tutoring or writing with senior citizens. 15

15
Hartig, J.2010. Poets & Writers Magazine. 38.3 (May-June 2010): p79 Literature in the Lives of Children

28
NEXT STEPS: BUILDING CHARACTERISTICS OF SUCCESSFUL LITERARY ARTS PROGRAMS

The early 1980’s witnessed a change in the way the arts were viewed. Factors including tax

revolts, diminishing school district budgets, and changing demographics of the American citizenry;

those who did not necessarily prescribe to the “…Euro-centric curriculum of most arts education

programs and the deconstructionist “movement” in literature (and other humanities) that questioned

the teachings of cultural icons and questioned their meaning, and increasing demands on the public

schools to address social issues (drug abuse, sex education, etc.)…” 16 are in part culpable for the

untimely and unwarranted demise of the arts in education. Ills that began to plague inner-city (and

later suburban) schools and communities have an ally in the arts. Addressing issues like drug abuse,

teen pregnancy, and neglect can each be tackled, dissected and discussed with youth and young

adults in schools or after-school programs, and community centers using the arts. The arts also help

dismantle inter- and intra-generational and scholastic barriers. Through the arts: visual, performing

and literary the road to success can be augmented.

Young scholars engaged in artistic activities learn to accept themselves, quirks and all. With

the arts each can identify and use their voices, use their words and speak in a language that

commands attention to convey concerns regarding social issues or academic challenges. In other

words, youth engaged in the arts learn to be unafraid of engaging in conversation with peers and

adults about issues that concern them. Misinformation, secrecy and embarrassment fall by the

wayside, giving way to active listening and learning, a productive exchange of ideas and solutions-

16
Undercofler, 2011

29
driven actions. By engaging young people in the arts in a safe environment each participant

becomes more actively involved in their overall school and community cultures.

Programs that have consistent success are those that are able to integrate other core

subjects and social challenges of the day with the arts. For advocates of the arts and arts in

education, the arts is as vital as other core subjects. Art is Math. According to the American

Mathematics Society Art is indeed Mathematics. Surprisingly, in fact, there is a strong association

between mathematics and all of the arts, including painting, architecture, sculpture, drawing, etc.

Using mathematical analyses as measuring distances and weight, or using mathematical

computations to mix paint colors and measure distances or create computerized graphics, designs,

etc. in a virtual environment in an art or computer instruction class encourages young scholars to

think more deeply about math in ways that not only brings relevance to the subject, but also makes

the subject more useful to them.

Art is Science. The Museum of Glass in Washington State has created an interdisciplinary

program to not only rejoin the connections between science and art, but to also connect them to

other core subjects. Interdisciplinary programming challenges young minds to think and imagine

beyond rudimentary processes. These types of programs can help get young scholars excited about

the Sciences if the network of teaching professionals in Arts and Science disciplines considered

such ways of thinking. Programs that integrate the arts and Science have the opportunity to capture

and hold the attention of their charges by getting dirty. Imagine young scholars excited by the

prospects of digging for rocks of varying colors to pulverize to make pigment to mix with other

mediums like water, oil, glue, or paste. Imagine teachers being able to teach nature and bio

30
sciences: Biology and Geology; Chemistry, preservation, conservation, and recycling in ways that

are both according to school requirements, and creative. The arts allow students and teachers alike

to breathe new life into subjects that for some are difficult to understand.

Art is History. Introducing scholars to visual artist like Michelangelo, Pacioli, Annasiri, da

Vinci, Tanner, Rivera, Wahol, Kahlo, Weiwei, Massey, Al Ka'bi; or performing artists such as

Baryshnikov, Duncan, Holder, Ailey, Graham, Jameson, Myers-Brown; or literary artist including

Confucius, Shakespeare, Baldwin, Hughes, Symborska, Poe, Dallas, Wheatley, Dove, Achebe,

Wright, Gibran; or any other artist from a contingent of other artists in the world is an exercise in

history. Open discussions, writing assignments, research projects, etc. about the life and times of

artists, their places of birth; events that took place during their lives that may have inspired or

affected their work; or even contemplations and debates about how artists work affected current

events of the times in which they lived, are platforms for relating art to history; thereby offering the

opportunity for the subject to be more understandable to learners.

For instance, scholars examining Greek and Roman histories have an opportunity to

discover the history of politics and government; fashion, design, and art and architecture of those

times. Scholars also have the opportunity to discover which of the techniques and processes from

times past still exist and are being used today. Young people working on American History projects

that examine war and other forms of conflict in the United States, or involving the United States, the

Civil Rights and Black Panther Party Movements for example, can use literary, performing and visual

arts as tools for research to gain a greater understanding of the times in which these events

occurred. Many artistic works were (and still are) commissioned, designed and written based on

31
current events. In some instances even the Bible, Qur’an, Torah, and other religious text contain

historical references and were written in ways that may be considered poetic or lyrical when read.

In recent years, researchers have asserted that education in the arts develops the problem-

solving and critical thinking skills required to succeed in college and in the work place (U.S.

Department of Labor, 1991). Arts education gives students the opportunity to learn in different ways,

understand through exploration, and realize ambiguity and subjectivity in learning. No less important,

there is growing evidence that the high-level thinking skills and creativity engendered by serious

education through the arts can contribute to a better-prepared force of industrial leaders, who can

compete in world markets (Consortium of National Arts Education Associations, 1994). Those

involved in arts and humanities training know from experience that arts education has the potential to

improve learning skills, promote student achievement, enhance social skills, stimulate personal

growth and development, and foster problem solving, higher order thinking, communication,

teamwork, and creativity. The ability to risk failure, an essential life skill, is practiced daily in the arts.

The development of all faculties of mind, the emotions, intuition, and the senses--is at the core of

education in the arts and humanities (Fiske, 1999). 17

Art is Literature. Through art, literacy and the love of reading can be encouraged. The

federally funded, multi-year program, Arts Bridges: Building Literacy Through an Integrated Arts

Collaborative Model, which is still ongoing, connects The Philadelphia Arts in Education Partnership

with The School District of Philadelphia. The program has set out to implement a comprehensive

17
Daniel, R. 2000. Performing and Visual Arts Schools. Academic journal article from Journal of Secondary Gifted
Education

32
arts-integrated program with the intent to demonstrate that the arts will improve literacy skills of the

4th, 5th, and 6th grade students. The four-year program engages students at five schools in arts-

based learning collaborations, integrating the arts into the core literacy curriculum. Leading

Philadelphia arts institutions and teaching artists address critical grade level literacy goals as defined

by The School District of Philadelphia Literacy Curriculum. Early findings show that classroom

teachers, arts specialists, literacy artists, and the visual or music artists constantly reinforce this

learning from multiple perspectives.

Research conducted by Involvement in the Arts and Success in Secondary School, James

S. Catterall, The UCLA Imagination Project, Graduate School of Education & Information Studies,

UCLA, and Americans for the Arts Monograph validates the fact that art education makes a

tremendous impact on the developmental growth of every child and has been proven to help level

the "learning field" across socio-economic boundaries.

The 1996 YouthARTS Development Project, U.S. Department of Justice, National

Endowment for the Arts, and Americans for the Arts study found that art education has a measurable

impact on at-risk youth in deterring delinquent behavior and truancy problems, while also increasing

overall academic performance among those youth engaged in afterschool and summer arts

programs targeted toward delinquency prevention. 18

The Business Circle for Arts Education in Oklahoma, "Arts at the Core of Learning 1999

Initiative" believes that Art education:

18
Lauer P.A. et al, 2006. Out-of-School-Time Programs: A Meta-Analysis of Effects for At-Risk Students

33
 • Helps to build a school climate of high expectation, discipline, and academic rigor that in the
end attracts businesses to our community

• Strengthens student problem-solving and critical thinking skills, adding to overall academic
achievement and school success

• Helps students develop a sense of craftsmanship, quality task performance, and goal-
setting—skills needed to succeed in the classroom and beyond

• Can help troubled youth, providing an alternative to destructive behavior and another way
for students to approach learning

• Provides another opportunity for parental, community, and business involvement with
schools, including arts and humanities organizations

• Helps all students develop more appreciation and understanding of the world around them

• Helps students develop a positive work ethic and pride in a job well done

Innately, many Literary Arts programs are designed to accomplish all listed above and more both in-

school and after-school settings. Fashola (1998) “…Among programs intended to increase academic

achievement, those that provide greater structure, a stronger link to the school-day curriculum, well-

qualified and well-trained staff, and opportunities for one-to-one tutoring seem particularly

promising…” Based on the research literature related to Out-of-School-Time (OST) and student

achievement, we identified the following program characteristics as possible moderators of OST

effectiveness: timeframe, grade level, program focus, program duration, and student grouping.

Timeframe refers to whether the OST program was delivered to students after school, in summer

school, or in some other time-related format. 19

19
Lauer P.A. et al, 2006. Out-of-School-Time Programs: A Meta-Analysis of Effects for At-Risk Students

34
 A 1992 U.S. Department of Education study of elementary and secondary Blue Ribbon

Schools of Excellence revealed the following 10 characteristics common among the schools

commended by the U.S. Department of Education and the National Endowment for the Arts for

excellence in their arts education programs, as well as their academic programs 20:

1. The school has a philosophy/vision of education that holds that a strong arts curriculum is
basic to a well-balanced educational program.

2. The leadership of the school is passionate about and committed to the value of high-quality
arts education.

3. The schools are student-centered, guaranteeing access, equity, and success for all
students, while maintaining differentiated levels of instruction for students with talent and
motivation.

4. The curriculum is balanced and includes music; dance; drama/theater; creative writing; and
visual, media, and technical arts.

5. The curriculum is skill-based, sequential, multicultural, interdisciplinary, and rigorous.

6. Instructors from high-quality arts institutions are sought to teach. They include
artist/teachers, arts specialists, and highly trained classroom teachers.

7. School administrators realize that the arts need to be allotted time, space, and financial and
administrative support.

8. The "school climate" is so positive that visitors often express the wish that they had gone to
the school and next want to know how their children, grandchildren, or the children of
friends can attend the school.

9. Strong community ties to parents, businesses, and other arts organizations characterize
these schools. These schools generate excitement in their communities and support for
education, generally.

10. A variety of assessment and evaluation procedures exist in these schools, including
portfolios, videos, performances, auditions, visiting judges and critics, competitions,

20
Daniel, R. 2000. Performing and Visual Arts Schools. Academic journal article from Journal of Secondary Gifted
Education

35
 contests, art exhibits, paper- and pencil-tests, and traditional norm-referenced tests (U.S.
Department of Education, 1991, pp.1-3).

As the world embarks upon the Age of Creativity, where whole mind thinking is a key factor,

educators must seize opportunities to be fully engaged in producing better students, who as adults

are prepared to be better people, able to wholly participate in a new, globalized world. Research has

shown that successful integrated arts programming is an integral part of the road map that helps

accomplish that. Like those tasked to mold the minds of mentally gifted and talented scholars, other

education professionals can also have successful scholars employing similar practices. Being

vigilant in efforts to breathe life into other core subjects by regularly introducing arts curriculum into

lesson plans offers educators the chance to not only teach scholars about the past, present, and

future world possibilities, but each gains the ability to aid scholars in becoming more fully aware of

the world and their place in it; while simultaneously helping each to identify individual talents and

strengths.

“Educators responsible for planning language arts programs…need to consider multiple

variables in the areas of differentiation approach, content, and individual differences among gifted

learners. Moreover, language arts programs should be as comprehensive as possible and

articulated across the K-12 years of schooling…” 21 in the areas of:

• Literature: Literature should provide many experiences for students to read quality texts.
College-bound book lists that include poetry, plays, essays, biography, and autobiography
are available at most libraries, as are the books noted by Thompson (1998) and Baskin and
Harris (1988). Students should read broadly across subject matters and develop a

21
VanTasseI-Baska, J. 2003. Differentiating the Language Arts for High Ability Learners, K-8. ERIC Digest.

36
 familiarity with favorite authors and their lives. Emphasis on critical reading and the
development of analysis and interpretation skills should be a focal point.

• Writing: A writing program…should emphasize the development of skills in expository and

persuasive writing, focusing the writing process on draft development, revision, and
editing, and developing ideas and arguments on current issues. …Students also need
experience in writing in other forms such as narrative and informative, using appropriate
models for development. For older students, copying the style of favorite authors would be a
useful exercise to gain control over written forms.

• Language Study: The formal study of English grammar and vocabulary should be a major
component of language study. Thus major language emphasis should involve
understanding the syntactic structure of English and its concomitant uses, promoting
vocabulary development, fostering an understanding of word relationships (analogies) and
origins (etymology), and developing an appreciation for semantics, linguistics, and the
history of language. An integrated language study approach across these areas is highly
desirable.

• Oral Communication: …Students can profit from a balanced exposure to oral

communication both through listening and speaking. Major emphases should include
developing the following skills: (1) evaluative listening; (2) debate, especially for use in
formal argument; and (3) discussion, particularly question-asking, probing, and building on
ideas stated. An emphasis on oral interpretation and drama productions provide one of
many venues for…learners to develop higher level skills.

In the new world order learning curves are becoming more accelerated. As the entire world

crosses the threshold of and is acting upon the fierce urgency of now, education systems are at a

tipping point. Having the ability to hit the ground running is no longer a catch phrase, but a reality.

Scholars that are poised to take advantage of new technologies and processes; scholars who are

able to manage complex functions and transition from one to another seamlessly; scholars that can

see possibilities and create opportunity for themselves and other will be the great leaders, caretakers

and beneficiaries of all that the world has to offer in the new age. The arts is an integral part of that.

And, it begins with K-12 learning.

37
 However, for some, the arts is more basic. For some scholars, those who would normally

“fall through the cracks”, engaging in the arts can be a lifeline, making school more bearable,

interesting and exciting. In many instances the arts helps youth and young adults make sense of the

world; because to them the arts is a beacon in the realm of learning. With the ability to engage in the

arts many scholars find that math, science, history, literature are more understandable; more

relatable, and more centered in real, tangible experiences. With the arts many scholars have the

chance to address learning challenges and social ills that affect them and the communities in which

they live. For many youth the arts are a safe, non-violent outlet for expanded learning and self-

expression. And, many of the success indicators found in Literary Arts programs mirror those

identified in visual and performing arts programs.

“…Catterall, Chapleau, and Iwanaga (1999) analyzed data from the National Educational

Longitudinal Survey (NELS: 88) to determine the relationship between involvement in the arts and

academic achievement. The results indicated that students involved in school arts curriculum

became more creative, had lower drop-out rates, improved social skills, and had higher academic

achievement; and those coming from poorer families who were involved with the arts improved

academically more than those from similar socio-economic backgrounds not involved in the arts.” 22

A 3-year study conducted in Canadian schools (Upitis & Smithrim, 2003) improved upon the

designs in the above studies in that it compared students in schools with art curriculum to control

schools without art curriculum. The findings showed that students in schools with art curriculum

22
Wright, R., M.S.W., Ph.D., John, L., Ph.D., M.S.W., M.Sc., et al. Do Community Arts Programs Promote Positive Youth
Development? http://www.uwindsor.ca/criticalsocialwork/do-community-arts-programs-promote-positive-youth-
development

38
when compared to students in schools without art curriculum improved on math tests. “…the

objective of the present article is to build on the existing research and by reporting the results of the

multi-method evaluation, determine whether such arts programs are effective and, if so, what

features of the programs are essential to their success.

Several literature reviews of after-school programs have been conducted on their impact on

both student academic outcomes and to a lesser degree non-academic functioning (Eccles &

Templeton, 2002; Fashola, 1998; Hollister, 2003; Scott-Little, Hamann & Jurs, 2002). These authors

concluded that the story emerging from the literature showed promise to enhance academic

achievement, and social and emotional outcomes. However, in each case they identified that further

research was needed to draw firm conclusions about the effectiveness of after-school programs

(Scott-Little et al., 2002). Specifically, they identified that the research in this area was still young and

inconsistent, with few experimental studies, little data on implementation and process issues, and

little similarity in the evaluated outcomes between the studies.

Most relevant to this article are those after-school programs, located in community-based

organizations that have art activities as the major focus. There are two studies that fit this category

that have targeted mostly low-income or at-risk youth. In the Youth ARTS Development Project, a

crosssite evaluation was conducted in three locations on an arts-based programs targeting at-risk

youth (e.g., with juvenile records). The effects of the program were examined 22 months after

participation. Unfortunately, difficulties that emerged with the design, small sample sizes, uneven

data collection, and program instability, compromised the impact of the study.

39
 In another study, Mason and Chuang conducted the Kumba Kids Program, a culturally-

based after-school arts program for low-income youth in Rochester, New York. They concluded that

the program showed promise, however, the weak design, lack of randomization, and small sample

size limit the generalizability of the findings. Although the findings from these reviews are relevant for

the purpose of this article, it is clear that research specifically on after-school community-based arts

programs is almost non-existent. 23 Hence, the objective of the present article is to build on the

existing research and by reporting the results of the multi-method evaluation, determine whether

such arts programs are effective and, if so, what features of the programs are essential to their

success.

METHODOLOGY

Participants and Recruitment

The NAYDP, a quasi-experimental research design, was a three-year longitudinal study that

evaluated community-based arts programs in five sites across Canada. The five sites participating in

the study were: (a) located in urban and rural areas, (b) had a focus on youth 9–15 years, (c) were

located in low-income communities, and (d) reflected the cultural and regional diversity of Canada.

The sites were selected based on specific criteria, namely, a clear philosophy and mission, a well-

defined infrastructure, evidence of historical and projected stability, and credibility in the community

as identified by key informants. Once the sites were chosen, each site employed a systematic

23
Wright, R., M.S.W., Ph.D., John, L., Ph.D., M.S.W., M.Sc., et al. Do Community Arts Programs Promote Positive Youth
Development? http://www.uwindsor.ca/criticalsocialwork/do-community-arts-programs-promote-positive-youth-
development

40
outreach strategy to actively recruit youth to the art program. This included a community mapping

process that identified appropriate locations for reaching out to youth and their parents. A total of 183

youths, 9–15 years of age, participated in the study.

Intervention

The youth participated in a 9-month arts program that focused on theatre but that also

included visual arts (mask-making, set design, and painting) and media arts (digital filming and

editing). Each site developed three cumulative terms of programing based on the model outlined by

the research team. The sites developed an art curricula that featured skill development and social

goals that were achievable but increased in complexity and challenge.

For example, the sessions focused on exploring self-expression, emphasizing fun, and

developing positive group dynamics along with the acquisition of performance skills. The 90-minute

art sessions were held after school, twice a week, from September 2002 to June 2003 (for a total of

74 sessions). At each site, the art sessions were conducted by a lead instructor, two to three

assistants and an on-site research assistant. In an effort to overcome barriers to participation, the

program, materials, snacks, and transportation to and from the site were offered free of charge. The

program also focused on parental involvement by including family nights and providing regular

updates on youth absences and behavior.

41
Measures

The multi-method evaluation strategy included attendance forms, standardized behavior

checklists completed by youth, parents, and research assistants, as well as interviews with youth

and parents. Youth and parent questionnaires, measuring conduct, and emotional problems, were

administered before the start of the program in September 2002 (baseline), every 3 months during

the program, and a follow-up 6 months after the end of the program for a total of five data collection

periods. Youth completed the questionnaires in their art class. The research assistants met with the

parents in their home or at a place convenient to them to complete the questionnaires.

Also, observational data were collected 6 times (twice per term) by the research assistant

using an instrument measuring the participants’ in-program behavior such as participation, art skills

development, prosocial skills development and task completion. All measures were selected from

the National Longitudinal Survey on Children and Youth (NLSCY) and are described, with their

internal consistencies, in Table 1. Upon completion of the arts programs, interviews were conducted

with youths and their parents to augment and clarify aspects of the quantitative results by exploring

their experiences in the program. A total of 30 interviews were conducted with participating youth

and parents from the five community arts programs. Based on purposive sampling, a sub-sample of

15 youth and 15 parents were randomly selected to be interviewed. The sampling strategy for the

selection of the youth was determined based on their attendance rate in the program. For example,

the average attendance for each site was calculated by gender. Then, participants who had an

attendance rate that was equal or higher than the average were entered into the pool for selection.

42
 For the youth interviews, cluster sampling by gender was utilized prior to randomization to

reflect the two females to one male ratio at the program sites. A total of 10 females and five males

were selected for the interviews. Two alternates per site were also selected as back-up interviewees.

The parents (person most knowledgeable) of each of the selected children were also interviewed to

compare their feedback. An interview guide was developed by the principal investigators and pilot

tested in one site with two program participants, one male and one female randomly selected by

gender.

43
 Following the pilot test, semi-structured interviews were conducted at each site with the

youth, and parents. The qualitative component employed the Long-Interview method, a qualitative

methodology that is well suited to uncovering and describing multifaceted processes (McCracken,

1988). All interviews were videotaped and/or audio-taped and transcribed verbatim.

The results are presented as follows: (a) sample description, (b) attendance rates in the

program, (c) observational outcomes, namely, participation, art skills development, prosocial skills

development, and task completion, (d) behavioral outcomes, namely, conduct and emotional

problems, and (e) perceptions of the program as reported by youth and parents.

Sample Description

Across all sites, as reported by the person most knowledgeable (PMK), the sample was

approximately 59% White; 26% Aboriginal; 11 % Black; 6% Asian; 5% Latin American, and 4%

identified themselves as ‘‘other’’. Participants had the option of checking off more than one category.

These percentages reflect the racial and ethnic diversity of the Canadian population. In terms of the

PMK’s marital status, 38 % were married, 14 % were single-parent families, 24% were either

separated or divorced, 20% lived in common law relationships, and 4% were widowed. Forty percent

of the parents reported they were high school dropouts, and 31.5% had received social assistance

(welfare) in the last 12 months, with 40% of the sample reporting a total household income from all

sources of less than $20,000. At the time of recruitment, 67.8% of the sample was between 9 and 11

years of age, 26.2% between 12 and 13 years of age, 6% between 14 and 15 years of age and

approximately 65% were girls and 35% were boys. Comparisons with national statistics (National

44
Council of Welfare, 2004; Statistics Canada, 2001, 2001a, 2002, 2004) showed that the NAYDP

Program was successful in recruiting low-income youth.

Sustained participation was enhanced by a number of factors identified by the youth and

parents in interviews. All youth mentioned enjoying making new friends and learning about theatre

and cinema, being exposed to different activities such as acting, making costumes and masks,

drumming and music, puppetry, etc. Both youth and parents agreed that the program staff was

excellent, but for different reasons. The youth felt the staff were open, patient, funny, understood

them, listened to them, and helped them solve their problems. Parents appreciated the fact that

supervision of the youth was taken seriously and that staff would contact them if their child was

absent from the program. As one parent noted with respect to a staff member, ‘‘She’s very caring

45
towards the kids and making sure, like sometimes (her child...) would not show up on time and she

will call me, fill me in and stuff like that’’. Parents reported that transportation to and from the

program and snacks were greatly appreciated and that they were pleased that their child had a place

to go after school that would ‘‘keep them off the streets’’. Finally, parents spoke highly about the

calibre of the arts programs that helped the children explore what the arts meant, and discover

opportunities that may be open to them in the world of arts.

Summary

This study evaluated a community-based arts program located in five sites across Canada.

Results have shown that youth from low-income communities can be recruited in arts programs and

their participation can be sustained over a 9-month period. Findings have also shown that, once

engaged, youth show significant gains in artistic and prosocial skills development as well as a

decrease in emotional problems when compared to a control group. Moreover, as reported by

parents and youth strategies such as active recruitment, no program fees, free transportation,

snacks, and frequent communication with parents enhanced youth engagement and sustained

involvement. Perceived youth gains, as reported by program participants and their parents included

increased confidence, enhanced art skills, improved pro-social skills, and improved conflict

resolution skills. 24

24
Wright et al, 2006. Community-based Arts Program for Youth in Low-Income Communities: A Multi-Method
Evaluation; Child and Adolescent Social Work Journal, Vol. 23, Nos. 5–6, December 2006

46
 The arts is the mechanism by which all that defines us as human is driven forward. Artists

are the interpreters of our shared human experiences – good, bad, or indifferent. They are the

historians, mathematicians, scientists, and scribes that document cultures. They are the decipherers

of our spirit and the lighthouses of all that is graceful and true in us, even when it is ugly. When

apathy for the arts prevails and creativity is stunted humans connection to the world – natural and

supernatural is no longer valued. Man quickly descends to a baser nature. Our work will no longer be

art, no longer feed our souls, no longer encourage others to engage, no longer incite debate; and no

longer enable us to be our true sentient selves. Literary Arts is the textual personification of our

experiences and a gift and guide to the generations that follow.

MOTION REPORT

In the Motion Report: Poetry and Young People Booktrust 2010, a report containing findings

and recommendations of the Poetry and Young People Project Review Group that was

commissioned by Arts Council England, Sir Andrew Motion, English poet, novelist and biographer,

and Poet Laureate of the United Kingdom (1999 to 2009), holds the belief that poetry has a

particularly important role in the life of young people. Poetry, after all, is a fundamental as well as a

very subtle thing – an expression of our primitively human delight in rhythms, sounds and patterns,

and also of our sophisticated need for ingenuity. It is the form that puts us most deeply in touch with

ourselves – that introduces us to ourselves – while it also connects us with the wider world.

In 2007 Arts Council England launched the Thrive! Program, which offered organizations

across the art forms the opportunity to test ambitious new operating models. Thrive! aimed to be: A

47
systematic approach to developing organizational performance in order to build capacity to respond

to and influence a rapidly changing environment. Responding to this opportunity, the Poetry Society,

the Poetry Book Society, the Poetry School and Apples & Snakes formed the consortium Planet

Poetry, which was successful in winning Thrive! funding.

Planet Poetry set out to establish a framework for collaboration within the poetry sector, but

in October 2008 its board, staff, the consortium directors and Arts Council England decided that

although collaborative working in the poetry sector should be explored, Planet Poetry itself was

unlikely to result in a workable action plan. Planet Poetry was wound up earlier than anticipated, and

an evaluation of its activities was carried out by BOP Consulting for Arts Council England. Following

its evaluation of Planet Poetry, Arts Council England commissioned BOP to carry out consultations

with a wide range of individuals and organizations in the poetry sector, in order to gather ideas on

the potential for strategic development in the sector and achieve a consensus on how best to

allocate the remaining Thrive! funds, which totaled £313,000 ($497,607US) (see Appendix 1).

BOP explored five themes in the consultations, including education and young people, which

generated the greatest amount of enthusiasm. In a report BOP reported in 2008, that, “The sector

believes that the remaining Thrive! funding must be spent on an initiative that brings benefits for the

sector as a whole… The majority of organizations in the poetry sector are engaged with young

people to a greater or lesser degree, and all recognise the importance of supporting and providing

opportunities to develop new audiences and participants resulting in the long term sustainability of

48
poetry… BOP therefore proposes a single focus for the remaining Thrive! funding: Young People

and Poetry”. 25

As a result, the aims of the Poetry and Young People Project were agreed as being:

• To create new opportunities for young people to participate in poetry through reading,
writing and performing, while recognizing the widest possible range of writing available

• To transform and champion young people’s experience of poetry – as writers, performers

and readers

• To raise awareness of and celebrate poetry and its importance in education both formal and
informal

• To begin to address some of the underlying weaknesses in the poetry infrastructure through
developing models that deliver effectively and efficiently

• To ensure a sustainable legacy through ‘light-touch’ evaluation

• To deliver a project or projects consistent with Arts Council England objectives (i.e. those
established by the literature department and Thrive!)

Literary Arts is not a foreign ide in England. All scholars up to age 14 years are required to

engage in some form of poetry incorporated in their English lesson as required by the National

Curriculum. In 2007 Ofsted published Poetry in Schools: A survey of practice 2006-7: a report which

highlighted excellence and common problems. What was identified was a disconnection in

perception regarding the benefits of poetry between teachers and students. Case in point, according

to the survey many teachers believed:

“The poetry element is overwhelming; there’s too much poetry.”

“Pupils groan…It is difficult for us to present poetry in a positive light…”

25
Motion, A. Sir 2010. The Motion Report: Poetry and Young People. A report from the Poetry and Young People
Project Review Group. Booktrust, 2010. www.booktrust.org.uk

49
However, when pupils was surveyed and asked their opinions of the art form many, particularly

those at the primary school level believed:

“Poems make you think more…” and

“I like the hidden meanings; you can bring your own meaning to the poem.”

When asked about writing poems, pupils of different ages stated:

“In a poem you can express emotions. You can’t do this in a story…”
“You can confide in a poem, it relieves the stress.”
“You are controlling the pen. You can make up your own rules…poetry’s not like normal writing. It’s
like playing the piano.”

Young scholars innately understand the value and benefit of Literary Arts. Poetry organizations

working in schools in England see first-hand the enjoyment and enrichment young scholars can gain

from having poetry integrated into their curriculum. BOP consultations identified:

Everyone believes that positive experiences at school are important to laying the foundation for
lifetime engagement with poetry. Also, that current teaching of poetry at school yields too few such
positive experiences. The sector attributes this to insufficient time and flexibility within the curriculum
to encourage unpressured exploration and appreciation of poetry, and many teachers not feeling
confident with poetry.

According to the Motion report there is a wide range of poetry experiences are offered to young

people. The below diagram illustrates some of the providers of these experiences as provided by the

report:

50
 The Motion Report shows that like the United States and Canada, England has a plethora of

options for young scholars to engage in literary self-expression for positive outcomes both in and

outside of the education system. Beyond the school gates, but intersecting with schools, a range of

organizations exists to support poetry in the classroom; these organizations offer various services to

teachers and local authorities, such as:

51
 • Continuing professional development (CPD) and in-service (school-based) training
(INSET) sessions on teaching poetry

• Advice on poetry books to share with pupils

• Poetry book gifting to pupils

• Online teaching sequences or ideas for poetry-related activities

• Inter-school poetry slams

• Podcasts and videos of poets reading their work

• Digitally animated poems

• Online fora for sharing best practice

• Residential writing courses

• Poetry collections to visit and explore

• Help with arranging a visit from a poet

• Support for organizing poetry projects in school, including linking schools to venues
such as galleries or museums

In addition to these organizations, literature festivals such as the Bath Children’s Literature Festival,

and arts centers that present literature events, including the Southbank Center (housing the Poetry

Library) and the Bluecoat, offer participatory poetry opportunities to schools. Other arts

organizations, such as Manchester Art Gallery or the British Film Institute (BFI), sometimes offer

poetry-related resources linked to other art forms such as film or visual art. Heritage sector

52
organizations including the Wordsworth Trust or Keats House also offer poetry activities and

resources to schools.

Some of these organizations market their services directly to all schools in the country via

mailings, such as Booktrust’s Children’s Book Week teachers’ pack; all of them have built their own

networks of interested schools in different ways – through advertising their services on the internet

and in publications for schools, through partnership with local authorities and funding bodies such as

CCE, or through word of mouth and local contacts. Some provide free resources, others charge for

specific services, and some operate on a subscription or membership basis.

Furthermore, to the provision from these literature development and arts organizations, there

are other publicly funded bodies that facilitate poetry related activities in schools. Creative

Partnerships, funded by CCE (which involving poets and poetry, and the British Council runs various

literature projects for young people in the UK and abroad including BritLit.

It is worth noting that the Arts Council England-funded Arts Award, which offers a framework

for exploring creative skills, and Artsmark, which encourages schools to increase the range, quantity

and type of arts provided to children, are weaker on writing and poetry than other art forms. Of the

20,000 Arts Awards achieved by young people up until August 2009, only 84 are specific to

literature. Non-funded poetry provision for young people in education includes ventures like GCSE

Poetry Live! which organizes live poetry events for GCSE students, and commercial teaching

resources.

These organizations, arts centers and agencies operate in different regions across the UK

and many, such as the Poetry Society, Booktrust, National Poetry Day or NAWE, have a national

53
remit. While the internet enables certain kinds of resources – such as a podcast or a lesson plan – to

be accessed anywhere, their national uptake will depend on widespread effective marketing to

schools, which many organizations do not have the capacity to carry out. Other kinds of services,

such as initiating and supporting poet residencies or longer-term poetry writing projects, are much

more labor intensive and many organizations choose specific, often local, areas in which to

concentrate their efforts in this regard. Some organizations, such as the Reading Agency, have well-

established links with local networks such as local authorities. Such links offer the potential for

resources to be delivered to a much larger number of schools (and all schools in some cases).

Regional literature development agencies cover much of England, and these agencies work in

different ways – some focusing on their entire region and others focusing on a smaller area within it.

Regions including the North East have well-established literature development networks in which

organizations work together to achieve an even coverage of activities across the area and to build on

each other’s work. Other regions are not well-served by literature organizations and agencies or arts

centers.

In the East Midlands and the South West the writing agencies are very new, while in

Yorkshire and the North West there are several organizations but they are often small scale and

working in very particular localities, or festivals delivering projects through a seasonal program. Arts

Council England does not have consistent, comprehensive data on the geographical reach of its

funded literature. 26

26
Motion, A. Sir 2010. The Motion Report: Poetry and Young People. A report from the Poetry and Young People
Project Review Group. Booktrust, 2010. www.booktrust.org.uk

54
POETS IN SCHOOLS

A school visit by a poet is recognized by Ofsted as having particular value in increasing

young people’s enjoyment of and confidence with poetry, and many poetry organizations help to

arrange them – but this too is a mixed picture. It is not known how many schools invite poets to work

with young people on reading and writing projects, although a recent report by Sue Horner on writers

in schools, Magic dust that lasts: Writers in schools – sustaining the momentum, estimates that there

are around 1000 writers who work regularly in formal education. Some schools are supported by

organizations such as Apples & Snakes, Writing West Midlands or the Poetry Society to work with

writers, and some book them directly. Where these visits or residencies have been thoughtfully

developed and evaluated, such as the Writing Together project (2001-2007), the impact on young

people’s enjoyment of poetry and writing in general has been found to be extremely positive (see

Appendix 2). Sue Horner’s report finds that:

Writers visiting schools can make a significant difference to young people’s attitudes to and
enjoyment of writing… where there is sustained work with pupils over a period of time there can be a
rise in standards achieved in national educational measures such as tests and examinations…
Longer residencies… are more likely to result in lasting learning.

However, the report also suggests that although ‘there are many interesting, diverse and

memorable projects happening… these are too few and insufficiently spread throughout schools

across the country’. The experience of a writer’s visit varies greatly from school to school. Although

many organizations including the Children’s Discovery Center, NAWE, Booktrust and the Society of

55
Authors publish guidelines for schools on planning a writer visit, many schools lack experience in

organizing one, and do not know how to maximize the benefits for their pupils. This means that the

experience can be a frustrating one for the writer. Of equal concern is the lack of accredited training

for writers in working with young people, meaning that schools can also be left disappointed.

Similarly, there is no clear picture of the range of writers visiting schools, or the quality and impact of

the visits.

A visiting poet can broaden students’ and teachers’ understandings of what poetry can be. Some of
the best experiences I’ve had in the classroom have been about people learning to value the power
of their own (or someone else’s) creative expression. What helps? Clear expectations, an open
channel of communication between the teacher and poet, and trust. Simple things like contact
between the teacher and the poet prior to their workshop(s). It’s important for poets and teachers to
understand each other’s concerns and ways of working. - Jacob Sam-La Rose, poet

In school, scholars will read a wide variety of good poetry, classic and modern, from a range

of cultures, and learn how to respond to it in active, creative and thoughtful ways. Their teachers will

be supported by excellent resources from funded organizations with clear remits, via effective

delivery methods (including digital) that build on the most sustainable infrastructures. As many pupils

as possible will have the opportunity to work with a poet who is trained in best practice in working

with young people.

OUT OF SCHOOL

Rick Rogers, in his report to NESTA on the Poetry Archive states that, “Young people are

likely to encounter the widest range of poetry, from a Shakespearian sonnet studied at school, to

56
contemporary poetry used in advertising, to rap lyrics.” Poetry is perhaps most frequently

encountered by young people in music lyrics. Young people make up a significant proportion of the

audience at performance poetry events, for example those run by Apples & Snakes, the Poetry

Society or the Manchester Literature Festival, and some make use of poetry websites which offer the

chance to share their work with an online audience, such Asthe Arvon Foundation’s Writing Room

website, Kids on the Net or the Poetry Zone. Some youth clubs and after school clubs run poetry

writing groups. There is little data on how commonly any of these opportunities are taken up, though

a study carried out in 1995 found that 23% of young people surveyed said they wrote stories or

poetry outside school.

A minority of poetry and literature development organizations offer poetry services directly to

the home. For example, the Poetry Book Society offers advice on recommended poetry books to

parents via the Children’s Poetry Bookshelf. Booktrust’s Booktime program (funded by the DfE),

which provides a book pack to all reception age children in England, Scotland and Northern Ireland,

included a poetry anthology for children in England in 2008 and 2009. Over 1.34 million book packs

containing the anthology were delivered over the two years. 27

On the same basis, the key opportunities for improving young people’s wider and deeper

engagement with poetry are:

• Young people’s own readiness to engage with poetry when it is presented well

27
Motion, A. Sir 2010. The Motion Report: Poetry and Young People. A report from the Poetry and Young People
Project Review Group. Booktrust, 2010. www.booktrust.org.uk

57
 • Digital and online technology enabling greater reach, new ways of accessing and
sharing poetry, and greater collaboration across organizations

• The possibility of structural changes that streamline and make sense of the funded
poetry offer to young people, and make it more accessible

• More effective links between the poetry sector and broadcast media organizations to
strengthen the public’s awareness of and enjoyment of poetry

Outside school, scholars will have access to reading, writing and sharing poetry in its many forms

through well-publicized, accessible and engaging websites that reflect their interests and needs.

They may encounter these websites via the broadcast media, which will work with the poetry sector

to raise the profile of poetry for young people. They will also take up opportunities to engage with

poetry in performance and poetry workshops via youth groups, reading groups, libraries and arts

centers as well as poetry organizations.

How does arts funding support the poetry sector?

The poetry sector depends on public funding to a great extent. A large proportion of this

comes from Arts Council England, either directly or through its satellite bodies such as CCE.

Although it is timely and appropriate that this support be analysed, and possibly revised, Arts Council

England’s role will continue to be absolutely vital in the coming years. Arts Council England support

for poetry.

In 2009/10 Arts Council England’s regularly funded organizations working with poetry

received a total of £1,990,801 ($3,164,164US). In the same year Arts Council England also allocated

58
£1,283,744 ($2,040,373US) in Grants for the arts funding to individuals and organizations working

on poetry projects.

Arts Council England supports:

• The production of poetry (although none of the Arts Council England funded poetry
publishers produce children’s poetry books, some publish poets on exam syllabi –
for example, Gillian Clarke published by Carcanet)

• Poetry archives and collections

• Performance – including research and development, touring and festivals (many of

which have program strands for children)

• Training for writers to enable them to work with schools and young people and
develop this work

• Time to write grants for poets

• Artist/talent development programs such as mentoring, editorial support, tutoring

• Services to schools such as providing writers and supporting participatory writing

projects

• Expertise including teaching resources and guides to recommended poetry books

• Advocacy and promotion for poetry

Summary

Many different organizations of varying sizes work on poetry projects for young people in

and outside school, and although there are many success stories – including the National Poetry

59
Day’s rise in public profile, the Poetry Archive’s impressive and increasing number of hits, and one-

off events such as the Young Vic and Southbank Center’s recent production of The Ancient Mariner

involving hundreds of young people from Lambeth and Southwark – the overall reach of these

projects is relatively small. Looking specifically at poetry projects taking place in schools, Arts

Council England Annual Submissions in 2007/8 estimate that a total of 1583 sessions involving

64,648 young people aged 4-14 in formal education were run by Arts Council England funded poetry

and literature organizations. Put into context, these workshop participants make up less than 1% of

the 9.5 million young people in formal education in the UK. Although poetry cannot be commodified,

present funding structures do not lead to enough young people experiencing poetry in and outside

formal education, whether through organized poetry sessions or personal reading and reflection.

Reorganization within the sector, the development of more productive partnerships with formal

education in general and teacher training institutions in particular, and an emphasis on links with

national delivery networks, would enable the sector to have a much wider and more effective

reach. 28

APPENDIX I

Planet Poetry won £856,500 ($1,360,314US) of Thrive! funding and spent £543,500

($863,233US). Of this sum, £145,000 ($230,301US) was divided between the four organizations in

the consortium to increase capacity while their directors’ time was spent on the Planet Poetry

28
Motion, A. Sir 2010. The Motion Report: Poetry and Young People. A report from the Poetry and Young People
Project Review Group. Booktrust, 2010. www.booktrust.org.uk

60
project. A further £50,000 ($79,416US) was spent on collaborative work between the organizations,

under the guidance of an external advisor. The balance of £348,500 ($553,545US) was spent on the

salaries, administration and office overheads of the Planet Poetry team, servicing the board of Planet

Poetry and on consultation and evaluation.

APPENDIX II

Findings from Writing Together evaluations The Writing Together initiative (2001-7) enabled

36,000 children to work with a writer in the classroom. To do this it organized national conferences,

established networks of writers and teachers, set up model residencies, provided CPD for teachers

and training for writers, created key resources and guidance for schools and allocated bursaries to

schools. Findings from the various evaluations that took place over the project’s life include:

• 72% of teachers who provided feedback said that they had found new opportunities
for developing writing

• 79% said they had used specific ideas from their contact with a writer

• 69% had subsequently provided INSET to colleagues

• 72% felt that their confidence in teaching writing had improved

• 62% could see evidence of a long-term impact on their pupils’ writing ability and
motivation.

61
PROFILES OF SUCCESSFUL LITERARY ARTS PROGRAMS

YOUNG CHICAGO AUTHORS (YCA)

"YCA transformed my life and continually inspires me in my work as an educator and a writer."

— Jose

http://www.youtube.com/watch?v=sCgmecnQrAY&list=UUeU10k6N8n9dplXw0m83HBg&index=1&feature
=plcp (control+click to follow link)

62
MISSION

Young Chicago Authors transforms the lives of young people by cultivating their voices

through writing, publication, and performance education.

Founded by Dr. Robert S. Boone, a published author and educator with extensive

experience teaching teens in Chicago urban and suburban settings, YCA begin serving the

community in 1991. He assembled a group of educators, writers and philanthropists who all believed

that young people should have more exposure to creative writing. In the first four years, YCA started

an intensive three-year Saturday program for students who had demonstrated a strong interest in

creative writing. Fifteen sophomores would join the program each year and remained in the program

through high school. Upon graduation these students would receive $2,000 per year for college. By

1995, forty-five students were taking part in this Saturday program and another fifteen were in

college.

In this early period, YCA also offered workshops at high schools and agencies. These

classes, whether they were held at local high schools or organizations or in distant parts of Chicago,

were all young people, especially those who had yet to discover the excitement of creative writing.

Requests for these classes grew every year as teachers in the schools reported that they and their

students regarded these programs as an effective motivating tool.

At present, YCA directly serves 2,500 teens a year through workshops, performance and

publication programs, and reaches 30,000 young people and adults through readership of its

63
publications and audiences at its events. Scholars who are fully engaged in the Young Chicago

Author experience boast of unexpected transformation. Many state that:

"YCA has raised me in the arts and pointed me in the direction of my arts based, full 4 year scholarship
program to my university. It is a platform for Chicago’s youth artists, a friend to many, and a home for all." —
Erika

"If it weren’t for YCA, I probably would not have had the artistic, literary, and poetic credentials to attend
Northwestern University, where I am a sophomore studying Creative Writing and Political Science." — Noor.”

"I thank God for YCA. Without them I might still be on streets and getting high. But instead I’m college and
finding ways to give back on a daily basis." — Rik

"YCA helped me become an adult. I was given a safe, nurturing place to express myself while also meeting
people and hearing a diverse array of ideas." — Eric

YCA Programming

In 1995, YCA began offering activities year-round. Most of these were for any young people,

not just the scholarship students. Summer activities included writing classes that met several times

during the week, readings by poets and novelists, opportunities for performance, trips to theaters,

literary events and college campuses. YCA also gave students a chance to work as teacher aides in

summer school classes at local elementary schools. By the end of 1997, the activities of YCA were

firmly established as resources for dozens of community service agencies and public schools. YCA

continues to expand and offers a plethora of programs, including the following:

64
Writing Teachers Collective (WTC)

The Writing Teachers Collective (WTC), formed by and for writers who teach and teachers

who use writing in the classroom, offers workshops on special topics in creative writing. The WTC

has been integral in several initiatives, such as the Chicago Teen Poetry Slam, WordWide,

GirlSpeak, Men as Allies: Swaggerzine, and Say What, a literary magazine tying together creative

writing with youth culture and personal expression. Now the focus of YCA is to reach as many youth

as possible.

WordPlay

WordPlay is Chicago’s longest-running youth open mic. Every week, dozens of Chicago

high school and college-aged students come and share their original poetry and music, as well as

take part in a workshop taught by one of the country’s premier teaching artists. Each month

WordPlay features a different artist-in-residence, who is responsible for teaching the workshop,

hosting the open mic and curating the featured performance.

65
Journalism Workshops

Every week YCA offers a new artist in residence facilitated journalism workshop that is free

and open for drop in participants.

YCA Fieldtrips and In-School Workshops and Residencies

Young Chicago Authors provides professional writers and creative writing program

development to Chicago-area schools and community programs.

Student and Teacher Field Trips to YCA

Teaching professionals can bring their class to YCA to engage in creative writing, spoken

word, new journalism and performance workshops! All workshops are led by a team of master

teaching artists utilizing YCA’s student-centered learning pedagogy and tailored to meet the needs of

students or teachers. (Teachers can get professional development CPDUs).

Check the Method: A Saturday Writing Workshop Series

A rare mentorship opportunity for young artists, who want to advance their craft Check the

Method Saturday Workshop Series is a free writing program offered throughout the school year for

Chicago area high school teens. Curated by YCA artist-in-residence and YCA Artistic Director Kevin

Coval this rigorous, comprehensive workshop series focuses on honing participant’s craft and voice

in creative writing genres. The Check the Method Saturday Series is a free writing program.

66
Check the Method: Summer Institute

Check the Method: Summer Institute brings together 20-30 young writers from all across the

city of Chicago and the suburbs to explore writing technique and practice. It utilizes Chicago and its

rich tradition of working class literature as a source for inspiration. In addition, Check the Method

encourages and pushes writers toward new work, thorough revision and broadening of the reading

palette.

LOUDER THAN A BOMB (LTAB)

http://www.youtube.com/watch?v=C2KnS3rfSv8 (control+click to follow link)

Louder Than A Bomb (LTAB) is a city-wide poetry festival for Chicago youth and is a part of

the Young Chicago Authors programming. Every year, more than six hundred teenagers from over

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sixty Chicago area middle and high schools, as well as colleges gather for the world’s largest youth

poetry slam competition. Founded in 2001, Louder Than A Bomb (LTAB) is the only event of its kind

in the country—a youth poetry slam built from the beginning around teams. Rather than emphasize

individual poets and performances, the structure of Louder Than A Bomb demands that kids work

collaboratively with their peers, presenting, critiquing, and rewriting their pieces. To succeed, teams

have to create an environment of mutual trust and support. For many kids, some as young as seven

years old, being a part of such an environment—in an academic context—is life-changing.

The LTAB phenomenon has been so successful in the city of Chicago that a documentary of

the festival by Siskel/Jacobs Productions was created. The award winning film, Louder Than A Bomb

highlights the transformative nature of Literary Arts as related to teens. It is about passion,

competition, teamwork, and trust. It is about the joy of being young, and the pain of growing up. It is

about speaking out, making noise, and finding your voice. It also just happens to be about poetry

(Siskel and Jacobs 2011). YCA artistic director, author and LTAB co-founder and artistic director

Kevin Coval states:

“For three minutes at a time the students speak about their lives. For the other eighty-seven
minutes, they are listening to the lives and stories and dreams of others. Kids that don’t look
like them and come from a different neighborhood. In listening, the city shrinks.”

Based on alumni surveys, LTAB boasts an 85% high school graduation rate, and most notably—

within a year of national discussion on youth violence—has had zero incidents of violence in its 10

year history of working with students from across the city. Traditionally operating outside of regular

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school programming, LTAB brings together poetry teams that are often founded by students and

coached pro-bono by teachers, for the annual three week competition each Spring. 29

http://www.youtube.com/watch?v=BnzHhxWEHSQ (control+click to follow link)

LTAB Communities

After a screening of the documentary the question most o asked is, “Why don’t we have this

in our community?” For YCA the answer is always the same: “You can!” Partnering with the

organization, LTAB communities in Boston, Washington, D.C., Detroit, Tulsa, Omaha, and South

Africa were launched. YCA believes that every area teeming with the vitality of youth has a great

range of untapped talent. LTAB communities by design help harness that energy in positive ways.

29
http://youngchicagoauthors.org/blog/?page_id=2

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MIGHTY WRITERS (MW)

“There is no greater agony than bearing an untold story inside you.” —Maya Angelou

http://www.youtube.com/watch?v=k0erpNpSiZI&feature=autoplay&list=UUV4X5dHPFBvp1kEBEfyBCtA
&playnext=1 (control+click to follow link)

MISSION

To teach Philadelphia kids (ages 7 to 17) to think and write with clarity, so their self-esteem

grows and they can move toward success at school, at work and in life. Mighty Writers offer a daily

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afterschool program, plus long- and short-term writing workshop classes at night and on the

weekends. For high schoolers, we have a weekly Teen Writers Lounge, intensive SAT Preparatory

courses and college essay writing classes. All programs are free to participating students.

A 501(c)(3) nonprofit Mighty Writers was founded by Tim Whitaker, who is also the

organization’s executive director. Mr. Whitaker began his career teaching fifth and sixth grade in

Philadelphia before becoming a writer and editor. He was the editor of Philadelphia Weekly (1994—

2008), and previously the editor of Gulfshore Life, PhillySport and Pittsburgh magazines. Whitaker

was a writer at NBC Radio and has written for numerous publications, including the New York Times,

Washington Post and Philadelphia Inquirer. He is also the author of “Crash: The Life and Times of

Dick Allen.” 30

Program director, Rachel Loeper is a writer and educator, who has taught creative writing,

English as a second language and early literacy. She received her BA in English Literature from

Goucher College, where she served as a peer tutor, and her MFA in creative writing from Hollins

University, where she received a fellowship to teach fiction and poetry. Most recently, she served as

director of a remedial literacy program at Universal Institute Charter School.

James Owk is the MW youth coordinator and received his degree in World History from

Philadelphia’s Temple University. Since fall 2011, he has been supervising middle school writers in

the afterschool program and leading the weekly Teen Lounge.

30
www.mightywriters.org/timwhitaker-about-us/

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 The best part about Mighty Writers is everything that is done there is designed to help

combat Philadelphia’s literacy crisis. More than forty percent of the city’s students drop out before

high school graduation and half of our working-age adults are functionally illiterate. These are not

just statistics MW wants to change. They are statistics MW strives to change every day. 31

The organization’s goal is to open more storefront centers in the city’s neighborhoods. Like

the Christian Street location, all of the centers will be designed as enlightened, optimistic and

nurturing havens where dreams can be articulated freely and the “yes we can” culture can thrive.

The Mighty Writers organization routinely encourages youth, family and community input and

participation when developing new programming ideas. Everything MW does is designed to help

combat Philadelphia’s literacy crisis.

The organization offers various internships for college students, engage opportunities for

parents and area professionals, and unites Philadelphians in a dynamic, holistic way. Many of MW

offerings are driven by the community, volunteers as well as staff and include:

The Mighty Writers Workshops

Mighty Writers is passionate about helping young scholars write well. With a plethora of

workshops the organization does just that. All of the writing programs are imaginative and fun, come

with names like Girl Power Poetry, Write like a Ninja, Miss Write Now, Summer Skywatch, Blood and

Guts Galore, You’re hired: Jobs for Prep for Teens; and are age appropriately designed for kids age

five to 18. Yet for all the fun, MW is deeply committed to critical thinking, to the value in working

31
www.mightywriters.org

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collaboratively and the need to communicate clearly and effectively. Mighty Writers know that writing

well requires responsibility, accountability and patience. But when you get it right, it moves you

toward your goals. Believing in results all writing workshops conclude with a finished product: a book

filled with essays, a video, a blog, a poetry anthology, comic book or resume.

Mighty Academy

The Mighty Writers Academy is a scholar-centered afterschool tutoring program, operating

four days per week for grades 2-8. Tutoring is followed by directed group writing instruction for all

students. Participating scholars are required to attend the program all four days every week to

remain in good standing.

The Mighty Teen Lounge

The Mighty Teen Lounge is the place to be for Philly teens. A meeting place where teens 14

to 18 years old can convene to do cool writing, get warm vibes and discuss hot topics that concern

them, the Lounge is a haven high school-aged scholars. The Mighty Lounge also serves as a private

space for scholars to participate in workshops specifically designed for them, including work

readiness, wardrobe and interviewing skills building.

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Mighty Post

Soon Mighty Writers will be launching the Mighty Post, a website for Philly high schoolers.

City and suburban high school students will be able to publish their stories and opinions, post photos

and videos and connect with each other.

Mighty Radio

The Mighty Radio Station is an idea in its infancy. Currently, plans are being discussed by

the staff.

Volunteerism is integral to the success of the Mighty Writers organization. Mighty Volunteers

(over 300 every year!) are Philadelphia writers, playwrights, filmmakers, artists and professionals. All

have three things in common: compassion, patience and a willingness to learn from MW scholars.

Many volunteer opportunities including the following:

Mighty Tutors

Mighty Tutors work in our afterschool and Sunday writing programs five days per week,

helping students in grades 2-8 with homework and special writing projects.

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Mighty Mentors

Mighty Mentors work one-on-one with young people in grades 4-12. Mentors meet with the

same student for one 90-minute session every week for at least six months. Current mentor projects

include epic alternate-future stories, collections of rap and poetry, and college application essays.

Workshop Leaders

Workshop Leaders work with the program director to develop short- and long-term writing

workshop curricula for students (ages 5-18). Some of the most popular workshops have included:

Winter Weather Watch (ages 5-7), Comic Madness (ages 9-12) and Sports writing (ages 13+).

Mighty Interns

Mighty Interns are college students and recent grads, who work with Mighty Writers for one

semester. Interns tutor, write copy, edit, learn about nonprofit administration and play a vital role in

the day-to-day operations. Many Mighty interns continue as tutors after their internships have ended.

http://www.youtube.com/watch?v=NjLpTpPC-Mo (control+click to follow link)

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 Mighty Writers is all about telling a good story. MW has breathed life back into Literary Arts

in Philadelphia, making the art assessable to all young scholars from grade school to high school. In

the city that loves you back, the art of writing well is thriving despite cutbacks, curriculum

reassignment and lack of support. 32

For the sake of the education of scholars and their future families are reconnecting and

beginning to fully understand the value and benefits of the arts as related to the education process.

Many have witnessed the results and voiced opinions:

Mighty Writers is a gift. I was so worried for my child that he had lost his voice. And now I hear him
say, ‘I am a Mighty Writer.’ You don’t know what that means to me.”
~ Meredith M. (mother of a Mighty 3rd grader)

I like your classes. I have learned how at the end of two sentences in a rap the last two words rhyme.
For example, tap and rap. I think a rap is poetry but with some rhythm.” ~A Mighty 4th grader

“That’s the thing about books. They let you travel without moving your feet.” ~Jhumpa Lahiri

http://www.youtube.com/watch?v=MI0e28l8myw&list=UUV4X5dHPFBvp1kEBEfyBCtA&index=2&feature=plcp
(control+click to follow link)

32
www.mightywriter.org

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 http://www.youtube.com/watch?v=6qPqYJzMpFk&feature=BFa&list=UUV4X5dHPFBvp1kEBEfyBCtA (control+click
to follow link)

The arts like other core subjects are integral part of the education of American scholars and

young scholars worldwide. Youth and young adults engaged in arts program become more well-

rounded individuals. Education professionals, who integrate arts curriculum into their program matrix

help, immerse scholars in a whole-mind thinking learning environment.

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PHILADELPHIA YOUNG PLAYWRIGHTS (PYP)

“Every young person has a voice worth hearing” ~ PYP

http://www.youtube.com/watch?v=N2ksmZsdjbo (control+click to follow link)

MISSION

Philadelphia Young Playwrights taps the potential of youth and inspires learning through

playwriting. In executing our mission, Young Playwrights focuses on:

• Improving students’ writing, thinking and interactive skills

• Enhancing students’ sense of agency, responsibility and self-esteem

• Modeling new, effective ways of teaching

• Reaching students of diverse backgrounds and abilities

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 • Engaging students, their families and communities in the creation and production of
theatre, while building new theatre audiences within these groups.

Philadelphia Young Playwrights was conceived by founder Adele Magner. In 1986, Adele

consulted with Gerald Chapman of Young Playwrights, Inc. in New York and gathered a group of

Delaware Valley educators and theatre professionals to further her vision. The program emerged as

a groundbreaking tool for classroom teachers to inspire students’ literacy learning and creativity. It

began its first full year operation in the 1987-88 school year.

Philadelphia Young Playwrights is an arts education organization that taps the potential of

youth and inspires learning through playwriting, creating intensive playwriting workshops for 1,700

students in up to 50 classrooms throughout the Philadelphia region. More than 1,000 student

playwrights each year submit their original plays to our Annual Playwriting Festival.

PYP promotes literacy, creativity, problem solving, academic skills, motivation and self-

empowerment for students with varying backgrounds and abilities in grades K-12. Students care

about their stories, grow excited about the playwriting process and assume ownership of their

writing. When students write about their lives, they are empowered to change them. 33

33
www.phillyyoungplaywrights.org

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PYP Programming

PYP shapes the way teachers teach by incorporating arts education into classrooms and

across curricula. Introducing playwriting and theatre to new constituencies, Philadelphia Young

Playwrights improves arts accessibility, fosters community and develops diverse, aesthetically-aware

new audiences for the future. Programming includes:

In the classroom

A hallmark of Philadelphia Young Playwrights is the Artistic Team — comprised of a

classroom teacher and a theatre professional as a teaching artist. The Team works with student

writers to inspire collaboration, perseverance, and transformation. Each student in the program

writes at least a full scene, and most complete one-act plays.

Core Program

Principals and teachers turn to Philadelphia Young Playwrights to provide core program of

classroom playwriting workshops. The program primarily takes place in classrooms during the

course of the normal school day and consists of 25 hours of classroom visits by PYP professional

teaching artist, professional development services for the participating teacher, facilitation of an in-

school mini-festival, and the services of the Literary Committee for each student writer who submits

a play to our Annual Playwriting Festival.

Philadelphia Young Playwrights’ staff works closely with teachers to tailor the program to

meet the needs of the particular setting and the student population. In addition to traditional

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classrooms, programs can be fashioned for specific time periods, afterschool settings, and to align

with specific curricula.

The Annual Playwriting Festival

Students from around the region are invited to submit their plays to the Annual Playwriting

Festival. Members of Young Playwrights’ Literary Committee read each script and provide each and

every student with individualized written feedback. Over 1,000 students submit scripts each year.

First, second and third place distinctions are awarded at the elementary, middle and high school

levels.

On Stage

Plays are meant to be shared with audiences. Philadelphia Young Playwrights facilitates

sharing of students' plays with peers through in-school Mini-Festivals and by bringing them to

audiences of the general public in staged readings, workshops and professional productions through

the Play Development Series, which offers select winners of the Annual Playwriting Festival an

opportunity to develop and share their plays with the public. At the center of their public

presentations student writers participate in casting, rehearsals, marketing, press relations and talk-

backs with audiences. PYPs commitment to student voices is realized through these public. And a

number of Philadelphia Young Playwrights’ Festival winners have gone on to win Young Playwrights,

Inc.’s national competition and have seen their plays professionally produced in New York.

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 Write On! Tour. Throughout the year PYP brings select student plays to schools in the

Philadelphia region to showcase winning playwrights and open up discussion on the themes

presented in each play. Working with Teachers, Teaching Artists and professional actors, the

organization brings these plays to life for students in the classroom.

Playwriting Retreats

Several times each program year, Philadelphia Young Playwrights convenes Student

Playwriting Retreats. The all or half-day retreats provide opportunities for a mix of students from

around the region to share and receive feedback on their scripts-in-progress from each other, and

from professional playwrights and actors. Participating students are introduced to other young

writers, learn more about the process of playwriting and benefit from individualized, constructive

feedback on their scripts.

Youth Council

The Youth Council is group of current and former winning young playwrights who serve as

ambassadors to their schools and the wider public and as an advisory body to the Board of

Directors.

Like so many other Literary Arts programs Philadelphia Young Playwrights able to reach

young scholars, challenging think deeper, do better, and excel beyond expectations by tapping the

potential of youth and inspiring learning through playwriting.

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 http://www.youtube.com/watch?v=RfVQRIQpBGk&list=UUnw4E8ukhLe4WcGsw
UapEVA&index=2&feature=plcp (control+click to follow link)

http://www.youtube.com/watch?v=9Wlmve2PU98&list=UUnw4E8ukhLe4WcGswU
apEVA&index=8&feature=plcp (control+click to follow link)

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CONCLUSION

Literary Arts offers an overabundance of opportunities for scholars to build disciplines that

can benefit them throughout their lives, including building self- awareness, confidence and

teamwork. The discipline allows youth to learn effective, non-violent communication skills, while

expanding knowledge of history, math, science, literature and research; and support an increased

sense of global interconnectedness. Successful programs can serve as a vital link to and catalyst for

scholars to fully engage in education processes and experience personal growth.

If young scholars have the opportunity to experience writing creatively in a holistic, creative

way, in spaces that are safe and nonviolent there is opportunity for each to be self-reflective, open

and “… incorporate sensory details into their work…They will also have ingrained in themselves the

habit of using specific examples to support their general statements, to write analytical essays, lab

reports or research papers…”. 34

The disciplines within the Literary Arts realm presents young people with a platform to take

some control of their learning process and gain deeper, richer overall experiences in and outside of

the school environment. Successful Literary Arts programs serve as a throughway for such

experiences.

34
Kass, J. and Beal, S. 2011. Underneath: The Archeological Approach to Teaching Creative Writing

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