Cultural Arts Prevention and Intervention for At-Risk Youth: A Replicable Program Model
Articles,  Blog

Cultural Arts Prevention and Intervention for At-Risk Youth: A Replicable Program Model


[Opening slide stating:
UB School of Social Work
University at Buffalo] [Presentation Intro Slide:
Cultural Arts Prevention and Intervention for At-Risk Youth: A Replicable Program Model
Dr. William S. Rowe, Professor and Director
University of South Florida
School of Social Work] [Dr. William Rowe speaking]: Thank you very much, Dr. Stores. I hope that you’ll write that down and send it to my mother. [Laughter.] I’d appreciate that. She always wonders what I do for a living. That might help. [Inaudible.] Well, I also am very, very honored and pleased to be here. Much
appreciations to go to Dr. Dolmus for setting up this series. I think it’s very
exciting to have this in the first place. Often in our own field of Social Work, we
tend not to do this. We tend to go to other scholarly events and try to then
fold that into our work, and I think we’ve reached the point in our
development where we are in fact ready and able to do just what Dr. Dolmus is
doing. Special appreciation to Dean Smith. We sit on a couple of national
activities together, and get to share stories about our different areas in
different schools, and it’s clear to me that a lot of exciting things have been
unfolding at the University of Buffalo in the last couple of years and great
things to come. So, thank you for that. I tried to do some comparisons between
South Florida and Buffalo, and I didn’t get very far. [Audience laughter.] But I did find three things. One is, I discovered that we both have the same name for our football teams. You
have the Buffalo Bulls, and we have the South Florida Bulls. So, there’s a start,
right? I think we’re in different leagues, but that doesn’t matter, does it? Then, I
also said, well sure enough, I was at the Anchor Bar last night, and I said, well
this is a port and Tampa’s a port, but where else could we go? And I took a bite
of those wings, and I said the cultural contribution to the nation are Buffalo
Wings. We gave the nation Hooters. [Audience laughter.] All that I could find, I’m sure a few
more days, I’ll find a few more. Okay. More important ones. Okay, let’s talk about
what we’re here for today, and I think that Dr. Sore is a nice presentation, a
nice kind of wrap up of what kinds of things brought us to this point. Because
the vast majority of research that we do, whether it’s intervention research,
whether it’s data sets, whether it’s trying to pull together meta-analyses, so,
we can understand what kind of things are featuring into the effects of the
work that we do, and so on. Seldom do we get a chance to develop a research
project at the same time that we’re developing the actual program, in vivo.
And I think that’s made this very, very special, and has allowed us to collect
data that has not been very much available to us in the past. Now, I like
most of you spend a great deal of my career as a clinician intervening, and
trying to evaluate those interventions, and trying to understand more fully how to
affect change in clients who are sometimes trouble. Sometimes extremely
troubled, and most of us in Social Work spend a little bit of time, very little
time on the whole issue of prevention. I think that by virtue of our skills and
our communication levels, every time we say hello to somebody, it’s a quality of
prevention going on, because of what we do. But never is that then the thing that
we stand up and say, “This is what we do.” Seldom can you find funding for
prevention projects. Some, seldom can you measure a prevention project, and the
question is always asked: Preventing what? Well, preventing things from getting
worse or preventing things from going into a mental health spin or exactly
what are we about? We tried to answer some of those questions in this
particular project, but I should start off and say to you that the project
we’re talking about now has been underway for about four or five years
here in the U.S. Prior to this, when I was at McGill, we did a five site study across Canada to determine what could be the best practices for delivering such programs to at-risk youth in disadvantaged neighborhoods. And the reason we got funding for that was as simple as could
be. A number of foundations approach this. In Montreal, Seagrams was the the major
funder at the time, and they said, “Gosh, Dr. Rowe. Every year, we hand out lots of
money to art projects all over the country, all over the world for that
matter. Do they work?” It was an honest question. And he said, well, I said, “Well, I
don’t think anybody knows. I mean it’s a good thing you get art. You get smiling
kids. You get great pictures, but, you know, soon those programs shut down. If the
person who started that was excited about it is gone or somebody else moves
in or you lose your space for some other aspect, and they intend it be the first
things that disappear.” So, they asked myself and my colleagues to see if I
could set up a controlled experiment to determine some of those items. What are
the best practices? Why does some work and some fail? And so on. So, you’ll hear
some of that in the presentation today. So, let’s get started. No, that’s the back. [Talking about the directions on the projector.]
Let’s go forward. All right. You’re going to see lots of color in
this presentation, because you can’t talk about art without talking with art. Now,
all the art that you’ll see in this has been produced by the children in the
program. You’ll see many, many pictures of their involvement, et cetera. All these
have been put through all ethical boards. Nobody’s doing this without having gone
through a signed off consents and assets and whatnot. And what we’re kind of happy
about these days is that more and more parents are getting involved and
becoming engaged in the activities, and we think that’s going to be a strong
element as we, as we move along. We need to give some credit where credit’s due.
Myself as the PI, but two famous graduates from this university, Lisa Rapp-Pagilicci, who I stole from Nancy actually, by way of Nevada. By way of, by
way of Nevada, and Dr. Robin Ersing, who also graduated from the University of
Buffalo, and by way of Kentucky. Found her way down to South Florida. We’re very
pleased. Dr. Jerry Miller is our site expansion manager. We were so glad to
have him. He’s an organizational psychologist, and that’s exactly what we
need at this point, given the number of spinning balls that are happening with
the size of the project. Carolena von Trapp was our first project site
director. She now is more involved in training other project site directors,
but a lot of the talent that you’ll see in this particular program came from her.
And I will save you the trouble of asking, yes she is one of the von Trapps,
right? But she says, “Don’t ever ask me to sing.” I think she means it. So, we’ll take a look at five items today. The background, the beginning of the the project, the art program itself, the research that’s
attached to it, and the future where we think we’re headed over the next little
while. Since its inception, in 1899, the Juvenile Justice System has approached
juveniles on either rehabilitative or a retributive manner depending on crime
statistics, public opinion and political agendas. We’ve all seen that. 1990s proved
to be one of the harshest years for youth in juvenile justice system, as many
youth were transferred to the adult system. Sentences were lengthened, boot
camps were at the height of their popularity, and you certainly saw the,
some of the results of that in your agencies, in your settings and the
families that you deal with. Beginning in the late 1990s and early 2000s, juvenile
crime and violence and arrests have declined, but these statistics, in
combination with the lack of empirical support for boot camps, publicized deaths
of juveniles under the care of the JJ system, and the realization that
two-thirds of the juvenile justice population have some type of mental
health diagnosis, have forced the system to make some changes. The juvenile
justice system has begun to look for alternate, preventive programs, and this
is one of the ones that I’m going to introduce to you. And I can tell you, we
just had the most recent event in Florida last spring, when one of our boot
camps, just before we shut them all down, three or four guards were caught on
videotape beating a young 14 year old boy to death who had actually just come
into the boot camp. Hadn’t even been there for overnight, yet, and they were
trying to help him understand how the rules went. That case has been thoroughly
investigated, and found wanting at all levels, and a week later, the boot camps
were closed en masse in Florida as they should have been a long time ago. So,
we’ll talk a little bit about process funding. DJJ is now funding the project, as of this year, in excess of five million. We
have a multidisciplinary team working with us, and it includes social workers,
community psychology, anthropology, criminal justice, education, and working
artists. Here we have the partners, would be DJJ up here; University of South
Florida School of Social Work; the University Area Community Center; and
BAYS stands for Bay Area Youth Services. They provide the case management for the
intervention and divergent kids that we get. I mentioned maybe earlier that, well,
it was a short one, got to be fast on these. The picture you’re just shown is
actually the, the community center where Prodigy began. Now, no, not all community
centers in Florida look like that. In fact, this is the only one that looks
like that, but it came from a weed and seed project that was in place about 10
years ago. Right next to our University, we have a very poor area, and it was one
of the ten high crime areas noted in the U.S. in the early 90s, and it was
nicknamed “The Suitcase City,” obviously because nobody ever unpacked the
suitcase. They just kind of paid the first month’s rent, and left when the
landlord kicked them out. You know what that does to families. You know where
that does the stability. You know what does us the children. You know what kind
of a devastated neighborhood occurs in situations like that. Well, that’s what we
had; a very, very energized and visionary senator by name of Victor Crist, not
Charlie Crist, who’s our new governor, but the name doesn’t hurt. Victor Crist who
is also, was just reappointed. Yeah, reelected yesterday for another
four-year term. Really came up with this idea that if we could build a community
center that wasn’t in a church basement and wasn’t built with leftovers, but had
the best of everything: the best equipment, the best facilities, the best
programs, and the safest environment, then that is how a community is going to begin to see itself in a more positive light,
and start to say, “No, I want to stay here, and I want my children to stay here, and
I want to build a community.” Subsequently, in that short eight or nine years, he’s
also added a GED high school, an elementary school, a social service
center, a job acquisition center, junior achievement center, and a clinic.
All that has come about in the last few years, thanks mostly to the drive of Senator
Crist, but the Center is the centerpiece, and this particular project, as he sees
it, is a centerpiece of the Center. It’s an alternative preventive intervention
for at-risk youth. We do, it’s not limited to visual, performing media, and theater
arts, but those are main ones that we do. The project itself, or if you’re in
Prodigy, tends to run about eight weeks and users attend twice per week for 90
minutes after school. And that’s a long way from, what is it an hour a day on the
analyst’s couch for eight years, nine years? Is that how it works? We think that,
that most, most people can’t afford those kinds of interventions these days. We
have to find more creative ones. The youth select from a variety of cultural
arts, learn art skill, engage in the social program focusing on positive
social skills, and becoming positive community members. [Pause.] [Referring to the presentation.] My art director threw a lot of nice photographs in here. The conceptual framework is in many ways, it’s using the
logic model, and you’ll find some simplicity, but you’ll also find some
informed simplicity in this. Art instruction, that is structured,
cumulative, sustained each of those, are important words. Participation
demonstrated art skill, and task completion. Pro-social skills,
communication, conflict resolution, problem solving, and cooperation. Leading
of course to self-esteem, self-efficacy, which allows for bonding to pro-social
peers and adults. The ultimate a decrease in behavioral and emotional problems.
Seems so simple. How do you make it happen? Well, let’s take a look. We have an artistic focus: visual arts,
studio media, photography, performing arts, dance, comedy, drama, drumming, piano, music
theory, and we chose arts when we started these projects for a reason. We thought a
lot, because there are sorts of, lots of sorts of recreation projects in way, you know,
under way that, that happened. Lots of people have tried the, going back
to my Phys. Ed. roots again. The idea of getting kids involved that way, but most
of those activities require, require a level of skill that not everybody has,
and a level of skill to even start the game, or even get involved, and if you’re
5 foot 6, you are not going to hit that basket at the same time the 6 foot 7
person is, and so on, and so on. If you’re fast, that’s good. If you hit a ball, good
hand-eye coordination, but everybody in the world can pick up a pencil and a
piece of paper, and do something. Everybody can listen, and feedback.
Everybody can get involved in a conversation that turns into performance
art, and something else, in something else. We chose art for a reason. We felt it was
the great leveler. That it was, it really was democratic in its own process, and so,
we really do have all these available. And the children really do choose their
particular strengths. We reinforce them, help them with that, guide them along in
that, but it really does come back to their choice. So, they’re doing something
that they want. I always liked this one, because that
set of marimbas in my first month or two. My art director said, “Well, we need a
set of marimbas.” I said, “How much do they cost?” And they said, “Well, twelve-thousand
dollars.” I said, “Can’t we just get something to bang away on?” [Laughter.] And of
course, my colleagues said they’ll remember the best of the best of the
best. Well sure enough, we sent away to South Africa, got those marimbas up there.
Was I ever foolish? Everybody who walks into the room starts banging on them
first thing. Doesn’t matter what. There’s a parent or a child or even the staff,
you know? They see those gongs, and they start banging on the marimbas. So, they’d become
a central part of our program. Here’s a critical issue. And it was one of the
best practices that we gathered from the Canadian study, and introduced in the
American study, and ultimately the program. We have artists teaching rather
than art teachers, and we work with those artists to help them learn the
kind of teaching elements and skills they need. But really what we’re looking
to do is to find mentors for these children. A child, a lot of these children
have experienced failure at school, and to go through another failure process
after school doesn’t make any sense at all. When they see a true artist who is
practicing their craft right in front of them, they know the difference, and they
can see that, and they can get excited about it. And there’s no shortage of artists who want to get involved in programs like this. And with a little support, a little structure are, and it adds to their life as well. And so, that’s exactly how we do it. The curriculum is becoming manualized.
We’ve been working hard at that. It includes learning objectives for each staff. Instructors are trained in child and adolescent development learning
styles, child behavioral techniques. The current sites that we have, we started
off with Tampa. A year later, we added Lakeland. Than a year later, we added
Clearwater and St. Pete, and now we’re ramping up to 13 sites this year, which
will include Sarasota, Plant City, Town and Country, another poor area of Tampa,
East Tampa, another poor area, and New Port Richey. So, that way we will have both
inner city, what I would consider to be median level population, and some quite
rural areas. In fact, Plant City, New, and New Port Richey are areas where you have
a lot of migrant workers, pickers and whatnot, and it’s their sons and
daughters who form the gangs that get into the trouble, et cetera. And so, we have
specifically put, put projects in these places, and one of our elements is yes,
you have to use best practices, but you’ve got to use local cultural events,
and issues. What’s important to your local area has to inform the program, and
how you’re going to play it out. But you still have to play it out with all these
other riggers in place, because these things we know work, and these things we
know will carry the program on after and make it beyond just the individual.
Personal development focus, we have workshops and, and on the whole issue of personal agency, identity building, recognition for positive behaviors. We help our instructors learn these techniques. [Pause.] You may be starting to get a sense of some of the pride that these children have in their outcomes. Key program
components. Item one, it has to be free. That’s unquestionable. Item two,
transportation and snacks. Well, it’s after three o’clock, and it’s before six
o’clock. I don’t know about the rest of you, but every teenager I’ve ever raised
is hungry at that time. Here’s another catch, everybody thinks, “Well, gosh. We put
it close to the school, or we put it close to the, you know, the heart, the
transit system in our place.” I don’t know which one you have in Buffalo. “So, what’s
the problem?” I said, “Well, problem’s simple. If these kids go home, they’re not coming
back, and it’s not because they don’t want to. It’s because they get tagged for
babysitting, they get tagged for errands.” They get home and some troubles going on, all
these things, things can happen. What you have to do is, you have to get to the
school, you have to be there when they walk out of that door, and take them to
the community center one way or the other. Whether it’s through buses or
volunteer drivers or other sets of events. We’re lucky that we have a
recreation facility where a lot of these kids are taken to. Then, we bus them
directly from there to the art programs. So, transportation is more of a key issue
than anybody could ever imagine. I’ve mentioned before choice and variety of
art activities. They’ve got to be fun but they also have to be challenging. You
can’t be cutting out paper dolls every time. You got to be doing something more.
Very caring staff and youth relationships, and, and this is monitored
quite closely. Here’s what we’re looking for: positive outcomes for art skills, and
pro-social behavior; following instructions; putting effort in their own
work; and completing a task within the allotted amount of time. See, we aren’t
looking for giant changes in behavior and emotional “aha”s. We want these little
things as our outcomes, and we think the rest will come. Pass completion, ability
to focus on their own work. How often did the children who get in trouble of DJJ
have that as their greatest problem? Not being able to attend?
Prosocial communication: cooperation, respect, problem-solving capabilities, and
following group rules. Again, another big challenge for a lot of these kids, but
part of what’s central to our program. Social skills: appropriateness in
communication, assertiveness, art skills, achieving the goals of a specific class,
development progress in age appropriate skills, and participation, general
enjoyment, and the degree of involvement in the art activities itself. [Pause.] Now, I’m
giving you, this would be (speaks under his breath), ’04, ’05 data at this point, which the
prevention, intervention, and diversion research model, and the DJJ kids come in
at the diversion and intervention levels. So, they have case managers, and they are
as a diversion kid, they choose our particular program, they can choose
others. As an intervention kid, they are directed by the courts to come to our
program, and normally would have about, on the Tampa site alone, we have about 500
kids in the intervention, and about three to four hundred kids in the diversion.
All the rest are prevention. This is not, not required. This is a program that’s
open to the kids in the neighborhood or other neighborhoods, as you’ll see soon,
and they show up, as you can see, by the thousands, and you and I both know that
really, these are the younger brothers and sisters of the kids that are in the
program up here. Okay, I’m glad we’re on the same page. So, that’s why we’re
thinking about it as prevention, for good reason. The other element, of course, is rigorous
evaluation by our University. We get to, we have partnered with the school system.
They allowed us into their data sets, so, that we can draw school performance kind
of social skills that are occurring in school. The kind of conflict management;
are they getting referrals for these kinds of things in school? And so on. Can
we see movement or changes based on their involvement with our program? Youth
are considered at-risk, and that they reside in impoverished neighborhoods.
They attend poorly rated schools and a few to no resources available to them.
Some of these schools – you’re familiar with our Florida FCAT, and what that’s
done to our school system over the past years where it’s, I guess, it’s the old
phenomenon. It the good schools get more funding, the bad schools get less funding,
and I don’t know who brought this idea up, but I think he just lost his job last
night. Anyway, [laughter] anyway there are some values to the FCAT, but this isn’t one of,
not for our kids. And not for these neighborhoods. So, that they’re at-risk
kids. Some youth are from the community. Others have stayed for DJJ as I
mentioned and I talked about the court disposition, along with fines and
probation. So, we’ll be redundant on that. Oops. [Pause.] You can tell by the the surroundings the
level of quality of the, not just the outcomes, but the facilities themselves.
When we hire someone to do media arts, we get the, the best possible computers, and,
and that kind of thing. We put on with the actual theater that we have for
putting on plays, and whatnot. Occasionally, some of the local TV groups
come and borrow our facility, because it’s just that much better than what
they have available to them. The objectives are to examine the
effectiveness of the art programs, to reduce delinquent behaviors, reduce
substance use, and improve family functioning of at-risk youth. In addition,
we wanted to know more about the youth who are attending the programs. We looked at both Tampa and Lakeland youth in the, in that particular year. [Pause.] We use the delinquency index, is a
measure. We use the MAYSi as well, the Massachusetts Youth Screening Inventory
Family Assessment Device and community and school resource questions. We didn’t
want to hit them or overdo them with instruments at this point, and we figure
that we can add in instruments as we get more refined information about what’s
happening and what’s not happening. For example, we’re starting to build in this
instrumentation that takes a look at the substance abuse issues, because our
particular instruments do not pick that up in a very good way, but in the
beginning we wanted to use standardized, well-accepted instruments that had easy
comparison throughout the country. The school information we get is about
behavior, attendance, academics, crime records, of course, are available to us.
And we also get the art instructors themselves to complete a post-test
inventory regarding the level of art skills, whether they stay the same,
decreased, and the kind of behaviors they observed in the classroom. [Pause.] Ninety-five percent of the youth in this
study score in the mild category of delinquency behaviors. The youth report
concerning mental health symptomatology: angry, irritable: 45 to 53%; somatic complaints: 29 to 39%; depressive anxious: 24 to 32%; and suicidal ideations: 6 to 11%. Drug and alcohol 4 to 11%; you can never trust that.
Traumatized boys: 25 to 53%, and girls: 17 to 50%; thought disturbance: 13 to 20%. We’re not dealing with a crew that doesn’t have problems. Are you with me? These are not cherry picked for either
strength, et cetera, et cetera. It’s exactly what you see in your agencies.
It’s exactly what you see in juvenile delinquency, our juvenile justice
facilities. These are the results from the ’04-’05.
You’re taking a look at, of the children that stayed throughout the entire
eight-week program, 90% non-recidivism after six months; and 89% remain crime-free for … yes, that’s measured at six months as well. Okay. [Pause.] Maintaining program fidelity is our new challenge. Always, and you’ve probably experienced this in your own practice, and an area that you can create magic. We can do it in our business, because we get
excited. We get the best information. We put together a team of wonderful, active
and interested workers, and you create magic, and something magical happens. All
your kids get better, and all these wonderful things happen. But the next
year, you know, one of you had to go out to school. And the year after somebody, you
know, went to have a baby, and the year after that you started getting tougher
kids, in the year after, and all of a sudden, you start to look like every
other program with all the same problems and so on. So, what you have to do
obviously is learn how to transfer magic, and that’s what fidelity is about. So, we
have to identify and measure the core components that are making a difference,
both in the classroom, the program structure, length, characteristics of the
instructors, the organizational structure around them. When we took a look at the
site of Lakeland, we found they looked a little different than our folks in Tampa.
Tampa being very urban, Lakeland being much more rural. They were older youth,
less culturally diverse, higher scores on delinquency, significant reduction of
such, more alcohol and drug problems, more depression, anxiety, more suicidal
ideation, more trauma, more thought disturbance, but still remain 83%
crime-free after program completion. [Pause.] In Tampa, we had a much wider age range.
Much more culturally diverse, more of the angry, irritable youth; more somatic complaints, but again 93% crime-free after six months, after completing the program. That’s an eight-week program, twice a week. We also
have, taking a look at the contextual analysis of the program impact, many of
you are familiar with the new technology of community mapping, and GIS asset
mapping. That’s a technology that we’re using trying to find out about the
social and environmental stressors, and low-income neighborhoods, but also how
the effect of the recruitment strategy we have for these children are in terms
of reaching them from the right neighborhoods. I’ve seen programs like
this, where you put a wonderful program together, and your first group that come
in, are the ones brought by there, by their parents, from other well-off
neighborhoods, that could have had these kind of programs, and they kind of skew
the results. Secondary data were extracted from program records, geocoded,
and census data, and other aggregated public use data sets were used to
map the conditions on the census tracts that we’re looking at this. One might be
hard to see. It just identifies the schools in the area; the yellow point is
the university community area. This is a “Suitcase City.” This is our ten most, or one of the ten most crime-ridden areas in the U.S. in 1990. There it is again. The tract itself the
university is, then the next block over, and covers up about the same amount of
area. If you know Tampa at all, you go this way, you’re in the West Tampa; Town
and Country’s over here; East Tampa’s over here. Youth participants are scattered
across 56 census tracts. Despite this, over one-third of participants are
concentrated within five specific neighborhoods. Social and economic
conditions in these areas suggest characteristics of environmental
distress. Average high school dropout rate among five tracts is significantly
higher, 31%, than that of the surrounding county, 19%.
The in-poverty rate five areas is more than double, 26%, compared
to 12%, and of course, the average rate of female-headed households,
19% compared to 7.8%. [Pause.] This was an attempt to get at some of
the assets in the area, and really what they’re looking at is, where are the, the
possible assets to build on. Either the schools, the churches, faith-based. What
kind of health care? What kind of neighborhood associations? Social service?
And other. Median income for households, you’ll notice that where the university
area is, is in the lowest level below 28,000. This has poverty rate, and you
notice that it’s a light blue, 24 to 43% are living
below the poverty line in that area. And this is an interesting one; population
living in the same house since 1995, ten years, and in the community area, you have
less than 25% doing one, and 25% living in the same house that tells you a lot about neighborhood stability and how to keep things going. No history. This one has to do with the teen births
total, and once again, the university area community scores high with 16 to 23% teen births in the area. So, as you can tell, we’ve got all the problems imaginable for distressed neighborhood, and what we’re looking forward to is to continue mapping, and to continue seeing how those things change
or not over time. Not that you can tie it all to one program, because it really is
a mixture of things. If you have a positive program, you start to build
assets. Then, those assets start to build other assets. For example, at the end of
the Prodigy program, we have something called the Teen Council. I guess other
neighborhoods call them gangs. We call it a Teen Council, because we actually hired
these kids to come in, and form what is a Teen Council to help be leaders in this
particular community. And a lot of our Prodigy graduates go up into that
particular Teen Council. And so, there’s a follow-through in this. They aren’t just
dropped after the particular program or the case is over or your particular case
is over. So, a key to success is determining whether children exposed to
environmental conditions placing them at greater risk for offending are able to
access our services. Can they get to our services? Social work has begun to use
these. I already said that this technology is in the development of
data-driven decisions, something that our Dr. Dolmus would be very supportive of.
[Laughter.] I thought so. In the future, we’re looking to add some
more of what we think are promising practices. We’d like to
continue to, up our possibilities of success. We want to add some parental art
groups, and then identify any differences that might come out of that. So, it’s kind
of the opposite, you know, instead of getting the kid, get the parents, get the
kids involved, and see if we can pull the parents in. Determine how long the kids
need to be attending to garner the effects that we’re getting. Expand a data
collection to include six and 12-month follow-up. Find some better ways to
measure substance abuse. We’ve talked a little bit about the calendar activity.
Many of you might know about it, was a bit new to us, it sounds like a very
promising way to do that. Use future waiting list as control groups. Prodigy
represents a new and radical approach for JJ. It’s an intensive demonstration
project requiring a multidisciplinary approach. It’s followed the steps before
becoming evidence base. Of the 11 items that are required to meet NIH, NIH
standards, we now meet 9, and we’re working on the other two, as we sit. It’s setting the parameters to become a replicable, replicable preventive
intervention for at-risk youth, for not just Central West Florida, but hopes for the entire state and possibilities for that and well beyond. Structured program that’s asset-based
youth development model: promotes positive identity building and pro-social
norms. Child-centered learning approach: collaboration and cooperation. Social
purpose art: connects youth to community and family. Very often, if you’re not
familiar with the concept of social purpose art, we’ll get a theme, which may
have something to do with neighborhood development; may have something to do
with peace; may have something to do with the war in Iraq. All these different
themes become the theme for an eight session activity, and there will be
visual arts. There will be plays, the media arts. There will be music and
poetry all done on that theme, and so, there’s another learning quality that’s
being that the children are being engaged in rather than just their simple
pieces. It’s a collectivity. Prodigy; in a simple terms of course, a prodigy is
someone who comes along and is really good at something, and then you take them
and expand them, and they become a great virtuoso. Well, our belief is that there’s
a little bit of prodigy in everybody, and art is doing. So, that’s really the
basis for our title and our program. Thank you. [Audience applause.] [Title slide stating:
Cultural Arts Prevention and Intervention for At-Risk Youth: A Replicable Program Model
Dr. William S. Rowe] [Closing slide stating:
UB School of Social Work
University at Buffalo]

Leave a Reply

Your email address will not be published. Required fields are marked *