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The art of connection: youth stories about life and meaning. Voices of Promise: using social practice art for youth connection
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The Art of Connection: Youth
Stories about Life and Meaning
Voices of Promise: Using Social Practice Art for Youth Connection
Narsai, Nisha Doctor of Social Work Capstone, July 2019 University of Southern California
The Art of Connection: Youth Stories about Life and Meaning 1
Acknowledgements
This arduous journey was only possible because of the many individuals in my life that have
lifted me in the perfect ways, at the perfect times. I am honored to have had such a strong and
nurturing foundation as I pursued my doctorate.
First and foremost to my spiritual guide and family, my desire to help individuals feel
connection (the central theme of my work) is inspired by you, as you have taught me the true
meaning of connection. You have raised me to be a curious seeker of knowledge, art, music, and
professional and personal growth, and with this, I have been eager to embrace every learning
opportunity and have been fulfilled in the most incredible ways. My immense gratitude and pride in
being raised by you all, is eternal. I could not have done this without you.
To my late father, who gave me the blessing to pursue my doctorate while battling stage four
cancer, I cherish you and will forever remain indebted to you for carrying me through the toughest
times in my life. To my incredible mother, you taught me how to love and gave me the best part of
you which is now the best part of me - my heart, without which, this rewarding path of social work
would have never been taken. To my grandparents, uncles and aunts, whose presence has been that of
fathers and mothers, thank you for gifting me with extra doses of advice, motivation, and
nourishment. I deeply revere and adore each of you as you have all stepped in so many times with
your unconditional love that our parent-daughter relationships became beautiful friendships along the
way. To all of my siblings, I truly appreciate your love and support, and because you stepped in to
care for father, I had the opportunity to focus on school.
To my lifelong friends, you have been patient and ever so loving through my absence and
imbalanced life. I am so grateful to you for sticking by my side and being my cheerleaders. To my
amazing classmates - the Sweet 16, you have been my lifelines as we endured the ups and downs
together. I feel beyond blessed to have met each and every one of you, and hope that our journey
together continues. To the USC deans and professors who offered me with mentorship and support, I
am grateful to you for giving me the encouragement, confidence and faith to move forward with my
work. To the countless arts advocates who have helped me piece together my work, I am truly awed
by your dedication and passion, and feel fortunate to have been offered your time and expertise. To
everyone else who has encouraged, validated, and acknowledged my work, I am humbled by your
presence. Thank you.
The Art of Connection: Youth Stories about Life and Meaning 2
“Let’s value the stories that young people bring [instead of seeing them as] empty containers
that need to be filled with knowledge.”
VICTOR RIOS
PROJECT
The proposed project connects disengaged youth to their communities using Social Practice Art,
an emerging phenomenon of co-creating socially-engaged art for social change and human
interaction (Helguera, 2012). Bringing to life the unique stories of disengaged youth in
community spaces through music and art can establish a stronger connection between
communities and youth, which is integral for youth well-being.
DISENGAGED YOUTH
When adolescence is marked by a period of emotional turmoil, the ability to regulate emotions
and create healthy connections can be compromised due to age-associated brain development
(Papinczak, Dingle, Stoyanov, Hides, and Zelenko, 2015). With Adverse Childhood Experiences
(ACEs), youth can become even more vulnerable to disengagement and social isolation. Hence,
there is a growing rate of youth and young adults who are disengaging from school and work –
two institutions that are important for social capital during this age. Without a guided
transition into adulthood, youth and young adults with ACEs encounter poor living conditions,
lower wages, greater health problems, incarceration, and less happiness and well-being as
adults (Bethell, Gombojav, Solloway, and Wissow, 2016; Chen, Hewitt, and Flett, 2015; Lewis
and Burd-Sharps, 2015).
RESEARCH ON TRAUMA AND DISCONNECTION
Over 5 million youth in America with ACEs are disconnected from school and
employment - two institutions that are important for social capital during this age
(Lewis and Burd-Sharps, 2015).
The National Survey of Children’s Health (NSCH) measures nine “types of ACEs,
including serious economic hardship, witnessing or experiencing violence in the
neighborhood, alcohol, substance abuse, domestic violence, mental health problems in
the home, parental divorce, loss of parents to death or incarceration, and social rejection
through racial and ethnic discrimination” (Bethell, Gombojav, Solloway, and Wissow,
2016, p.140).
Trauma does not just impact life opportunities, but has long-lasting effects on mental
health and brain development (Amen, 2002).
Communities in which disengaged youth live tend to have scarce resources, few role
models, and low collective-efficacy
1
(Wickrama and Noh, 2010).
1
“Collective efficacy is a group’s shared belief in its conjoint capabilities to improve a problem in the community”
(Chung et.al., 2009, p. 238).
EXECUTIVE SUMMARY
The Art of Connection: Youth Stories about Life and Meaning 3
When youth disconnect from school and work, they are in their communities,
which reinforces the critical role that communities play in the well-being of youth.
-----------------------------------------------
INTERVENTION THEORY
If youth are provided with opportunities for positive connections (with mentors and community members) through
a trauma-informed arts program, more youth would participate and have opportunities to build social capital.
Through storytelling, community awareness/involvement can be nurtured and youth can be empowered to develop.
important social skills that increase self-efficacy (Chung et al., 2010; Pritzker, LaChapelle, and Tatum, 2012).
VOICES OF PROMISE PROGRAM MODEL
Social Practice Art and Youth Connection
THREE COMPONENTS
1. TRAUMA-INFORMED ARTS TRAINING: Artists will be trained with an integrated Social Work and Arts
approach that ties in neuroscience, cultural and ethical sensitivities related to youth, and valuable social
practice tools.
2. YOUTH WORKSHOPS: Youth will spend 30 hours with artist teachers/mentors to create emotional stories
about their lives using their preferred medium of art (paints, music, poetry, film, visual arts, etc.).
3. VOICES OF PROMISE GALLERY EXHIBIT: Youth will display their works in a museum where local officials
and community members will experience deep heart-wrenching stories through music, spoken word and art.
IMPLEMENTATION AND EVALUATION
Voices of Promise Program Model
IMPLEMENTATION
A team including social workers and museum staff will support this process using a series of steps and
strategies within four phases of implementation: Exploration, Adoption, Implementation and Sustainment.
EVALUATION
Since this project involves both youth and community members, the proposed outcomes are twofold. Youth
well-being will be measured by social capital, well-being, and self-efficacy measures; and (community)
collective efficacy will be measured through qualitative measures including evaluations and personal accounts
from community members.
THE ART OF CONNECTION
The Art of Connection: Youth Stories about Life and Meaning 4
TABLE OF CONTENTS
Introduction ……………………………….……………………………………………………… 5
Youth Disconnection: Relevance and Prevalence ……..………………………………… 5
Intervention Theory and Research ……………………………..………………………… 6
Grand Challenges…………………………………………………………………………. 7
Landscape Analysis………………………………………………………………………………. 7
Background ……………………………………………………………………………… 7
Current Pathways to Serve Disengaged Youth …………………………………………... 8
Understanding the Problem through Social Norms ……………………………………... 8
Opportunities for Innovation…………………………….……………………….……………….. 9
The Changing Role of Art Spaces.……………..………………………………………… 9
Social Practice Art……………………………………………………..…………………. 12
Art-based Nonprofits…………………………………………………………….……….. 13
Recommended Action: A New Way: Social Practice Art and Youth Connection……………….. 13
Program Model: Voices of Promise…………………………………………………….… 13
Program Model and Supporting Evidence………………………………………….…….. 15
Evaluation and Pilot Program……………………………………………………….……. 19
Methodology and Proposed Outcomes…………………………………………… 19
Strengths and Weakness of Study Design………………………………………………... 21
Implementation and Timeline..…………………………………………………………………… 22
Barriers and Facilitators During Each Stage of Implementation…………………………. 23
Scale and Sustainability…………………………………………………………………………... 23
Innovation Through Human-Centered Design……………………………………………………. 25
The Impact………………………………………………………………………………………... 27
Financial Plan……………………………………………………………………………………... 29
Key Collaborators………………………………………………………………………… 29
Spending Plans……………………………………………………………………………. 30
Line-Item Budget…………………………………………………………………………. 31
Communications Plan…………………………………………………………………………….. 31
Forces of Resistance and Change………………………………………………………………… 32
Implications for the Future………………………………………………………………………... 33
Conclusion ……………………………………………………………………………………….. 33
Appendices
A. Logic Model ……………………………………………….………………………….
35
B. RE-AIM Plan and Outcome Measures……………………………………………….. 37
C. Primary Research Participants………………………………………………………... 38
References…………….…………...……………………………………………………………… 40
“To draw you must close your eyes and sing. ”
-Pablo Picasso
The Art of Connection: Youth Stories about Life and Meaning 5
INTRODUCTION
Given that social connection is one of the greatest predictors of well-being and longevity
(Waldinger, 2015), feeling seen, heard and understood is an invaluable human experience (Reis,
Lemay, and Finkenauer, 2017). Yet, when it comes to disengaged youth
2
, who have some of the most
challenging circumstances, their real stories are unknown. Victor Rios, a survivor of Adverse
Childhood Experiences (ACEs)
3
, argues that instead of youth being seen as “empty containers that
need to be filled with knowledge,” they can be seen as the advocates of their powerful stories (Rios,
2015), which gives their communities an opportunity to grow
alongside them.
Youth Disconnection: Relevance and Prevalence
In America, over 5 million youth and young adults
between 16 and 24 are disconnected from school and
employment - two institutions that are important for social
capital at this age (Lewis & Burd-Sharps, 2014; Fernandes-
Alcantara, 2015). Most of these youth and young adults have
a history of ACEs through their experience with foster care
placement, homelessness, teen parenting, and/or juvenile detention, and are vulnerable to
disengagement and social isolation (Lewis & Burd-Sharps, 2014). Without a guided transition into
adulthood, they face poorer living conditions, unemployment, lower wages, greater health problems,
incarceration, and less happiness and well-being as adults than their connected counterparts (Meztler
et. al, 2017; Liu et.al, 2013; and Lewis & Burd-Sharps, 2014). In some communities, the challenges
are even greater. Certain pockets of Los Angeles, for example, have an average life expectancy
similar to that of a third world country like Libya (Lewis & Burd-Sharps, 2014).
The future of youth has a direct correlation to communities. In 2013 alone, there was an
estimated cost of 26.8 billion dollars to taxpayers combining Medicaid, incarceration costs, public
assistance payments, and SSI payments (Lewis & Burd-Sharps, 2015). If the dire needs facing this
2
Disconnected Youth are youth and young adults between the ages of 16 and 24 who are not enrolled in school and are not
employed. Most of these youth do not have a high school diploma and have a history of foster care placement,
homelessness, teen parenting, and/or juvenile detention (Lewis & Burd-Sharps, 2014). This age range has become the
focus of federal funding and legislation as it represents a critical period for youth transitioning into young adulthood
(Fernandes-Alcantara, 2015).
3
The National Survey of Children’s Health (NSCH) now assesses 9 types of ACEs, including serious economic hardship,
witnessing or experiencing violence in the neighborhood, alcohol, substance abuse, domestic violence, mental health
problems in the home, parental divorce, loss of parents to death or incarceration, and social rejection through racial and
ethnic discrimination” (Bethell, Gombojav, Solloway, and Wissow, 2016, p.140).
“If the dire needs facing this
population are not addressed,
youth will continue to be
disconnected “from the people,
institutions, and experiences
that would otherwise
help them develop the
knowledge, skills, maturity,
and sense of purpose required
to live rewarding lives
as adults.”
The Art of Connection: Youth Stories about Life and Meaning 6
population are not addressed, communities will grow more divided and youth will continue to be
disconnected “from the people, institutions, and experiences that would otherwise help them develop
the knowledge, skills, maturity, and sense of purpose required to live rewarding lives as adults”
(Lewis & Burd-Sharps, 2015, p. i).
Intervention Theory and Research
Unfortunately, these positive people, institutions and experiences that are vital for all youth are
less available in communities with scarce resources, few role models, and low collective-efficacy
4
,
which is the reality for most disengaged youth (Wickrama and Noh, 2010). Yet when youth disconnect
from school and work, they are in their communities, and this reinforces the critical role that
communities play in their well-being. Therefore, although there are many reasons that disengaged youth
are likely to face social isolation, the proposed program model aims to address the lack of resources, role
models and collective efficacy in communities that serve disengaged youth. By providing youth with an
engaging therapeutic resource and role models, and by building collective efficacy, communities can
change the outcomes for their most vulnerable youth. Hence, this program model proposes that through
Social Practice Art
5
, youth will be offered an engaging therapeutic tool that benefits both youth and their
communities: through meaningful and interactive social exchange processes between youth and
communities that use storytelling, music and art, a stronger connection between communities and youth
will be established. Contrary to traditional counseling-based services that have been underutilized by
youth (Del Mauro & Jackson Williams, 2013), the arts can provide therapeutic benefits (Amen, 2002;
Cooper, 2013; Gersema, 2017; Papinczak et al., 2015; Pfeifer and Dapretto, 2009; Bonds, 2017) while
maintaining youth interests. In fact, purposeful and meaningful community-building arts programs
appeal to youth, resulting in positive outcomes particularly for youth from marginalized communities
(Brown & Jeanneret, 2015). The fundamental hypothesis of this program model is that if youth are
provided with an engaging resource and role models, and if the collective efficacy of their community is
enhanced, then more disengaged youth and young adults will be reconnected to the people and resources
necessary to have a healthy transition into adulthood.
4
“Collective efficacy is a group’s shared belief in its conjoint capabilities to improve a problem in the community”
(Chung et.al., 2009, p. 238).
5
Social Practice Art is an emerging art practice that includes the co-creation of art for social change and human
interaction, where the process may be more valuable than the completed work of art itself (Helguera, 2012).
The Art of Connection: Youth Stories about Life and Meaning 7
Grand Challenges
This problem is linked with the Social Work Grand Challenges of Eradicating Social Isolation
and Ensuring the Healthy Development of All Youth, which seem mutually interdependent. Helping
youth find more social connection in their lives can support their healthy development. Considering
the lack of resources available to disengaged youth, a community and team approach will be integral.
The network co-leads James Lubben, Erika Sabbath, and Elizabeth Tracy for Eradicating Social
Isolation highlight the need for “interdisciplinary and cross-sector collaboration” to meet the diverse
needs of individuals today (Lubben, Gironda, Sabbath, Kong & Johnson, 2015, p.9). Hence, engaging
youth and communities are key goals of this project.
Background
From the systemic issues incumbent in school districts to family and societal trauma, schools
are failing to keep some students engaged (Kim et al., 2010). This has devastating consequences for
their future because when they are of working age, they lack the soft skills in addition to the
educational requirements necessary for employment (Fogg and Harrington, 2016). It is a clear
reminder that every child needs guidance to develop his/her unique skills, passions, or strengths, and
that he/she may not learn and thrive in the same way as everyone else. Different modalities, mediums
and institutions are needed to reach the differing interests and needs of youth and young adults.
As a result of the growing population of disengaged youth, a 2014 initiative from the White
House, My Brother’s Keeper, made a call for action to support disengaged youth (White House,
2016). It shed light on the fact that the highest percentages of disengaged youth were Native
American youth, followed by African American and Latino youth (Lewis & Burd-Sharps, 2015). It
exposed the real circumstances that disconnected youth face from birth and delineated a plan for
America to get on board, from helping to address the word gap between low-income youth and higher
income youth to training programs connecting youth to employment opportunities (White House,
2016). This initiative provided an expanded definition of disengaged youth to include the ages of 16
through 24, as it represents a critical period for youth transitioning into young adulthood (Fernandes-
Alcantara, 2015). From My Brother’s Keeper, services were extended to youth who were previously
seen as young adults. As a result of the Local Control Accountability Plans (LCAP) that called for
outcome data on youth disengagement (Harris, 2016), funding and programs began to support young
adults until the age of 24 rather than stopping abruptly once they turned 18 as they had in the past
(Osgood, Foster, and Courtney, 2010). This will be a facilitator to not only justify this program’s
need to reach (older) disengaged youth, but also to increase participation rates of agency and
LANDSCAPE ANALYSIS
The Art of Connection: Youth Stories about Life and Meaning 8
community partners who serve youth and young adults between the ages of 16-24 (i.e., YouthSource
Centers, Employment Agencies, and adult centers) in the collaborative and focus groups built into the
program model.
Current Pathways to Serve Disengaged Youth
In Los Angeles, the LCAP funds led to the emergence of the Los Angeles City Partnership
Program, which consists of YouthSource Centers that provide services to disengaged youth and the
P3 Collaborative to support the services at the various community locations. The P3 collaborative
consists of the Los Angeles Unified School District (LAUSD), Los Angeles City and County
Workforce Investment Boards, Los Angeles Housing and Community Investment Department, Los
Angeles County Department of Children and Family Services, Los Angeles County Probation
Department, Los Angeles County Mental Health Department, Los Angeles County Office Education,
Los Angeles Homeless Service Authority, California Employment Development Department, and the
local California State University campuses. Due to the great need, LAUSD social workers have been
placed at each of the YouthSource Centers to provide resources. There are definitely many youth who
are being served by the centers, but from speaking to several direct service social workers, these are
still drop-in centers. There is no guarantee that a youth will come back the next day, especially
because these are service-based centers as opposed to engagement-based. Government funding
structures also limit the breadth of services that is provided. The services tend to benefit youth who
are most equipped to succeed; youth who are most disconnected have the most difficulty in securing
employment internships because businesses are looking to enhance their success rates. Many
counselors who support youth feel the frustration but are plagued by bureaucracy and funding
limitations, which make it difficult to offer youth more than needs assessments and community
linkages. This is another reason the involvement of an arts institution can be beneficial, as it appeals
more to youth interests. YouthSource Center counselors have noticed that the arts and personal
passion projects are often what get them to come in (Duran, personal communication, April 2018).
Inviting art-based partners to the P3 Collaborative could also be extremely valuable considering the
high number of young adults interested in jobs in the “Arts, Entertainment, and Recreation”
employment sector (Fogg and Harrington, 2016).
Understanding the Problem through Social Norms
Social Norms: (1) The most important measure of disconnection is the absence of youth
participation in work and school (2) Disengaged youth are helpless and unskilled and have nothing to
offer to their communities.
Since the goal of this project is social connection, examining the social norms that currently
The Art of Connection: Youth Stories about Life and Meaning 9
OPPORTUNITIES FOR INNOVATION
impact the problem can offer a clearer lens to understanding and addressing the problem. To begin
this discussion, it is vital to first address the overly used categories within this proposal that permeate
through society: “disengaged youth,” “vulnerable populations,” and “at-risk youth.” Although they
come with positive intention, these categories communicate that youth need saving and have nothing
to offer. They decouple youth from their unique resilient stories, which would otherwise nurture
more empathy within communities. Categories create more disconnection and separateness and can
lead to communities becoming inactive. Changing the way youth are viewed can change their
circumstances. The action of exposing the strength and resiliency trapped within the categories can
subvert the norm that they are vulnerable. The truth is that inherent within each of their stories is
strength, resiliency, and a yearning for connection just like everyone else, and by offering their art
form, they beautify their communities; by sharing their stories, they offer communities the ability to
play a role. What would happen if terms like “vulnerable” and “at-risk were replaced with qualities
like ‘resilient,’ ‘grit,’ or ‘growth mindset?’” It would remind youth of their resilience, and would
offer communities the opportunity to spark a true human connection with.
Likewise, the national definition of “disengaged youth” to mean “out of school and out of
work” assumes that connecting youth to school and work is sufficient for their well-being, when in
fact, it is not. According to the co-leads of Ensuring the Healthy Development of All Youth, dropping
out of school is just one of the many challenges that hinders youth connection and wellbeing
(Coalition for Behavioral Health, 2015). Therefore, other aspects of connection are integral to youth
development (i.e. family support, community engagement, social supports, etc.). Other measures of
healthy development are necessary to bring to the discussion. The action of changing the definition
of disengagement to extend beyond just school and work can overthrow this social norm. This can
occur by facilitating measures and positive outcomes for other types of valuable connection between
disengaged youth and their communities: an entity outside of school and work.
The Changing Role of Art Spaces
Insights taken from primary research (see Attachment C) conducted in the Los Angeles arts
community bring to surface the growing interest among art spaces in increasing participation rates.
Museums, for example, want more diverse populations to engage in the arts. A national study done
by the American Association of Museums shows the declining rates of diverse participation in
museums (see figures on page 9), even as the minority population rises (Farrell and Medvedeva,
The Art of Connection: Youth Stories about Life and Meaning 10
2010). They recognize the historical discrimination associated with the low attendance of African
American and Latino populations. They acknowledge cultural and social barriers and the lack of
belonging that can be perpetuated through the elitism tied to museums.
Youth Focus Groups: With genuine recognition of the need to change with communities,
researchers conducted various focus groups to ascertain the reason behind their lack of
engagement. They particularly tried to understand youth engagement, so youth focus groups were
coordinated by the University of Chicago (Farrell and Medvedeva, 2010). The following
statements were shared by youth (ages 17-25) in relation to their experiences with museums:
“[With] smaller museums you feel more of a connection with the artist because it’s
normally more of an average person.”
“We need museums to be places people want to hang out in, not just places they feel
they ought to visit—places to check off on their life list.”
“I thought about the Hyde Park Art Center—they put a lot of artwork on display and
they also have art classes. I think that that’s really convenient. You know you can
walk around and look at art and you can go try to make some yourself. And they also
have ceramics and it’s really cool to look at the sculptures and then to go make your
own vase as well. (Farrell and Medvedeva, 2010)
This provides a glimpse into the future role that museums want to play. By beginning to look at why
and how youth care about art, a bridge can be created between youth and art spaces using social
practice art.
The Art of Connection: Youth Stories about Life and Meaning 11
“It lives in exposure, and giving [youth] an opportunity to be comfortable in that
environment. When I was young and went to these places, I saw what was possible in
life…you would go to these places and they were beautiful, they were clean, they
were magical, they were colorful, they were tactile, they were alive, and we were
around people that we would only see on TV. And you eventually reach this tipping
point where you realize that you belong there as well. I can’t stress how amazing the
education of arts is when you actually start to get that it’s also your world. And
fortunately, I also had people around me that said that dreams come true. My foster
mother. She taught me that I can have anything that I want. And my foster dad was
the creative mind. He opened up my mind to the arts, built me up intellectually and
then my mother said ‘you can do anything you want’ and she meant it” (W.
Fernandez, personal communication, April 4, 2018).
Without this combination, Wayne Fernandez would not have been at the same place today, which
reinforces the need to integrate the arts, self-efficacy and community involvement. Mr. Fernandez
shares his experience with the arts growing up in foster care. He had a rough beginning and went on
to become a successful arts show producer. If it wasn’t for his foster parents and the different positive
influences they had on him, he would not be the great success he is today. And if it wasn’t for the
arts, he would not have found his direction. Reflecting on his exposure to art, music, museums, and
expensive restaurants during his youth, he shared that by introducing youth to these powerful artistic
spaces, “we can not only reduce shame and intimidation, but can also expose [youth] to all that is
possible. They have to be able to feel what it feels like…and know, it now gives them a choice” to
choose another way (W. Fernandez, personal communication, April 4, 2018).
By involving youth, art spaces can begin to carry much more significance to the youth and
community members. In turn, the social norms around art institutions can be reshaped to include the
changing needs of youth and communities. This sets the road for this program model which
essentially, pairs the needs of youth and communities to the needs of museums. With the right
resources, museums can be the gateway to reconnect youth to the people and institutions that can
help them make a healthy transition into adulthood.
The Art of Connection: Youth Stories about Life and Meaning 12
Social Practice Art
Social Practice Art is an emerging phenomenon which includes the
co-creation of art for social change and human interaction, where the
process can be more valuable than the completed work of art itself
(Helguera, 2012). It typically calls for the participation of artists
and non-artists alike to promote a social justice or political campaign
that brings awareness to communities (Frasz, & Sidford, 2017).
Historical information demonstrates that “by engaging in these sonic and social practices that make
space for alternative belonging, participants in these scenes are able to negotiate and navigate the
economic and political challenges of their everyday experience” (Wilson, 2016). These social
practice art movements draw many people together and some have gained international recognition,
especially with the use of social media sites like Facebook and Instagram spurring movements.
During an interview with a social practice muralist in Argentina, the significance of art within social
spaces became clearer.
Murals become important because they are big, colorful, and unusual. The curiosity and
intrigue with a common art space full of colors and beauty draws out residents within
the neighborhoods. The mural becomes the third space between people when they do not
have the courage to speak to each other face-to-face. They are brought together to look
at the same object, when before, they were in opposition or could only see each other’s
differences (M. Ajras, personal communication, March 3, 2018).
With a psychology background, Ajras understood the need to speak to the women in communities to
relate to them and to empower them. She shared a story from Guadalajara, where a woman disclosed
her desire to acquire job skills in order to escape her abusive marriage. After learning that this was
common to the town, Ajras’ inspiration guided her to paint a mural of a “woman fighting to gain her
identity.” (M.Ajras, personal communication, March 3, 2018). She wanted to paint their hopes and
wishes and to build a community where women could be given permission to talk about this, which is
exactly what happened. Once Ajras had completed it, she observed many women collecting in that
space, speaking to each other, relating to each other, reinforcing the social salience of art.
“Artists are the real
architects of change,
not the political
legislators who
implement change
after the act.”
-William S. Burroughs
The Art of Connection: Youth Stories about Life and Meaning 13
RECOMMENDED ACTION - PROGRAM DESIGN
A New Way with Social Practice Art and Youth Connection
Art-based Nonprofits
Fortunately, Los Angeles has an active arts community. There are multiple non-profits that are
doing great work with youth from marginalized communities. Many locations have arts engagement
and mentorship programs with artist teachers who teach an array of skills like theatre, poetry,
painting, music, film, etc. Some programs have existed for years. However, a common concern for
many of these organizations is the constant pressure to secure funding, and some non-profit founders
have seen the beginning and end of many services and programs due to limited funding and data (J.
Berger, personal communication, October, 2017). Many agencies do not have access to this data and
many do not have the personnel or expertise to conduct data analysis. Another challenge is that the
data measures that matter most to government funders are difficult to obtain (e.g., graduation rates,
school attendance rates, employment rates, etc., whether it be due to legal issues associated with
inter-agency sharing of confidential data or practical challenges related to gathering long-term data.
Non-profit staff have shared that this is also a missed opportunity for funders and decision makers to
see the aspects of youth well-being that are hardest to measure: the small wins and successes like the
newly acquired ability to speak in public, dabble in creativity, practice healthy social skills, connect
with peers, engage in conflict resolution, use creative expression, and tell powerful stories. If these
incremental changes could be captured and shared with the masses (in the form of public stories),
new opportunities to expand non-profit services could blossom, and more youth could be served.
Program Model: Voices of Promise
This model integrates each of the above opportunities for innovation and adds to the existing
paradigm that supports disengaged youth. Through a partnership with YouthSource Centers and Art-
based nonprofits, museums can host ongoing social practice events that are tailored to bring more
awareness to communities and collect data on the social exchange between youth and their
communities. Reflecting on the theory of change, Voices of Promise offers (1) A therapeutic
resource for creative expression through arts, music and storytelling, (2) role models through artist
mentorship, and (3) youth-community exchange through social practice art with the goals of youth
connection and well-being.
The Art of Connection: Youth Stories about Life and Meaning 14
YouthSource
Centers/
Art-Based
Nonprofits
Museums Community
Education/
Employment
In the diagram below, the link between the auspices and stakeholders (inputs on the top) guide
the events (activities in the middle), which, together, empower youth and provide them with
opportunities for connection (outcomes on the bottom). (Also see Logic Model on Attachment A).
This partnership allows for non-profits to show youth successes through demonstration
projects at galleries, as opposed to solely relying on long-term quantitative data which is often very
difficult to access. In addition, non-profits (who are challenged by funding limitations) are connected
to local museums and art galleries that are backed by private funders. The mutual benefit to museums
is that it gives them the capacity to draw new groups of individuals into their spaces, enhance
community awareness and participation, and give back to their communities.
This model is significant because it reinforces that the education and employment system
cannot be solely responsible for the social capital of youth, nor can the arts. It recognizes the need
for a strong comprehensive partnership between institutions that are important for social and
human capital along with individual well-being and community connectedness. It takes a deeply
rich and integrated approach to serve and empower disengaged youth and young adults who have
been gravely underserved.
Empowered and Connected Youth
Student Arts
Workshops
Art, music,
storytelling -
Therapeutic
benefits-
Peer support -
Arts engagement -
Artist mentorship -
Voices of
Promise Gallery
Exhibit
Youth stories in a
public space -
Youth/community
interactive activities -
Community
awareness-
Community
Connection
School
engagement -
Work engagement -
Mental health
services -
Health programs -
Social programs -
Collective
Efficacy
Resources
Youth Self-
Efficacy
Role Models
The Art of Connection: Youth Stories about Life and Meaning 15
Voices of Promise Program Model and Supporting Evidence
This proposed project is adaptable to any community and goes through the following stages:
Pre-intervention
Community Based Partnership Research (CBPR) is a research
approach where researchers partner with the community to design
and evaluate a program. This initial stage sets in motion important
cross-sector linkages necessary to engage and connect youth. In
the Voices of Promise program model, it draws on the importance
of creating a bridge for social exchange by connecting museums
and art gallery spaces (that may not have a natural link to
disengaged youth) to community non-profits, who have the youth
but are limited in funding and evaluation structures. In partnership
with community agencies and in alignment with the CBPR
principles, the intervention is to be carefully constructed to meet
the needs of youth and communities. The following three stages
provide a guideline and rationale to building this intervention.
“Collaborative approach to research that equitably involves all
partners in the research process and recognizes the unique
strengths that each brings. CBPR begins with a research topic
of importance to the community with the aim of combining
knowledge and action for social change to improve
community health and eliminate health disparities.”
-W.K. Kellogg Community
Scholar’s Program (2001)
Pre-intervention
CBPR
1.
Trauma-
Informed
Artist Training
2.
Youth
Workshops
3.
Voices of
Promise
Gallery Exhibit
Post-intervention
Evaluation
Voices of Promise
Intervention
Rationale/The Why: In order to
comprehensively understand and
address the needs of communities,
this partnership is encouraged in
social work practice and in the
practice of effectively serving
communities. Significant to this
approach are four CBPR principles
identified by Israel, Schulz, Parker,
and Becker (1998): “(a) genuine
partnerships require a willingness of
all stakeholders to learn from one
another, (b) there must be
commitment to training community
members in research, (c) the
knowledge and other products
gained from research activities
should benefit all partners, and (d) a
long-term commitment is required
of researchers to the community and
of the community to the goal of
improving the health and well-being
of its members” (Palinkas, He,
Choy-Brown, and Hertel, 2017).
The Art of Connection: Youth Stories about Life and Meaning 16
1. Trauma-Informed Artist Training:
This two day trauma-informed training is an integrated
Social Work and Arts approach that ties in
neuroscience, cultural and ethical sensitivities related
to youth, and valuable social work and art concepts
needed to support the youth workshops. Within this
training, art and social work values intersect to provide
a comprehensive and enriching fusion of two valuable
fields of education. The following table provides a
preliminary sketch of the concepts that will be taught.
However, a team of social workers, educators, artists
and community members will support the final
development to ensure that it truly meets the needs of
artist teachers.
Integrated Trauma-Informed Training
(for Artist Mentors)
Understanding Disengaged Youth
• At-risk factors and future impact
• Warning signs
• Best practices
• Adverse Childhood Experiences (ACEs)
Best Practice to Support Youth
• Empathy and establishing rapport
• Legal and ethical Issues
• Termination
• Confidentiality Clauses
The Role of Neuroscience
• The role of art, music and storytelling for brain
development and connection (empathy)
• The role of Growth Mindset for art-making and
self-efficacy
Cultural Proficiency
• Cultural and Diversity Conversations
• Cultural trauma
Community-Building
• Community needs assessment
• Incentives
Artist-Sharing Forum
• Artist mentors/teachers share their expertise with
each other to provide inspiration and a fuller grasp
of what the students will be learning
Planning for Voices of Promise
• Impacts of stories
• Interactive goals with community
• Live data through apps
• Social impact data from communities and other
stakeholders
Rationale/The Why: The foundation
of social work has much to offer to museums
(Silveraman, 2010). Pablo Helguera, a long-
serving curator and social practice educator,
shares the value behind integrating different
disciplines and references the fields of
sociology, ethnography, linguistics, and
social work as positive collaborators. He
delineates the importance of artists being
informed about communities and situations to
ensure the art is mutually beneficial;
communication and collaboration to cultivate
positive relationships with all involved; and
the critical use of performance and
documentation to evaluate the impact of
socially engaged projects (Helguera, 2012).
As social practice art gains momentum, more
artists will be working on social art projects
with populations who face many challenges.
Yet artist teachers who currently work in the
non-profit sector are provided with limited
training opportunities. One artist teacher
shared an experience going into a juvenile
camp without any knowledge of the camp or
the youth being served, leaving her co-
facilitator unequipped to establish rapport
with the youth (Patterson, personal
communication, March 2018). This not only
places artist teachers/mentors in challenging
situations, but also disserves youth and has
ethical implications.
The Art of Connection: Youth Stories about Life and Meaning 17
2. Youth Workshops: Youth spend 30 hours (within 6 weeks) with artist teachers/
mentors to create emotional stories about their lives using their preferred medium of art (paints,
music, poetry, film, visual arts, etc.). Six weeks was selected as an appropriate amount of time for a
course to ensure that there is time for an introduction, termination, and gestation period during
which youth create the art works. Central to creating emotional resilient stories is a strength-based
approach. Therefore, one of the first sessions will involve the youth taking the VIA Youth Survey
to learn about their strengths. In order to create a youth-centered process, youth will be paired with
artists based on their preferred medium of art: painting, music, sculpting, digital storytelling, film,
visual arts, etc. While providing guidance in creating stories with music and art, artist teachers
(mentors) will provide a safe structured space for youth to meet peers during a time when feelings
of relatedness are important. In addition to providing adult guidance, it is hoped that this process of
creating artworks within a peer network also facilitates social inclusion, cultural sensitivity, peer
support, self-expression, self-compassion, and social acceptance.
Rationale/The Why
Music, Arts and Storytelling: Trauma does not just
impact life opportunities, but has long-lasting effects
on mental health and brain development (Amen,
2002). Therefore, the components of art, music and
storytelling have been thoughtfully placed with the
hopes of rebuilding emotional health and brain
matter (Gersema, 2017). In fact, music impacts all
parts of the brain and speaks to the social-emotional
needs of youth who are battling with trauma, self-
regulation and stress management (Amen, 2002;
Cooper, 2013); music can also help youth modify
cognitions and build greater connections with others
(Papinczak et al., 2015). Likewise, both art and
storytelling stimulate brain responses and can evoke
feelings of connection (Pfeifer and Dapretto, 2009;
Bonds, 2017). A relatively new term
“neuroaesthetics” is
used to discuss the impact of viewing (and
co-experiencing) art on empathy
(Kaufman, Player, Orenstein, Lam, Hart,
and Tan, 2017) which can serve to
heal and establish meaningful relationships.
This provides a physiological explanation of how
the stories of vulnerable youth can evoke
powerful feelings of connection for community
members through the medium of art and music.
For youth, the process of sharing their art will be
instrumental for self-efficacy (Pritzker,
LaChapelle, and Tatum, 2012).
Artist mentorship: When emotional turmoil is
high and the ability to regulate emotions is low,
relationships can be difficult to manage
(Papinczak, Dingle, Stoyanov, Hides, & Zelenko,
2015) especially when the troubling impacts of
ACEs are factored in. Therefore, the availability
of trained artist teachers/ mentors can offer
disengaged youth access to positive role models
that are lacking within their communities
(Wickrama and Noh, 2010).
The Art of Connection: Youth Stories about Life and Meaning 18
3. Voices of Promise Gallery Exhibit
Social Practice: Youth-Community Exchange
The main event in this entire program design is the grand
opening of the Voices of Promise gallery exhibit with the
artworks of the youth, where local officials and members are
invited. Youth are provided with an opportunity to share
personalized songs, spoken word and art with their community,
creating more awareness about the deep heart-wrenching truths they face every day. Interactive and
engaging activities are necessary to initiate dialogue between youth and communities to address the
low collective efficacy and social divides that plague communities today. “By engaging in these sonic
and social practices that make space for alternative belonging, participants in these scenes are able to
negotiate and navigate the economic and political challenges of their everyday experience” (Wilson,
2016, p.iii). Hence, while it raises collective awareness, it also etches a shared experience into that
space.
Rationale/The Why: Social Practice and Social-Exchange Theory
The Voices of Promise gallery event provides a way for youth to interact with community member and share
their stories to raise community awareness, and also provides an opportunity to measure and evaluate the
social impact of socially-engaged art. Since the intervention will require an audience, the social exchange
theory is relevant. This intervention circulates around the idea that at-risk youth are able to share their
stories and art pieces with their communities, who in turn can respond with their presence and participation
during the exhibit. The social exchange theory reinforces the importance of the exchange processes between
individuals. Research has shown that the existence of positive connections between individuals has led to
more cohesion, even between power-imbalanced relationships where “exchange in one relation enables
exchange in another” (Schaefer and Kornienko, 2009). An analogous program using social practice also
supports the importance of community awareness in the role of community involvement and collective
efficacy. Talking Wellness, conducted in 2009 in South Los Angeles, is a research-based program that
utilized art (photography and spoken word) to share stories about depression within the African-American
community in order to enhance community engagement; from the community responses, a rise in collective
efficacy was found (Chung et al., 2010). This study is an exemplary early model to demonstrate the benefits
of storytelling in community engagement and highlights the important link between community awareness
and collective efficacy.
The Art of Connection: Youth Stories about Life and Meaning 19
Post-intervention
Evaluation Process
The Pilot Program will occur in a Los Angeles museum and outreach will begin at a local
YouthSource Center in Los Angeles. The target population will be disconnected youth between the
ages of 16 and 19 with Adverse Childhood Experiences (ACEs). The LAUSD social worker present
at this YouthSource center will be an important ally in supporting with outreach and retention.
Utilizing a randomized waitlist control group, a convenience sample of 15 youth for each group will
be used, making a total of 30 youth for the sample size. The artist training and workshops will be held
at the museum, with its own trainer’s evaluation. Art workshops will consist of 30 hours of guided
instruction from their artist mentors within a 6-week period and the Voices of Promise gallery exhibit
will take place at the museum.
Methodology and Proposed Outcomes
The Community Based Participatory Research (CBPR) approach, where co-creating various
elements of this program and design with the musuem staff, will be integral to this study design. The
effectiveness of the program will be measured through a wait-list randomized controlled experiment
where pre-post measures will be given to both groups at different times. See figure below.
With the exception of throughput measures and evaluations, all of the youth measurement
scales will be given as pre and posttests that assess for social connection, well-being and self-
The Art of Connection: Youth Stories about Life and Meaning 20
efficacy. Although all are expected to show higher scores on the post-tests, it is expected that the
wait list control group measures will also show that the post-test scores will be higher than both
Baseline 1 and Baseline 2 pre-test scores. Due to the fact that it is not sufficient to solely gain pre-
post results, three-month follow-up assessments will be administered. Along with personal accounts,
interviews and survey results from youth and community members, the measurement tools indicated
below will be used to obtain quantitative data.
The expected outcomes are twofold. Since both youth and community members are involved,
improved outcomes for both groups are expected.
Variables for Youth
Connectedness: By measuring social capital and perceived social supports, a clearer
understanding of the program model’s impact on connection can be made. Social capital and
perceived social supports are limited in “at risk” communities (Holt-Lunstad, Smith, and Layton,
2010; Payne, 2002), which makes this measure extremely influential on the long-term outcomes of
the youth served by this program. The Personal Social Capital Scale is intended to be used to
measure “personally owned social capital, including bonding and bridging capitals” (Chen, Stanton,
Gong, Fang, and Li, 2009). With this tool, data on different types of social supports can be gathered
to see if connectedness is enhanced through the proposed model.
Well-Being: Well-being is integral to consider, especially given the fact that disengaged youth
are more likely to report low well-being as adults (Lewis & Burd-Sharps, 2014). In order to counter
the long-term effects of youth disconnection, well-being will be measured through the v1.0 - Meaning
and Purpose Scale (from the PROMIS Pediatric Bank) as well as a tool that measures the decrease in
trauma-induced symptoms considering the ACEs of these youth.
Self-efficacy: Self-efficacy can instill happiness (Hunagund and Hangal, 2014) and build
resiliency (Schwarzer and Warner, 2013) for youth with ACEs; in fact without resilience, these youth
have poorer health outcomes (Bethell, Gombojav, Solloway, and Wissow, 2016). To measure self-
efficacy, the NIH Toolbox called Self-Efficacy CAT will be used (Gershon, 2013).
Other Miscellaneous Measures: As the implementation plan becomes more defined, there will
be other throughput and output measures useful to my evaluation. These include attrition rate, number
of workshops, number of visits with artist mentors, artist training evaluations, etc. The RE-AIM
model, discussed during the Implementation Phase, contains a thorough list of all measures that will
impact data (See Attachment B).
The Art of Connection: Youth Stories about Life and Meaning 21
Variables for Community Engagement
Collective Efficacy: Collective efficacy has been linked to safer communities (Ansari, 2013)
and higher well-being (McNamara, Stevenson, and Muldoon, 2013) of the residents, which include
the youth. Anecdotal evidence through interviews and surveys using a five point Likert scale
(strongly agree to strongly disagree) will be invaluable to capturing community impact. Although,
these items will be co-created with the museum staff, possible questions for community participants
that have been adapted from the Talking Wellness study (Chen, 2009) include:
• Due to the event, I am more aware of the circumstances youth in my community face
• As a result of the event, I feel my role in the community can impact youth outcomes
• As a result of the event, I will take a more active role in supporting youth
• My next steps are…
The anonymous surveys will include demographic factors like age, zip code of workplace and home,
ethnicity and race, gender, etc. to depict a clearer picture of who the community participants were.
This will be valuable when trying to ascertain who the outcomes represent.
Strengths and Weakness of Study Design
Strengths Weaknesses
Randomized Wait-list Control Trial
Community Partnered Participatory
Research (CPPR) approach
The existing research on arts, music
and storytelling
The results of the Talking Wellness
study
Bias involved with Convenience
Sampling
Small Sample size
Unknown validity and reliability of
some scales
The challenge with outreach as these
youth are disengaged
Potential attrition rate related to high
transiency
Rationale/The Why
Effective tools and interventions have led to better outcomes and reduced risk for youth (LeCroy, 2008)
which is a reason Evidence-Based Practices (EBP) have gained momentum over the years. It would be
unethical to continue a program that is not effective, let-alone harmful. In the world of social-engaged art,
EBPs are much less available, so gaining the data through this program could support youth in many
different capacities. To strengthen the study, a waitlist control group will be used because it is more
ethically aligned to the needs of the target population (Elliott and Brown, 2002). Also, see pages 25 and 27.
The Art of Connection: Youth Stories about Life and Meaning 22
IMPLEMENTATION PLAN AND TIMELINE
The implementation plan will be delineated using the EPIS framework, which is a recommended
model of implementation for auspices serving children (Aarons, Hurlburt, and Horwitz, 2011). This
framework includes four phases – Exploration, Preparation, Implementation and Sustainment – each
with a set of activities and strategies necessary for implementation. This framework also sets a
chronological timeline for implementation (also see Logic Model on Attachment A). Implementing a
pilot program for Voices of Promise will take approximately one year.
EPIS PHASES MAIN STRATEGIES DURATION ONSET
Exploration Phase Develop networks
Form CBPR/Implementation Team
Gain stakeholder buy-in
Provide incentives for participation
Identify funders
Coordinate focus groups
Begin Outreach
Ongoing
(1x/month)
September 2018
Preparation Phase Assemble/Coordinate community
collaborative
Create timeline and action items
Develop training materials/tools
Facilitate design labs
Identify a coordinator
Begin outreach & intake for youth
Launch campaign
Ongoing
3 months
November
2018
Implementation
Phase
(Randomized Trial)
Trauma-informed artist training
2 days
(16 hours)
January - June
2019
Artist Mentorship/Art Workshops 6 weeks,
30 hours
(5hrs/week)
Voices of Promise Gallery Exhibit 3-4 months
Sustainment Phase Track, analyze and share data
Share stories through social media
Secure funding
Develop implementation blueprint
Continue to evaluate, modify, and
improve (IHI Model)
Stage implementation scale up
Train the Trainers
TBA
June
2019
The Art of Connection: Youth Stories about Life and Meaning 23
SCALE AND SUSTAINABILITY
Barriers and Facilitators During Each Stage of Implementation
It is also important to recognize barriers and facilitators to guide the process.
Exploration
Barriers Facilitators
Funding
Buy-in
Commitment of community members
New auspice to intervention
Sociopolitical Context – Policies, monitoring
and review
Evidence supporting the different components
of the program model
Success data from pilot program
Community-Based Participatory Research
Preparation
Barriers Facilitators
Funding
Organizational structure
Transiency rate of disengaged youth
Conflicts within collaborative
Lack of engagement from community
Interorganizational networks
Evidence supporting the different components
of the program model
Success data from pilot program
Implementation
Barriers Facilitators
Attrition rate
Funding
Organizational Characteristics
Priorities and goals
Readiness for change
Intervention developers at the team
Culture and climate (of private art institutions
are different from public sector)
Evidence supporting the different components
of the program model
Success data from pilot program
Randomized Control Trial
Sustainment
Barriers Facilitators
Funding
Critical Mass of EBP Use – art institutions
aren’t necessarily EBP users
Staffing
Fidelity
Re-AIM model
Community-Based Partnership Research
Organization culture – Museum’s interest in
data collection
Evidence supporting the different components
of the program model
Success data from pilot program
With successful outcomes in the pilot program, other museums within Los Angeles can be
invited to replicate the program in their surrounding communities. However, in order to ensure that
this program is sustainable, it will be important to evaluate if implementation was successful. The
RE-AIM model that measures for Reach, Adoption, Fidelity, Cost, Penetration, and Sustainability is
extremely useful to this process (Nilsen, 2015). Attachment B outlines a set of measures that are
The Art of Connection: Youth Stories about Life and Meaning 24
important to visit and revisit throughout the four phases of implementation. Once successful pilot
data from the museum is attained, a train the trainers model can begin at the Teen Programmers
Network, a newly organized collaborative in Los Angeles aimed at connecting different art decision-
makers to share resources that improve youth programs (R. Flores and F. Flores, personal
communication, April 13, 2018). It is important to recognize that different communities and art
spaces may have different needs; therefore, this collaborative can share experiences with
implementation. For this process, the IHI’s collaborative model (Institute for Healthcare
Improvement, 2004) is a strong model to bring different collaborators together to improve outcomes.
The process involves four stages: Act, Plan, Do, and Study. After each cycle of trainings and
workshops, the data is used to enhance the next cycle of implementation. Replicating the model can
address the sensitive needs of disengaged youth. With various factors impacting communities, this
process can provide insights to ensure that improvements are made at large.
Later-stage scale: Opportunities to 10X the improved model can be found through Social
Network Interventions by identifying specific change agents through social network data who have
influence over other networks to “adopt new practices” (Valente, 2012). In the US, this network is
tied to large arts advocacy organizations including Arts LA, the National Endowment of Arts,
American Association of Museums, and Center for the Future of Museums. These larger national
organizations already have membership tied in and through their newsletters, websites, and other
promotional items, information about this prototype can be provided to members. Also, there are
The Art of Connection: Youth Stories about Life and Meaning 25
INNOVATION THROUGH HUMAN-CENTERED DESIGN
national training conferences for museums and arts-based organizations (F.Flores, personal
communication, April 13, 2018) where this information can be provided to leaders and change
makers in the field. A web-based toolkit offers instructions and consultation to help leaders use
digital technology for scaling. Online trainings and consultations require less resources and funding
and can have greater reach. For example, web-based learning modules can be set up (with evaluations
imbedded within them) to offer broader access. Web-based conferences and consultations can be
offered as well.
Human-Centered Design is a creative process of problem-solving in which ideas are inspired
by the individuals who are living the circumstances on a daily basis (An introduction to design
thinking process guide, n.d). A key strategy in obtaining this valuable data is primary research, which
has guided the development of this program model (See Attachment C). Over the course of a year,
anecdotal and experiential data was gathered from museum staff, art-based non-profit programs, and
various stakeholders integral to youth development. In trying to address the needs and gaps of the
current landscape of social practice art, multiple prototypes were created and deconstructed, which
significantly contributed to the relevance and innovative aspects of this model. First, this model
integrates the expertise of social workers (and social work) into spaces that are associated
predominantly with art experts. Second, it includes an evaluation plan for social practice art, which is a
great need. Finally, it addresses the digital economy with the use of technology.
Integrated Social Work and Arts Approach: Inherent within this project is the integration of
social work and social workers into art institutions. This collaboration between social workers and
artists has the capacity to ethically and culturally inform the practice of socially-engaged art and
expand on the efforts for evaluation. By involving this expertise, a trauma-informed training can be
provided to artists who work with sensitive populations, which is critical for youth well-being.
Moreover, social workers can support museum spaces with community needs assessments and
evaluation and consultation services for all social practice programs that involve youth and
underserved populations. By adopting the ideologies of social innovation, entrepreneurship and
intrapreneurship, social workers can become stronger change agents (Nandan, London, & Bent-
Goodley, 2015) and leaders in museum and community art spaces, which is an important contribution
to the field of social work. Upon advocacy, members of the Teens Programmers Network that began
in 2017 are open to the idea of inviting social workers, which is a new concept for them. This
involvement will position social workers to best serve the art institutions that seek to enhance youth
The Art of Connection: Youth Stories about Life and Meaning 26
programs. An adaptable and scalable web-based toolkit on replicating this program can serve as an
extremely useful tool for any community or arts institution looking to create a similar connection
between youth and communities.
Evaluation Plan: This model includes a detailed evaluation plan with measures for social
(community) impact, which is rare in the Los Angeles arts community. Even though non-profits are
doing great work with youth from marginalized communities (offering arts engagement and
mentorship programs with artist teachers who teach an array of skills like theatre, poetry, painting,
music, film, etc.), commonplace for many of these organizations is the lack of sufficient funding. In
fact, some non-profit founders have seen the beginning and end of many services and programs due
to limited funding and data (J. Berger, personal communication, October, 2017). Utilizing the pilot
data and planning tools, a universal guidebook on evaluation design will be new and essential to
many organizational structures.
Technology: As digital technology has become the social norm for connection, it is important
to find new ways to engage youth. This fact has driven this project to recognize the changing needs of
youth and societies. The National Endowment of Arts has found that “71% [of individuals surveyed]
report using the internet to watch, listen to, or download culture in one form or another” (Sutton,
2015). Therefore, augmented reality has been imbedded in the structure of the Voices of Promise
gallery exhibit. Both augmented and virtual reality are known to enhance empathy and have gained
traction within museums; however, augmented reality is still underutilized (Sword, 2017). The
augmented reality application suggested in this model is one that links photographs of certain objects
to a video that is added to a database on the backend. When one hovers over the specific photograph,
the imbedded video is activated. Now this otherwise still image comes to life on the digital device
(iPhone, IPad, android, etc.). Click here for an example. Since this is both exciting for youth and
experiential for communities, it can be used to create a shared experience. By linking the photograph
of the youths’ final art projects to a video of their stories, a live, engaging, and impactful experience
is created.
Youth story plays…
Example:
“Voices of
Promise” with
Augmented
Reality
The Art of Connection: Youth Stories about Life and Meaning 27
THE IMPACT
The youth stories can be about the inspiration behind the art, the growth process that came from
creating the art, the positive influence their non-profit program had on them, or anything that the
youth want to share. Adding music will evoke compassion from community members. At the end of
the story, a prompt will appear for community members to respond to the story, provide positive
affirmation, offer qualitative data to show impact, or donate to a cause chosen by the research team. If
a data gathering and social feature is imbedded into this tool, other information can be accessed.
Certain art galleries offer “Museum in a Pocket” or a virtual tour of their exhibits for people
who wish to view them remotely. If the Voices of Promise gallery exhibits can be archived, they
would serve as teaching tools for the museums and can also become an invaluable keepsake for
youth. It would also create a virtual space for community to connect with youth.
Impact of the Arts: In addition to the physiological and therapeutic benefits, communities
believe that the arts have the capacity to mitigate many challenges. Seventy-three percent of
Americans believe that the arts add a “positive experience in a troubled world,” 67% believe that “the
arts unify our communities regardless of age, race, and ethnicity,” and 87% believe that arts can be
directly tied to quality of life (Benedict-Nelson and Leitner, 2017. Pg.11). If these beliefs permeate
within society, then there is a lot more that communities can do. A meaningful story shared by a
former manager of a homeless shelter serves as a reminder to never underestimate the power of art.
At the homeless shelter, youth would come in from all walks of life. There was a time
period when staff began encouraging the youth to walk over to the local museum
whenever they felt sad, alone, or anxious in order to feel a part of something. In the
beginning, youth were doubtful. So staff began taking them on fieldtrips, and even then,
youth were slow to acclimate. However, with time, things began to change. Staff began
running into former youth clients at the museums. The youth they saw were typically
those who had been being kicked out or aged out of the services. When the youth were
asked about what had brought them in, many of the youth would say they had just gotten
into a fight with a family member, broke up with someone, or felt alone. Others had just
developed an interest and saw ads of a gallery exhibit that intrigued them (K. Primas,
personal communication, April, 2018).
When they had no shelter to go to, they still had a place to go. They had cultivated an intimate
connection to the museum space, which became a space to escape to, a space to belong to outside of
school and work. Amazingly, museums gave them a space to be alone without judgment, and at the
The Art of Connection: Youth Stories about Life and Meaning 28
same time, provided them comfort in knowing they were not alone. “According to clinical
psychologist Ester Shaler Buchholz, museums may also restore one’s sociability by providing
opportunities for ‘alone time’ or positive solitude that can recalibrate the mind, body and ability to
interact with others (2000)” (Silverman, 2010, p.44). One study found that museum attendance was
linked to relaxation and restoration since it has the capacity to decrease levels of cortisol, which is a
hormone related to stress (Silverman, 2010). Thus, the true impact of bridging youth to museums can
exceed far beyond the measures of this program model because there are many more potential
benefits that are yet to be studied. For this, Developmental Evaluation will also be useful.
Impact on Social Practice Data and Evidence-Based Practice: There is power in art. There is
power in stories. And there is power in evidence. Although currently limited, socially-engaged artists
and institutions share the need to find effective measures and evaluation designs. Therefore, the study
design and evaluation plan imbedded within this project adds to the EBP toolkit for social practice
art. Evidence-based practice can nurture later stage diffusion through the integration of social
workers (or interns) in museums to conduct community and museum needs assessments, facilitate
community mapping of the museum, collaborate with museum boards, funders and staff, and
participate in the Teen Programmers Network where this partnership can be cultivated. The presence
of social workers in art institutions can offer disconnected youth support from a trauma-informed
practitioner outside of school and work who can also link them to necessary resources. An education
team in a highly established large museum (who asked that their names remain anonymous) stated
that one of their current needs is a social worker to support with professional development of youth
needs, evaluation on impact, and consultation on youth program design to ensure they are sensitive to
youth needs and background. They said that social workers would be integral in their museum right
now as they are seeing a growing interest in funders to provide programs for youth (Anonymous,
personal communication, April 17, 2018). With time, social workers can become the norm at art
institutions, which also expands their role.
Overall Impact of the Program: According to the cross-cultural perspective of Brewer and
Gardner (1996), to truly address disconnection, it is essential to pay attention to influential factors
such as the three dimensions of the ‘self’
6
- the personal self, interpersonal self, and the collective
self. They explain that individuals define themselves by their deeply-tied relationships and feelings of
connectedness. This reinforces the significance of this model as it touches upon all three selves
6
The personal self is associated to intimate, personal constructs like physical aspects, intelligence, talents, preferences in
art, music, or readings, and personal likes/dislikes; the interpersonal self is in relation to close networks of friends, family,
neighbors, and coworkers; and the collective self is in relation to larger communities/or groups of individuals comprised of
professionals, ethnic groups, sports teams, and others (Cacioppo & Patrick, 2008)
The Art of Connection: Youth Stories about Life and Meaning 29
FINANCIAL PLAN
during an impressionable age: The personal self through talent and self-expression, the interpersonal
self through new peer relationships, and the collective self through community linkages. By giving
them the opportunity to share their stories, this model empowers youth to develop important social
skills that increase self-efficacy (Pritzker, LaChapelle, and Tatum, 2012), happiness (Hunagund and
Hangal, 2014) and resiliency (Schwarzer and Warner, 2013).
In order to fully grasp the sense of self-confidence the youth can have, imagine a grand opening
of an exhibit where the youth who reside in the community are invited to share their stories through
music, spoken word and art. Youth are empowered to communicate their strengths through their stories.
The next time a community member thinks of disengaged youth, he/she will remember unique
personalized stories, and hopefully his/her approach to and advocacy for youth will be stronger and
more compassionate. Imagine the potential impact of this experience for youth who were once grouped
into a single category – unseen and unnoticed – and now know that their stories are heard and valued.
Imagine the sense of meaning and belonging that acknowledging their experiences can instill.
Key Funding Collaborators
Museum Board: As the museum is the host of the program model, it will be important to
involve its board, which is tied to many different funding sources. There is already a growing interest
in creating youth programs and social impact measures.
Arts for LA Grants: Arts for LA is an advocacy program in Los Angeles that advocates for
policy and legislation changes that promote access to the arts for all communities. Informing them of
evidence-based prototypes involving the arts may be a great place to spark important conversations
around funding. On April 20, 2018, an event was held to advocate for the arts at Los Angeles City
Council, where it was shared that the Arts Development Fee has been revived in Los Angeles, which
has led to “millions of dollars pouring into Los Angeles” to further develop arts opportunities in the
city (City Council Member, public announcement, April 20). A grant proposal is planned.
Philanthropists: Other key change agents are the funders of arts programs, in particular
private donors. “In the U.S., philanthropy is the rain that keeps the tree of artistic life in bud…with
only 6 percent of symphony funds [coming] from local, state, or federal government support”
(Zinsmeister, 2016, p28-29). Board members, celebrity artists and musicians, and thriving businesses
may all have a vested interest. In fact, Rupal Gupta, a trust advisor who works with many
philanthropists, shared that there is a large number of private citizens who make contributions to the
arts community regularly. In some banks, contributions are matched by the bank (R. Gupta, personal
The Art of Connection: Youth Stories about Life and Meaning 30
communication, April 3, 2018). Banks are noted as being 8.1 and 7.7 times more likely to donate to
museums than other sponsors (Chipps, 2018). Gaining a deeper understanding of these partnerships
may be extremely lucrative in securing funding.
Spending Plans
The museum space is ideal for running the artist training and workshops. The current
allocation of funds is through the musuem sponsors and those shared above. A total cost of
$94,675.04 has been accounted for.
Staffing: In terms of budget allocations, the following salaries have been accounted for (+
30% benefits). The roles of the Social Worker and Museum Education Specialist have been
accounted for 2 days a week (annual), as they will be co-partners in this project. Other personnel
such as artist teachers and marketing managers are at a lower percentage because their time will
needed for certain months only. It is important to note that the new media manager and education
specialist are already imbedded within the budgeting structure of the museum.
Equipment: The estimated $1523.58 covers the costs of the following equipment:
Measurement tools, art supplies for workshops, equipment needed for the Voices of Promise gallery
exhibit, such as a projector, screen, digital technology for augmented reality and social media, sound
system and speakers, and tables and chairs.
Supplies: An estimated $1,896.46 has been allocated for the following supplies that will be
needed to create the materials for outreach (promotional fliers), workshop materials (facilitator
manual), training materials for artist teachers (workbooks), campaign materials (30” street pole
banners, print, and social media), among other related materials.
Incentives: A high cost of $5,000 for incentives has been allocated because this will be a big
part of the engagement process since this project involves many collaborative members along with
youth who are disengaged. Rewards for course participation and completion along with refreshments
and refreshment necessities (plates, bowls, and utensils) have been anticipated, including for the
Voices of Promise gallery exhibit. The plan is that this funding will come from in-kind funding
through partners but it serves as a cushion in case of insufficient donations.
Sustainability: Creating online modules for the course along with offering facilitator trainings
will allow for more counselors to provide this training in a more preventative forum. Quantitative
and qualitative data showing program effectiveness and efficiency will be vital to secure this funding
to scale the program.
The Art of Connection: Youth Stories about Life and Meaning 31
COMMUNICATION PLAN
Line-Item Budget
Organization Name: Voices of Promise
Budget Period: July 1, 2018 - June 30, 2019
Revenue Dollar Amount
Museum Funds
(Salaries of Education Specialist/New Media Manager) $32,310.00
Philanthropy $55,365.04
Other Sources (i.e. Grant from Arts for LA) $7,000.00
TOTAL REVENUE $ 94,675.04
Expenses Dollar Amount
Direct Costs
Personnel
Full Time
Annual Salary % FTE
Social Worker $100,000 33% $33,000.00
Artist Teachers/Mentor 1 $52,000.00 2% $1,040.00
Artist Teachers/Mentor 2 $52,000.00 2% $1,040.00
Artist Teachers/Mentor 3 $52,000.00 2% $1,040.00
Museum Education Specialist $72,000.00 33% $23,760.00
Museum New Media and Marking Manager $57,000 15% $8,550.00
$66,350.00
Benefits @30% % of Salaries $19,905.00
Total Personal +Benefits $86,255.00
Operating Costs
Equipment: $1,523.58
Supplies $1,896.46
Incentives for Participation $5,000.00
Total Program Costs $8,420.04
TOTAL DIRECT COSTS $94,675.04
Net Budget: Revenue minus expenses $0
The campaign for this program model will align with an award-winning campaign called Kids
are Tougher than the Streets, created for the youth of one of Chicago’s most dangerous towns
(Anderle, 2017). It will begin by creating a strong emotional message for all stakeholders. The
emotional message will be drawn from the objective of the campaign: to promote community
participation and involvement at the Voices of Gallery exhibit at the museum. With storytelling, music
and art as the foundation of the gallery, all three of these tools can be utilized to gain the attention of
The Art of Connection: Youth Stories about Life and Meaning 32
FORCES OF RESISTANCE AND CHANGE
the community. For this, different types of sources and channels will be used throughout. A campaign
slogan will be determined by the museum team, but their preliminary slogan is: “In My Shoes.”
Launch: As the agency behind the Kids are Tougher than the Streets campaign found, it is
important to launch the campaign early and through different phases to gain different constituencies
and support (Anderle, 2017). For this program model, these phases can be in accordance with the
four phases of implementation of EPIS, each with a different set of campaign materials.
Exploration (gain interest by showing need): Executive summary, social media conversations,
phone calls, campaign promotional video, and campaign slogan identification.
Preparation (gain buy-in): social media posts on Facebook, Instagram, and others; multi-agency
website subscribed emails and notifications, celebrity artists as speakers, and personal networks.
Implementation (gain reach to promote gallery exhibit): Street pole signs with gallery exhibit
dates in high traffic areas surrounding the museum community and others involved in the program;
youth-led; community posters with youth faces and campaign slogan, celebrity artists, NPR/KCRW
radio station announcements; engagement data measures for Voices of Promise, and promotional
video of data and impact.
Sustainment (share outcomes and promote program model): Shared data through conferences,
newsletters, publications, newsletters, and large-scale meetings, program blueprint, and a web-based
toolkit. Through a partnership with the museum, this campaign will be further refined.
Resistance Forces Change Forces
Time needed to secure funding
The lack of buy-in at academic
institutions like school districts
The challenge with outreach as target
population is disengaged
Attrition rate related to high
transiency of target population
Implementation fidelity
Legal and ethical challenges* related
to attaining consent for youth
participation
Museum interest and support
Teen Programmers Network
Arts for LA & National Endowment of Arts
Grants and new funding in Los Angeles
The need for engaging programs for disconnected
youth and the fact that youth are interested in art
LAUSD social workers to retain youth
RE-AIM strategies and measures
Multiple arts partners in Los Angeles
Informed consent and mental health collaborators
*Ethical concerns are significant to note because art and storytelling may trigger traumatic memories for
youth. This reinforces the need for full disclosure, informed consent, and mental health collaborators.
The Art of Connection: Youth Stories about Life and Meaning 33
IMPLICATIONS FOR THE FUTURE
CONCLUSION
The biggest implication for the future is that the social norms relevant to the Voices of
Promise program model will be subverted. By building stronger communities with the support of the
Community-Based Partnership Research, youth will have another resource in their community
outside of work and school where they will not only find engagement, but also resources and support
through the expanded role of the social worker. Interactive spaces for peer connection will also be
created as museums change with communities. In order to achieve these outcomes, the aims to
enhance community awareness and engagement, philanthropic investments for youth programs, and
youth social networks will remain vital because the need for
meaning will continue to grow.
As individuals age, being connected with a community,
having opportunities to give back, and engaging in caregiving
roles matter (Morrow-Howell, Gonzales, Matz-Costa &
Greenfield, 2015; Eisenberger & Cole, 2012); the “attitudes and
motivations for involvement in family and community are not
formed when one reaches older adulthood, but are shaped over
decades (Morrow-Howell, Gonzales, Matz-Costa & Greenfield,
2015, p.8).
By addressing the Grand Challenges of Eradicating Social Isolation and Ensuring the Healthy
Development of All Youth, communities will work together to address many other grand challenges
necessary for the journey into aging.
As social beings, all human beings operate best when they are truly connected with
the love and support of others. This reinforces the critical role that communities play and the
need for interventions that address youth trauma in collaboration with the community. By
collaborating with artists and integrating the values of social work with the benefits of arts,
music and storytelling, social practice art is expected to engage more youth and incite a
greater awareness of the social problems pervasive within their communities. Creative
expression, relationships with peers and mentors, and social exchange with communities
combine to offer youth a menu of life-long skills that promote connectedness as they
become leaders and advocates of their own stores. When youth are not in school and work,
they are in their community; by enhancing collective efficacy, communities can be
“Attitudes and motivations
for involvement in family
and community are not
formed when one reaches
older adulthood, but are
shaped over decades.”
From the network co-leads of the
Social Work Grand Challenge to
Advance Long and Productive
Lives state
The Art of Connection: Youth Stories about Life and Meaning 34
empowered to take a stance for their youth so that when future generations of youth are not
connected to school or work, their communities can open their doors and redirect youth to
the people, institutions, and experiences that are essential to well-being.
“No man is an island - he is a holon…looking inward, sees
himself as a self-contained unique whole, looking outward
as a dependent part. His self-assertive tendency is the
dynamic manifestation of his unique wholeness…the
integrative tendency, expresses his dependence on the larger
whole to which he belongs: his 'part-ness.'”
- Arthur Koestler (Anderson, Carter, & Lowe, 1999)
Attachment A (Side A) – Logic Model
Program: Voices of Promise
Goals: (1) Reduce social isolation (and trauma symptoms) for disengaged youth by enhancing social capital and self-efficacy with social practice art
(2) Increase community awareness and collective efficacy of communities in which large proportions of disengaged youth live through the use of youth stories in community art spaces.
Inputs Activities Outputs Program Outcomes and Impact Implementation Outcomes
What We Invest What We Do Who We Reach
Why this Project?
Short Term Results
Why this Project?
Intermediate Results
Why this Project?
Long Term Results
Strategies Outcomes
Social workers
Disengaged
youth with
ACEs
Artist Teachers
Non-profit
staff/ partners
Museum staff/
partners
Time
Funding
Equipment/
Technology
Research
findings
Community
partners
Community
resources
Link museums
with local non-
profits
Provide youth with
artist mentors to
develop artworks
Artist mentors
teach youth to
share their stories
with the
community
through music and
art
Provide trauma-
informed training
for artist mentors
Coordinate youth-
community
engagement
through an
interactive art
gallery exhibit
Collaborate with
community
partners to co-
design program
Track, analyze &
evaluate data
Disengaged
youth with ACEs
Non-profit and
community
agencies that
serve youth:
YouthSource
Centers,
LAUSD, DCFS,
Juvenile
Probation, etc.
Service providers
(social workers,
mental health
counselors,
educators, etc.)
Arts Community
(art program
board, directors,
founders, etc.)
Community
Stakeholders
Artists
Radio/Media
professionals
Philanthropist
and funders
Increased
engagement of
disengaged youth
Social capital
opportunities for
disengaged youth
Increased access
of mentors for
youth
Decrease youth
trauma
symptoms
Increased
collaboration
with cross-sector
partners (artists,
social workers,
school
administrators,
city officials)
Increased
community
awareness and
involvement
Increased scores
on qualitative and
quantitative
measures (vs.
control group) and
on posttests:
Social capital
Youth self-
efficacy
Collective
efficacy
Decrease in
trauma-based
symptoms
related to youth
with ACEs
Other measures:
Improved youth
attendance rates
Improved social
skills
Enhanced social
practice skills for
youth
Increased scores
on 6 mo. follow-
up posttests
Reduction in
social isolation in
youth
Increased youth
capacity for
social capital
Increase youth
well-being
Decreased
percentages of
youth chronic
absenteeism
Increased
graduation rates
Decreased
dropout rates
Economic/civic
benefits to
society
Increased
participation and
involvement by
community
members
Utilizing the EPIS
Model
Focus Groups
Implementation
Team
CPPR process
with shared
agreements
Educational
materials
Trauma-
informed training
for artist mentors
Incentives at all
levels (focus
groups, artists
training, youth
arts program,
etc.)
Funding
strategies (grants,
etc.)
Utilizing the Re-
AIM Framework
Competence:
Create criteria
for providers
Adherence:
Identify core
elements
Manualize
processes and
strategies for all
phases of
implementation
Collect data from
artists, youth,
and community
(intervention
participants) &
implementers
Use Auditors/
RE-AIM
checklist
Use system for
Sustainment
Measurement
35
The Art of Connection: Youth Stories about Life and Meaning
The Art of Connection: Youth Stories about Life and Meaning
Attachment A (Side B) – Logic Model
Assumptions External Factors
External and internal factors are associated with youth disengagement
Social media and digital technology add to social isolation of youth
Adolescence is marked by a period of biological and physiological challenges that
make youth more susceptible for social isolation
Traditional forms of counseling groups are less sought out by youth and…
Music and arts programs may be more interesting to youth
Youth connection with the community is not frequently measured in traditional non-
profit arts programs
Well-being is not frequently measured in youth within the institutions that are
charged with supporting youth
Socio-economic Status
Health (Physical/Mental)
Foster Home Placement
Homelessness
Involvement with Juvenile Justice System
Teen parenting
Lack of resources or knowledge about accessing resources
Community factors (safety, gang influence, substance abuse, lack of role models and
community efficacy, etc.)
Cultural factors (intergenerational trauma, intersectionality, etc.)
36
The Art of Connection: Youth Stories about Life and Meaning
The Art of Connection: Youth Stories about Life and Meaning 37
Attachment B – RE-AIM Plan and Outcome Measures
PLAN OUTCOMES
REACH
How do I reach
those who need this
intervention?
Determine the target populations for
program
Determine the number of individuals
Determine the number of organizations
that must be reached
Identify the other community members
that want to be reached
Number of youth reached
Demographics of youth reached
Number of organizations reached
Number of youth reached through the program
(include disaggregated data when possible: foster
youth, probation youth, homeless youth, etc.)
Disaggregated data on the community members
who participated (demographics from surveys)
ADOPTION
How do I develop
organizational
support for my
intervention?
ARC strategies and tools
Research-Practice Partnerships Locus for
Learning
Creating a culture of support
Community collaborative, focus groups,
implementation team
Logs and feedback from community
collaborative
Number of individuals (and agencies) who are
involved
Number of collaborators and community
members who provide support and funds
Number of meetings with collaborators
Readiness scales
EFFECTIVENESS
How do I know my intervention
is effective?
Attrition rate
Number of youth who participates in
each workshop
Percentage of youth who completed the
workshop
Pre-posttests (6 month, 1 year follow-up)
Collective Efficacy results
Social Capital scores
Youth Self-efficacy scores
Community and youth feedback
Artists mentor feedback
The costs
Attrition rate
Number of youth who participates in each
workshop
Percentage of youth who completed the
workshop
Pre-posttests (6 month, 1 year follow-up)
Collective Efficacy results
Social Capital scores
Youth Self-efficacy scores
Community and youth feedback
Artists mentor feedback
The costs
IMPLEMENTATION
How do I ensure this
intervention is delivered
properly?
Provider qualifications and competency
level
Evaluation feedback from youth who
participate
Evaluation feedback from the artists (on
artist training and experience with youth
mentorship)
Evaluation feedback from community
participants in grand opening
Determine core elements for adherence
Provider qualifications and competency level
Evaluation feedback from youth who participate
Evaluation feedback from the artists (on artist
training and experience with youth mentorship)
Evaluation feedback from community
participants in grand opening
Number of workshop hours each youth receives
Adherence to core elements (percentage of)
MAINTENANCE
How do I incorporate
this intervention so it’s
delivered over the
long-term?
Funding
Manualize the implementation of the
intervention
Online Toolkit
Implementation Plan
Provider Competence
Identify core elements of program
Staff evaluation forms (Train the Trainer model)
Sustainability Measurement System
RE-AIM Checklist
Number of youth served over time
Number of community members involved
Number of organizations that followed
competence and adherence criteria
Number of organizations reached
Funding received
The Art of Connection: Youth Stories about Life and Meaning 8
Attachment C - Primary Research Participants
Name of
Interviewee, Title
Institution
Competency/
expertise/role
Takeaways
Natalie Patterson,
Artist Teacher
Street Poets
Teaches Poetry
Provides artist mentorship for
Street Poets, which is a non-
profit poetry-based organization
that promotes peace.
Leads poetry and arts-focused
workshops and discussions with
youth in juvenile camps
Youth attendance rates at the
camp were higher on the days
where art lessons were
provided
Art brought students together
Discussions around art allows
for more empathy and
acceptance
Mariela Ajras,
Social Impact
Muralist
Self-
Employed
Received education in
Psychology, Argentina
Worked with youth with
difficult challenges and used
arts and storytelling to nurture
communication skills
Paints murals internationally
Conducts community
assessments
Murals can bring people
together. The vibrant colors
pique people’s interests and
develop a third space for
people to connect beyond
their differences.
Wayne Fernandez,
Former Producer of
Art Galleries
Self-
Employed
Coordinates events
Formerly produced art shows in
Los Angeles
Grew up with a foster dad who
was a famous jazz musician.
Appreciates and frequently
visits art and music venues
All [youth] need is to be
around [art], being exposed to
it…to not be afraid of it.
“The biggest strength that
these youth have is that they
came from nothing.”
Veronica Alvarez,
Director of Special
Programs
Los Angeles
County
Museum of
Art (LACMA)
Previously worked at the Getty
Museum
Works with school districts to
teach art appreciation
Provides mentorship to artist
mentors
Provided an overview of how
museums work, who the
major change agents are, what
youth programs exist at
LACMA, and offered other
arts-based resources and
contacts in the community.
Raul Flores, Artistic
Director at Artworxla
Artworxla
(arts-based
non-profit)
Formerly worked with MOCA
and LACMA
Supports with artistic direction
at current non-profit
Serves as an artist mentor for
youth at ArtworxLA
Museums are beginning to
really want to be involved in
more things than the
collection of art.
Recognized that the arts alone
are not sufficient. They need
other partners like social
workers to ensure that youth
needs are understood.
Fabricio Flores,
Education Program
Manager
Artworxla
(arts-based
non-profit)
Formerly worked with the
Museum of Contemporary Art
(MOCA)
Collaborates with museums
nationally & internationally
The Art of Connection: Youth Stories about Life and Meaning 38
The Art of Connection: Youth Stories about Life and Meaning 8
Name of
Interviewee, Title
Institution
Competency/
expertise/role
Takeaways
Kathryn Primas,
Former Manager of
Transitions &
Outreach
The Bridge for
Youth
(Homeless
Shelter)
Has extensive work experience
with homeless youth
Served as a manager at a
homeless youth shelter
Doctoral candidate working to
change policy impacting youth
who encounter homelessness
Exposing homeless youth to
museums, teaching them how
to understand and appreciate
art, allowing them the
experience to connect with
art, facilitated a long-term
outcome of finding solace and
comfort through museum
spaces.
Holly Gillette, Board
Member
Museum
Educators of
Southern
California
(MESC)
Works with the education
department at LACMA
Serves as the Membership
Engagement board member
Shared the professional
development needs of
museum staff
Offers perspectives of how to
engage museum staff
Hallie Scott,
Education Specialist
Getty Museum
Create youth programs within
the museum
Take workshops into schools
Provides opportunities for youth
to meet other youth to talk about
art
Teaches youth different forms
of art
Working with teens is new for
them; their department has
been around for
approximately one year.
Funding for youth programs is
important
Manny Guardado,
Associate Education
Specialist
Mariel Rowland,
Museum Department
Anonymous,
Youth
Student
Studies theatre
Advocates for more arts
programs for youth
A youth sharing the impact of
arts in her life through all her
challenges
Rupal Gupta,
Trust Advisor
City National
Bank
Received her Masters in
Education
Previously worked as an
Elementary school teacher
Works with bank clients on
trusts, many clients who are art
lovers and donors
People want to know that they
belong to a community that
gives back
Clients donate to things that
are near and dear to their
heart. It is usually a part of
their background. It is part of
their story.
*NOTE: Between August and December 2017, many interviews with directors and founders of non-profit
agencies within the Los Angeles arts community were held, which were vital to the primary research
conducted..
The Art of Connection: Youth Stories about Life and Meaning 39
The Art of Connection: Youth Stories about Life and Meaning 8
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The Art of Connection: Youth Stories about Life and Meaning 46
Abstract (if available)
Abstract
In America, over 5 million youth and young adults between 16 and 24 are disconnected from school and employment—two institutions that are vital for social capital at this age (Lewis & Burd-Sharps, 2014
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Behavioral Health for All Kids
Asset Metadata
Creator
Narsai, Nisha M.
(author)
Core Title
The art of connection: youth stories about life and meaning. Voices of Promise: using social practice art for youth connection
School
Suzanne Dworak-Peck School of Social Work
Degree
Doctor of Social Work
Degree Program
Social Work
Publication Date
02/10/2020
Defense Date
08/03/2018
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
art,art intervention,art model,art project,art spaces,art therapy,Artists,communities,community engagement,connection,deviant,disconnection,disengaged youth,ensure healthy development for all youth,eradicate social isolation,evaluating social practice art,evaluation of socially engaged art,evidence-based practice,Healing,implementation plan,innovation,innovative,integrated art,integrated health,integrated social work,measuring art-based interventions,museums,Music,music therapy,OAI-PMH Harvest,paradigm,resilience,school disengagement,social capital,social change,social exchange,social impact,social isolation,social norms,social practice,Social Work,social work grand challenges,social workers and art,socially engaged art,Storytelling,trauma-informed,virtual reality and art,Voices of Promise,vulnerable,well-being,wellness,youth connection,youth interests,youth stories,youth wellbeing
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Enrile, Annalisa (
committee chair
), Lewis, Jennifer (
committee member
), Manderscheid, Ron (
committee member
)
Creator Email
nnarsai@gmail.com,nnarsai@yahoo.com
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https://doi.org/10.25549/usctheses-c89-267381
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UC11673499
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etd-NarsaiNish-7529.pdf (filename),usctheses-c89-267381 (legacy record id)
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etd-NarsaiNish-7529.pdf
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267381
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Capstone project
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Narsai, Nisha M.
Type
texts
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University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
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The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
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Tags
art intervention
art model
art project
art spaces
art therapy
community engagement
connection
deviant
disconnection
disengaged youth
ensure healthy development for all youth
eradicate social isolation
evaluating social practice art
evaluation of socially engaged art
evidence-based practice
implementation plan
innovation
innovative
integrated art
integrated health
integrated social work
measuring art-based interventions
music therapy
paradigm
resilience
school disengagement
social capital
social change
social exchange
social impact
social isolation
social norms
social practice
social work grand challenges
social workers and art
socially engaged art
trauma-informed
virtual reality and art
Voices of Promise
vulnerable
well-being
wellness
youth connection
youth interests
youth stories
youth wellbeing