ERIC EJ894467: Authoring New Narratives with Youth at the Intersection of the Arts and Justice

2010·0.68 MB·English

by  ERIC

PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 54
Authoring New Narratives with Youth at the Intersection of the Arts and
Justice
By Lalitha Vasudevan, Teachers College; Daniel Stageman, CUNY John Jay; Kristine Rodriguez,
Teachers College; Eric Fernandez; and E. Gabriel Dattatreyan, University of Pennsylvania
ABSTRACT
A theater project situated within an Alternative to Incarceration Program (ATIP), the
Insight Project provided a venue for youth to engage in storytelling and dramatic per-
formance, and allowed for those stories to find diverse and interested audiences. For
the young men and women involved, authoring occurred at multiple instances and in
multiple ways, and through the engagement of multiple cultural artifacts. Traditional
scripts about youth, justice, and education were rewritten, not only through the writ-
ing of two plays, but also within the various types of authoring that were ongoing,
performed, and embodied throughout the Insight Project. In this article, we discuss
the various types of authoring that occurred within the theater project and we em-
bed multimedia performance excerpts in order to elucidate six sites of authoring en-
acted by the participants at critical moments of the process: improvisation; focused
storytelling sessions; composing scripts; rehearsals; performances; and talk-backs.
INTRODUCTION new social bonds with each other and – e.g., characters that were developed,
N arratives are well-documented, performed new cultural identities. Tra- identities and roles that were assumed,
ditional scripts about youth, justice, texts that were written, and stories
cross-cultural phenomena and are
and education were rewritten, not only that were performed. In addition, we
means through which human beings
through the writing of two plays, but also embed performance excerpts into our
make sense of the world, themselves,
within the various types of authoring article in order to elucidate six sites of
and each other (Ochs & Capps, 1996).
that were ongoing, performed, and em- authoring enacted by the participants
Beyond merely the verbal telling of
bodied throughout the Insight Project. at critical moments of the process:
tales, we author ourselves through the
In this article, we explore the ways improvisation; focused storytelling
engagement of cultural artifacts, both
in which, through participation in a sessions; composing scripts; rehears-
objects and symbols, which have been
theater project and the use of dramatic als; performances; and talk-backs.
collectively ascribed with meaning
devices, the young men and women in
(Holland, et al., 1998): a grandmoth-
this project authored themselves. To do
er’s shawl that covers a nightstand and
serves as a constant reminder of the so, we conceptualize authoring in sev- ARTS AND EDUCATION
eral ways. First, we explore the ways in
stories she shared with a curious grand- The arts have the ability to inspire
which storytelling allowed participants
child; the intricate handshake that two the as yet uninspired or render vis-
to perform different characters as they
young men share when they greet one ible the unseen. Consider the follow-
shared narrative accounts throughout
another; a symbol emblazoned on a ing examples of art-full, multimodal
the project. Secondly, we look at the
tee shirt that evokes nods of familiarity possibility: a story that is crafted out
ways in which participants took on dif-
amongst strangers. For the youth in- of an unexpected verbal exchange; a
ferent roles in the project, both official
volved with the Insight Project (Figure landscape painted to visually represent
(e.g., actors, interns) and unofficial
1), a theater project situated within the the feeling of home; or a photo essay of
(e.g., piano player). And thirdly, we
Alternative to Incarceration Program a quiet life that is made loud through
draw on the lens of authoring to look
(ATIP)1, authoring occurred at multiple image. As Maxine Greene (2000)
across the various spaces in which and
instances and in multiple ways and has suggested, expression through
modalities through which meaning was
through the engagement of multiple the arts opens up spaces of possibil-
made (Vasudevan, 2006, 2008). For
cultural artifacts. Participation in the ity, particularly for youth, to engage
the young men and women who par-
project entailed the exploration of new and nurture the work of the imagi-
ticipated in this project, authoring oc-
communicative terrain—the stage, as nation and enact their “deliberative
curred not only during structured ac-
well as the life histories of familiar and agency” in the ways in which they (re)
tivities and interactions, but was also
unfamiliar characters—and new com- write themselves (Dimitriadis & Weis,
embedded in their involvement in this
municative practices, such as public 2001). Within the spaces of education,
space. Throughout this article, we will
performance and improvisation. As a the arts can foreground creativity and
discuss the various types of authoring
result of this multidimensional author- cultivate a more complex understand-
that occurred within the theater project
ing experience, the participants formed ing of relationships between learners
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 55
Figure 1. Covers of the two Insight Project productions
and their environments than current- ality and collaboration can transform the arts, the dialogues that develop
ly evident in schools and even after- the experiences of the adults in the between and about characters “helps
school programs (Gadsden, 2008). setting as well (Soep & Chavez, 2005). these young playwrights consider the
The arts – such as painting, photog- Incorporating arts in education multiple voices and perspectives of the
raphy, theater, musical performance gives students the opportunity to dis- people in the stories they share” (Fish-
– provide spaces for students to push cuss issues that may be ignored or si- er, 2008, p.97). Theater projects can
beyond normal classroom competen- lenced in other conversations (that enable hesitant and less verbally in-
cies and expectations, and to demon- often privilege verbal modes of com- clined participants to engage in so-
strate their expertise using talents and munication) as well as new venues in phisticated social analysis that moves
knowledge gained through personal ex- which to be heard. Leard and Lashua beyond the constraints of solely written
perience. For students whose school- (2006) stress the importance of lis- or spoken modes of communication,
ing experiences have been fraught with tening to young people and providing and in doing so provide opportunities
challenges, arts programs have the po- them with space for discussion. By for youth to assume new roles, rewrite
tential to recast problematic labels such swapping characters, situations, goals, their narratives, and be seen as compe-
as “academic deficiencies” through the and personalities, theater projects in tent narrators of their lives as we wit-
lenses of dignity, self worth, and confi- particular have the ability to “provided nessed in the project discussed here.
dence (Leard & Lashua, 2006). Given real life contexts for learning as the
the invitation for creative engagement, outcome of diverse struggles rather RESEARCH CONTEXT AND METHODS
youth develop “a sense that they are than as the passive reception of infor-
Masks hung on nails along the
controlling their own representation, mation” (Giroux, 2000, p. 127). The
walls of the hallway, and gently
that they are in control of their own collaborative nature of a theater project
placed on wide bookshelves… im-
cultural identity, and are creatively allows teachers, researchers, and stu-
ages of adolescents grinning at base-
shaping and molding language, style, dents to enter into new relationships,
ball games… rules about clothing and
and self into something new” (Dimi- support and challenge existing power
accessories written in marker on a
triadis & Carlson, 2003, p. 21). The dynamics, and explore new spaces of
sheet of white paper, taped to the win-
educative benefits of participation in identity formation (Fisher, 2008; Gal-
dow of the computer lab… brightly
the arts are not solely localized to stu- lagher, 2007; Leard & Lashua, 2006).
painted canvases with images that
dents or youth, and when approached Along with the dialogue that develops
reach out and grab your attention…
pedagogically through a lens of collegi- out of an educational engagement with
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 56
ers who had not prepared something
in advance were asked by the panel to
dramatically retell a story in response
to one of a few prompts. In addition,
each person who auditioned was also
asked to perform a dramatic and inter-
pretive reading of a short piece of text
selected by Dan. After each audition,
the panel offered praise and critical
feedback about the performance. Fol-
lowing the audition process, the In-
sight Project was launched with sixteen
participants, five of whom completed
both phases of the project. All of the
youth who participated in all cycles
of Insight self-identified as Black, Af-
rican American, Hispanic, or Latino.
During the first phase, participants
learned basic acting techniques, such
Figure 2. Images of artifacts that line the main hallway of ATIP as short and long-form improvisa-
tion, and the use of masks and other
A painting by a teacher at ATIP (left); a display indicating three levels of educa- artifacts. They incorporated these
tional class (Literacy Lab, Pre-GED, GED), and student work (right) techniques into skits they performed
at a showcase scheduled at the end of
the first three weeks. For many of the
These and other artifacts (Figure approach to orchestrate its wide array young men in this cycle of Insight, the
2) filled the main hallway of the main of services. The Insight Project is one showcase was their first public perfor-
suite of ATIP, which is located on the of several programs that are available mance. In the audience for this perfor-
sixth floor of a multi-story building for youth participants at ATIP, includ- mance were many of the program staff
filled with legal offices, social service ing an employment and internship members, including case managers and
organizations, and courtrooms; of- program, academically-focused GED teachers, as well as a number of ATIP
fices and classrooms open into this and college preparatory classes, drug participants. From this first phase,
main channel of interaction and activ- and alcohol treatment, counseling, and six participants moved onto the sec-
ity. Two metal detectors and match- arts and media electives. The latter ond phase of the project during which
ing x-ray machines mark the visitor is a program strand that has enjoyed they collaborated with their teachers
entrance, which the youth participants an organizational presence in a vari- and Todd Pate2, a playwright to devise
use to enter the building and make ety of ways throughout ATIP’s history and compose a full-length script that
their way, via elevator, to the sixth in the form of dramatic performances evolved out of the improvised skits. At
floor. It is not uncommon to see young and painting and mixed media classes. the end of the ten weeks of the second
men re-adjusting their belts once they The Insight Project was born out phase, five remaining participants per-
are within the program walls. It is of a collaborative desire between two formed a co-authored play, Bird’s Eye
within the concrete walls and surveil- teachers, Dan and Gabriel, to provide View, for three nights at a profession-
lance-laden environs that ATIP exists. a venue for youth to engage in story- al theater located in New York City’s
ATIP is one of several incarcera- telling and dramatic performance, and theater district in front of a packed
tion alternatives available for court- also for those stories to find diverse audience each night. Following each
involved youth in the New York City, and interested audiences. With finan- performance, the actors participated
ages 17 to 23, and has a legacy of youth cial support garnered from an external in a “talk back” with the audience, for
advocacy and innovation reaching back grant and internal institutional funds, which they sat on stage and engaged in
over 40 years. The youth population at these two teachers piloted this theater reflective dialogue in response to audi-
ATIP mimics the trends of overrepre- initiative in the spring of 2008. In that ence questions and feedback. Shortly
sentation of minority youth in jails and initial cycle, twenty participants were after this inaugural offering of Insight,
detention facilities around the coun- recruited for auditions with the help a second cycle was initiated. Thirteen
try. Approximately 55% of the youth of case managers and other staff. In- youth participated in the second cycle,
are identified as African American, terested youth were asked to prepare a and again five completed the process
40% are identified as Latino, and the piece to perform for a panel of three to and performed the play on stage; one of
remaining 5% are identified as having four staff members, including the proj- the remaining five participants (which
other ethnic and racial backgrounds. ect facilitators. Some recited poems or included two young women), Eric (one
The program uses a case management performed song lyrics, and several oth- of the authors of this piece), had also
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 57
participated in the first cycle and as- sight participants in a variety of ways. to explore instances of authoring that
sumed an additional role as intern in The principal researcher (Lalitha) occurred across key moments of the In-
the second cycle. We discuss his aug- and two graduate research assistants sight Project trajectory. We have iden-
mented role in the methods section be- (Kristine and Melissa Reburiano) par- tified six interrelated dimensions of the
low. For a period of fourteen months ticipated in various stages of documen- Insight Project. The experiences of im-
during 2008-2009, thirty ATIP partici- tation, and whenever possible each as- provisation, focused storytelling, com-
pants were involved with the Insight sumed a role within the project—e.g., posing scenes and scripts, rehearsals,
Project, during which time they pro- as a critical audience member during performing for multiple audiences, and
duced two plays, held a total of twelve rehearsals, helping to produce pro- talkbacks comprise the interrelated na-
performances, and shared their sto- grams for the performances, etc. The ture of the Insight Project. We focus on
ries with over 500 audience members. following data were collected: partici- each key moment of Insight through
Bird’s Eye View is a story that fo- pant observation field notes, multiple the lens of authoring, and consider
cuses on the character of David, a audio recorded interviews with project the multiple ways in which author-
young man whose family circumstanc- participants, participant surveys (for ing occurred across these dimensions.
es have put him in an unfortunate pre- the first cycle), audience surveys, audio We framed our inquiry along the
dicament, because of which he must recordings of the talk-backs, and a va- following questions: What are the sites
make a difficult decision that comes riety of artifacts including video of un- of authoring within Insight? How
with significant consequences. This scripted moments of group singing and do Insight participants author them-
play is characterized by family ties, so- audio recordings of group dinner con- selves into and within this storytell-
cial allegiances, cultural assumptions, versations. The interviews and talk- ing space? What narrative practices
humor, and the proverbial fork-in-the- backs were transcribed and coded for do they engage when authoring them-
road decisions that we all confront. emerging patterns and then analyzed selves? What narratives are authored
The story follows a linear progression for themes. We deductively identified and produced? Here, we address the
through David’s life after he returns instances of authoring based on our first two questions as we present and
from serving a one-year sentence in theoretical framing of the concept; we perform a multi-faceted account of
a state prison and learns that his girl- also explored the data inductively to at- authoring within the Insight Project.
friend is pregnant. Brazil is a pastiche tend to the emic concepts surrounding
of imagery and narrative in which mul- the participants’ sense-making about MULTIPLE SITES OF AUTHORING
tiple stories of desire converge through Insight. Field notes and surveys were
There are six interrelated dimen-
dialogue, monologues, and musings, similarly coded for emergent patterns
sions to the Insight Project, and within
similar to the popular film Crash. This and the team of researchers and teach-
each are opportunities for authoring.
play contrasts with Bird’s Eye View in ers met together regularly to reflect
Our framing of authoring builds on
content as well as structure; however, on the process and to iteratively ana-
an understanding of the self as a site
the interconnected narratives retained lyze and discuss emerging themes, as
of authoring (Holland, Lachiotte Jr.,
the tenor of family bonds, difficult per- well. Together, these data were used
Skinner, & Cain, 1998), to include a
sonal decisions, and the desire to re- to develop portraits of Insight partici-
perspective of the self as both the can-
imagine new possibilities for the future. pants and to craft a narrative about the
vas for and the instrument of author-
These productions and the lived ex- broader impact of the project on ATIP,
ing. In what follows, we look across
perience of the theater project posed and the various audiences. Collec-
the six dimensions to present instances
a series of compelling stories for us to tively, these accounts comprise a set of
of authoring and narrative production
document. We approached this re- narratives about the types of authoring
within improvisation, storytelling, the
search as a participatory project that that emerged within the project space.
composing of scenes and scripts, re-
involved teachers, youth, and research- This documentation continued in
hearsals, performances, and talkbacks.
ers whose roles – in the project as well the second cycle and, in addition, in-
We present our perspectives through
as the documentation of the project volved one of the initial project par-
a collection of coauthored voices, ar-
– evolved over time. In this way, the ticipants (Eric) as a project intern and
tifacts, and (recorded) performances.
living and documentation of the proj- research assistant. Both he and the
ect shared a dialectic relationship. remaining teacher (Dan) along with
Improvisation
the researcher (Lalitha), contributed
Methods of Documentation to a project blog where reflective notes Improvisation was the core tool
about each session were posted on a of the Insight Project’s work. In this
The documentation of this proj-
regular basis. A similar process of iden- article, we use this term interchange-
ect was informed by standard ethno-
tifying patterns and thematic strands ably with the term “improv,” which
graphic methods (Emerson, Fretz, &
was applied to the research blog, with was the preferred colloquialism within
Shaw, 1995), and by principles of per-
one notable difference: Eric was also the Insight Project. The improv was
formance ethnography (Denzin, 2003),
involved in this cycle of analysis. In both a noun and a verb; that is, im-
in order to effectively document the au-
this article, we draw on these sources provs functioned as spaces and also
thoring that was embodied by the In-
of data and our multilayered narratives as practices of authoring that served
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 58
multiple purposes. The engagement of deeply invested in ‘the code of to find the tools to help them
improvs in the project discussed here the street,’ (Anderson, 1999) reach their goals, to create new
was framed theoretically by the work which prescribes violence as dimensions for their relation-
of Boal (2002) and Johnstone (1981), the ultimate solution to intrac- ships, to ‘feel each other out,’
both of whom encourage the use of table conflicts between rivals or and discover where ‘give and
improvisation as a technique to fos- strangers. Setting an improvi- take’ are possible. Given the in-
ter spontaneity and creativity toward sation in a public space, with timate spaces and relationships
meaningful dramatic performance. protagonists who have little or discussed above, a problem re-
Initially, improvs were important no established previous rela- garding living arrangements
for allowing participants to enter into tionship, will often lead to an can often accomplish this goal:
the realm of theater in relatively non- improv that is brief, the action the sister, who owns the apart-
threatening ways. Participants are fa- consisting of surface-level pos- ment, is getting married, and
miliarized with a number of improvisa- turing that leads one character her fiancé is moving in. She
tional forms in the initial three weeks or another to employ simulated needs her brother, who recent-
of classes that begin each Insight cycle, violence, or even walk offstage ly lost his job and home and is
with considerable time dedicated to announcing his intention to “go sleeping on her couch, to move
what we have come to call ‘long form’ to my car and grab the ratchet out. The brother, of course, has
improv. ‘Long form’ improv is charac- [gun].” While such resolutions nowhere else to go, but brother
terized by a realistic scenario in which will occasionally draw laughs and fiancé do not get along.
two or more protagonists work to solve from the audience, and produce Often, as a facilitator, one can
a problem – essentially, to achieve some moments of physical com- serve the improvisation by mo-
their individual goals within a situa- edy, they require little creative mentarily halting the action
tion of conflict. They can be humor- thinking, and rarely reach the and adding new layers to the
ous, dramatic, or equal parts of each. depth and complexity that long conflict as the scene develops.
They can, at times, be intolerably bor- form improvs seek. As such, 3. Give the protagonists the op-
ing. This form is the primary method setting improvisations in inti- portunity to subvert obvious
of collective composition that partici- mate spaces (a shared home, for status/power dynamics. Pow-
pants utilize during the ‘devising’ seg- instance) and with protagonists er and status are levers of con-
ment of the project cycle, which occurs who are intimates (siblings, flict resolution. It is not uncom-
during the second phase of each cycle. best friends, ‘homies’ [members mon for young people to have
Thus, ‘long form’ improvisations of the same ‘set,’ or local sub- fairly simplistic notions about
are essential to the Insight Project not division of a gang]) generally the nature of power and status.
simply for their creative value, but precludes violence, increasing Among the youth at ATIP, this
also as simulations of real life prob- the likelihood that the problem simplified view sometimes was
lem solving and decision-making, solving will take place through seen at extreme levels. Many
and the potential for discovering new dialogue and negotiation. ATIP participants have served
modes of conflict resolution. Both in 2. Assign the protagonists goals significant sentences in juvenile
this respect, and as entertainment, that initially seem mutually ex- institutions; most entered the
long form improvs either work or they clusive. This precludes the easy program directly from a pre-
don’t. We have identified a set of pa- solution, an improvisational trial stay (of varying length)
rameters for improvisations that work pitfall that is in many respects at Rikers Island (New York’s
which are useful, engaging, entertain- the opposite of the violent res- single, mammoth city jail). In
ing, that produce that unique frisson olution, but produces largely many of these facilities, the
in the audience that can only come the same effect: a brief improv, social reality (often reinforced
from watching actors discover some- with predictable, surface-level by institutional culture) is an
thing new and finding joy in it. These dialogue that leads to a quick intensely stratified hierarchy
parameters, however, cannot be set agreement and leaves the pro- based on individual physical
down in advance of an improv session tagonists with nowhere to go prowess, verbal combative-
as predetermined rules; rather, they but offstage. While perhaps not ness, posturing, and frequent
must be built in to the content of each as visibly negative as the vio- recourse to violence. ATIP is
improvisation on an individual basis. lent ending, it is rarely a useful widely seen by new participants
1. Set relationships that preclude learning experience for the par- as an extension of this environ-
easy recourse to violence. ticipants or entertaining for the ment, and while an individual’s
While this is a useful param- audience. If, on the other hand, view will likely evolve through-
eter when facilitating impro- the facilitator presents the pro- out the six months of his sen-
visations with any group, it is tagonists with a problem that is tence, even after the threat of
especially important for ATIP seemingly intractable (or nearly violence has been removed, he
clients, many of whom are so), they are forced to dig deep still has to move through pub-
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 59
lic spaces where the constant ly. They are also far less specific to the As these examples suggest, improvs
influx of new clients can neces- needs of a young offender population functioned as spaces that provide mul-
sitate ongoing posturing. This than they might seem initially. The ner- tiple opportunities for authoring in
posturing does not disappear vousness and excitement of taking the different ways. The long-form improv
when a client takes the stage. stage and the pressures of an audience afforded time and space to tease out
Because of the explicit pres- tend to have a similar effect on indi- relationships between emergent char-
ence of an audience of peers, a viduals from diverse backgrounds and acters, and, perhaps more importantly,
familiar swagger in both physi- with varied life experiences: an overre- the potential narratives that the sce-
cality and language was still liance on physical comedy or clowning; narios presented. The first scenario, in
somewhat evident when the a hesitance to take onstage actions and which two alpha males are vying to get
young men initially joined the decisions beyond a surface depth; a re- into a club, more easily lends itself to
theater project. The process liance on stereotypical posturing and a physical altercation, with little room
for productively subverting simplistic notions of power or status. to maneuver further. In the second im-
this posturing (and preventing Applying these parameters can turn prov, featuring two brothers and their
an improv from becoming the what might otherwise be an entertain- tensions around money, there is more
proverbial ‘pissing contest’) can ing diversion into a learning experience energy and possibility for how the story
be accomplished by presenting and an indispensable creative tool. can proceed as opposed to the first sce-
one protagonist with some vari- During the Ethnography in Edu- nario. Such authoring situations were
ety of visible weakness (illness, cation Research Forum (2009), two not only illustrative of powerful teach-
injury, penury are all viable), Insight Participants, Eric and Chris ing moments, but also laid the ground-
but access to one or more ‘invis- performed the following scenes, which work for more complex relationships
ible’ tools of power (guilt, pity, were guided by varying parameters giv- and narrative building that was nec-
moral right, etc.). Successful en to the actors by Dan. These improvs essary to compose scenes and scripts.
use of these tools will surprise illustrate the parameters laid out above.
participants and audience alike We include the audio from these scenes, Storytelling
– and it is this surprise that and accompanying transcripts, below.
In addition to building from improvs
is the hallmark of a success-
to develop characters and storylines,
ful, engaging, educational, and Click here for the transcript and audio
each cycle of Insight included a focused
entertaining improvisation. for Improv 1: Short Form
storytelling session, which gave rise to
While none of these parameters
many of the scenes that appeared in
guarantees productive improv work, Click here for transcript and audio for
the final scripts. The theme for the first
they certainly make it much more like- Improv 2: Long Form
cycle emerged as “honor” and included
an activity where Dan asked partici-
pants to think about “codes/rules you
live by.” Those initial codes evolved
Performance Interlude 1 into a story about David, a young man
who, when he learns that his girlfriend
Bird’s Eye View – Scene 4: Developing the character arc for Slim Bag is pregnant and that he and his increas-
and Big Baby, who show David the ropes of hustling on their corner. ingly mentally unstable uncle may be
evicted unless they pay back due rent,
Click here for Bird’s Eye View, Scene 4 resorts to dealing drugs. The story
does not follow an obvious trajectory,
Brazil, Scene 6: In this scene between T and C-Roc, we see that C- but rather illustrates a tale of nego-
Roc has alienated himself to the extent that he doesn’t receive any tiation, difficult choices, and family.
family visitors; only those who want something from him. With T, The theme for the second cycle was
there also exists genuine friendship; however, the “inmate culture” “desire” and was explored through
leads C-Roc to be skeptical of T’s motives. Yet they are friends. collective visualization of that word.
To illustrate this authoring site, we
(Note: The audio differs slightly from the printed script, as actors regu- describe the threads of stories that
larly improvised lines, while still staying true to the spirit of scene and main- emerged within a single storytelling
taining storyline authenticity. The audio clip inserted here is from one session focused on “desire,” in which
of the two scenes from Brazil that were performed during the presenta- participants were seated in a circle in
tion at the Ethnography Forum 2009, and which feature Eric and Chris. one of the classrooms at ATIP, shared
In this scene, Chris plays C-Roc, Eric plays T, and Gabriel plays Marcus.) personal stories, and practiced ac-
tive listening, which, for some, led to
Click here for transcript and audio of Brazil, Scene 6 self-revelations. During this focused
storytelling session, Dan asked par-
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 60
ticipants to visualize a magical box that of humorous interpretation. Out of mance, Dan and Gabriel employed a
contained whatever they desired most these initial visualizations and collec- variety of dramatic techniques and
in the world. The process began with tive storytelling moments emerged pedagogical scaffolds throughout the
each person describing what they ‘saw’ the main ideas that would serve as the process. During improvisations and
in the box. Dan pressed their initial de- connective tissue across each play. In character play, participants’ home
scriptions by asking them questions in the next section, we describe the pro- and community lives and interests
order to broaden the inquiry. As par- cess of moving from a session like were engaged through the framing of
ticipants shared their visualizations, this to how scenes and eventually a prompts that invited them to draw on
the others in the group also responded script were composed in this project. personal experiences, make connec-
and engaged the objects in the imag- tions with one another, and display
ined box through additional questions Composing Scenes and Scripts expertise about their own lived narra-
and comments. Participants’ respons- tives. These improvs continued into
The Insight Project writing process
es to this visualization prompt ulti- the second phase of the Insight process
was collaborative and iterative in na-
mately became the core ideas in Brazil. and also included props such as masks
ture, and was initiated during the ini-
For Kareem, the box held Brazil, (Figure 3) that allowed some youth to
tial improvs and focused storytelling
the country, where he imagined a life feel more comfortable when perform-
session in which characters and the
free from his current sources of stress ing in front of others for the first time.
broad strokes of a storyline began to
and instead focused on enjoyment When asked about this performance
develop. The movement from impro-
and partying. Kareem portrayed the device during one of the talkbacks,
vising ideas and dialogue to drafting
character Kez the Don in Brazil and Clarence, one of the participants, who
lines to acting out scenes to compos-
as Kez he delivers a monologue about played a “masked” character in Bird’s
ing pieces of the script remained fluid
being a gang leader who desires a life Eye View, said that the masks “helped
for most of the process. Todd shared
of solitude that was free from the pres- [the actors] to hide the person on the in-
drafts of the in-progress scripts with
sures he felt from various parts of his side and bring out more the character”
the actors and other facilitators and in-
life; much of Kareem’s dialogue in they were playing (Talkback, 07.29.08).
corporated their feedback as they “tried
this scene was directly influenced by This same young man also benefited
on” the lines in character in order to
his narration during the visualization from having a space to showcase some
revise the script. At several points
session. After Kareem shared, Dan of his playful talents. In Bird’s Eye
along the way, Eric, Jay, Clarence,
probed his response by asking what it View, he played Slim Bag, a drug dealer
and the other participants inserted
would take for Brazil to become a real- who has staked territory with his part-
opinions, crafted storylines, suggested
ity. Before he could answer, Terrence, ner in the drug selling game, Big Baby.
and created characters, and assessed
another participant, expressed a desire Clarence displayed great comedic facil-
the authenticity of the stories that the
for “quiet,” and wanting to wake up to ity and humor during the initial Birds
group was striving to communicate.
a peaceful setting one morning. Todd, Eye View improvs. He did not merely
For most of the Insight participants,
in his role as the playwright and active read lines that were drafted on the
acting was an unfamiliar terrain. To
participant and co-facilitator of the In- printed page; he became Slim Bag and
ease the transition into public perfor-
sight Project, connected this desire for
quiet with Kareem’s description of an
idealized life in Brazil, and extended
an initially social purpose (e.g., party-
ing) to include a more internal desire
for escape. For Ted, in the box was
his mother who abandoned him in in-
fancy. He was told by his father that
she was dead, and only recently did he
learn that she might possibly still be
alive. This relationship and personal
experience gave rise to the character
of Shelley in Brazil, a recovering drug
addict who was searching for her son,
Max, after many years of being apart
from him. Unlike Birds Eye View,
which drew more on the improvs and
contained several moments of humor
throughout the narrative, Brazil was
Figure 3. Insight participants served as the models for the
full of stories that were deeply con-
mask molds, which they also helped to craft out of modeling
nected to the participants’ identities
clay.
and histories were not as generative
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 61
crafted a character with great physi- who wrote and performed music and each express doubt and reflexivity as
cal agility, enviable comic timing, and who shared this background with the they consider past actions and future
emotional depth. These proclivities facilitators during his musical audition decisions. The crafting of the script
were incorporated into the character he for Insight. This exchange received and individual characters’ decisions
began to cultivate during improvs and loud applause each time the scene were the subject of ongoing discussion,
ultimately performed on stage. Thus, was performed, and gave the actors a which included questions about how
Clarence’s character, Slim Bag/Law- chance to demonstrate their expertise closely they reflected the lived experi-
rence, was the one to flip around on in the practices of rhyming and rap- ences and choices of the Insight par-
the ground, occasionally break out into ping. In addition, by incorporating ar- ticipants. As we describe next, it was
dance, and provide much of the comic tistic performances into the dramatic during the rehearsals that these scenes
relief for a play laden with heavy tropes. repertoires of these characters, the and identities became further refined
Another outcome of this dynamic script added depth to characters who through critical and collective dialogue.
composing space was the addition of might otherwise be dismissed as one-
a musical dimension to the character dimensional archetypes (e.g., “mid- Rehearsals
of Big Baby/Maurice, developed and level hustler” or “newly paroled”).
Rehearsals were an integral part of
portrayed by Eric, who had performed Both of these scenes include sa-
the authoring that occurred within In-
and written songs for a hip hop group lient elements that the participants
sight. Beginning with the first phase,
with whom he had performed in years were aiming to convey about their
where the larger group of participants
past. As Big Baby, Eric has a rhyming own lived experiences to the audi-
learned acting techniques, the concept
scene with Jay, another participant ence. Slim Bag, Big Baby, and Kez
of rehearsal opened up opportuni-
ties for collective and critical reflec-
tion on the acting form as well as the
content being storied. Participants,
Performance Interlude 2
with guidance from their facilitators,
used this space to bring characters to
Bird’s Eye View, Scene 6. In this scene, near the end of the play, Slim Bag
life. They tried on voices and postures,
and Big Baby (more specifically, their alter egos Lawrence and Maurice)
and explored motivations by react-
face a difficult decision: whether or not to carry out direct orders from J-
ing to one another or in response to
Dub. The MC provides some additional framing in the middle of the scene.
questions by Dan, Gabriel, or Eric (in
his capacity as co-facilitator in the sec-
ond and third cycle) who sometimes
interrupted rehearsal performances
to ask questions intended to evoke
reflections, “What are you [as your
character] thinking right now? What
has your character just experienced?”
Rehearsals were also spaces where
teaching artists became more involved
with the project, and offered feedback
about the delivery of lines and blocking
Click here for Bird’s Eye View, Scene 6.
scenes. These interactions were not
solely about dramatic performance and
Brazil, Scene 10. In the monologue that Kez delivers near the end
techniques. Todd Pate, a playwright
of the play, he reflects on recent events and a desire for the future.
and actor, was a teaching artist who
Note: This performance was recorded during the presentation at
was intimately involved in the crafting
the Ethnography Forum 2009. In it, Eric plays the role of Kez, a
of the script. He attended every devis-
character he played during the opening performance on Decem-
ing session and participated as an ac-
ber 16, 2008. During that debut performance of Brazil, Eric played
tor, audience, and critical listener who
three different characters to fill in for a missing cast member. Of
would return to subsequent rehearsals
the experience, Eric noted the following on the research blog:
with pages of dialogue written down.
The first night i got the chance to play the three separate roles
These scenes would be based on the
of Max, T, and Kez the Don. What a rush!! I had a bunch of run-
improvs and character discussions
ning around to do. Transitioning from scene to scene. I was
that had occurred previously. The
running up and down stairs, in and out of doors, and from cos-
young men and women, whose words
tume to costume. BUT I LOVED IT!! (Blog entry, 12.18.2008)
and stories were depicted in the pages
Todd scripted, assumed new owner-
Click here for transcript and audio for Brazil, Scene 10.
ship over these characters in the re-
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 62
hearsal space. As they read their words sight project in different ways, the en- days and hours leading up to the pub-
in printed form, the youth considered gagement with audiences at various lic performances, their questions and
realities different from their own. They performances presented youth with the concerns ranged from the practical to
questioned whether their characters opportunities of becoming known to epistemological: Would they remem-
would use certain language or make multiple publics. In this section, we fo- ber their lines? How would their peers
certain decisions—whether or not to cus on the performances that followed and family members receive them as
retaliate after an attack, how to handle the initial showcase at the end of the actors? Had they established all of the
unexpected family changes, etc. Using first three weeks of each cycle. Thus, necessary scene transitions and block-
critical dialogue while blocking (stag- we understand performances meta- ing? What did it mean to share these
ing) scenes, Dan would push the actors phorically—as embodied enactments stories with a diverse audience? Could
to consider their characters’ histories, of identities acts of learning (Hubard, they do this? What could they gain by
kinship networks, intentions, and alle- 2007) that are constantly occurring and performing? What would they lose?
giances. Rehearsals, therefore, became shifting—and also as situated events Were they the storytellers? The sto-
spaces for the youth to re-imagine the that involve known and unknown audi- ried? The translators? And what (ac-
script they would perform on stage, as ences. Throughout the Insight Project, tions) would come of this storytelling?
well as spaces within which to rehearse the notion of “audience” was a consis- There were several public perfor-
and re-script their own life narratives. tent presence to which, both, facilita- mances embedded within each cycle of
In his research blog, Eric described tors and participants, alike, continued the Insight Project and they varied in
the rehearsals and the devising process to refer. During early devising stages of audience make-up and purpose. Some
as the key experiences that helped “to improvisation or composing scenes and performances were scheduled for the
secure a connection” between the par- scripts, the upcoming performances Insight participants to get feedback
ticipants and the process. Listening and accompanying (possible) audienc- during the script writing process. The
and being heard, and subsequently, es were considered as ideas and imag- ongoing development of the script and
having the opportunity to try on and inings moved into drafts of the script. many of the other sites of authoring fo-
critically perform various roles were For most of the Insight participants, cused on the experiences and contribu-
consistent dimensions of the rehearsal performing in front of an audience of tions of Insight participants, and thus
space. Chris, for example, had a vis- strangers posed both a possibility and were relatively free from the input of
ceral reaction to his costume during an a threat. The possibility lay in devel- people outside of the Insight process.
early dress rehearsal for Brazil. The oping and succeeding at a new craft, In addition to the showcases that con-
character he was portraying, C-Roc, and being seen as competent and suc- cluded the first phase of each cycle, the
was facing life in prison and although cessful. Reflecting on his performance group held open rehearsals for select
Chris, himself, had not been incarcer- as C-Roc in Brazil, Chris described audiences including ATIP staff and
ated in a state prison, the bright orange his state of mind this way, “I felt like younger adolescents (ages 9-16) from
jumpsuit evoked feelings of disgust and I really, I could do it, like if that was nearby alternative to detention (ATD)
a renewed conviction to “stay out of something that I really wanted to do programs. These performances were
there!” Chris’s portrayal of C-Roc—the and I put my mind to it and I could do opportunities for actors and facilita-
hesitant timbre of his voice, hunched it” (Interview, 1.29.09). Chris was ini- tors to share their in-process script, try
posture—was filled with solemnity, tially reluctant to participate in the In- out ideas and solicit feedback (in the
which mirrored the Chris’s own ambiv- sight Project, and had to be convinced form of an audience survey and talk-
alence about his past and the future he to audition by his case manager. Al- backs) in order to refine storylines and
faced. This somber attitude contrasted though he liked to “try new things,” he script for subsequent performances.
significantly with the playful side of was skeptical of joining a venture with For the ATIP staff members, the open
Chris that emerged during rehearsals as which he was not entirely familiar. Ul- rehearsal afforded an opportunity
he and several of the other participants timately, Chris viewed his involvement to see the youth, who usually occupy
would break into song together. Like in Insight through the prism of pos- classrooms or offices in their assigned
Chris, other participants also used re- sibility, a feeling that was mediated in roles as “student” or “client,” cast in
hearsals to experiment with the charac- large part by the accolades he received a different light. The open rehearsal
ters they had scripted. And, in explicit about his performance across multiple for Bird’s Eye View, for instance, took
and also in subtle ways, the young men venues. However, his early hesitations place on stage at the same building
and women of Insight revealed various about joining the group were charac- where the final performances were held
aspects of their multiple selves within teristic of participants’ reactions to later. Framed by a professional stage
this collectively constructed space. feeling vulnerable in unfamiliar con- in a downtown setting, and perform-
texts and situations. While the stories ing scenes with passion and commit-
Performances that anchor Bird’s Eye View and Brazil ment, the youth began to be seen by
were not unfamiliar to the youth, the the adults with whom they interacted
Whereas the rehearsal space pro-
medium of performance – orchestrat- daily as actors and as engaged partici-
vided opportunities for youth to write
ed delivery versus a lived enactment pants. This kind of re-authoring by the
themselves into the script and the In-
– caused some initial concerns. In the youth also gave teachers and case man-
PERSPECTIVES ON URBAN EDUCATION SUMMER 2010 | PAGE 63
agers a better appreciation for the im- ticularly in the scene where they de- ings, teacher shortages, and the per-
pact of the Insight Project on the lives cide to run away instead of shooting sistent presence of high-stakes testing
of participants. One of the key modes their childhood friend, David. What culture that threatens to extinguish the
of engagement with audiences was did the mask allow these characters creative fire of too many teachers. As
the talkback, which is described next. to be? What happened when they re- schools and other educational institu-
moved their masks and connected tions continue to experience fiscal con-
Talkbacks with each other and David using their straints and are forced to make tough
given names? In this interpretive role, choices about what kind of educational
The process of performing for mul-
the participants guided the audience programming to keep or eliminate,
tiple audiences was routinely followed
through an interactive dialogue that too often the arts are marginalized as
up with a semi-structured talkback in
offered a re-reading and situated un- secondary (Gadsden, 2008), whereas,
which the entire cast (and occasionally
derstanding of the stories and char- the possibilities for critical dialogue,
the facilitators and teaching artists)
acters that they had just performed. self reflection, and discursive free-
sat on stage and responded to ques-
Questions from the audience varied. dom that arts allow are perhaps most
tions from the audience. This process
The following is a sampling of the ques- urgent in what Gallagher (2007) calls
builds on the ongoing forms of call and
tions, which are included here to sug- “dangerous times” in which measur-
response that were embedded through-
gest the diversity of positionalities that able outcomes are privileged in educa-
out the improvs, during which some au-
Insight participants were called upon tional discourses. The Insight Project
dience were always present. Talkbacks,
to assume: Would you feel comfortable was more than an arts-based initiative
however, added an important element
doing this play in front of your friends which allowed participants to compose
to the overall Insight experience: that
or your peers in your neighborhood? and perform stories for audiences. In-
of interacting with not only known, but
What was [the writing process] like for sight was a space of profound reflec-
also unknown audiences. As sites of au-
you? How do you plan to use your expe- tion, ongoing critical dialogue, and
thoring, talkbacks allowed interaction
rience here in your real life? Where did collaboration. These qualities are not
between Insight participants and audi-
the masks’ personalities come from? unique to Insight or to arts-inspired
ences; allowed the participants/actors
How did you guys like working togeth- spaces, alone. What appears more
to assume authority over the broader
er? Considering the things you [have possible within such spaces, however,
process as they engaged the questions
gone] through in your lifetime before are opportunities to foreground the
and feedback from the audience; and
you reached this point, would you ever “critical capacities” (Kinloch, 2009,
offered a space where the young could
have thought you would be up on this p. 334) of youth that may be over-
author identities as actors and writers.
stage right now? The questions from looked, dismissed, or squeezed out of
The talkback was a unique space
the audiences also allowed the youth routine curricular planning in schools.
where participants interacted with pre-
to understand how their performances Clay masks that were handcrafted
dominantly unknown audiences not
were being “read” and which aspects of and used to support character devel-
as characters, but as themselves. This
the story and characters resonated with opment, spontaneous musical perfor-
was especially significant for youth who
the audiences. In these ways, talkbacks mances, and an article of clothing that
previously had little experience with
were a manifestation of the original de- evoked broader commitments to one’s
this type of performance, and whose
sire Dan and Gabriel had for this work: personal journey—were all artifacts
lives continue to be storied by others.
to make the stories of youth at ATIP that aided the multifaceted perfor-
In the space of the talkbacks they were
accessible to audiences who may be ei- mances described above. The young
able to portray themselves outside of
ther unfamiliar with or have a glossed men and women of Insight, whose in-
the stereotypes and familiar expecta-
understanding of court-involved youth. stitutional labels framed them within
tions of posturing that followed them
As they sat together on the stage and the problematic discourses of risk and
across contexts. In addition to reflect-
engaged in dialogue with known and remediation, were invited to author
ing on their experience and responding
unknown faces in the crowds facing themselves in ways that may not have
to the questions offered by the audi-
them, facilitators and youth partici- been welcome in other social spaces
ence, participants continued to share
pants wove a new tale of justice that through which they moved, includ-
stories and explore a variety of themes.
was made possible through the arts. ing schools, homes, and community
During one talkback, the partici-
contexts. Through their storytelling,
pants collectively explored a ques-
CREATING SOCIALLY JUST SPACES they claimed identities beyond familiar
tion about knowing the “difference
dyads—“urban” and “youth”, “black”
between right and wrong,” by push- THROUGHT THE ARTS
and “latino”, “incarcerated” and “drop-
ing each other to consider in greater
The arts in education are not, nor out”—while simultaneously complicat-
depth “what it means to be soft” (Talk
should they be approached as a pana- ing the meanings about these terms.
back, 7.29.2008). Both instances sur-
cea for the many challenges faced by They invited the audience members
rounding the concept of “soft” focused
schools. Urban schools, in particular, with whom they engaged to appreciate
on the role of the masks and the char-
must contend with highly overcrowded them and their storied performanc-
acters of Slim Bag and Big Baby, par-
classrooms, under-resourced build- es as nuanced, critical, intentional,