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As a high school music and drama teacher for more than two decades, I saw firsthand how involvement in arts programs became a lifeline for many students, providing them a sense of belonging, giving them a creative outlet to process difficult emotions, connecting them with caring, consistent adults, and offering them a pro-social activity in which to participate during after-school hours. Because I was already volunteering with Crosswalk, a faith-based organization I had co-founded in the 90’s to work with youth inside juvenile detention facilities, we organized and launched a pilot called Common Ground to take the arts behind the razor wire in 2007. Guest artists were brought in regularly for six to eight weeks to teach classes in dance, drama, music, and visual art, culminating with a performance and art gallery to which parents, state officials, facility staff, and non-participating youth were invited. The concept of ARTreach 180 was born as a natural extension of that effort after two years of program evaluation indicated positive results across the board. It was during those two years that we also began researching evidence-based programs to analyze and compare prevention vs. intervention strategies. It soon became clear that since our intervention program had seen significant results with youth who were already incarcerated, it was likely that a prevention program with youth in the community who were on probation or considered “at risk” would yield similar results and reduce or eliminate their involvement in future delinquent behavior.

The pilot of the ARTreach 180 program took place in 2010 at Patrick Henry Academy, in Stockbridge, Georgia, targeting students ages 13-17 who were referred by teachers, school social workers, counselors, or juvenile court. This site was chosen because as the alternative school in the county, it offered no after-school activities for students who had been expelled from their regular schools. With more than 75% of juvenile crime and victimization occurring statistically between 3:00 p.m. and 7:00 p.m. on schooldays, it only made sense to fill that gap. With a growing staff of paid professionals and trained volunteers in three locations, ARTreach 180 continues today, meeting twice a week from 3:30 to 6:30 pm to provide a safe space for teens to belong in a pro-social environment, to share their struggles, to learn new skills in the arts, and to embrace a new vision for their futures, all built on a foundation of deep, authentic relationships.

After ten years in the trenches with adolescents, we can unequivocally affirm our original theory of change as outcomes from the program have been significant. More than 94% of our students self-report that they learn to resolve conflicts and express their emotions more appropriately than when they first began the program, and the recidivism rate for our youth on probation is less than 7% compared to the national average of more than 50% coming out of lock-up. The cost for each youth to participate in the program in our county for ONE SCHOOL YEAR is less than $1500 as compared to the average cost of $309.21 PER DAY in our state’s detention facilities, almost $113,000 annually.* More impact at less than 2% of the cost tends to be a game-changer with policymakers and corporate or foundation sponsors.

The "Why Team-Building?" section serves as the introduction to explain its purpose in the big picture. While each part of the entire curriculum can be effectively used independently or to supplement other programs, we have found Aristotle’s assertion to be conclusive: “The whole is greater than the sum of its parts.” Even the “Family Mealtime,” where staff and students gather around the same table and have face-to-face conversations over a meal or snack, is a vital relationship-building part of our time together. It has also provided a way for us to engage our community with many local restaurants, businesses, and churches graciously providing food for the program to help us reduce costs. Many students who were resistant to the program activities at first have been won over by a few good meals together.

This is not easy work, folks, by any stretch, but I am convinced it is some of the most impactful work on the planet. In a society where image is everything and shame runs rampant, teenagers are crying to be heard, to be seen, and to be truly known. Their social media smiles belie their fundamental need to connect and be real with peers and adults they can trust. That’s where the magic happens—where they take the first step in the journey of self-discovery—and one by one the bricks in their walls come down. Your mission, should you choose to accept it, is to change the world—one student at a time. Thousands of kids need a hero who is strong enough to go the distance, to dive deep, and never give up. So go ahead. Adjust your cape, and let’s get started!

* Sticker Shock 2020: The Cost of Youth Incarcertaion. Justice Policy Institute, Washington, D.C. July, 2020. 

State data sources available online at

https://justicepolicyinstitute.box.com/s/i830t7hw58t6h7tj02qu4fdp8a755w2u


Team Building Sample Pack


Table of Contents:


Introduction:  What is ARTreach 180? 

Why Team-Building?

Four of our favorites:

  •  7 Questions
  •  Fruit Orchestra
  •  Sheep & Shepherds
  •  Who Started It?


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WHY TEAM BUILDING?


The team-building and problem-solving exercises are a critical component of the ARTreach 180 program. Many of the students who come to us have difficulty with trusting others, which obviously affects their social and group interaction skills. Before any significant breakthroughs will occur during their time in the program, this trust barrier must be deconstructed brick by brick so that students gradually learn to rely on each other. Little by little you will see them become more and more willing to engage and show their vulnerability during these games and activities that are specifically designed to teach them to give and take within the group and to solve problems cooperatively. The best part is they don’t even realize they’re learning these skills. They just think they’re having fun!

The games and activities in this manual are a combination of my two decades of teaching high school theatre, the scores of books I’ve collected, and the countless conferences and seminars I’ve attended. Most of them are not original with me, but in many cases they are such a part of me that I have no idea where I first learned them or where they actually began. As with many group activities that have been around for this many years, there are often several variations that have evolved with time. I have done my best to give credit to the source from which the activities were given to me, but in many cases that was impossible. In any case, I do not assert intellectual or creative ownership of the activities within this section unless otherwise noted. Books referenced in this section are included in the More Resources section of this manual.

Some things we’ve learned:

•  Kids need to move to get their brains thinking and to release energy. Many of these exercises are designed to use between activities that require them to sit for long periods of time.

•  You always hope for 100% participation, but the fact remains that you cannot force a kid to play if he refuses to. A gentle reminder of program expectations and perhaps a compromise until he is more comfortable will make the experience less threatening. They almost always decide to participate when they see their peers having fun. 

•  In exercises that require touch, always make sure to get consent from all participants and if the game allows for it, give them choices. Some students have an aversion to physical contact like holding hands, but they’re okay with touching fists or elbows.


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7 Questions:    (origin unknown)


Objectives: 

• To encourage independent & abstract thinking

• To learn new things about each other

• To find commonality and differences


Preparation: Print the 7 Questions activity answer sheet for each participant. Have pencils available. Print one of the questions list for the facilitator. (see next pages)


Procedure: This is a fabulous first-day exercise and may be used for the discussion circle on the same day. Have participants sit at tables with activity sheets and pencils, preferably leaving one seat between them to help prevent distractions. Instruct them to put their first name at the top of the answer sheet. Explain that as you ask each of the 7 questions, they are to choose ONE of the two possible answers and write their response beside the appropriate number. There are no right or wrong answers, and each person is to interpret the question for himself. It works best if you do not interpret the symbols for them, but depending on their age and level of maturity, you might have to give them a little help. The idea is for them to choose one of two things that represents their personality or that they relate to more in each question. Give some time between questions to make sure everyone has an answer. At the end of the questions, take their pencils so that no one will change answers. Then have them stand up, walk around, and check their answers against everyone else’s. Their task is to find someone else in the group (including the adults) whose answers are identical to theirs all the way down. Then they are to find someone who has all 7 answers opposite of their own. Allow several minutes for the interaction, and then have them return to the tables. Ask who found someone with the same 7 answers. Then who found someone whose 7 answers were opposite. It’s likely you won’t have many if any who did. Finally discuss the point of the exercise—Each of us brings our individuality and uniqueness to the group, but we all share some things in common.


Duration: approximately 15 minutes depending on group size


ANSWER SHEETS:

FACILITATOR QUESTIONS:


7 Questions Activity facilitator questions:


1—Are you a saver or a spender?

2—Are you a “No Trespassing” sign or a “Public Fishing” sign?

3—Are you a picture postcard or a business letter?

4—Are you a sunrise or a sunset?

5—Is your life more like New York City or Colorado Springs?

6—Are you a rose or a daisy?

7—Are you a ping-pong ball or a ping-pong paddle?




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Fruit Orchestra:      (origin unknown)


Objectives: 

• To stretch creativity

• To work cooperatively

• To follow a leader


Preparation: In a hat or paper bag, put slips of paper with names of fruit (preferably at least 2 syllables) written on them. (Banana, Papaya, Mango, Pineapple, Peach, Lemon, Watermelon, Strawberry, Kiwi, etc)


Procedure: Divide the entire group into smaller groups of 3 or 4 each and spread them out over the room to work separately. Allow each group to pull a fruit name out of the hat. Instruct the entire group that they are to create a unique combination of snaps, stomps, or claps along with the name of their fruit that will take a total of 4 beats when they are cued into the orchestra by you, the conductor. (Example: If “water” is spoken in eighth notes, that’s 1 beat. A stomp or clap could be beat 2. “Mel-on” could be beats 3 & 4.) Give the groups a few minutes to plan & practice. When they are ready, bring the groups closer together & conduct each group separately at first. Then begin cueing them in to stack groups on top of each other, forming the whole fruit orchestra. Experiment with tempo and volume, & have them watch you for the cut-off at the end.


Duration: approximately 10 minutes

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Sheep & Shepherds:        (from Zoomy Zoomy by Hannah Fox)


Objectives

• To communicate non-verbally

• To get moving and have fun!


Preparation: None


Procedure: Half of the group sits in a circle with the others standing behind them. There should be one empty chair in the circle with someone standing behind it. The seated group members are the sheep; the ones behind them are their shepherds. The shepherd with no sheep chooses a sheep to communicate with non-verbally and tries to convince that sheep to escape and come to the empty chair. The shepherd behind the sheep trying to escape must wait till the sheep starts to move away and then tap him on the shoulder or upper back. If the shepherd succeeds, the sheep must stay, but if the shepherd misses or hits below the shoulder blades, the sheep is free to leave and that shepherd now has to convince another sheep to come to his greener pastures.


Duration: 8-10 minutes


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Who Started It?        (original version from Theatre Games by Viola Spolin)


Objectives

• To follow a leader and be in sync

• To work cooperatively toward a goal


Preparation: None


Procedure: The group stands in a circle, and one person is chosen to go out of the room. Once he is gone, the facilitator chooses a leader who begins a slow, simple, repetitive action (no sound), preferably just hands and arms at first. The rest of the group follows the leader so that they are moving as one unit in sync. The person outside now comes back in and stands in the middle of the circle to observe as the leader changes his movements and everyone else follows. The goal is to follow so closely that the person in the middle can’t determine who the leader is. They will figure out pretty quickly that everyone can’t look directly at the leader because that gives away the secret. They must rely on each other to truly move as one. The person in the center gets 3 guesses. If he guesses correctly, then that leader goes out of the room while another leader is chosen. If not, the group has fooled him. Celebrate that success and debrief the experience from all perspectives.


Duration: 10-12 minutes

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