Davinia Troughton named Co-Executive Director

We’re thrilled to announce that Davinia Troughton is now sharing the Executive Director role with Mary-Mitchell Campbell, ASTEP’s Founder, effective February 1, 2018. Davinia will oversee ASTEP’s administration, programs and financial management while Mary-Mitchell will oversee all fundraising efforts for the organization.

Since joining ASTEP’s team in 2010, Davinia has served many roles, including the Director of Development and most recently the Director of Operations. Over the years, Davinia’s leadership has taken ASTEP to a new level of operational and financial planning so it’s a natural progression for her to assume this exciting role. We thought it would be fun to share a bit about Davinia in the same way we highlight our volunteers — through an interview!

 


 

Name: Davinia Troughton

Where did you grow up? My family and I moved to the U.S. from Malaysia when I was very young so I spent most of my childhood living just outside New Orleans.

Where did you work before joining the ASTEP team? I helped formalize the NoVo Foundation, a private foundation that focuses on women and girls’ initiatives, and prior to that, worked at RSF Social Finance, a nonprofit that encourages socially responsible investments.

Have you been onsite with any ASTEP programs? Which ones? I’ve been fortunate to spend time at several of our programs! Here in NYC, I’ve participated in ASTEP on STAGE!, Arts at Incarnation Children’s Center, and the Refugee Youth Summer Academy; in South Florida with Art-in-Action; and in India at Shanti Bhavan Children’s Project.

Did you have a background in the arts or teaching, when you started? I like to joke that I’m the non-artist in the organization in the formal sense, however my craft is organizational development 🙂

What is the most challenging part of your work? Some of the challenges also make this work urgent and fulfilling: knowing that so many young people who could benefit from the transforming power of the arts currently do not have access to it. This reality reminds me daily to do my best to reach as many of these deserving young people as possible.

What is the most rewarding part of your work? The people! From the students we serve, to the volunteers who so generously dedicate their time and hearts, to my brilliant colleagues and board members — ASTEP is a unique place staffed by creative, caring people, and to be surrounded by so much collective joy makes me feel incredibly fortunate.

What do you look forward to, each day, working at ASTEP? I actually love the feeling at the end of the day when I can reflect on all that took place and feel good about what we accomplished together as a team.

What song best encapsulates your working personality? Here Comes the Sun by The Beatles. Celebrate what a new day will bring!

 

 

 

Volunteer Reflection: Emmett Phillips, Jr.

Name: Emmett Phillips Jr.
Age: 24

Where are you from, originally? I was born in Wichita, KS and raised in Des Moines, IA by two beautiful Liberian immigrants named Emmett and Marie.

How did you find out about ASTEP? After landing a lead role in the first play I’d ever done in my life during my sophomore year of college, I was invited to attend The Kennedy Center American College Theatre Festival. I remember going into a workshop at KCACTF that sounded like something I would like and meeting Ali Dachis who told the group about ASTEP. I was so intrigued that I followed up with her afterwards to get more info about ASTEP and we exchanged contact information. About a year later, I got an invite to apply for the Artist as Citizen Conference in 2015 and I’ve been involved with ASTEP ever since.

Which programs have you been a part of? I have been apart of the Artist As Citizen Conference, I have lead an ASTEP Chapter, I am an active member of the ASTEP Leaders Network, and I have completed the ASTEP volunteer training.

Do you have a background in teaching, when you started? I started teaching the arts to youth when I was 19 and working at the Boys and Girls Club. I was really limited with what I could do with the kids there so I longed for opportunities to teach more freely. Once I became a Program Coordinator at Children and Family Urban Movement in 2015, I gained much more creative freedom to the weave arts into after school curriculum. I have gone on to facilitate Hip Hop Summer Camps, lead a poetry workshop within a local middle school, and guide the drama club.

What is your arts background? I am a Hip Hop Artist first and foremost. I started pursuing Hip Hop seriously in 2014. I am a poet and actor as well. I started acting during my sophomore year of college and have done a total of 5 plays (1 collegiate and 4 community).

What challenges did you overcome while on site? My first official ASTEP Volunteer site will be in Elaine Arkansas in July. I foresee that the challenges will be working in such close quarters with 3 other artists and adapting to the culture of a segregated southern town, being raised in the North. I look forward to the adversity though!

What victories did you achieve, while on site? I hope to achieve a deeper understanding of what it means to be a young African American growing up in Elaine. As a Black man myself, I’m excited to be able to be a real life example of artistic excellence that those youth might be able to relate to. If I can help empower, uplift, and inspire them to explore their own creative sides, I will consider my experience an overwhelming victory.

What did working with ASTEP teach you about yourself? Working with ASTEP has taught me the value of being a teaching artist. I grew up in a world that didn’t place much value on artists at all, let alone teaching artists, but ASTEP has opened me up to an entire culture that is committed to the development and proper placement of those who create art and also love to teach it to others. Thanks to ASTEP, I will always search for opportunities to live my truth through my art and teach as many young people everything I have to offer along the way.

What program is next for you? My assignment in Elaine is what’s immediately next for me, but afterwards I would love teach some poetry and Hip Hop in Brooklyn or travel abroad with ASTEP. Either way, the joy of teaching my crafts is a pleasure no matter what space I’m in. The real question is what does ASTEP have next for me?

 

 

 

Spend your spring at a Haven of Peace

Help us make a difference! This Spring, we are sending a team of Volunteer Artists to Shanti Bhavan Children’s Project in Southern India to deliver a multi-week arts camp that focuses on visual and performing arts including music, filmmaking, dance, and musical theatre.

Shanti Bhavan translates from Hindi to English to mean “Haven of Peace”, and we believe the work of our teaching artists will help to create just that. Join us in bringing arts education and application to these students from India’s lowest castes, where we are able to provide them with the space and time to practice communication, collaboration, empathy, and creativity. With ASTEP and Shanti Bhavan, your work will foster a symbol of hope, providing the students with the skills necessary to create and thrive in a brighter, better tomorrow.

Dates: May 23 – June 10, 2018
Application deadline: February 15, 2018
Location: Shanti Bhavan Children’s Project just outside of Bangalore
Who: You! All artists with a passion for making a difference!

** Room and board is provided by ASTEP and Shanti Bhavan for all Volunteer Artists
** Email Sami Manfredi at sami@asteponline.org or give us a ring at 212.921.1227 to learn more!

Save the Date: 9th Annual Benefit Concert

New York City Christmas: A Concert to Benefit ASTEP

Mon December 11 at 7PM at Joe’s Pub at the Public Theater in New York City

 

MICHAEL BUCHANAN
CARLOS ENCINIAS
BECCA GOTTLIEB
CHESTER GREGORY
DAVID JOSEFSBERG
DEREK KLENA
LINDSAY MENDEZ
Tony Winner RUTHIE ANN MILES
CHEEYANG NG
ZACHARY NOAH PISER
LAUREN PRITCHARD
SHEA RENEE
GEORGE SALAZAR
ELIZABETH STANLEY
KAY TRINIDAD
and many more special guests!

 

NEW YORK, NY — Artists Striving to End Poverty ’s Ninth Annual New York City Christmas: A Concert to Benefit ASTEP , taking place on Monday, December 11 at 7:00 PM at Joe’s Pub at The Public in New York City. Additional exclusive experiences from Mean Girls, The Musical, SpongeBob SquarePants and Come From Away have been added to the special auction through Charitybuzz , which also features your personal voicemail recorded by Oscar Isaac, experiences with Hamilton , Phantom of the Opera, Bronx Tale, and so much more!

What better way to get into the holiday spirit than an evening featuring Broadway’s most sought-after talent singing new and classic holiday songs…with a twist! Along with your seasonal favorites, expect fresh, original approaches — pop, soul, R&B, rock and more — many of them captured on the Sh-KBoom/Ghostlight album “New York City Christmas,” available for purchase at the concert.

Conceived and produced by Drama Desk-nominated orchestrator Lynne Shankel (Allegiance, Cry-Baby, Altar Boyz), the concert will again boast an incredible line-up of artists, including Nick Blaemire (Tick Tick Boom, Godspell, Cry-Baby), Chester Gregory (Motown, Sister Act, Dreamgirls, Hairspray), David Josefsberg (Honeymoon In Vegas, The Wedding Singer, Altar Boyz), Derek Klena (Anastasia, Wicked), Lindsay Mendez (Wicked, Godspell, Everyday Rapture), Bonnie Milligan (Kinky Boots (tour) , Gigantic), Cheeyang Ng (K-Pop), Lauren Pritchard (Spring Awakening), Shea Renee (Allegiance), Elizabeth Stanley (On the Town, Million Dollar Quartet, Company) , and Kay Trinidad (The Little Mermaid, Bare) . The concert will be directed by Jenn Rapp-Pearl (The Illusionists TOTC).

Also appearing will be musicians Shankel (Piano), Frank Pagano (Drums), Randy Landau (Bass), Peter Calo (Guitar), Eric Davis (Guitar), Summer Boggess (Cello), Victoria Patterson (Violin), Colin Brigstocke (Trumpet), Jeff Schiller (Saxophone) & Scott Kreitzer (Saxophone)

Tickets are $100.00 each for premium seats, $75.00 each for general seating. ALL proceeds from tickets to the show and album sales go to supporting ASTEP’s mission to connect performing and visual artists with underserved kids, using the arts awakening their imaginations, fostering critical thinking, and helping them break the cycle of poverty. ASTEP places volunteer artists in India, South Africa, the Dominican Republic, New York and Florida and supports the efforts of ASTEP Chapters in more than a dozen communities around the U.S.

A special auction will also be featured during the concert, featuring sought-after items such as:

● 2 VIP Tickets to HAMILTON on Broadway with Exclusive Backstage Tour
● 2 VIP Tickets to a preview of MEAN GIRLS when it moves to Broadway, with
Exclusive Backstage Tour with Mary-Mitchell Campbell
● 2 VIP Tickets to a performance of MEAN GIRLS (post opening) or when it moves to
Broadway, with Exclusive Backstage Tour with Mary-Mitchell Campbell
● 2 VIP Tickets to a performance of SPONGEBOB SQUAREPANTS on Broadway with
Exclusive Backstage Tour
● As well as MANY MORE!

Tickets are available for purchase online through the Joe’s Pub website or at the box office at The Public Theater, 425 Lafayette Street. Seating is extremely limited.

For more information about ASTEP visit www.astep.org or e-mail Katherine Nolan Brown at katherine@asteponline.org

# # # #
New York City Christmas: A Benefit Album for ASTEP, on the Sh-K-Boom/Ghostlight label, is a special labor of love created by the incomparable music director, orchestrator and arranger Lynne Shankel (Allegiance, Bare, Altar Boyz, Cry-Baby). Over the years, in several venues in Manhattan, Lynne brought together some of the best musicians and singers in the Broadway community, including Tony Nominee Raul Esparza (Company, Speed the Plow), Tony nominee Orfeh (Legally Blonde, Saturday Night Fever), Sierra Boggess (Love Never Dies, Master Class, The Little Mermaid), Chester Gregory (Sister Act, Dreamgirls, Cry-Baby), Lindsay Mendez (Wicked, Godspell, Everyday Rapture), Andy Karl (Groundhog Day, Wicked, Altar Boyz, 9 to 5), Sally Wilfert (Make Me A Song, Assassins, Tom Sawyer), recording artist Anya Singleton, David Josefsberg (The Wedding Singer, Altar Boyz), Tony nominee and “American Idol” star Constantine Maroulis (Rock of Ages), Drama Desk nominee Tyler Maynard (Altar Boyz, Mamma Mia) and many more!

The album is available for purchase through iTunes, Amazon.com, and sh-k-boom.com.

# # # #

 

Volunteer Reflection: Rosco Spears

Name: Rosco Spears

Age: 30

Where are you from, originally? Detroit, MI

How did you find out about ASTEP? A good friend of mine referred me to the program. She is a performing artist and she told me about the amazing things she heard about ASTEP.  After a bit of research, it didn’t take much to sell me on the organization.

Which programs have you been a part of? ASTEP on STAGE! at WIN and CHOICES Alternative to Detention as well as ASTEP Arts at Shanti Bhavan.

Did you have a background in teaching when you started? I did have a background in teaching when I started volunteering with ASTEP. I taught business technology for 2 years at a high school in Grand Rapids, MI and I also led an after school, art enrichment program in Newark, NJ for a year.

What is your arts background? I do not have any formal training in art. I began sketching as a kid, and I created a signature design at the age of 13. During college, I brought some of those drawings that I created during middle and high school to a local art gallery.  The owner, Reb Roberts, practically forced my hand into painting after I told him that I was not interested. He was able to convince me to create a piece with him and the rest is history. I fell in love with painting.

What did working with ASTEP teach you about yourself? Working with ASTEP taught me that there is so much that you can learn while working as a teaching artist. I’m pretty certain that I’ve learned more from the children than they’ve learned from me.  I’ve learned how to move through adversity. How to excel through rough circumstances. How to creatively work in a group with others. How to take risks and try new things. I’ve learned how to communicate without words. Working with ASTEP showed me what I should be doing for my life’s work. Nothing on this earth makes me happier than working with children as a teaching artist. Especially working with kids who are impoverished in any way.

What victories did you achieve, while on site? On occasion, I’ve worked with kids who were in a program as a form of punishment, and they did not want to do any of the activities that were placed in front of them. These are the kids that are most interesting and challenging to me (also my favorite to work with). At the end of both experiences, even if it was just getting a kid to take their hood off during class or to pick their head up off of the table, I felt accomplished. If they actually participated in an activity, I felt like I won a million dollars.

What program is next for you? As I have recently relocated to Los Angeles, I am unsure! I would love to get back to Shanti Bhavan in the near future. It was one of the greatest experiences of my life.






Week 5: Successes Large + Small


By: Marcus Guy Crawford, 2017 Jennifer Saltzstein Kaffenberger Fellow

Success at RYSA comes in all forms: students standing quietly in a circle; hearing a student’s voice for the first time; or bringing a student back to neutral after an experience that has triggered something traumatic, and often yet to be articulated or grasped. Our students are brave in ways I will never be — their early childhood experiences have shaped them sturdily and as much as I hope I have impacted their young lives in America, I know that they have affected mine immeasurable. Today one of our assistant teachers (tactlessly, I might add), told the students that the end was nigh… and while I think the language barrier protected many of them from this truth, it got me thinking about their triumphs and there are a few I want to document because they were moments where I too was learning.
 
A student in our youngest group (we’ll call him Austin) has been engaged since day 1. Sometimes Austin wanders, sometimes he is a little despondent and at times he has acted out, but his intention has always been clear — he wants to learn, even when that process is challenging. Today Austin was full of beans – unable to stand still, incredibly verbal and just a little hyper. In spite of this, he was engaged more than he has ever been in the classroom. The excess energy and noise was not problematic because, though untamed, it was allowing him to engage in the work and demonstrate knowledge in a new way. Kelsey and I worked with it, acknowledging that though the behavior will eventually need corrected, it was better to celebrate the positive improvement in his work. The skills can’t coalesce all at once and that’s OK! It strikes me just writing this that this is a lesson I need to teach myself in my own professional and creative endeavors – thanks Austin!
 
Next up: Corey. Corey is incredibly sensitive. The slightest sense of negativity or disappointment from a teacher will send him spiraling – he huffs, he needs to leave the room, he cries and he shuts down. But I think it is born of a pressure that I have noticed in many of our students — a need to impress, to embrace this new opportunity and to succeed, with positive reinforcement, in every moment. I can relate to this. An over-achiever from a very young age, the most potent moments of my young life, even now, are the ones where it feels like I am on the brink of letting someone down that I respect. For me, it is important to just keep Corey involved, to take his answers even when they are incorrect, and to listen to him offering correction, redirection and opportunity where possible. Corey is an active learner, and so when he is left to sideline, or his behavior is treated as “bad” or “disruptive”, he recedes and regresses. The arts classes at RYSA allow us the time and space to celebrate these differently able learners and engage them in ways the traditional classroom may not.
 
Finally, there’s Bethany. Bethany started class today with a statement not dissimilar to, “This class is rubbish!” If an adult spoke to me with this apathy, I’d likely walk the other way, but in the classroom with young students, its an invitation to engage more carefully with that student’s experience. What is this a reaction to? And how can I, the teacher, or leader in this environment, guide this student towards success, achievement and growth that will alter that negative response? I let her know how that made me feel, and asked the entire class to engage in one particular value of the RYSA program — respect. As soon as Bethany sat down today, I verbally narrated all of her positive behaviors, making clear that her successes were not going unnoticed. I respected her adherence to the classroom code of conduct, and in turn, she respected the work we were doing. She participated thoughtfully, and though she might not admit it herself, she even cracked a smile and enjoyed herself! This small interaction reminded me that it is much easier to engage with students with positive attitudes, but that good behavior + work can be culled from any student and it is the teacher’s duty to find a way to activate this kind of positive teacher-student relationship, even when resistance is offered.
 
The RYSA experience is so much larger than the classroom spaces we occupy for 6-8 hours a week. For me, it has sparked a continual assessment of the way I engage in all of my professional and creative interactions. Am I present? Am I positive? Am I willing? And can I do more? The answer to all of these questions always has to be yes, especially when I am in the drivers seat and a young person’s education, development and growth is in my hands.

Volunteer Reflection: Courtney Liu

Name: Courtney Liu

Age: 26

Where are you from, originally? Cincinnati, OH

How did you find out about ASTEP? 

I found them online and reached out before having a wonderful first conversation with Lizzy on the phone. We immediately connected in a magical “this was meant to be” way.

Which programs have you been a part of? 

RYSA 2016

Do you have a background in teaching, when you started? 

Yes!  I actually started teaching dance in the 5th grade during one summer that I held a toddler dance camp in my parent’s basement… I’m pretty sure my Mom helped a LOT with that one.  Prior to joining ASTEP, the teaching experiences dear to my heart included assisting the Dance in Schools Program at the San Francisco Ballet School, teaching for an arts integration program in China, and founding a dance program for children seeking services at the domestic violence shelter in Durham, NC.

What is your arts background?

I trained and performed with the Cincinnati Ballet and San Francisco Ballet before leaving the professional dance track to pursue a degree in Psychology at Duke. During college I fell in love with jazz and salsa and one year post-graduation decided I was tired of sitting at a desk all day and it was time to dance!  I started auditioning and have been dancing professionally and teaching since then!

What challenges did you overcome while on site?

The work itself is honestly so exhausting… much harder than performing.  Some days when you start class the energy starts rolling and the hours fly by.  Some days drag and the students are tired or have decided they are too cool for dance class.  By the end of the day I was either completely exhilarated from a breakthrough of expression the students had made… or completely exhausted from trying to motivate thirty students.  On the worst days it helps to write down small victories… one student who tried something new or another student who smiled in dance class for the first time.  They are ALWAYS something there but hard to see as a teacher who is putting out one fire after the next on rough days.  If we shine a light on the small victories they energize us to get up, day after day, and try again.

What victories did you achieve, while on site?

One day I spotted a new kid in the middle school class who clearly wanted to do the Rihanna dance but was hanging in the back to figure out if it was cool and if he would be good at it.  He had missed the day we taught the combination so I can imagine it was scary.  When we did African dance day the following week he was doing an awesome job so we had him demonstrate for the class.  It built up his confidence and gave him the motivation to practice the Rihanna dance outside of class.  He soon caught up to the rest of the class and performed confidently in the final showcase.  What a special moment to see talent bloom out of insecurity and into a beautiful performance for all to see!

Speaking of… the final performance was such a special day. Each class chose their favorite dance style and created a piece using the material we gave them over the course of the program.  Class 1 performed a African dance and Ballet mashup, Class 2 performed Bachata with a class chant they created, and Class 3 performed a Jazz routine that ended in a breakdance circle.  Then they performed their individual spoken word and movement pieces about their dreams for their future in America and all three classes performed a hip-hop dance as the finale.  What a feat!  They performed ALL of this without their teachers!!!  We were so proud :):):)

What did working with ASTEP teach you about yourself?

I found the role of Assistant Teacher to be quite challenging!  As an Assistant I had trouble deciding the best way to provide support in the classroom.  Was it best to help teach? Was I supposed to lead the next combination… oh yes!  Was it most useful to demonstrate in the back?  Or to walk around and give individual corrections?  I realized that I was very comfortable making lesson plans and teaching in the front of the room… but other important pieces of teaching had been lost from constantly managing classrooms from the front.  I am thankful for the experience and to work with such a talented co-teacher (shoutout to Marissa) that summer!

What program is next for you?

Hopefully another year at RYSA and Choices!  One summer soon I hope to teach for the Teach for India program.

 

Week 4: “I-We-You” Learning Process


By: Kelsey Lake, 2017 Jennifer Saltzstein Kaffenberger Fellow

This week at RYSA included a few challenging moments but culminated in some exciting and encouraging progress. Marcus and I were very excited about the prospect of our classes working as teams to create stories on their own. We wanted to see at what degree of independence they could accomplish this is at the RYSA graduation performance. So, we gave them a Mad Libs type story structure, set a five -minute time limit, and for the older students told them they had to complete the group story without communicating verbally.

We had practiced filling out Mid Libs-style sentence stems and stories together as a class, but we didn’t realize that the task we actually set for the students was one they didn’t have much practice with – working as a team, without teacher supports, in the specific context of Storytelling class. The class quickly got a little chaotic: there was conflict between students, confusion about how to complete the task, and frustration as some students took leadership roles while others felt excluded and shut down.

Yikes! We let the timer run out and decided to spend time reflecting on “what went well” and “what could go better next time.” Most of the answers received – “listening to the teacher,” “doing better next time,” “not talking” – were rote responses about classroom behavior, instead of the reflection on teamwork that Marcus and I were driving towards.

Once Marcus and I had a chance to reflect, we realized we had set a task that many adults find difficult to achieve. Though we still believe firmly in the students’ ability to work as a team in Storytelling class, we realized also that we’d skipped an essential step of the “I-We-You” learning process. In fact, we had jumped all the way to the “You” phase, asking them to independently model a task and demonstrate comprehension of a concept that we hadn’t explicittly modeled ourselves or practiced with them in class activities.

So, for Thursday’s class, we decided to take a conscious step back and focus on reinforcing the storytelling and language concepts we’d been working on, but also including conversations, observations, and examples of how being part of a class was similar to working on a team – it includes compromise, respect, and listening as essential ingredients.

We temporarily lost sight of a main RYSA objective – to help students develop interpersonal skills. To get back on track, we made such skills part of our process, instead of expecting them to magically appear in class without practice or exploration. Students started embodying these teamwork principles in different ways; one very prominent example was the students putting their hands down after another classmate was called on, showing respect and giving space for other ideas. These small moments at RYSA are actually the big victories, helping students understand “school rules” from a perspective of teamwork and leadership skills, instead of just learning rules by rote.

As we helped the students learn, we had breakthroughs as educators. Sometimes, for one step forward, you take two steps back. But, if you refocus on the learning process rather than any products you’re driving towards, students and teachers together can grow in their understanding of teamwork and leadership skills in the classroom.

 

 

 

Week 2: Storytelling: Rapid Transformation

By: Kelsey Lake, 2017 Jennifer Saltzstein Kaffenberger Fellow

Last week, the newness of RYSA was a lot for everyone to take in! It definitely took some time for everyone to warm up to one another. Many students were shy, others stood out as natural leaders, and everybody was trying to learn so many new names!

As Week 2 comes to a close, I can confidently say that the students of RYSA have moved through that stage! They are boldly stepping into a new phase of more confident exploration and creative risk-taking in the classroom, and this thrilling new energy has led to some beautiful breakthroughs in Storytelling class.

One student’s rapid transformation sticks out clearly in my mind.

Last week, one boy (let’s call him M) came into class and did his very best to hide. He shrunk away from our silly warm ups; if he started raising his hand, he’d catch himself, his hand shooting back down again. Once, when he did speak up, his frustration with finding the English words to express his idea made him hide his head in his hands and back into the corner of the room. Marcus and I could see him following what was going on, and knew he had all sorts of thoughts and feelings about class, but we struggled to find an opportunity that could help him shine.

Then, this past Tuesday, something completely unexpected and delightful happened. Halfway through the class, it was time to “wake up” Sparkles and Spellzy, our puppet friends who have helped us learn so much about the power of imagination.

“How can we wake up and welcome Sparkles and Spellzy?” we asked.

M raised his hand! Marcus and I were thrilled to see he wanted to participate and quickly called on him.

And then, out of NOWHERE, M started to sing. He came up with a fun, short song to help wake Sparkles and Spellzy, belting it out confidently in front of the entire class. It was brilliant! We asked him to teach it to the rest of the class, and it became a fun new way to bring the puppets into the room.

Since then, M’s light has been shining so brightly. He offers creative ideas, gets up in front of his classmates to act out silly skits, and sticks it out when he struggles to find words for what’s going on in that creative mind of his!

Alongside M, we’ve seen many students take their scattered, incredibly high energies and focus them into leadership roles. Other students are taking their English language acquisition to the next level by volunteering to read our stories out loud with growing confidence! It’s incredible to see how quickly these students are learning to trust their own voices and imaginations; they all have such unique, riveting stories to tell, and I can’t wait to hear them.

 

Week 1: STORYTELLING: Fact not Fiction

By: Marcus Crawford Guy, 2017 Jennifer Saltzstein Kaffenberger Fellow

It’s hard to believe that training and week one of teaching at the Refugee Youth Summer Academy (RYSA) have already come and gone. Lots of information, data and procedures that were learned on paper and through presentation in the training sessions were put into practice, challenged and executed this week. It was so important to be reminded that we can only be trained based on what has happened in previous years and that only serves as guidance for the experience we are currently having. There is no standard way for a student to experience the programming at RYSA. It’s improvised and live and as an actor, I find it thrilling.

Most notably, I was taken aback at the extensive and complex English vocabulary that many of the lower school students demonstrated on the first day of class. It was an incredible gift to be met with students who not only had English language capabilities, but also felt (for the most part) uninhibited sharing them with the group. It was shocking in the best of ways, because Kelsey and I had buffered our lesson plan, almost scripting it, to ensure our use of language wouldn’t be confusing. We were met with lots of raised eyebrows, knowing smiles and nods of understanding that proved our students are ready for the next level of English language immersion, tutoring and acquisition.

In deciding how best to tell and share stories with the students, Kelsey and I decided that we wanted to distinguish between the real and abstract and teach these concepts with clarity. What is real, actual and based in fact — that chair is wooden — and what is fictional, abstract and imagined — there is a blue elephant dancing in the corner of the room. As trained actors, we decided to create two alter-egos, SPARKLES & SPELLSY who accompany us when we are telling stories and really challenge the students to see more than what they are – wooden spoons with pipe-cleaner arms and legs! In teaching our first class, where we learned to introduce ourselves and where we are from, we had a hearty laugh with Lower School 2 (the Flying Arrows!) when the following scene unfolded:

Marcus: Everyone say hi to Sparkles and Spellsy!
Students: Hi Sparkles and Spellsy!
Kelsey: Can anyone tell us where Sparkles and Spellsy are from?
Student A: They’re wooden spoons. They’re not from anywhere…
Marcus & Kelsey: … (exchanged looks – they’ve unraveled our elaborate plan already!)
Student B: I know where they’re from!
Kelsey: Where?
Student B: TOMATO SAUCE! They’re wooden spoons!

We then engaged the students in a dialogue about how it feels to be called the wrong name or incorrectly identified, which proved a useful hook for opening up the idea of imagination and investing in another reality, where we agree upon the circumstances presented to us. Their ability to grasp this idea quickly made it clear to see that our students are prepared to go on an exciting journey with us where they are not only playful, but curious and inquisitive – skills that will serve them well when they enter the school system later next month and that we want to encourage and cultivate.

Next week we will be continuing our exploration of THE SENSES and seeing how Sparkles and Spellsy — who are now so much more than their wooden spoon exteriors — hold up as the students learn more about how to tell stories by describing the world around them (real or imagined) with specific detail.






Footer background
165 W.46th Street, Suite 1303, New York, NY 10036
info@asteponline.org
(212) 921.1227

Drop us a line

Yay! Message sent. Error! Please validate your fields.
Clear
© 2015 Artists Striving To End Poverty. All rights reserved.