ArtsIN Review: UCLA AAP by Wendell Pascual

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PROGRAM D ATA

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BIOGRAPHIES

FOREWORD The AAP Graduate Mentoring Programs Arts INitiative (Arts IN) is a story about a group of individuals who came together for something greater than their ethnicities, their past lives, their majors and interests, or even their dreams. Arts IN came together for a belief. We believed

2006-07 After working within the LAUSD system to promote healthy activity and eating habits, Norlyn Asprec travelled to Washington DC to help institute national and local policy to children and their families.

that art was much more than beautiful

Desiree Gallardo taught cultural dance

or inspirational. And so we took risks,

as a form of empowerment throughout

really big risks, all based upon our faith

UCLA, the greater Los Angeles area and

that art changes lives. (I would be remiss

then studied what these forms meant in

if I did not mention that the first person

New Zealand. She now dances for Disney

to have this faith in this program was

Japan as a means for her research in the

Dr. Laâ&#x20AC;&#x2122;Tonya Rease-Miles, Director of

cultural politics of dance.

AAP Graduate Mentoring Programs. LT, as we lovingly call her, called one day with a proposal that would change our lives. That phone call left me speechless with the possibility of creating a

Adrianna King has always had one foot in arts management and the other Praise Dancing as she investigates the intersection of culture, faith and dance.

funded cohort program for the arts.

April Ledbetter is a writer And she will

This began with her having faith in me.)

write about people who write because

The following publication is the

their voices are otherwise stifled.

culmination of those risks and lives that

Joanna Perez has worked non-stop

were changed due to our work and

to educate the public about the

unwavering faith. We present in order

experience of undocumented citizens.

of cohort, then alphabetically by last

She worked with Senator Feinstein in our

name, simply for organizational ease.

nationâ&#x20AC;&#x2122;s capital on the Dream Act and

All of our work stands on it own, with

will continue her work as a PhD student

every experience an ingredient of our

in Sociology at the University of Illinois

life-changing time together.

Urbana-Champaign this fall.

Let me tell you about how these amazing

Stephanie Sartori makes beautiful

individuals have affected so much in

dresses. And she makes sure that

so many-

every element of their making is done with respect for labor, creativity,

and sustainability.

Kelsey Yu feeds people in more ways

Now, last and certainly least, Arts IN

than she knows. She is continually look-

has deeply changed my life and work.

ing for a path that is right under her feet

I am more secure in my initial belief about

and leading to the homes and lives of

the arts that I strove to teach all my

many who are looking for a better life.

students, but now have much more faith and much more hope about how the arts

2 0 07- 0 8

truly creates worldwide, sustainable,

Mehvish Arifeen came from a place

living change for all mankind. I have

where art is hidden yet felt daily. She is working to change that for an entire country. Elizabeth Franco teaches and performs a way of dancing that tells a story that many can never tell to those who would otherwise not know.

found my life’s work in these students and now like any teacher, I leave the rest to them and to you. With my most heartfelt gratitude,   Carolina San Juan Arts IN Coordinator September 2006–June 2009

Turquoise Griffith saves lives by educating us about the world’s greatest pandemic since the plague. Leslie Mejia is a teacher in more ways than she knows. Philip Nguyen straddles the physical

Arts IN would not be possible without the generous support of Robert and Marion Wilson.

sciences with dance and performance in ways that people just don't understand. And, because of his work, they will. Tameka Norris makes trouble–the kind of trouble that makes you think. She taught it to her students and to every viewer of her work. Arianna Taboada uses a camera to share a vision of the world we should all see in order for us to know the basic human right of health.

06/07 cohorts

N O R LY N A S P R E C

D a n c i n g for health PREVENTING CHILDHOOD OBESITY IN SOUTH LOS ANGELES

Arts IN Final Project Excerpt Childhood obesity has become a growing public health issue in the United States and is considered to be the most threatening disease in the country. Community Actions and Public Policy Childhood obesity is a significant public health issue that raises questions concerning social justice. In order to reduce health disparities in communities, it is important that the urban environment supports health and promotes physical activity. In order to understand how public policy and community action interact, I took a top down and bottom up approach. I was a nutrition and dance teacher for the ArtsBridge program in South Los Angeles, and I also interned for the California Healthcare Institute in Washington D.C. with the UCLA Center for American Politics and Public Policy. These two experiences aided my understanding of childhood obesity in urban Los Angeles and allowed me to use the skills I developed in the classroom and apply it to the community and vice versa. As an ArtsBridge scholar, I took part in local community building activities and saw how neighborhood efforts can address local needs. My internship in Washington D.C. expanded my knowledge of health policy as I attended health briefings around the capitol and was introduced

to various health issues and possible health

solutions. I also learned from various health organizations that believed the new administration should focus on chronic disease prevention not just access to healthcare coverage. In response to the political nature of this health issue, all three levels of government: local, state, and federal have proposed possible solutions to improve the health of youth. For example, in my work in South Los Angeles, local community organizations like Strategic Economic Enterprises Los Angeles (SEE-LA) have intervened and established farmer’s markets to make fresh produce more accessible. At the state level, tgovernment has developed and established nutrition policies to improve the nutritional value of school meals and drinks. Lastly, policy makers at the federal level have been asking Congress to invest in preventing chronic disease. On February 16, 2007 a legislative House bill, H.R.1163 titled “Stop Obesity in Schools Act 2007,” was introduced to Congress (Library of Congress, Thomas 2009). However, Congress has not made the step to focus on preventative health, and the bill was referred to the Subcommittee on Health. This is an example of childhood obesity legislation being introduced to Congress, but there still remains no federal action in addressing and

preventing the health problem.

choices. I also wanted the students to use

As a UCLA undergraduate, I participated in

dance as a form of creative expression.

the ArtsInitiative (ArtsIn) Scholar Program

I developed a dance and health curriculum

with the UCLA Academic Advancement

emphasizing ballet and jazz. I decided to

Program and identified my research interest

start with ballet because I consider it to be

in dance and preventing childhood obesity.

the foundation to developing strong jazz

The Arts IN coordinator, Carolina San Juan,

dance technique. However, the students

guided me through my research project

were not responsive to the ballet portion of

and referred me to a service learning and

my curriculum. The students participated

arts education program called ArtsBridge,

in class, but they did not welcome or show

which was directed by Dr. Amy Shimshon-

enthusiasm for the study of ballet. As a

Santo. The ArtsBridge Scholarship provided

result, I tailored my dance curriculum to

a space for me to develop an innovative

the studentsâ&#x20AC;&#x2122; interests. I decided to teach

dance and health education curriculum and

the students choreography that was more

understand the importance of arts educa-

contemporary. I choreographed a dance

tion in public schools. Dr. Shimshon-Santo

using jazz and hip-hop movements to the

helped me make the connections between

song Superstar by Lupe Fiasco. There was

my academic interests and community work.

noticeably more energy and focus from the

She also facilitated my ties with the George

students when I started teaching jazz and

Washington Carver Middle School (GWCMS)

hip-hop technique. The studentâ&#x20AC;&#x2122;s were more

faculty and related non-profit organizations

engaged than in the ballet unit, and all the

in the South Los Angeles community.

students participated and performed the

When I started teaching dance and nutrition classes to sixth grade students, many of them were unfamiliar with dance expression and movement in class. The goal of my curriculum was to encourage the students to be physically active and to

choreography. By their last performance, I gained 100% participation from the students. I also recognized the importance of cultural relevancy in dance programs because it aids in reaffirming the identity of the youth. On the other hand, I struggled with a lack of

become more aware of their daily food

access to dance space and teaching a dance

at GWCMS, I met with Pompea Smith, CEO

curriculum on the track system. GWCMS is

of (SEE-LA) and their cooking instructor,

one of the last Los Angeles Unified School

Laura Gonzales. In addition, faculty

District middle schools still on a multi-track

members of GWCMS- Thomas Turner,

system due to overcrowding. Having access

Leonard Choi and my guiding teacher, Sonja

to dance space is necessary to have an

Williams, joined us. During our meetings

effective movement class because stu-

at the farmer’s market at GWCMS, we dis-

dents need a place to move and perform

cussed the current health needs of the stu-

the choreography. There was a physical

dents and their families, and how SEE-LA’s

education classroom, but I was not granted

cooking classes and farmer’s markets might

access to that space. I resorted to teaching

complement my nutrition and dance curricu-

my class in a small classroom. It was also a

lum for the sixth grade GWCMS students.

challenge teaching the students on a track

The cooking classes would be beneficial to

system. Without consistency in sequential

the students of GWCMS and their parents

learning, it hinders student progress. After

because the classes could inform them of

the students came back from a one to two

the importance of nutrition as well as teach

month break, I had to begin again teaching

the families how to cook nutritious cultural

the students basic dance technique instead

dishes that are low in fat.

of progressing with more challenging movement. The track system made it difficult for the student’s to retain infor-

The challenge to the farmer’s market at GWCMS was low participation due to the limited ability of residents’ to use Women, Infant, Children (WIC) or food stamps to purchase fresh fruits and vegetables. SEE-LA subsidizes food prices at the location to bring down costs, and also accepts food stamps and WIC. However, the amount of fresh food coupons that could be used was far less than sufficient to keep

GWCMS engages

fresh foods and veg-

in local efforts by

etables on the tables

allowing SEE-LA

of local households

to offer a farmer’s

year round.

market on Saturdays in the staff parking lot

In addition to attending local community

and opens its field space to neighborhood

meetings, I also observed GWCMS’s cafete-

youth soccer leagues on the weekends.

ria. I wanted to see what foods the students

During the five months I taught dance and

were given at lunch and if fresh fruits and

nutrition classes as an ArtsBridge Scholar

vegetables were made available. When I

visited, the students had the choice of

adults, however, like most Los Angeles

salads, rice bowls, and chicken wings as well

urban neighborhoods, gang violence is a

bananas and oranges for lunch. I observed

real threat to local residents. During my

that most of the students would take the

residency there was a gang related shooting

fruit from the cafeteria, but would either

at a bus stop near GWCMS and the children

throw it away or leave it on the school

rushed back into the school site for shelter.

bench. The students could purchase snacks

This is a prime example of safety being an

at break time including cookies, cheese

issue. I also found out from my class that

balls and pretzels. Non-carbonated drinks

most of them get a ride to school rather

such as Gatorade, apple juice, orange juice

than walk because safety is a problem. An

and lemonade were also available. The

unsafe environment can hinder physical

school did not permit students to have car-

activity and prevent a healthy lifestyle.

bonated drinks, chips, or candy bars. The types of foods and drinks made available to students of the Los Angeles Unified School District are a result of the soda and junk food ban. “The Los Angeles Unified School District passed a soda vending ban that went into effect in January 2004. A further ban on fried chips, candy, and other snack foods in school vending machines and stores went into effect in July 2004,” (Story 2006:123). The soda and junk food ban in Los Angeles was a positive effort to improve student health, but limiting junk food is not enough. As my Guiding Teacher Sonja Williams explained, most students buy junk food from a store near the school. Therefore, it is important to see local food choices as a local issue rather than only school wide. At school, students need to be encouraged to eat fruits and vegetables, and health teachers need to facilitate the student’s understanding of nutrition and health. This would require a broad based local health education campaign informing both children and adults.

In conclusion, it is essential that approaches to childhood obesity prevention consider location, socio-economic status, and culture. Residents who live in urban neighborhoods are at an increased risk for obesity due to the lack of access to grocery stores with fresh produce and safe streets. Obesity can result in serious chronic diseases such as diabetes, stroke, and heart disease. Safe places for physical activity and access to healthy food choices in the community support obesity prevention. Dance education is beneficial as a physical education alternative that affirms youth identity and culture. Therefore, health education can benefit from arts education, and when linked to disease prevention, policy and community action, can improve children’s health. Story, Mary, Karen M. Kaphingst, and Simone French. 2006. The Role of Schools in Obesity Prevention. 16(1) 109-142. <<www. futureofchildren.org>> Accessed February 2, 2009.

Another barrier to living healthy is the lack

The Library of Congress, Thomas. “Bills,

of safe streets in the neighborhood. Safety

Resolutions.” <<http://thomas.loc.gov>>

became a priority at GWCMS. The school

Accessed March 16, 2009.

itself is a safe environment for children and

MARISOL BARBA When attending UCLA, I tried dedicating my studies within the arts because I feel that art as expression is extremely important, and it can also be a method through which community is created. Art has always been a part of my life; in particular, music has been my outlet of artistic expression. From singing rancheras and mariachi songs with my dad when I was a little girl, to singing and playing piano on stage with my band, Brutus Gets the Girl, that I have been with for over 5 years now. Music to me is crucial to have because it is the universal language that anyone can understand. Besides music, I have also had great interest in art as activism, and using art, to make a social outcry.... to make something that must be heard...heard, and to therefore make changes in this world that will better our society. Being part of the ArtsIN cohort, I was able to acquire a better understanding of what can be done within the art world, and how art and community can coexist. I was given the chance to intern at the 18th Street Arts Center and work on the "Future of Nations" exhibit which focused on election issues based on the perspectives of various contemporary artists. As an intern I was able to work in every aspect of putting an exhibit together; from the marketing and PR to the design and curation of the exhibit itself. With the skills I gained at 18th Street, I was then able to participate as a PeĂąa committee member for the Social Public Art and Resource Center (SPARC), where I was not only able to help put together the student exhibit, "Reinterpretation: A New Generation's Commentary on War", but I was also able to help plan monthly music gatherings called PeĂąas, and even perform at one of the PeĂąas! All in all, ArtsIn has gotten me a step closer to my dreams of having a career in the arts.

DESIREE LEOLANI GALLARDO From the beginning, my time as an Arts In scholar has been a continuous learning experience about careers in the arts, arts in education, community art, and myself as an artist. As a cohort we have had many workshops presented to us by organization leaders, professional artists, and people who work with artists. We have been given the tools to network and navigate ourselves in finding out more about what we want to do as artist and actually making it happen. Overall, the Arts IN program has been inspirational. I am inspired by the work of all the cohort members and of all the people at UCLA and in the Los Angeles community who are pursuing their dreams by helping others, expressing their opinions, teaching, sharing, and taking action through art. In addition, Arts In has allowed me to take on an internship that let me pursue my passion for teaching Polynesian dance in Los Angeles and abroad. I was able to continue my growth as a teaching artist with the ArtsBridge program at UCLA where I discovered how to take Polynesian dance and share it in a formal classroom setting for the cultural and physical enrichment of young teenagers. If it were not for these programs I would have never realized these ways in which I can serve my community and make a career out of sharing and transferring my knowledge of Polynesian dance to others. One of my main objectives in my Arts In internship with ArtsBridge was to analyze the difference between teaching dance in Los Angeles and teaching dance in New Zealand (specifically Polynesian dance). One main difference that I discovered was the openness to learn the hula or tamure from the students in New Zealand. This most likely is due to the fact that there is a presence of Polynesian culture and people in their country. Many of the high schools in New Zealand that have a Pacific Islander or Maori (New Zealand indigenous cultural group) population participate in after school dance practices where they would learn and rehearse numbers to be able to participate in region competitions or regular school recitals. Teaching Polynesian dance in New Zealand was a little bit easier because it was not so foreign to them since Pasifika art and expression is all around them- on T,V, on the radio, in their museums, in their

school or after school curriculum, in public spaces, and through their friends and family. My time in New Zealand was very eye opening and only made me more passionate about Polynesian dance and Pasifika expression. With Arts In, I have come a long way. I have been faced with many questions about me as an artist, scholar, choreographer, and teacher. I have asked myself what do I represent or symbolize as a Polynesian dancer. I have been challenged in knowing my own cultural identity well enough. I have had many growing pains, learning experiences, and realizations while being in Arts In. In the end, I still remain even more passionate and continue to search for inspiration.

I am still exploring the world of art and expression as I am now living in Japan. I question my environment around me in my daily life, in my community, and at work as a Polynesian dancer in the Tokyo Disneyland park. I want to take my experiences from abroad and apply them to my educational enrichment at UCLA analyzing comodified culture in my academic writing and on stage through my choreography. I hope to continue teaching when I return to Los Angeles. I want to be a professional Polynesian dancer for as long as my body will allow. Just as our cohort advisor, Carolina, always says, "You can do it all, just not all at once" I plan on doing as much as I can in the world of Polynesian dance, intercultural choreographing, traveling, teaching, and studying Pasifika art and expression. I would like to thank Carolina for always keeping in touch with me and believing in my work. But most of all I would like to thank the head of the ArtsBridge program, Amy Shimshon-Santo, who has been my mentor throughout Arts In. She is the one who pushed to get me residencies and teaching opportunities. She is the one who motivated me and inspired me to be more than I am. She always believed in me as a dancer, teacher, and choreographer and supported me in all my academic and artistic endeavors. For all of that I love her and thank her for never giving up on me especially when I lost focus. Amy is the teacher, dancer, community organizer, mother, and amazing woman that I aspire to be like one day.

ADRIANNA KING Over the course of my senior year I have been working on my Undergraduate Research Scholars Program (URSP) project. This program grants undergraduates the opportunity to research a topic of their interest, and present a body of work at the close of their funding. For the first time in the Undergraduate Research Scholars Program, a student from the World Arts & Cultures Deparment will be presenting a performance/paper as their research project. For as long as we can trace back, African Americans have created social dances. Within the African American community and the dichotomy of Saturday night and Sunday morning culture, there is a thin line between the music and dances that are performed in these spaces. However, the differences between these spaces do not supersede the similarities in purpose for the performance of these social dances. African American dance (“African American vernacular dance”), are dances that born of a community in everyday social spaces, rather than dance companies, studios, and classes. These dances thrive in the social spaces of African American tradition and history. They are centered on social dance practices and are often complimented by those who have introduced it to a space of concert and theater. When I thought in depth about the reason for praise dancing and social dancing in particular, I realized that praise dancing was no different in definition. I realized that the church is a community (a social space), and that praise dancing is a means of expression and communication amongst that community just as any other “secular” dance is a means of bonding, communicating, and expression of adversity. My intention is to examine praise dancing in relation to African Dance in the Diaspora, while simultaneously juxtaposing those similarities in form, content, purpose, and development. I will be looking at the history of African Dance in the Diaspora, the development of praise dancing (personally and historically), messages and purpose of social dance conveyed through what is defined as African American vernacular dance.

exploring

Praise D a n c i n g & and afrIcan Dance in the Diaspora

APRIL LEDBETTER April Ledbetter will soon be graduating from UCLA. Though she hasnâ&#x20AC;&#x2122;t calculated a countdown herself, she reliably hears one at least twice a day at this point. She also finds it strange to write in the third person, so she will now disorient her readers and write in the first person. In my second year at UCLA, I became a member of the pilot/guinea pig ArtsIN cohort. Carolina was and is a wonderful mentor, and was kind enough to give me rides home after class. Moreover, my conversations with Carolina helped me realize something crucial, something which has shaped my interests and decisions at UCLAâ&#x20AC;&#x201D;fanfiction is social justice. Additionally, despite my mockery of the academic establishment, she also helped me to realize that I am a scholar. On her advice, (and despite the fact that it entailed my leaving ArtsIN) I applied for the McNair Research Program. Through the program, I have found an engaging group of fellow scholars, presented at conferences/(vacations) and written a (monstrously long) thesis on Harry Potter fanfiction. Though writing my thesis was a mixture of pride and resentment, it cemented my desire to continue research at the graduate level.

Next year, I am going to Cambridge University for my Master’s in English Studies. Strangely, English institutions were far more accepting of my desire to continue social justice research than American universities. Then again, they will only have to deal with me for one year, as opposed to seven. However, before I leave, I plan to finally take a summer off, embarking on a massive road trip and writing my first novel. I joined ArtsIN because of my interest in writing and, love research as I may, I have also come to appreciate how fiction and creative writing just have more…soul. Academic writing is so confined by acceptable intellectual frameworks, but fiction allows me to embrace my personal subjectivity and just be. And anyway, there’s gotta be something to writing fiction because, unlike critical writing, it doesn’t give me massive tension headaches. That’s the story until now, or at least what I deem to be important at this moment. Narratives change depending on context.

JOANNA PEREZ

nine numbers away from hiGher e ducation The Story of Ernesto as an Undocumented Student at UCLA Fostering a well-educated workforce has been a central priority in United States policies for quite a while. In the reports A Nation at Risk (1983) and Diploma Counts (2007), the central focus is the lack of educated citizens in the United States and the need for a strong workforce in order for the U.S. to remain a viable competitor in today's global economy. Therefore, it becomes crucial for the U.S. to invest in the education of all students. Yet, there remains a group of students who are successful in primary and secondary school but rarely have access to pursue a higher education or legally join the American workforce because they lack legal status in the U.S. In fact, the Urban Institute estimates that approximately 65,000 undocumented students graduate from US high schools every year and roughly, 40%, or 26,000, of this undocumented youth reside in the state of California (Passel, 2003, 1) and only about 271 to 433 students enroll in a University of California (UC) (Holland, 2008, 2). Many of these college-bound undocumented students live in the same neighborhoods and face many of the same challenges as US born students, such as balancing work obligations, family responsibilities, and extracurricular activities while still excelling in school. However, even when these students are able to graduate top of their high school graduating class and have an impressive resume that reflects their academic and nonacademic achievements, they face many additional barriers that prevent them from pursuing a higher education because they are undocumented which does not allow them to reach their full potential. As such, given that immigrant youth represent a large percentage of California residents, it is important to understand how they are faring in the educational pipeline. Therefore, this mini-documentary film demonstrates some of the obstacles that undocumented students have to face when they pursue a higher education on a daily

Excerpt from Ernesto’s Interview My name is Ernesto and I am 22 years old. I was born in Tepatitlan, Jalisco Mexico and we immigrated to the U.S. at age, I was 8, we immigrated in January of 1996, and that February was going to be my 9th birthday. My mom wanted to reunite the family in the US, she also wanted us to come to school here, and she wanted us to learn English. She is a single mom, my father passed away when I was 2 years old, so she is a strong woman, she always took care of all 6 of us, and she worked two jobs, and you know she did whatever she could in order for us to have clothing and food on our table.

"because at that point I didn’t know that I could go into college ..." When we came to the US, I just thought that it was going to be for a very temporary time, but then we started looking for an apartment and we found an apartment about a year after that and you know we all moved in, and you know we were happy, we were good. Since my mom only got a 3rd grade education, she always wanted us to do better than that, to graduate from high school, that was her like ultimate goal for all of us to graduate high school, and college was like her really wildest dream, so education was really important in my family. When I started to really like school, got into the magnet program at my school, became part of the gifted program, and was really thriving in the education system here, I had the support of my entire family. Although I grew up in the US like any other child, I am classified as different because I am undocumented. The realization of me being an undocumented person has sort of been like a process. I mean I knew that I was here differently, but I just didn’t know what that meant. So I never really witnessed oppression or any kind of extreme hardships because when you’re little, you’re just like everybody else, after I learned the language, everything was fine at that point. It wasn’t until I was in high school when I was applying to college, that the realization of like “oh my god you’re undocumented, that you’re a completely different person than everybody else from the legal stand point,” became extremely real. So I was like, “I am an undocumented person, what the hell am I going to do in order to get into college?” because at that point I didn’t know that I COULD go into college, I was just like really depressed. But luckily, a couple teachers helped me and said “you know what there is a way” and so they helped me navigate through that. Nevertheless, there were things that I couldn’t do because I was undocumented. Like, I remember in high school, I wanted to go to Washington student trip, but I knew that I could not fly, so I could not go. Also, when I was applying to college, there were so many scholarships that qualified for, except I was undocumented, so I missed out on applying to many of them. Also, I could not participate in many programs, like I remember that in my junior year going on into my senior year, there was a program in Carson working for the refineries, where it was a youth

program where they bring you in and you work for the refineries and pay you like $9 an hour, and at that time, I was like “oh my god, $9 an hour, that’s a lot of money” and they would give you like education and then after that, they would give you a scholarship for you to go to school. And you know I got into the program and I was extremely happy, but 2 weeks after I got in they said “oh you know we need some kind of identification showing that you’re a resident” and I was like “well I don’t know what that means?” “well you need a California ID” and at that point, I was like “oh shute how can I get one and all that good stuff.” I had to call them and say “you know I can’t get a CA ID” and she was like “oh you’re undocumented…well you know we can’t give you a job,” I got that job and she took it away, I was really sad at that point, I was REALLY sad. But I never gave up, I did the best that I could in school. I took honors classes, AP classes, and ended up graduating with honors from high school and I knew I was going to college. I wanted to make my family proud and even though I knew it was going to be hard, one of the things that I would always remembered whenever I was going through a tough time, whether it was a test or an assignment or a class in particular or anything in high school that was really tough, I always put myself back in 1996 when I was crossing the border… put myself in my own little small shoes and I said “you know what, this whole journey is supposed to be for something, you know the whole 2 days and 2 nights that I did walking in the wilderness and you know in the rain and then it was so hot too, um that is for something, and that is what I have to do in order to compensate for that huge sacrifice” so that was like I guess the main motivating force for me to go to college besides wanting to make my family proud. One day during lunch, I got the acceptance email and I was SOOO excited! I started jumping up and down, I called my mom right away she started crying, and it was just unbelieveable…I had reached the unimaginable! Although everyone was really happy for me, some of my friends told me, “well you can’t go because you’re undocumented… you are an illegal…you took our spot” I kept going and went to the AAP Scholar’s Day. At Scholar’s Day, I talked to people from IDEAS and that is when I found out that it was possible for me to go college even though I was an AB540 student. I did not know how I was going to get to UCLA from Long Beach every day or how I was going to pay for school, but I decided to go to UCLA anyways. So it has DEFINITELY been enlightening and powerful in building my own character. But it has also been tough, it’s been really really tough, there’s been quarters where I’ve had to drop out of school and you know come back the next quarter, there’s been quarters where I’ve worked 3 jobs while in school. But one of the biggest issues I guess for me is sort of like what happens in your head, you know what happens when you start to realize you know that you’re different, or you really can’t complete your education the way you wanted to complete it. You know right now, I can’t go to school because I’m focusing on working to save up for school. I also have this

huge thing where I feel sort of less than everybody else, and I feel less smart, and I feel

sort of like less capable, because I am in this position where I cannot meet the expectations of finishing school within a certain time frame. This year, it is going to be really sad to see all my friends leave soon because they are graduating this June, and I’m staying behind (teary-eyed). So you know that’s some of the challenges that you have to go through internally, and that is probably one of the most difficult for me so far, (tears strolling down). So it has been up and down all around and all over the place, but it’s been an experience. I have also been really involved outside of academics. For instance, I’ve been involved with MEChA, which is a BIG group that helps with retaining and outreaching to the Latino communities in the greater Los Angeles area and beyond. So last year, I was a retention counselor through CALMECAC and I would meet with students regularly and we talked about everything not just academics, so I would do a lot of outreach. Also, through a labor class I got to help publish a book, “Underground Undergrads: UCLA Undocumented Students Speak Out” which is now being bought throughout the nation. I have also maintained myself busy as an activist of immigrant right issues, so I participated in a 7-day long fast, where I did not eat anything for all those days (only drank water) and testified in front of a lot of people in hope that they would become supportive of the DREAM Act vences while at UCLA and it is my family and the sacrifice of crossing the border that keeps me motivated to keep going. And even when I finish UCLA, I will not be able to use my degree in the workforce so I know that want to go to graduate school, maybe a program in public policy or a teaching program like the Teaching Education Program (TEP) at UCLA. I know that graduate school is like far of reach because I am not legal in this country, so I am open to work at a community organization like the UCLA Labor Center so that I can begin on some community organizing. So I just know that all of these decisions would be so much easier if the DREAM Act would pass, because I would no longer be ‘different,’ I would have access to more opportunities, and I would be able to give back to the country that I call home, the US. If the DREAM Act would pass, thousands of hard-working students like myself across the nation that desire to gain their freedom (no longer have any fear of deportation or in general feeling inferior)through education, who want to provide for the US economy, and are longing to become the next professor, attorney, teacher, community organizer, nurse, etc, would be able to reach their potential and make their dreams come true.

fa shion ably con s ciou s I have been a fashion designer for over

the partition must be maintained.As

six years, but was yet to write about fash-

a fashion designer, I feel that it is my

ion. Tackling such task was more difficult

responsibility to enrich fashion not only

than I imagined, resorting to the source

by contributing to “the good side” of

of inspiration that most college students

fashion—creating delightful clothes than

utilize in times of near desperation: Wiki-

make people feel enlivened—but also by

pedia. Midway through the second para-

improving its “the bad side”—discourag-

graph of the Wikipedia entry, I read: “The

ing its over-consumption by persuading

term "fashion" is frequently used in a

consumers to buy less, while promoting

positive sense, as a synonym for glamour,

the benefits of purchasing high-quality

beauty and style…The term "fashion" is

garments that are ethically produced.

also sometimes used in a negative sense, as a synonym for fads and trends, and materialism.” Although academia frowns upon the reference to Wikipedia in any scholarly work, it is this quote that provided the basis for my essay, as it offers an objective description of the cause for my love-hate relationship with fashion.

The recent “green movements” call on us consumers to gain greater awareness of what we expend and what we waste. We are now urged to buy local organic food products, to decrease our consumption of water, energy and oil, and to minimize our production of waste through recycling and other initiatives. As we gain greater

Fashion can be both beautiful and unat-

consciousness of the products and re-

tractive. I appreciate fashion because

sources we utilize, I believe it is necessary

a garment can hold the beauty of an

to also shift awareness to our clothing, as

artwork. Fashion is also uplifting, permit-

it is an integral part of our cotidian lives.

ting its wearer feel more confident about

Unfortunately, we have become discon-

herself or himself. Yet, fashion is often

nected from the clothing that we wear.

coupled with superficiality and over-

Although we may evaluate a garment at

consumption. Fashion’s quick-changing

the time of its purchase, we focus on its

trends call on consumers to constantly

price and style, giving little thought to

purchase the latest goods. As a result,

its production and significance. This is

outdated clothes become an additional

not entirely our fault as the he production

waste product to a planet that is already

of clothing—its materials and processes,

saturated with trash. Although fashion is

as well as the number of people it

currently divided into its good and bad

requires—has become less transparent

sides, I have begun to question whether

over time.

The making of a simple cotton T-shirt

consumer indicates his or her support for

requires the planting, growing and

how a company runs its business. Since

harvesting of cotton, the ginning of the

it is consumer demand that drives an

cotton boll, and the manufacturing of

industry, the consumer holds the power

the textile and actual garment, which

to alter such industry. Based on this foun-

includes spinning the cotton fibers into

dational principle, I would like to propose

yarn, weaving or knitting to create bolts

that as consumers, we must consume

of cotton fabric, fabric dyeing, and the

responsibly. It is only through responsible

cutting and sewing of the T-shirt. Given

consumption that the fashion industry

the many steps of production, the mak-

can become more sustainable. Currently,

ing of a T-shirt requires significant water

the fashion industry is distinguished by

and petroleum use, and is immensely

its by fast-paced, even-replenishing sup-

damaging to the environment. Farmers in

ply chain of supply and demand. The con-

the United States apply nearly one-third

sequences of fashion’s quick-changing

of a pound of chemical fertilizers and

trends are ravenous consumption and a

pesticides for every pound of cotton

vast accumulation of waste, as garments

harvested. In addition, the manufac-

quickly become outdated. Although the

turing, knitting and weaving of cotton

implementation of improved production

fabrics utilize a variety of toxic chemicals,

and recycling methods offer a road to-

oils, and waxes, whereas the dyeing and

wards sustainability, the consumer plays a

printing of cotton often uses compounds

crucial role in paving such road simply by

of iron, tin, potassium, and solvent-based

buying better and fewer clothing.

inks containing heavy metals, benzene, and organochlorides that require large quantities of water to wash out the dye residues. It is important to also note that the production of a T-shirt relies heavily on human labor. The proliferation of apparel-producing sweatshops in both developing and developed nations, such as the United States, subjects garment laborers to substandard working conditions.

The United States presently makes up five percent of the world’s population, but is responsible for 25 percent of consumption. Americans spend about eleven percent of their income on apparel and apparel services. In the United States, the consumer “wins” by acquiring a lot with less. Quality is defined by quantity. This mentality promotes consumerism, as costumers demand more for less. In turn, the “race to the bottom” encourages

It is important to not only gain awareness

clothing companies to minimize produc-

of the issues regarding apparel, but, most

tion costs by disregarding environmental

importantly, to take responsibility for

and labor laws. In contrast to American

them as consumers. As Thomas Friedman

consumers, European consumers spend

indicated, in every buying decision a

only seven percent of their income on

apparel. Not only do Europeans spend

pays off, as the garment will valuable and

less than Americans, but also, unlike

long lasting. Without the pressure for

Americans, they don’t consider price as

low prices, apparel manufacturers will no

the primary incentive for purchasing a

longer find it necessary to decrease pro-

garment. On the contrary, the European

duction costs. The garment’s high price

consumer “gains” by buying an object

will help fund higher wages and adequate

of great value, and is satisfied with fewer

working conditions, as well environmen-

products. Quality is about significance

tally responsible production practices.

and durability. The higher costs of highquality garments permit for increased manufacturing costs, thus allowing for ethical production practices.

Although unaware and hungry consumers seeking the latest trends have marked the last ten years of the fashion industry, I hope that consumers who have devel-

Utilizing the European consumer as an ex-

oped a taste for a high-quality, ethical

ample, I encourage American consumers

product will define the next years of the

to adopt a new purchasing behavior: buy

industry. To be in style will soon mean to

less, buy better, buy ethical. This is the

be socially and environmentally con-

key to sustainability in the fashion indus-

sciousness not just about the food you

try. The higher price of a quality garment

eat and the resources you utilize, but also,

KELSEY YU Nourish International is a non-profit organization that seeks to alleviate some of the issues caused by poverty. As part of the executive board of the founding chapter of Nourish International at UCLA, I took part in the creation of a brand name on campus. Additionally, we took great measures to ensure that the sustainability of the club by training the future executive board and departing the knowledge and skills necessary for each directorâ&#x20AC;&#x2122;s position. The role of Venture is director is responsibility over every aspect in the planning, coordinating, and execution of ventures. Ventures are student-run business models that simultaneously try to raise awareness while fundraising money. Throughout history, bridges have served as a practical, long lasting solution to the pressing problem of connecting regions. Like a bridge, Nourish connects communities of college students to developing communities abroad for a long-term mutual benefit. This summer we are working in Guatemala to help rural women create profitable, sustainable small businesses. Our partner, IMAGINA, works to supply women with the skills and equipment to start their own shampoo- and soap-making businesses. These businesses will supplement their household income ($2 per person a day), develop the local economy and improve the local supply of shampoo and disinfectants. Nourish International chose this project because it advances two important goals of combating poverty: delivering technical skills and employment to women, and building small-scale, locally-owned businesses that can provide jobs and services to the neediest populations in the long run. We also work on the following ventures to promote the Nourish Internationalâ&#x20AC;&#x2122;s solutions to poverty. Zimride Nourish International's partnership with Zimride is consistent with Nourish International's goal of promoting a sustainable way of life. Zimride aims to eliminate some of the barriers of carpooling in order to promote sustainable transportation. Through the facebook application students can search and offer rides in order to reduce carbon emissions. For each person that adds the application, an independent

donor donates $1 to Nourish International. I reached out and formed the partnership between Zimride and Nourish International. Nourish has thus far, raised over $300 for our summer project while simultaneously raising awareness about sustainable transportation and micro-enterprise businesses Bar Night–Party Like a Balla For Guatemalla Nourish International has thus far had three bar nights in the course of the year. Bar Night’s two main objectives are to increase exposure to local bands while fundraising money for our upcoming venture project. The event is usually located at Westwood Brewing Company and requires no initial investment for Nourish. This is particularly beneficial given Nourish’s limited capital as a founding chapter at UCLA. I was directly in charge of Bar Night, forming partnerships with local businesses as well as coordinating outreach to local bands. Additionally, I organized the whole event, coordinated a marketing plan, and projected our expected gains. Our first two Bar Nights raised over $500 and the 3rd bar night is expected raise approximately $300. Hunger Lunch Hunger Lunch consists of food sales of a plate of beans, rice, and cornbread on campus in order to raise awareness about poverty as well as raise revenue for our summer project. The simplicity of the meal represents the simplicity of the meals consumed by populations with limited income. Since it is an issue spanning both locally and globally, the event seeks to draw attention to the importance of the issue. It also aims to unite students with similar interests in order to encourage the formation of partnerships. Throughout the year, Nourish International has co-hosted this event with organizations on campus (such as Global Business Brigades, and ESLP) as well as non-profit organization (such as TOMS Shoes). These partnerships have a dual purpose of co-publicizing for two great causes as well as increasing the success of the event by doubling its potential customers.

07/08 cohorts

MEHVISH ARIFEEN

Hello, Iâ&#x20AC;&#x2122;m Mehvish Arifeen and I am a third year student from Pakistan double majoring in ethnomusicology and International Development Studies. Pakistan is a country at the cross roads of history beset by dogma and extremism. It is a country with a history of complex, traumatic economic and social setbacks. There is poor leadership, class discrepancy and most importantly a lack of primary education. In this context, there is very little value for art within the majority of society. Ironically, the culture is extremely rich in poetry, music, and dance. It is my belief that women's role in taking that society forward will prove pivotal to the success of our efforts to control current extremism and inculcate liberal and moderate elements

"Unlike others in my society I was fortunate enough to

for a progressive and stable society. Unlike others in my society I was fortunate enough to be exposed to a proper education and had a very liberal and pro-

be exposed to a

gressive family that allowed me to leave

proper education ..."

ther. Both my parents are college gradu-

the country and come here to study furates, my father went to Berkley in the 70s and currently works in development in the agriculture sector. I knew my admission into UCLA was a very (rare) opportunity. So during my time at one of the most

progressive universities in the country I

This critical reflection is most crucial in

have tried to take up as many opportuni-

the process to me, because I am a strong

ties and be as involved as possibleâ&#x20AC;&#x201D;both

believer in using the arts as a vehicle for

in the community and on campus.

addressing social issues and inequalities.

In the Ethnomusicology department, I

Throughout history, when people have

study a large repertoire of world music

not had access to education and other

such as, Afro Cuban ensemble, Brazil-

basic rights, they have used music and

ian Ensemble, Pakistani folk Music and

dance as a vehicle to voice their strug-

Bulgarian folk music choir.

gles, and to address their conflicts.

Beyond my formal training and scholarly work in Ethnomusicolgy and International Development Studies. I teach Pakistani folk songs to high school children ages 14-17 at Washington Prep High School this experience is made possible through the Arts INitiative and ArtsBridge programs. The folk songs that I teach are based on poetry written by great sufi saints who addressed issues of social injustice, womenâ&#x20AC;&#x2122;s rights and religious conflicts. The pivotal point in teaching this material is when I draw connections to social conflicts and challenges that we

My experience at UCLA has been instrumental in helping me transform my dreams into concrete attainable goals. I have relayed my experience to the students I teach and to those around me. I hope to return to Pakistan as a progressive intellectual female artist who can help create venues that will promote social justice through the arts, in hopes that other women can achieve the same sense of empowerment. I also hope to help benefit U.S society to retain its world leadership trough understanding and moral high ground.

see today. My students who are mostly

So thank you, for your enduring support

of Latino and African American descent

and effort against all odds. I am forever

draw strong connections with the content

indebted to you for your commitment

of the poetry because of the similar

and generosity towards education in the

struggles they themselves face in their

Arts. As a girl growing up I was amazed

daily lives. A student of mine pointed out

with the arts and pondered ways of

how she had limited access to primary

developing my surroundings. Now with

institutions and opportunities not only

the contributions of the people who sit

because she is a person of color, but

here today, supporting these programs

because she is a woman, and made a

and ambitious, motivated students such

connection with how women in Pakistan

as myself, I have been able to fuse these

too, lack the privilege of choice, such as

two dreams together.

when it comes to choosing their spouses.

MEHVISH ARIFEEN

ELIZABETH FRANCO

Liminal Choreographed by: Elizabeth Franco Dancers: Elizabeth Franco, Rebeca Hernandez,Vanessa Kaniff Klat Musician: Alexandro Hernandez Music: “La Llorona” sung by Elizabeth Franco, “EL Cascabel” and “Ixtacuatli” Text by: Gloria Anzaldua, The Borderlands/La Frontera, edited by Elizabeth Franco

"Una Lucha de Fronteras/A Struggle of Borders"

“Because I, a mestiza,

Continually walk out of one culture and into another Because I am in all cultures at the same time Soul between two worlds, three four

Me zumba la cabeza con lo contradictorio Perplexed by all the voices that speak to me at once”

"To Live in the Borderlands Means you"

“To surive I must live sin fronteras, without borders. Be a crossroads”

This piece is an exploration of the borders and crossroads of cultural identity. This piece aims to explore and challenge the physical and psychological borders where two or more worlds meet. Through contemporary and traditional Mexican folk dance, music and text the piece explores the concept of liminality through the new Mestizo/a, a new "mixed" identity that allows one to acknowledge and embrace multiple cultural identities. This piece explores the term "mestizaje,” defined by author Gloria Anzaldua as a state of transcending the “either-or” binary concept. It urges the embrace of the contradictions: the joy, pain and empowerment, of the new Mestizo/as living in between different worlds.

TURQUOISE GRIFFITH I’m standing here outraged because I am told myself, I wasn’t going to write another poem like this At first, I thought I was going rhyme about the destruction of Gaza Or how the 44th President of the United States is Barack Obama

But what really seemed to bother me

Is how some individuals in our society,

Seem to believe, that electing Obama as president is the end of the civil rights movement

I begin to quiver when I hear people say we are in a post-racial era Why would someone believe that on November 4, 2008, racism has ended When on Jan 1, 2009, Oscar Grant was executed If this is truly a time for change and everyone is officially done being racist

Then why didn’t I hear about this

His death should have been the front-page headline, instead of what color dress is Michelle Obama going to wear for the Inauguration My piece has no relevance if you don’t know who Oscar Grant is Go home, google or youtube him and you will understand. I decided months ago that I was done writing poems that upsets my soul Words that bellowed pain, injustice, and lies filled my poetry book for far too long

Every time I opened my mouth prose of consciousness, empowerment, racism, and awareness came out The lounge, my family, and friends already knew what I was about I was not going to write another poem like this, until I found out Oscar Grant was dead

I told myself I was done

I had said I was not going to write anything else down that involved being handcuff, dragged out, beaten, bitten, stomped on, or treated like trash

The crowd yelled, stop…stop he didn’t do anything wrong

They, the cops, picked him up and turned him over

He was handcuff with his face on the cold cement ground

Inhale…exhale..last breathe…lights out

After November 4, we sat back in comfort with hope that our new president was going to end all of this

The fact of the matter is that yes, he can do a lot, but this he cannot undo Hatred in this country remains everlasting

Electing a new president cannot remove our knowledge and memories of history where we witness and read about acts of violence on the daily Cops pace the streets like model citizen, trying to uphold the law during the day light But stride the city at night spreading death, as lamp post flicker on just as the victim takes his last breathe I said I wasn’t going to write another poem like this But the death of Oscar Grant is forcing me to break my pen to paper promise and write poems again that scream of pain, origin of pain, and death I’m afraid to say but our nation, our city, and our community has uprooted, destroyed, and launched an attack on family and unity Peace is going to be hard to achieve in our nation current state Especially where cops are allowed to pace and stride the streets openly, where convictions aren’t brought upon them until citizens began to partake in street action

Where is Oscar Grant justice? How can we be in a post-racial era?

Why are police officers shooting a man who is handcuff on his back in front of a crowd of at least thirty people? That is not hidden racism, no these cops did not practice racism respectfully, You know by telling racist jokes while having dinner with their closes friends This was overt, unconcealed, going to scream out loud how much I despise you racism

At times, I don’t understand why the innocent, the hopeless, the one’s bound by their hands and on their stomach dies

Yet the one who spits poison and seeks vengeance lives I thought by electing Barack Obama as president my happy ending begins

I don’t think I will ever be happy

I said I wasn’t going to write another poem like this

I….lied

PHILIP NGUYEN

promoting health and safety for restaurant workers

A Collaboration of UCL A-LOSH and KIWA

Worker Occupational Safety & Health Training & Education Program 2008 Commission on Health & Safety & Workersâ&#x20AC;&#x2122; Compensation

TA M E K A N O R R I S In August 2005, while I was happily

I was grateful to know that they had sur-

ensconced in my life in sunny Southern

vived but much damage had been done.

California, Hurricane Katrina violently ripped through Gulfport, Mississippi. In the process, it destroyed my family home and my heart. I remained glued to the media's constant display of highly disturbing reports and images. Many days passed before I received the news that my mother, sister, grandparents, and other extended family had successfully evacuated.

I was soon diagnosed with Post Traumatic Stress Disorder. From this crisis, I managed to summon the inspiration to produce and curate my first solo art exhibition in December 2005, titled, Post-Katrina. I held my show in a Los Angeles warehouse, exhibiting my entire series of work created days after the disaster. I debuted works such as "My grandmammy and grandpappy house dun floated away," an oil and spray painted portrait depicting my memory of their tiny, fragile house. It had been almost eight years since I graduated from Gulfport High School, at the age of sixteen freeing myself from the limiting confines of this poor, small, southern town. I made the monumental change of moving to Los Angeles where this massive geographic shift symbolized the first step on a long windy road of reconciliation between an ambivalent perception of my southern black roots and the development of my unique selfidentity. Upon moving to Los Angeles, I spent my first few years just working odd jobs, while simultaneously attempting to reconcile a relationship with my estranged father. As a self supported, uneducated young black woman I was still very ambitious but had limited resources or immediate positive examples to help focus

my energy. By 2002, I sought academic

empowerment by taking general educa-

and artists. During my first year at UCLA,

tion and art classes part-time at Santa

I completed a residency as an Arts Bridge

Monica College. The GE classes offered a

Scholar at the predominantly Latino,

confidence and articulation that I did not

Jordan Starr High School, in Watts. My

posses prior to pursuing academia.

curriculum, "Finding Meaning in College

I was engaging in the arts as a means to

Bound Words Through Visual Art”

continue the exploration of my identity

integrated contemporary art history

and simply for catharsis.

and art making in an 11th grade English

I began to specify and focus my bourgeoning art practice in the face of Ka-

AP class, that was preparing for SAT Examinations.

trina's aftermath. By December 2006, I was

My personal history and upbringing has

prepared to submit my first art portfolio

allowed me to engage with intellectual

for admission to a four-year university.

as well as emotional ideas about black

Works from the Post-Katrina series won my

womanhood, and southern roots, while

spot at UCLA the following school year. "If

challenging predominant notions related

home is where the heart is?" a photomon-

to black culture. As a docent for The

tage digital print was loaned to UCLA

Hammer Museum, during the 2007-2008

Chancellor Gene Block's residence, which

school year, I moderated a discussion for

was also included in The UCLA Juried

the Hammer Book Club Series themed on

Show at the Wright Gallery curated by Ali

race and identity in honor of artist, Kara

Subotnick in February 2008.

Walker's exhibition. I discussed an

My artwork is intended to offer multiple meanings and affect the emotions of the viewer. On February 25, 2008, The Daily Bruin featured "A New and Candid Voice”

autobiography by June Cross, Secret Daughter, which exposed issues of being a mixed-raced young woman during the 1960’s.

acknowledged me as one of very few black

In December 2008, I participated in the

students at UCLA and possibly the only

UCLA Undergraduate Scholarship Show

one in the art department. The article

where I produced and performed a rap

discussed my racially charged "Colored

music video titled "Licker" and arrived to

Drinking Fountain." It was created as a

the opening as the persona/ rapper myna-

site-specific installation consisting of a

meisnotshorty. This persona investigates

non-functional drinking fountain con-

institutional critique, positions of power,

structed with wood and galvanized steel,

and stereotypes. In spring of 2009, Gradu-

installed on the administrative floor of

ate Mentoring Program Director La’tonya

The Broad Art Center.

Rease Miles PhD has invited me, as the

I am passionate about the empowerment of other first generation college students

first undergraduate to lead a discussion on “Licker” which will be screened at the Brown Bag Lunch Talk.

As I continue, negotiate the relationship between my personal history, my scholarship, and my art, Iâ&#x20AC;&#x2122;ve been asked to present in a symposium on Hurricane Katrina. I intend to share my personal story, artwork and research. Also this spring, Iâ&#x20AC;&#x2122;ve been personally invited by Judge David Finkel, Santa Monica College Board of Trustees to speak to graduating class where I will also discuss how my own history and art practice has nurtured and empowered me. This summer, I have been invited by Skowhegan School of Painting and Drawing to participate in a two-month residency. This program reviews over 2000 applications each year and accept only 65 of the most gifted and diverse students. As an emerging, project-based visual and performing artist I am interested in interacting with social space where my practice is active in discourse on stereotypes, positions of power, and institutional critique. The support of this scholarship will help to nurture a cohesive body of work that will propel me towards graduate school to an MFA and a career as an internationally celebrated artist, curator, and professor. Bombarded by what seemed to be an endless existence of exploitation, prejudice, and racism, it was with a bittersweet sense of historical memory that I hoped to perpetuate my lineage, which is one of profoundly strong women. My great-great grandmothers, one, a proud Mississippi slave who faced great adversity, and the other a Choctaw Indian, who traveled the Trail of Tears, are my impetus and inspiration. I am now on my way to being the first woman in my family

to earn a college degree.

"I was engaging in the arts as a means to continue the exploration of my identity and simply for catharsis."

reap and sow Proposal for a Photo-voice Project in the Boyle Heights Community Garden “PROYEC TO JARDIN” Reap and Sow is a series of workshops training community members to utilize art to explore and present challenges and solutions to health care access in the Boyle Heights neighborhood of East Los Angeles. These workshops are designed in partnership with the Echo Park Film Center, a nationally recognized non-profit media arts organization, to build the capacity of existing community leaders in specific photography and video techniques, known as photo-voice, in order to strengthen their grassroots organizing efforts. Photo-voice embraces the basic principles that images teach, pictures can influence policy, and community people ought to create the images and text that inspire healthful public policy and sustainable local change. Need: With a rich history of diversity, Boyle Heights is now a working-class predominantly (95%) Latino community. At 86,616 people, it is one of the most densely populated areas in East Los Angeles, with a third of its residents living below the federal poverty line. National data shows that Latinos, particularly in low-income areas, have no primary care provider of choice, therefore the most fundamental and effective method to lower the incidence of morbidity and mortality is through health promotion and prevention (Vega and Amaro, 1994). The authors also state: “health must become the business of the Hispanic community in direct and tangible ways.” A recently published community report published the Boyle Heights Learning Collaborative identified key accomplishments and lack of services for the area. An organized community initiative for health was not identified, although there are several small-scale grassroots projects going on. Virtually un-funded, these projects wane in and out in terms of their efficacy. The leaders are often community members who volunteer their time and receive no formal training in their organizing efforts. There is a gap between the identified need to provide health education services in low-income Latino communities and the ability of practitioners to provide these services in an engaging, and relevant manner. As a Latina undergraduate public health student, I have the privilege of possessing both the skill-set and cultural competence that could allow me to bridge that gap through

a public service project.

Justification: Building on theorist Douglas Crimp's famous 1987 pronouncement"[A]rt does have the power to save lives"- the Reap and Sow project is based on the principle that artists are essential to community-led efforts to improve health. As a practicing media artist, I have actively designed and led photo-voice workshops in my work with UCLA’s Art/Global Health Center. In February 2007, I participated in a two-unit course module for UCLA student photographers and community activists, in partnership with a dozen HIV-positive people in Los Angeles drawn from such groups as AIDS Project Los Angeles (APLA), Bienestar, Women Alive, and the Black AIDS Project. To see the web documentation of HIVPositive in Los Angeles: Twelve Stories, please visit this website: http://artsci.ucla.edu/hivla/index.html. The next year, in June 2008 I helped lead the Una Mirada Positiva project in Mexico City based off of Mendel’s HIV in LA residency. This time, the HIV+ participants acted as the artists, taking their own photographs, and working with a locally-based journalist and AIDS activist Alejandro Brito Lemus to tell their stories. Having witnessed the model’s success working with participants from diverse ethnic and socio-economic backgrounds is critical to the proposed location of East Los Angeles, which hosts a wide range of residents. Methodology: During the workshops series I will draw upon the informal working styles and existing relationships of participants using methods of community organizing, photo-voice and video-voice. These methods are all based on the theories of collective empowerment and positive group dynamics. Therefore, I will be acting as a facilitator, supplementing the community members existing knowledge about local health issues with my expertise in the techniques. Public health definition of community organizing: a process by which a group of community members identify common problems or goals, mobilize resources, and implement strategies for reaching the goals they have collectively set. Photo-voice: is a process facilitated through a series of workshops in which people can identify, represent, and enhance their community through a specific photographic technique. Video-Voice: is a health advocacy and research method that works to turn documentary film on its head. A participatory filmmaking technique used to: build strong community partnerships, facilitate community empowerment, enhance social

artist biographies

N O R LY N A S P R E C T graduated Winter 2009 with a degree in Sociology and minor in Civic Engagement. Her Arts IN project involved teaching a dance and nutrition class to 6th grade students at George Washington Carver Middle School (GWCMS) in South LA while collaborating with a community development organization called Sustainable Economic Enterprises of Los Angeles (SEE LA), to discuss how the farmerâ&#x20AC;&#x2122;s market at GWCMS and cooking classes would complement

MARISOL BARBA

her classes in educating students and their

graduated Spring 2008 with a degree from

families about healthy eating. She continued

the Department of World Arts and Cultures

her research at the nationâ&#x20AC;&#x2122;s capital working

where she worked extensively with Judy

on health policies regarding disease pre-

Baca and SPARC

vention and childhood obesity. Norlyn is

lic Art Resource Center) studying murals

currently interning in San Francisco with the

throughout Los Angeles. Her Arts IN proj-

Asian Pacific Islander American Health Fo-

ect involved working with the 18 Street Arts

rum and applying to MPH programs.

Complex where she worked with artist Linda

(The Social and Pub-

Pollock and her exhibition, Patriot Acts. Marisol is now a Marketing Assistant for UCLA Live! and is the lead female vocalist for Brutus Gets the Girl, a local Los Angeles indie band that has played at The Roxy, The Troubadour, and the Knitting Factory.

ADRIANNA KING is a fourth year World Arts and Cultures major (w/dance concentration) with a minor in Accounting. Adrianna has been a praise dancer for 8 years and has performed at churches, has sixteen years of dance experience with hula halau Keali’i ‘O Nalani and Nonosina. She has been competing and performing internationally throughout Hawaii, Tahiti, the US, and Mexico since the beginning of her training in Hula and Tahitian dance. During her first year at UCLA she began exploring her own choreographing skills and collaborating with other young artist. During her second year at UCLA she taught Polynesian Dance throughout the Los Angeles area with the ArtsBridge program, A Place Called Home, and on the UCLA campus. Her goal is to inspire her students’ creativity, and foster respect for the diversity of Asian Pacific Island cultures. In 2007, she was chosen to

schools, and community centers throughout California. She was a site coordinator for the SHAPE program working with youth in the Inglewood area and is currently a Bruin Advisor with EAOP. As a Redwoods Financial Analyst, she will be interning with DaVita, one of the nation’s top dialysis providers this summer. Her Arts IN project explores praise dancing and African American dance in the Diaspora, focuses on the themes of African American culture, and seeks to broaden the spaces of praise dancing through the performance of racial identity and its meaning. Her ultimate goal is to have a multi-cultural dance academy to work with at-risk students who do not have access to the arts.

receive a full scholarship for the prestigious Jacob’s Pillow Cultural Traditions Workshop. In 2008, her Arts IN project included traveling to New Zealand to compare their arts/ cultural education programs to the United States and investigate the Polynesian art and performance scene. Gallardo is currently dancing for Tokyo Disney in Japan as part of her research in the commodification of cultural dance. She plans to continue her training in Polynesian dance and performance studies while perusing a creative career as a teaching artist and advocate for arts education.

JOANNA PEREZ is a fourth year Sociology major with a double minor in Labor and Workplace Studies and Civic Engagement.

Her

Arts IN project included working on Capitol Hill on issues regarding the

APRIL LEDBETTER graduated Winter 2009 with a degree in Sociology and minor in Civic Engagement. Her Arts IN project involved teaching a dance and nutrition class to 6th grade students at George Washington Carver Middle School (GWCMS) in South LA while collaborating with a community development organization called Sustainable Economic Enterprises of Los Angeles (SEE LA), to discuss how the farmer’s market at GWCMS and cooking classes would complement her classes in educating students and their families about healthy eating. She continued her research at the nation’s capital working on health policies regarding disease prevention and childhood obesity. Norlyn is currently interning in San Francisco with the Asian Pacific Islander American Health Forum and applying to MPH programs. Deliquat uerate el ipit la consent eugait ad do odolum dolortis nos eumsan eugiamcor sectet nisi.

DREAM Act and organizing and presenting her work at the Fowler Museum in conjunction with the Caras vemos, corazones

sabemos/Faces

Seen

Hears Unknown:  The Human Landscape of Mexican Migration exhibit. She will be entering a PhD program in Sociology at the University of Illinois UrbanaChampaign this Fall.

is presently completing her major, Art History, and her two minors, Political Science and Civic Engagement. She is a self-taught fashion designer, sewing since the age of 14. She is the designer and owner of Sartori, a formal wear clothing company. As a mem-

ADRIANNA KING

ber of the UCLA Student and Fashion Trends

is a fourth year Global Studies major with

Club, Stephanie has had the opportunity

minors in Spanish and Public Affairs. Her

to present her annual pret-a-porter collec-

Arts IN project includes interning with the

tions at the UCLA Student Fashion show in

Arts|Global Health Center in their daily op-

the past three years. Her first Arts-In project

erations while investigating the benefits of

consisted of an internship at the Garment

yoga in at-risk communities.

Worker Center in Los Angeles, where she

gates yoga as a holistic mind/body method

completed research on the local garment in-

for self-awareness as a means for commu-

dustry while assisting in community organiz-

nities to integrate wellness into their daily

ing. Upon the completion of her internship,

lives. In addition, Kelsey is the Venture Di-

Stephanie presented her self-initiated cam-

rector for the founding chapter of Nourish

paign WEAR SWEAT FREE at the Fowler Mu-

International at UCLA, a non-profit organi-

seum in conjunction with the exhibit, “Caras

zation dedicated to alleviating some of the

Vemos, Corazones No Sabemos/Faces Seen

effects caused by poverty. She is responsible

Hears Unknown:  The Human Landscape of

for all aspects of planning, coordinating, and

Mexican Migration.” During her last year at

executing student-run fundraisers that sup-

UCLA, Stephanie plans to intern with local

port micro-enterprise businesses for impov-

sustainable fashion companies, and hopes

erished Guatemalan women.

She investi-

to learn about their business models and production practices. She will also be completing her Senior Thesis, which will examine the manufacturing operations of the garment industry in order to provide an innovative analysis of how such industry can become more sustainable. Stephanie will be applying to MBA programs this fall. Her career aspiration is to expand her current business venture, Sartori, to a global scale, and to transform it into a sustainable fashion company that promotes worker rights and sponsors small artisan businesses in developing nations.

ELIZABETH FRANCO MEHVISH ARIFEEN is a third year International student from Pakistan, double majoring in Ethnomusicology and International Development Studies. She is a North Indian style classical singer as well as a painter. Her goal is to work social and educational development through the arts, focusing especially on women and children. Mehvish hopes to achieve her goal of outreach work through Arts IN by working with the ArtsBridge program. Mehvish plans on combining her experiences and knowledge from her majors, work, and Arts IN final project in a way that will prepare her for her ultimate goal which is to educate and expose women and children through the arts and to bridge the gap between the privileged and non privileged in the process.

is a fourth year majoring in World Arts and Culture with a concentration in Dance. She practices various styles of dance as well as theater and singing and is always looking for ways to intertwine them. She danced and directed extensively with Grupo Folklorico de UCLA, the first University-based Mexican Folk dance group in Southern California and currently dances with Pacifico Dance Company. Her Arts IN project will focus on marrying her passion for dance and choreography with social justice.

LESLIE MEJIA is currently a 4th year majoring in Chicana and Chicano studies, with a minor in Labor and Workplace Studies who discovered her is currently completing her fourth year as a Psychology and World Arts and Culture double major. She found a passion for performing in college and has been writing poetry for seven years. She is the Director of the UCLA AIDS Ambassadors and is in the process of developing a curriculum for the Los Angeles Unified School Districtâ&#x20AC;&#x2122;s teachers about HIV/AIDS awareness. She is also interested in revamping the prison system to allow prisoners access to condoms and HIV/AIDS education. Her goal is to develop a program to teach prisoners different writing forms that they can develop while in prisons. She plans to pursue a graduate degree in Public Health to continue promoting HIV/

passion for education as an Arts IN scholar. She is now an Educators for Tomorrow (EFT) Scholar looking at the different factors that motivate high achieving Latina students to go into higher education. She hopes to expand this work to include literature about college bound students of color and use these stories and experiences to motivate and support students who express similar interest in college. Leslie also wants to highlight what creates a college bound attitude despite challenges and barriers students of color might face in urban schools. She will be applying to graduate programs to get her masters in counseling and pupil personnel services school counseling credential

AIDS education and condoms distribution in

this upcoming fall and hopes to become a

the prison system.

high school college counselor with a social justice perspective.

TA M E K A N O R R I S From

Gulfport

and

Biloxi,

Mississippi,

Tameka moved to Los Angeles at the age of sixteen to explore new territory. This massive geographic and cultural change was symbolic of the first step on a long road of

PHILIP LONG NGUYEN is double majoring in World Arts and Cultures and Earth and Environmental Science. He wants to use both the arts and science to educate the community and make it a safer place. He has interned and worked for the UCLA Environment Health and Safety Department with the division of Radiation Safety to protect and educate lab workers on the health hazards of ionizing radiation. He has also worked with the UCLA Labor Occupational Safety and Health on evaluating worker health training programs as well as developing ideas for implementation of the arts to research social justice issues and as a different approach to health education. He is currently doing research abroad at Tohoku University in Sendai, Japan on the emission levels of radon gas after earthquakes. In his free time, he is a student and teacher of Hip hop dance, which he uses to bring people together to share ideas, broaden perspectives, and develop individual technique.

reconciliation between an ambivalent perception of her southern black roots and the development of her unique self-identity. Since, she has dedicated her life to art making, music making, teaching, and higher education. She is currently an Art major, African American Studies minor, as well as an ArtsBridge and ArtsIN scholar. As a visual artist she has shown works in UCLA’s New Wight Gallery, Loyola Marymount University’s LaBand Gallery and currently has work on loan in Chancellor Block’s residence on UCLA’s north campus. In the summer of 2009 she has been invited to The Skowhegan School of Painting and Drawing to participate in a two-month residency. This program reviews over 2000 applications each year and accept only 65 of the most gifted and diverse students. Her Arts IN project involves traveling to areas affected by Hurricane Katrina, creating a extensive body of work that exposes the continuing issues concerning its aftermath. Tameka has participated in symposiums presenting documentation of her research, paintings, and photographs. As an emerging, project-based visual and performing artist she is interested in interacting with social space where her practice is active in discourses regarding stereotypes, posi-

tions of power, and institutional critique.

work as an Arts In Scholar examines how media can be utilized in health promotion and education. She came to the department of World Arts and Cultures in 2006 with a background in health education and communitybased documentary film, utilizing media for social action, education and change. While Arianna has produced short films for Berkeley Community Media, KQED, PBS, Oakland Community Media Network, and film festivals nationwide, her academic focus has been in Public Health, Cultural Studies, and the intersections of these fields. During her time with Arts IN, Arianna has worked closely with the Arts/Global Health Center in its Los Angeles headquarters, as well as in Mexico City, and is currently interning with Public Matters. After pursuing a graduate degree in Public Health Arianna hopes to design and implement school-based health education programs that incorporate the arts.

program data

AAP MENTORING PROGRAMS ARTS INITIATIVE AAP Mentoring Programâ&#x20AC;&#x2122;s Arts Initiative (Arts IN) works to support students in specific arts related research projects in established partnerships such as- Arts IN Civic Engagement, Arts IN Education, Arts IN Global Health, Arts IN Labor, Arts IN Science, and Arts INternational. Our objective is to mentor under-represented and underresourced students who would normally not consider the arts as a viable area of study leading to a career in the arts. Students will receive support through their second to fourth year providing the academic and practical background required to advance into a variety of successful careers in the arts including graduate school, education, activism, therapy, entertainment, production and management. 2006-2007 COHORT PROGRAM DESCRIPTION Three years of academic, professional and financial support for a small cohort of students with a strong and proven interest in research, graduate studies, and careers in the arts. 2007-2008 COHORT PROGRAM DESCRIPTION Due to budget cuts, the second cohort received funding for two rather than three years of participation. This cohortâ&#x20AC;&#x2122;s program would be the same as the initial cohort except mentorship for graduate school and careers in the arts would be integrated into the second year of participation rather than focused on specifically during a third year. Additionally, budget cuts would significantly decrease the awards students would receive. YEAR ONE: ARTS IN FELLOWS Participation in Arts IN begins with one year of arts related research. As Arts IN Fellows, students will meet regularly with faculty and graduate mentors, attend research workshops, create a twenty-minute presentation on their proposed research project, and apply for internships for the following year. (Summer internships are encouraged.) Students will be required to enroll in a 2-unit Honors 193 course Winter quarter and a 2-unit SRP course 99 Spring quarter. This first year will culminate in a conference presentation at the UCLA Westwind Conference and an internship opportunity for the following fellowship year.

YEAR TWO- ARTS IN ADVOCATES The second year of Arts IN focuses on professional and practical development in relation to arts-related research. During their first year as Arts IN Fellows, students will apply to secure a year long internship with any of the numerous Arts IN partnerships. (Students should already have relationships with these partnerships from their initial arts related research projects prepared during their first year in Arts IN.) Collaboration with multiple Arts IN partners is encouraged to build stronger relationships and foster studentsâ&#x20AC;&#x2122; communication and organizational skills along with their understanding of the roles art can hold in various communities (local, arts, academic, global). Students will submit a year-long plan to ensure increased responsibility, understanding and experience in their topic to Arts IN administration for approval. Student scholarship amounts increase during the second year to encourage maximum participation in student intern and community learning projects. Students will also enroll in Honors 195A, 195B, and 195C as a means to monitor their progress with their designated partnership. Course requirements will include weekly journal entries, bi-weekly meetings with the Arts IN coordinator, and follow-up meetings with participating centers and Arts IN. Students are encouraged to enroll in courses offered through each center to support their work. YEAR THREE- ARTS IN SCHOLARS (2006-2007 Cohort only) The last year of Arts IN funding will be used to support students in a capstone project. Students will develop an Honors Thesis drawing on their first year research and second year practicum work. The capstone is designed to demonstrate the specific career skills Arts IN has fostered. Capstone projects will include all the materials needed for a graduate school application (curriculum vitae, statement of purpose, letters of recommendation), professional portfolio (work samples, professional resume), and a research paper to be presented at a conference. Arts IN Scholars will be expected to enroll in a Honors Thesis Seminar or Directed Research 198 or 199 for all three quarters of their final year in order to complete this work. The third year Arts IN program of study concentrates on preparing for students for arts and arts related research outside of UCLA. Arts IN is unique in that it provides arts research and practical skills over an extended period in underdeveloped curriculum. Our hopes are to promote a clear research and practical skill set ensuring the success of each Arts IN student that is based on each studentâ&#x20AC;&#x2122;s particular interest in the arts. We are committed to empowering each student in their love of the arts by providing the skills necessary to succeed.

S T U D E N T PA R T I C I PA N T S Mehvish Arifeen

Leslie Mejia

Norlyn Asprec

Philip Nguyen

Marisol Barba

Tameka Norris

Elizabeth Franco

Joanna Perez

Desiree Gallardo

Stephanie Sartori

Turquoise Griffith

Arianna Taboada

Adrianna King

Kelsey Yu

April Ledbetter

PARTICIPANT MA JORS Art (1) Art History (1) Chicano Studies (1) English (1) Ethnomusicology/International Development Studies (1) Global Studies (1) Sociology (2) World Arts and Cultures (5) World Arts and Cultures/Psychology (1) World Arts and Cultures/Earth and Environmental Science (1)

AVG GPA 3.6

ethnicity SCHOL AR

E THNICIT Y

GENDER

Norlyn Asprec

Filipino American

Female

Transfer Vietnamese

african american

Marisol Barba

Chicano

Female

Freshman Pakistani

chicano/a

Desiree Gallardo

Chicano

FRESHMAN/ TR ANSFER

Female

Freshman latino/a Freshman

filipino american

Adrianna King

African American

Female

April Ledbetter

White

Female

Joanna Perez

Latino

Female

Freshman

Stephanie Sartori

Latina

Female

Freshman

Kelsey Yu

Filipino American

Female

Freshman

Mehvish Arifeen

Pakistani

Female

Freshman

Elizabeth Franco

Chicano

entered ucla as freshman/transfer Female Freshman

Turquoise Griffith

African American

Female

Freshman

Leslie Mejia

Chicano

Female

Freshman

Tameka Norris

African American

Female

Transfer

Philip Nguyen

Vietnamese

Male

Freshman

Arianna Taboada

Chicano

Female

Freshman

gender

White

Freshman

female

freshman

male

transfer