Keepers of your Urban Youth: Opportunities to meet the needs of Low-Income Youth Communities
Alison Lazarus

If you've ever happen to attend or stumbled upon a youth recital of any sort, you know that this is where all things grand begin. Give young people an opportunity to showcase their talents, and they will welcome their creativity as they showcase their hard earned work. Studies show that when the youth engage in out- of-school programs, it enables them to embark on their imagination, build skills, learn cooperation, confidence, persistence, empathy for others, as well as create social bonds that are lifelong. Journal of Adolescent Health declares that about 14 million children and adolescents regularly spend after-school time without adult supervision, with approximately 4 million of these being 13- and 14-year-olds. Research has shown that unsupervised out-of-school time is associated with various negative youth outcomes such as diminished academic and behavioral functioning and involvement in risky behaviors, including criminal behavior and substance use. And still, low income communities face numerous barriers to access meaningful afterschool programs. After all, the out-of-school alternative private lessons are often not of fordable for many parents in low income communities. To add insult to injury, the public schools have removed a substantial number of arts program from its curriculum, leaving many urban youths disengaged with the community. When urban the youth is exposed to some form of the arts it is usually related to a meager arts & crafts program, which they deem uninteresting. Sadly, by the time they become full fledge teens, they tend to shy away from the arts, and what they associate it with. The argument is that they should be exposed to effective and appropriate arts at a much younger age. Studies show that such exposure earlier on in life, helps them to identify areas of strengths which they can explore later on. On the other hand there is the matter of limited supply or access, which must be addressed. This is not a simple solution of "if you build it they will come" . After all, it is imperative at this juncture in the game, we ask ourselves, is it a matter of just supply in term of programs, funding, and staffing? It is not that simple, and we as responsible people must ascertain what's appropriate for urban youth as well as understand it from their perspective and those of their communities. This is also a call for nonprofit organizations, community boards, assembly persons, executive directors, instructors, practicing artists, CEOs, program advocates, professional musicians, dancers, actors, and other stakeholders., etc., to take charge in ensuring that young people are engaged and have a chance in building better futures to support themselves, thereby relying less on the government. Nonprofit organizations already providing services in the community needs to either beef up their youth programs for those already in existence, or become engaged. Nonprofit organizations should also employ corporate marketing techniques to attract young people without feeling a sense of betrayal to their mission. This will offer them another angle of looking at what's not working; a forum platform to find solutions using strategies proven to work if applied correctly. This does not mean that nonprofits are asked to be Nike or Starbucks. They should see the youth as consumers of a different kinds of goods. One that strengthens them and provide them with experiences to help propel them into the future. After all, any decent organization should understand who its consumers are, how they behave, and what they really want. Schools also need to share their spaces to compensate for having done a disservice to the very youth they are supposed to prepare to meet the demands of our society, in order to better serve their communities. Stake holders ( like artists) involvement can also provide an invaluable experience for youths who are able to build their skills beside real professionals. This is also a great opportunity to realize that their involvement can set the standards for not only financial opportunities, but also lifelong social interests. According to National Partnership for Quality Afterschool Learning, teaching artists become alternative models of success and facilitate the development of a self-concept based on each student’s individual talents Developing those connections help organizations to build a support network, have access to financial and other resources, and create more exposure for young people to embark on their work, while providing them with opportunities to connect them to a bigger picture for more substantial and meaningful program experience. A poll by After School Alliance shows that more than nine in ten people agreed that "there should be some type of organized activity or place for children and teens to go after school every day that provides opportunities to learn." Eight in ten describe afterschool programs as "a necessity for their community." After school programs go far beyond families and teachers as influence to the urban youth. Politicians, nonprofit organizations, and all else described in this paper need to make a bigger effort in connecting the youths to the community. This also does not remove media involvement in bringing awareness of the need for influential individuals, and other similar organizations who have a long history of success, to take responsibility to engage civic-minded adults whose influence and interest are valuable. Alison Lazarus provides occupational therapy services for children and adults. Currently she is provides oversight for five early childhood centers and their after school program for the Salvation Army. The Salvation Army should be acknowledged for the work they provide in low income communities. They are doing great things in a tough economy. With adequate funding, that work will take us way into the future. We should expand our national commitment to the creation and effectiveness of afterschool programs.