Happy Thanksgiving

November 25th, 2009
"I am thankful for all the food my family gets to eat this Thanksgiving. The yellow circles are the happy plates. The blue lines make the turkey look like it is floating in air, but they are the good smells. The black rectangles are all the kitchens that the turkey will be in."

"I am thankful for all the food my family gets to eat this Thanksgiving. The yellow circles are the happy plates. The blue lines make the turkey look like it is floating in air, but they are the good smells. The black rectangles are all the kitchens that the turkey will be in."

This week, Brush Fire’s topic for paintings is What are you thankful for? We’ve had a wonderful array of responses, from holiday dinners, to love of family and friends. One young painter said she is particularly happy for some time off to do her own thing.

We all need that down time in order to nurture our creativity, but isn’t down time hard to come by with all the obligations of the holiday season? Edward Unger provides some great tips to prevent any type of creative hindrance so you can keep moving forward:

1) Comparison – If we’re too busy looking at what the next person has, we can forget to be thankful for what we have. There’s always going to be someone who has more and someone who has less than us. But what makes your life special and unique to you and only you? Be thankful for those things…

2) Attitude of Entitlement – Lots of times we can believe that we deserve this or that and as Americans it easy for us to slip into being ungrateful for what we have. The reality is…there are billions of people in the world that don’t have clean running water, safe grocery stores or a government that doesn’t steal from them. If you’ve ever done some traveling to 3rd world countries you’d be truly grateful to be an American. Lets allow this season to permeate every area of our lives…and truly give thanks for the bare necessities that we all can take for granted.

3) Think about What You’re Thinking About – Anyone who’s worried all day long knows how to meditate. So what have you been meditating on lately? Are you keeping your mind on positive things as soon as you get out of bed…and throughout the day? Or are you sabotaging yourself with your own negative thoughts? Think about what you’re thinking about…and maybe just for this week…turn your negative thought around to thanksgiving and see how much better you feel.

4) Relationships – In my opinion, good relationships are the true meaning of life. Relationships make or break the holiday season. Focus on bringing new life and love into your relationships this Thanksgiving. Surprise that special someone with flowers or jewelry…bring your mom a sweet potato pie. We can’t go through life with catcher’s mitts on both hands. You’ve gotta be able to throw something back once in a while.

5) Watch Your Mouth: – The Hebrew word for Thanksgiving is Yadah…as in, yada, yada, yada. So what do you hear yourself speaking about? Do you gripe and complain to anyone who will listen or are you talking to people about what you are thankful for? Maybe over turkey dinner this year you can go around the table and ask everyone to list 5 things they are thankful for.

Find the original post at http://www.computerproducer.com/unblocking-creativity-during-thanksgiving/

And have a restful, creative holiday!

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Imagination Reflecting Reality

November 6th, 2009
"People locked up the animals..."

"People locked up the animals..."

J. is a soft-spoken 3rd grader at Malcolm X Academy with liquid brown eyes, round cheeks and a beautiful smile. He’s a serious, thoughtful boy, who gives a lot of attention to his paintings, so I looked forward to seeing what his painting would look like on the day’s topic: if you could be any type of animal, what would you be? He grew restless and agitated during the brainstorming portion of our last class, which surprised me, but he didn’t let his bad mood stop him.

Instead of picking one animal to represent himself, he painted square cages across most of his painting, with a dog and a lion standing outside. He told me that people had locked most of the animals in cages. When I asked him about the dog and the lion, J. said they weren’t caged yet, but they were about to fight each other because the people who caged the animals made them. He said it wasn’t possible for them to disobey; they had to fight even though they didn’t want to. Across the page, J wrote: Jail. I’m ready.

It seems clear to me that this is what his future looks like to him. I’m just heartbroken. We have to do better for sweet, beautiful children like J. What can we do to give them hope for the future?

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Volunteer Share

October 29th, 2009
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Amanda talks with a student about his painting.

Last week’s guest blogger was Mark Farley, volunteer at Malcolm X Academy. This week, Amanda, another Malcolm X volunteer, shares her experience painting with the kids.

One of my favorite parts of volunteering with Brush Fire was seeing how the kids’ personalities always came through in their distinctive painting styles. I see this as a testament to the success of Brush Fire’s process-not-product focus: rather than competing to produce the result that fit a teacher’s expectation, the kids seemed free to explore their own ideas and techniques.

It was especially exciting to watch kids who were originally unenthusiastic or lacking in confidence discover that painting can be really satisfying. I remember watching something click in one fifth grader, who was sullen and skeptical the first day I volunteered, when she realized that painting an explosive, angry tornado to depict her bad day helped her release those negative emotions. She came in to class bitter and silent and left giggling, and the next week she came in excited to get her “anger management out.”

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A Blank Piece of Paper

September 18th, 2009

vannessa_drawingWhen I started volunteering with Brush Fire Painting Workshops I had just began a new chapter in my life. I had ended a four-year relationship with my first real love and was one of the many that could not find work. Needless to say, I had a lot of time on my hands. What drew me to Brush Fire was its process-oriented approach. As a visual artist in the limbo period of life after art school, the only work I enjoyed making was processed based.

Wishing I possessed that freedom of a child, I realized a blank piece of paper scared, angered, and frustrated me. I did not see that lack of confidence in the kid’s faces during my first kindergarten class at Malcolm X. Academy. I witnessed them paining large and small brush strokes and expressive hearts, rainbows and everything in between. As assistants, we followed Naomi’s incredible lead and helped in any way we could. Having had very little experience with kids before Brush Fire I was surprised how easy it was to fall in love with these kids. Each one was unique, smart, silly and loving.

We tried to leave what ever was going on in our lives at the steps of Mission High School, where Naomi would pick us up before driving to Malcolm X. The young painters, try as they might, could not always leave their pain, and anger out of the classroom. R was one of the most expressive students in the class. She had so much energy and excitement for painting that her whole body would shake when she smiled. R had a very soft voice but always had a lot to say about her colorful work. When I asked about her painting one day she explained how the colorful shapes were “candy” with a huge smile. I asked her to explain a part of the painting that was a mixture of browns and grays. She replied, “That’s my house and the guy that was shoot in front of my door.” It broke my heart to know she had witnessed such horror. I could only hope she was safe and let myself be reassured by Naomi that her sister’s and brothers were good kids who protected her.

My experience with Brush Fire changed my life and gave me hope in the healing power of the Arts. This class forced me out of my bed of depression and onto a path of helping others as well as myself. This fall I have started my masters in Expressive Arts Therapy. I would like to thank Naomi and the kindergarten class at MXA for everything they have taught me.

Brush Fire Painting Workshops needs volunteer help with classes, special events, PR, Marketing, fundraising and more. If you are interested in volunteering with Brush Fire please send an email to Naomi@PaintBrushFire.org detailing your interests and experience.

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We’re Back!

September 16th, 2009

After a long and happy summer, we are ready to hit the ground running and get this year’s painting party started! Amazingly, we have 10 new schools on our roster this year. As I am busily making site visits, training a new teacher, and putting out calls for volunteers, my energy and excitement for the new year of programming rises exponentially! We expect to reach over 500 students this school year – an amazing number for a grassroots project like ours!

I’ve also been working with a business consultant who is helping me make a plan to build Brush Fire’s infrastructure. That means, in part, creating a working board of directors. If you feel passionately about Brush Fire’s mission and have 2-5 hours a month to dedicate to the cause, please drop me a line at naomi@paintbrushfire.org. While I don’t believe we can change the whole world, we can certainly work together to help change lives!

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Freedom and the Lack Thereof

July 12th, 2009

My work in Juvenile Hall has made me think a lot about how art making can be a tool for transforming society. It’s also prompted me to reach out to a larger community of folks who work in the juvenile justice system. This blog entry came to me via The Community Justice Network for Youth. It’s on the long side, but so thought provoking that I wanted to share it. Comments are encouraged!

(Posted by Sarah True on June 29th, 2009 on the Burns Institute website: http://www.burnsinstitute.org/article.php/id=137)

I recently toured two youth correctional facilities of the California Division of Juvenile Justice in Stockton, and I just don’t know what adjective to use to describe my experience. Intense? Eye-opening? Every one I think of seems applicable for some parts, and wildly inaccurate for others.

Intense: Seeing only the middle section of two young men’s faces in the N. A. Chaderjian Youth Correctional Facility peering through their cell doors ­ and realizing that’s all they see 23 hours a day. How is our society enhanced by having youth view the world through a 4-inch slot?

Eye-opening: Listening to an OH Close Youth Correctional Facility warden, amid discussing how the young men benefit from their time inside the facility, let slip that soon, “They may have to interact with normal people.”

Needless to say, the experience had quite an impact on me.

Walking through the grounds of the “Chad” facility, I felt awkward thinking about what we must have looked like to the young men ­ as a group of mostly white professionals escorted by four or five correctional officials. Did anyone beside the administration know we were coming? Do the young people detained in these facilities know when strangers are going to get a glimpse into their current lives?

The answer became clear quickly as every young man we passed inquisitively looked in our direction, curious about who we were and why we were there. Unfortunately, all of them were just as much at the mercy of the invisible wall constructed between “us,” the visitors, and “them,” the incarcerated, as we were. I could feel this wall going up every time the tour guide of the moment referred to the youth as if they were an exhibit in a museum. There was rarely an attempt for eye contact by the tour guides, much less recognition that the individuals being discussed were in fact present in the cement boxes we were invading.

Soon, I realized it was fair game to stray from the group and talk to the young men. I no longer subjected myself to hearing language that suggested the facility was benefiting the young men by teaching them to reject what the tour guides seemed to view as some kind of pathological criminal tendency. The curiosity displayed on the faces of the young men we passed became a reality as the first question from every one I talked to was, “So what is this? Who are you guys?”

I was happy to explain that we were all from, as I chose to put it, down-for-the-cause organizations and law firms working to reform the mess we call the juvenile justice system. And from here on in my personal tour consisted of as many conversations with the youth as I could get. We talked about where we grew up, tattoos, piercings, plans after prison, the weather, the quality of the tour I was on. But one thing that remains with me is something a young man named Victor said, “This girl isn’t afraid to talk to us.” I mention this because I want to emphasize is the ubiquity of this apprehension in the first place. In my mind it comes from the binary our society has constructed that posits perpetrator and victim as not only opposites but also opponents. Both sides are restricted to either the bad guy or the good guy, a classification that, if you’ve ever seen a Wile E. Coyote cartoon, is nearly impossible to reconcile.

With no room for restorative justice, our retributive justice system relies on this dichotomy to rationalize our massive prison system and the heinous conditions therein. In order to keep this system legitimate, jails and prison facilities must prove that it is in the best interest of society to keep the “bad guys” locked up. How better to do this than to create a complex of fear relentlessly surrounding people who have been labeled “criminals?” At the Burns Institute it is well known that young people of color bear the unfair brunt of such labeling and scapegoating.

This fear begins with what is perceived as criminal nature and the so-called criminal’s ability to corrupt. However, because this is a constructed idea, what results is fear that these two things are not static to a personality or culture. Fear that if given any other resources beside being incarcerated the first two will prove untrue. Thus, fear of what would happen if this binary were to be uprooted. And lastly, fear of learning about the lives of the accused aside from their crime for fear of finding the person behind the crime is in fact a person, and that many of their missteps can be linked to other issues, from mental health and harsh school discipline, to police or probation officials who through subjective judgment calls perceive the risk they could pose for society, rather than the risk they actually pose.

For this reason I never asked anyone why they were there, understanding all the while that a majority of young people who are in juvenile facilities across the nation are there for nonviolent offenses or minor infractions such as violating probation or failing to appear in court. I don’t like the idea that their crimes automatically define their person, which is undoubtedly the idea that permeates the system that placed them there, a practice that results in mass incarceration numbers that are unconscionable and shameful for any civil society.

I found that by having a conversation with these young men about something other than their crimes, the reality of their humanity became inescapable. Maybe once we all recognize this, more of us will also recognize the dire state of our prisons and jails and realize that they are truly unfit for any human being, regardless of how their character is defined or labeled.

That said, what happens when we lose that fear? When we come to grips with the idea that no person is, or should be, defined by a single action or accusation? Perhaps we in the United States abandon the cages we use to house 25 percent of the world’s prisoners and instead embrace alternative tactics. Methods that promote a connection between victim and perpetrator in hopes of fostering an understanding and healing between the two parties.

In my opinion, it is only then that we can say our justice system contributes to the progress and prosperity of our society.

_

Sarah True just finished her sophomore year at Barnard College (an affiliate of Columbia University) and is majoring in African Studies. She is a summer intern at the Burns Institute and among other things is assisting the BI in a joint project with the American Civil Liberties Union (ACLU) to develop a statewide assessment of Disproportionate Minority Contact (DMC) and its leading drivers for youth, adults, men and women in six California counties.

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1,000 Paintings!

June 26th, 2009
Three classes of 20 kids each + 5 days of painting workshops = 1,000 paintings!

Three classes of 20 kids each + 5 days of painting workshops = 1,000 paintings!

It’s so rewarding to see other people get excited by Brush Fire! I’d be lying if I said I didn’t appreciate the positive feedback. And I like sharing it with you too! Here’s what the teachers at the Tenderloin Community School had to say about our collaboration with their students and Lick-Wilmerding High:

“I had no idea how great it would be…Students were allowed to paint freely and without reservation as much as they pleased with quality materials….It is rare in the everyday school setting that students are allowed to express creativity with the purpose of self-exploration…. Painting several days in succession seems to strengthen students love of painting. I was wondering if the activity would be sustainable over a period of days and the kids just wanted to keep on going. Also, the paper; what a wonderful luxury it is: so nice and big!

….Adults learned to let the kids express them selves without giving feedback but instead asking questions in order to find out the students intent. This method is exceptional for building a vocabulary of self expression. I love love love every thing about it!!… Thank you for bringing us your amazing program.” – Barbara Sizelove, Kindergarten Teacher

“Our class looked forward to each and every session with you … the big draw was the doing of “art,” and a close second was the medium used throughout this project. … the conversations I was privy to were priceless and real. My students were able to let their guards down and enjoy the moment. Aside from the fact that this project was a fantastic way to end the school year, I know this experience will be one of the few things, that many years from now, the children will actually remember from 3rd grade. It was a pleasure working with you.” – Stacy Joe, Third grade teacher

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Multi-Layered Learning

June 26th, 2009
"Big Kid"  painting done during role play.

"Big Kid" painting done during role play.

Every year for a week, Brush Fire partners with a private high school and an elementary school that serves students from mostly low-income, immigrant families. This program, in its third year, never ceases to inspire me.

Prior to meeting the elementary school students, I train the high school kids in the Brush Fire Method. The corner stone of the method, encouraging process over product, is not well received by the high school students. In a way, this is understandable. Lick-Wilmerding High School is quite competitive and many of the students have been groomed for Ivey League institutions all their lives. The value of doing a painting ­ or anything ­ without regard for the result is foreign to most of them.

So we do roll plays, each of them taking turns painting and mentoring to see how it feels to encourage with probing questions rather than praise or criticism. Of course, knowing how to phrase a well-timed question takes longer to master than a single afternoon, but I give them as solid a base as I can in the time we have.

"Little Kid" painting done during class.

"Little Kid" painting done during class.

Before we know it, we are at the Tenderloin Community School, where each of the high school students is paired with one or two kids in each of three classes and the game is on! I give each class their prompts and circulate around the room, encouraging and guiding the “big kids” as they get to know the “little kids.” I am amazed by how quickly the little kids connect to their high school mentors and how the high school students quickly understand that the unconditional nature of the painting process allows for this profound bond to form.

It’s not all smooth sailing, and we use the end of our day to sort out problems and share our joys. As the week progresses, the joys are bigger, the problems are less important and everyone is deep in creative process. We don’t explicitly set out to teach the older youth about the less privileged existence of the younger ones, but I know the difference in life style comes up, and I can only guess what effect it has. It seems as if the potential for multi-layered learning on all sides is being realized by everyone, with creative process as the point of connection.

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Mailbox

June 18th, 2009

Hey All! I go this in my mailbox today from Nancy Quinn.  This is the vote
that will decide if we get the Arts Commission funding for Malcolm X
Academy. Please do what you can to show up to this!

Dear Arts Supporters,

Come to City Hall on Monday, June 22 and be part of the democratic process!
The Arts Commission’s budget will be presented to the Board of Supervisor’s
Budget & Finance Committee shortly after 11am on Monday, June 22nd.

Public testimony on all General Fund departments will be heard beginning at
5pm that day. There is no scheduled order for public testimony; first come,
first heard.

Please come and voice your support for the impact of the arts on your
community.

This is one of the most important ways to communicate to the Board of
Supervisors how vital the arts are in your life. And it’s one of the most
effective ways to ensure City funding for the upcoming fiscal year.

The hearings and testimonies will be held in the Board Chamber, Room 250 in
City Hall.

For more information, go to: http://www.sfgov.org/site/bdsupvrs_index.asp

Pass along this information to anyone you know who values the role of the
arts in San Francisco!

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Good News, Bad News

June 16th, 2009
Just one reason to keep the painting program going!

Just one reason to keep the painting program going!

A few weeks ago I wrote about the uncomfortable process of attending my first public grant panel at the San Francisco Arts Commission. The good news is we received funding for our program at Malcolm X next year! The bad news is that the Arts Commission itself may not get funded this year, so they might not have the money to give us. The situation will be decided in 10 days. So close and yet so far…..

I could get discouraged, but I choose to get creative. Anyone want to join me in holding a bake sale? If selling cookies works for the Girl Scouts, it can work for us!

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