Foreword

This document proposes the establishment of choreographed percussion bands in schools, which will compete amongst each other in an annual music festival. My own personal experience being involved in the music program at Whangaparaoa College has inspired this proposal.

I was involved in the Whangaparaoa College Concert Band for all of the five years that I attended the school, and it is still one of my favourite memories of school. Being a part of the band allowed me to meet and become friends with students from all years, many of whom I would not ordinarily even talk to. Band provided a neutral ground to meet new people, where reputations and prejudices no longer existed. The fact that every member of the band was there because they wanted to be and there for the same reasons, meant that there were no cliques, and no-one was ever socially excluded. Having a mix of students from all year levels gave me the opportunity to learn from others, and also pass on my own experience to the younger students.

One of the biggest challenges of being a part of and running a school band is trying to make it seem ‘cool’. This proposal of a choreographed percussion band attempts to change people’s opinions by offering an unconventional take on music programs in schools.

Project: Original Rhythm

Positive Youth Development through the Performing Arts

Who are the ‘young people’ involved?

Young people are the workforce, leaders and makers of change of the future. Increasingly more often, young people are not afforded the same opportunities to contribute to society in a productive way. Many drop out of school with few qualifications which limit their choices in the future. In 2006, 26.7% of 15-19 year olds were not enrolled in school (Ministry of Youth Development). Although some were attending tertiary education, many had left with few plans. The purpose of this program is to encourage students to participate in school.

This program has been developed for youth at high school, including students from year 7-13, mostly aged 10-18 years. This will start with a few secondary schools (for example, on the North Shore), and spread to include schools throughout the Auckland region, and eventually the whole country.

Victoria University's Youth Connectedness Survey found that 28.9% of young people aged 12-17, wanted more after-school activities (Crespo, 2007). The aim of this program is to get students involved in school-run activities that are independent of class work. Getting the younger students involved early and interested in coming to school can help to encourage students to stay at and finish school. Structured and organised activities have shown to be positively correlated with a higher chance of completing school and having employment as an adult (Larson, Hansen, & Moneta, 2006).

Youth with secondary school qualifications have more choice regarding their future. They have a better chance of going on to tertiary education and entering the work-force. With only 65.5% of students in 2007 leaving school with NCEA Level 2 or higher, this program can help to improve student's future prospects.

What is Project: Original Rhythm?

Objectives:

• • To work with youth to create a safe environment for personal expression through the performing arts
  • To develop the skills of youth in an engaging way
  • To encourage young people to take an active role in shaping the direction of the group
  • To facilitate the emergence of indicators of positive youth development

What does this involve?

Drums and percussion were one of the first forms of music. They have since become the basis of most modern music, and Project: Original Rhythm uses percussion to create a style of music that is rarely heard.

Inspired by groups such as STOMP, the international touring company, and New Zealand's own choreographed percussion group, STRIKE, this program proposes the establishment of a choreographed percussion band using only everyday items for instruments.

Although there are often many after-school programs available (usually sports and performing arts), the cost of these can be a deterrent. Both conventional sports and music activities require payment of fees for tuition and uniforms, which many students cannot afford. The use of household items such as pots and hubcaps, reduce the cost on students, and create a sound that is unique to each particular group. Additionally, rhythm and percussion can be easily taught, and requires no previous experience, which allows beginners to join without having lessons beforehand.

To be effective, extra-curricular activities, such as this program, must be structured, have supervision by adults and a goal of actively developing skills (Mahoney, Larson, Eccles, & Lord, 2005). Each participating school forms their own percussion group, with the students composing their own rhythms and music, and choreographing performances. Students are also responsible for organising performances. Few music programs offer the opportunity to both create music and choreograph dance. The collaboration of these two media helps to broaden the appeal of the group, and also gives students the opportunity to step outside their preferred medium. Schools can then choose to compete against others in an annual Music Festival.

STRIKE offer school performances which can help attract students and encourage them to get involved.

The Principles of Project: Original Rhythm

This program is based on a positive youth development approach and is in line with The Youth Development Strategy Aotearoa (Ministry of Youth Affairs, 2002).

This program has three key principles:

1. Enhance youth development through a strengths-based approach
2. Enhance youth development through positive connections
3. Enhance youth development through self-directed contribution
   
   

1. Enhance youth development through a strengths-based approach

This program takes a strengths-based approach to youth development. Historically, youth development programs have taken a more deficit-based approach in which the program identifies ‘at-risk’ youth and ways to fix the ‘problems’ with youth (Farruggia & Bullen, 2009). These programs, such as boot camps, have not proven to have a positive effective.

Recently, there has been a move towards a positive youth development perspective and strengths-based youth development programs. These work on the basis that youth are not problems to be fixed, but resources with strengths and potential that can be developed (Farruggia & Bullen, 2009). Taking this into account, Project: Original Rhythm does not identify a particular group of youth that are to be targeted. Any young person is welcome to join.

This program looks to build on the strengths of young people in New Zealand, in particular, their passion for music and their cultural pride. Recently, music has become one of the identifiers of youth (Hull, 2003). An interest in music has seen many young people join bands and learn to play instruments. This has led to the establishment of youth events such as the Smokefree Rockquest which has become a cornerstone in the New Zealand music industry.  The Youth’07 survey found that a majority of young people in New Zealand experience a lot of cultural pride, for example, 71% of Maori young people felt proud to be Maori. Project: Original Rhythm allows students to express their pride in their culture through music (Adolescent Health Research Group, 2008).

2. Enhance youth development through positive connections

This program can provide a secure environment for young people to express themselves through music and dance. It also gives students a safe setting to meet and get to know other students. At schools, students are often separated into cliques, where people generally do not interact much with those outside their own group of friends. By being part of this program, a common ground can be found between students who would not ordinarily be friends. Just being in a group in which all the members are there for the same reason, can help students feel connected to other students and their school.

This also gives younger students a chance to interact and form relationships with older students, who have an opportunity to mentor the younger students.

3. Enhance youth development through self-directed contribution

The role of the supervisor of each school’s percussion band involves guiding students and helping them to develop musical, rhythmic, social and leadership skills. The students are responsible for writing and choreographing their songs and performances. A study conducted in the United States surveyed the positive health outcomes of various extra-curricular activities and found that performing arts programs showed a higher rate of initiative development (Larson, Hansen, & Moneta, 2006).

Rhythm is the basis of all music, and this allows the collaboration of many different styles and cultural influences. Students are able to incorporate their own culture into their music, facilitating the expression of cultural pride.

Both STRIKE and STOMP offer workshops, and schools can use these to get expert advice and inspiration. It would also give students a chance to meet professional percussionists and learn from them.

Evaluation: A Criteria for Success

This program attempts to work with youth to develop ways for them to express themselves. If it is successful and the objectives are achieved, participants may demonstrate attributes that allow them to contribute positively to society.

Richard Lerner’s five C’s can be used as an indication of the success of the program:

1. Competence – this refers to the possession of social, intellectual and behavioural skills(Lerner, et al., 2005). Competence can be recognised by improvement and proficiency at the role the member is responsible for within the band, including their musical part, and their social and leadership roles.

2. Confidence – this refers to a positive view of oneself, and an upbeat sense of self-efficacy and self-worth(Lerner, et al., 2005). Confidence can be recognised by a willingness to contribute ideas to the group and perform for others.

3. Connection – this refers to positive relationships with both people and institutions(Lerner, et al., 2005). Connection can be recognised by the formation of positive bonds between members, especially those between individuals who would not ordinarily be friends outside of the program.

4. Character – this refers to integrity, morality and respect for the rules of societies and cultures(Lerner, et al., 2005). Character can be recognised by the presence of respect for others’ ideas and culture, and the consideration of every member’s ideas.

5. Caring/Compassion – this refers to the feeling of empathy and sympathy for others(Lerner, et al., 2005). Caring and compassion can be recognised by willingness of members to look after, care for and help other members of the group, especially when a member is having problems.

The development of these characteristics should lead to the appearance of the sixth C, contribution. This refers to the readiness to contribute positively to family, the community and also society (Lerner, et al., 2005). This can be recognised by members’ willingness to take leadership roles within the group, and the way participants utilise the skills they have learnt through this program in their everyday lives. 

Youth Development: Getting Involved

1. Schools

Participation of schools and students in Project: Original Rhythm is entirely voluntary. Schools can choose not to participate, and some schools may not have the resources to participate (for example, having no place to rehearse). The specific program implemented in each school will differ depending on need and resources available.

2. Students

Involvement of students is voluntary and only those wanting to take part should be part of the group. No student should be forced to join.

3. Adult Supervisors

The role of adults in the program is centred on organisation, supervision and mentoring. The adult should have musical experience and be trained to help students link expression through art to their social and emotional development within the group.

An issue that may arise within this program is with the role of the adult supervisor which traditionally, in most music programs, is to be the musical director. The director would make the decisions on the music, choreography and performances, while the students had very little input. Project: Original Rhythm takes a different approach in which the students are the decision makers. Supervisors involved in this program must be able to guide students, but refrain from taking over. 

Personally, although I would like to participate in Project: Original Rhythm, I do not have the training to be a mentor within this program. I have experience with participating in music programs, and my understanding of the youth perspective through these programs may allow me to contribute in an organisational way, to develop this program to suit individual schools.

Conclusion

Project: Original Rhythm is just one of many youth development programs that young people can be involved in. This program takes a strengths-based approach, using positive youth development principles to create opportunities for youth to express themselves through different media, take leadership roles and develop skills that can be used outside of the program.

Successful youth development programs must incorporate key tools for understanding and working with youth. Project: Original Rhythm does this by providing a platform for young people in New Zealand to form their own ideas and decisions, and make meaningful connections with others.

Working with youth in New Zealand must continue to take this type of approach, where youth are not targeted and labelled as ‘at risk’ or ‘problematic’. Instead, creating opportunities for young people to be an active agent in their own development can improve their complete well-being, support a feeling of belonging, and encourage them to become contributing members of society.

References

Adolescent Health Research Group. (2008). Youth’07: The Health and Wellbeing of Secondary School Students in New Zealand. Initial Findings. Auckland: University of Auckland.

Crespo, C. (2007). Young People and the Community: Year 1 Data. Wellington: Roy McKenzie Centre for Family Studies.

Farruggia, S. P., & Bullen, P. (2009). Positive Youth Development in Aotearoa/New Zealand. In J. Low, & P. Jose (Eds.), Life Span Development: New Zealand Perspectives (2nd ed.). Auckland: Pearson Education.

Hull, G. A. (2003). At Last: Youth Culture and Digital Media: New Literacies for New Times. Research in the Teaching of English , 38 (2), 229-233.

Larson, R. W., Hansen, D. M., & Moneta, G. (2006). Differing Profiles of Developmental Experiences Across Types of Organised Youth Activities. Developmental Psychology , 42 (5), 849-863.

Lerner, R. M., Lerner, J. V., Almerigi, J. B., Theokas, C., Phelps, E., Gestsdottir, S., et al. (2005). Positive Youth Development, Participation in Community Youth Development Programs, and Community Contributions of Fifth-Grade Adolescents: Findings From the First Wave Of the 4-H Study of Positive Youth Development. Journal of Early Adolescence , 25 (1), 17-71.

Mahoney, J. L., Larson, R. W., Eccles, J. S., & Lord, H. (2005). Organized Activities as Developmental Contexts for Children and Adolescents. In J. L. Mahoney, R. W. Larson, & J. S. Eccles (Eds.), Organized Activities As Contexts of Development: Extracurricular Activities, After School and Community Programs (pp. 3-22). New Jersey: Psychology Press.

Ministry of Youth Affairs. (2002). Youth Development Strategy Aotearoa. Wellington: Ministry of Youth Affairs.

Ministry of Youth Development. (n.d.). Participation in Education. Retrieved September 20, 2010, from Youth Statistics: http://www.youthstats.myd.govt.nz/indicator/education-and-training/participation-rates/index.html

STOMP. (2010). Workshops. Retrieved September 20, 2010, from STOMP: http://www.stomp.co.uk/workshops-education.php

STRIKE. (2010). Images of STRIKE Percussion. Retrieved September 20, 2010, from STRIKE Percussion: http://www.strike.co.nz/look-listen/lookListen-STRIKE.php