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The Barbershop Show

Conducted in partnership with Amnesty International and won-by-one records, this tour used a musical theatre presentation to engage youth in discussion about human rights and the role they can play in affecting positive change in their communities, domestically and overseas. Funded with support from the Foundation’s Youth Engagement Program, this work was also supported by the Ontario Arts Council, and the Federal Government Departments of Heritage and Justice.

Hosted by Will “The Barber” Strickland, who worked in collaboration with artists and staff from 411, Amnesty International and won-by-one records staff to create the theatrical script, the show is a series of vignettes that might occur in barbershop conversation and features rap, poetry and songs that use “edutainment” to deliver information and ask questions of students regarding the effects of war, use of child soldiers, violence against girls and women, refugee integration, child labour, and the right to education. The show involved active touring artists such as Melanie Durrant, Shaun "Rikoshay" Boothe, Equinox 199 and Dwayne Morgan.   
 
After a one-hour performance that invited student participation throughout, there was a half hour discussion session where students were asked for their understanding and perspectives on the messages profiled in the show and had the opportunity to ask questions. Supporting classroom materials are made available online for teachers to use in follow-up to the show. The format has also been used recently to address issues of HIV/AIDS and anti-violence.
 
Tamara Dawit, creator and Executive Director of the 411 Initiative for Change began on a journey in her own high school years, where as a student in Ottawa of Ethiopian and Ukrainian descent, she often felt excluded at school. At that time she convinced her school principal to let her develop a school assembly for Black History Month. While she worked hard to put together an educationally sound program based in historical fact, she noted that the program didn’t really captivate the interest of students. “The delivery wasn’t very interesting, I think they were a little bored,” stated Tamara, “I wasn’t sure how much they were engaged by the content”. 
 
In future endeavours she began to experiment and work with plays, poets, musicians and their more contemporary forms of delivery and felt the students responded better. After completing her education in marketing and public relations for the music industry, working with various artists, and doing some work with Save the Children Canada, Tamara returned to her roots creating Music for Life, now the 411 Initiative for Change. Building on the relationships she has made with the music industry, Tamara continues to engage a variety of artists in the work, “Now artists and agents are coming to 411 to be involved.”
 
Will, who has also worked extensively in the music industry, created a seminal course on hip hop culture, "Edutainment: The Impact of Hip Hop on American Culture," at the University of Massachusetts-Amherst in 1998. He is currently the Executive Director of Project Logic - an arts and education based collective focused on providing unique creative Canadian urban music talent development. “If you call a course ‘Effective Communication Across Race, Class and Social Lines’, you don’t get much of a registration. But if you teach about effective communications across race, class and social lines and call it “Edutainment” you get more interest and then more opportunity to engage young people in critical thinking and discussion who otherwise might not see themselves as being the type of people who have those conversations”.
 
Dwayne Morgan, spoken work artist and founder of Up From The Roots - established to promote the positive artistic contributions of African Canadian and urban influenced artists - is one of Barbershop’s performers.  He and other artists provide 411 and Will with material related to the topics for the shows or create pieces that address the issues, such as the poem below:     

Samitra
 
6 o'clock in the evening,
my tv turns on,
and i get ready to watch,
emotionless robots
telling me of the days destruction.
No interuptions,
but for the occasional commercial
that brings us back to 'reality'.
And, I wonder,
what type of human being,
can show me all of these things,
without getting emotionally involved;
the tv suddenly dissolved and became a miror,
forcing me to look at myself,
and I realized
that i see dead people every night
on my tv screen,
and I'm so desensitized,
that I watch and continue to eat,
and what that says to me,
is that there's a problem;
we've become comfortable
with things that aren't right in our faces.
Nameless, faceless people lie dead,
in the middle of streets with no names,
as war planes fly overhead,
and bloodshed is as common as the sun's rising.
The writing of this piece,
was inspired by a young girl named Samitra,
whose life changed in a matter of seconds;
walking with her family,
"get down" her mother beckoned.
There was a bomb blast.
Her father who walked beside her,
now found his body twisted in the wreckage.
Still alive,
he tries to send her a message,
that he loves her,
which he packages and sends
on his last breath.
It tore her apart
to watch her father's death.
Her mother bloodied and bruised,
picked her up from the rubble
and brought her to safety.
A year later,
they arrived safely,
in this land of mine,
with no friends and no family,
just happy to be alive;
happy to not hear sirens
in the middle of the night;
mom's still nervous,
and fears letting her outside.
She carries a picture of her dad in her backpack.
Every Father's Day,
she's haunted by flashbacks;
unable to hold the tears back;
they flow like blood in the war torn streets
that she's left.
We've got to realize,
that we all connect
like computers in a LAN.
There are many like Samitra in our land,
all with horrifying stories
that i wish they never had to live through;
young boys,
who packed their childhood into chambers,
becoming soldiers,
fighting for causes they aren't old enough to understand;
young girls,
prisoners in their homes,
because the streets aren't safe,
and we say,
what's wrong with those people over there,
but, what's wrong with us here?
you see,
they're just trying to survive;
trying to live life;
trying to get by
and deal with the terror and burdens
that they have to handle.
They live the reality,
while we have the luxury
to change the channel.
           (Dwayne Morgan)
Both Dwayne and Will speak of the response and ongoing interactions with youth who have experienced the shows. “We’ve all been to the boring assembly” says Dwayne, “we try to keep the script loose, not too rigid, and go with the flow of the audience. That’s how young people communicate”. Participants can interact directly with performers after the show and all can be reached by e-mail through www.whatsthe411.ca. “And guess what,” Will tells audience members, “we all write back”. Both indicate that they have had ongoing communications in this way, and have been able to hear from youth how they have moved forward after the performance as individuals and members of their community.

Tamara indicates that some school communities are a challenge, “We had to change the term ‘hip-hop’ in promotions to ‘popular culture’ and sometimes teachers and principals are nervous when we start the show”.  However, response from staff and youth participants is typically favourable.
 
Teachers speak of the program as helping civics curriculum to “come alive”. A teacher at Paul Dwyer Secondary School in Oshawa writes “the activity provided an opportunity to discuss, debrief and research human rights issues. This was an excellent presentation, very student-friendly and the debriefing that followed was exceptional”.    The program has also been seen by teachers as inspiring youth to become more civically engaged, “Something special was exchanged between staff and students with the performers. Students were moved emotionally and inspired to be an active person in our society,” states a teacher from Dante Aligheri Academy in Toronto. Media response has also been supportive, with various media outlets covering the work and praising its approach as “creative, relevant, practical and inspiring” (CFRB Radio).
 
Student responses reflect their enjoyment of the music, rapping and poetry, but also reveal some introspection on the deeper issues from the content of the show.  They ask questions about how they as individuals can deal with issues they might be facing or how they can get involved in their community. Tamara ensures the artists have training working with young people as the content can lead to personal disclosures of abuse and requests for help on other personal issues.
 
Both Dwayne and Will talk about the need to engage young people without preaching, and while Dwayne states “we seem to have found a formula that works with young people so we don’t mess with it too much”.  The artists and Tamara take the feedback from shows and in the correspondence they receive from youth to influence future performances. Tamara indicates that she is also looking to establish a process for more direct youth involvement in the content development. 
 
There is opportunity to further expand the youth engagement in this approach by including them in the decision-making and creation of the project. It is worth sharing this model because of its success in engaging artists in community issues in a manner that requires meaningful time commitment, reflection on the issues at hand, and direct interaction with a variety of communities.
 

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