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Chapter One- A Community Music Exchange

Equipped with a name and mission, we decided to jump in and organize a launch event.
Sure, we needed a website, logo, social media presence, business model, following, etc.
However, we knew that all those arms of any organizational machine would come through
action. We needed to take those early steps. We needed a pilot program to grow from- a
creative launch to make these visions and conversations more real.

We needed to design our first attempt at our driving research question: How can we
create events where youth and adults have opportunities to connect in
meaningful ways, share passions and learn from each other?

After an exchange of ideas and past experiences, we decided that our first move needed
to be both small and realistic. Being new to the area and already extended with day jobs, we
recognized our limited reach and knew that our first effort would be only successful if intimate.
That stipulation framed our brainstorm and made me reflect on my experiences in New Orleans.
I landed on a fond memory of these informal music exchanges I organized with my friends. A
group of us would get together, bring some food and drinks, and go around talking about our
most cherished albums. I always left those nights with not just new music in my head, but a
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different way of looking at and bonding with old friends.

Music would be the perfect instrument to launch this new effort. Not only do most people
have a range of albums and artists that they connect to, but they also have personal insights
and stories often attached to those songs. What Hey Jude means to me and my experience
can often be completely different from the experience and attachment of someone else. Music
provided that blend of diversity and accessibility that we knew would make our event attractive
to potential participants. And of course once there, music provides that fundamental crutch we
could use to break the ice, encourage conversation, and hopefully connect new people from our
community.

Sharing music also struck another chord with us. The idea that people would be
exchanging and swapping music seemed warm, but also nostalgic. Now, with the countless
programs and mediums that make music not just accessible, but ubiquitous. The premise of a
physical or personal exchange seemed really different. This thought would eventually become a
major theme of The BoomBox Collective: how can we take what the internet does so efficiently
and humanize that exchange? We wanted to slow down the blazing speed in which we trade
and swap information in order to make it more personal. We wanted to make that exchange
more deliberate and most importantly, focus it around the human story and experience behind
the music. Sure, someone might hear Paul Simons Graceland for the first time. However, they
would more importantly hear that album in the context of a neighbor unpacking the soul behind
that record and the source of strength it provides in times of isolation. And more specifically, we
wanted to examine how to use that musical exchange to inspire not just new conversation, but
possibly a positive social tie.

Part I. Putting Ideas Into Action by Building On Existing Community Resources

First Step- Finding a Home. With a more specific idea in mind, we could now shop for a home
and venue for the music exchange. When Henry and I brainstormed possible locations, I
immediately thought of Ethan and the Digital Gym. Home of the San Diego Media Arts Center,
Ethan is a leading figure in the North Park community of San Diego and a respected organizer,
especially for his work in putting on the Latino Film Festival. After hearing a few people throw
out his name and organization, I reached out to him via email before we ever conceived of our
own community initiative. I wanted to hear more about his story and experience, and hopefully
pick up some valuable lessons around creative community organizing. We talked for an hour
about programming, the importance of identifying a need and creating a brand that will address
that specific need. Most of the guidance was pragmatic and I appreciated his time immensely.
Although I did not go into the meeting with any specific goal, I left knowing the value of
connecting with a local organization already invested in the same effort that I wanted to take on.

Aside from his previous support, the space itself seemed ideal. Not only was it large with
an assortment of rooms and meeting spaces, but it also had a large outdoor space decorated
with old school movie benches and colorful graffiti. Even among the first step outside, the space
felt comfortable yet unique. That warm coolness reflected the very nature of our event. We
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wanted to do something that would be different for folks to congregate around, but also familiar
enough to interest them. After meeting with Henry, I reached out to Ethan who directed me to
his Artistic Director, Lisa Franek. I wrote her an email outlining the event and detailing the
reasons why we thought it would benefit the community. After a few weeks of email
correspondence, we met one night at the Digital Gym and settled on a date- we would hold our
Community Music Exchange on Saturday January 25th.

Second Step- Getting People There With a concept and venue locked down, we needed to
promote the event. Again, our main goal is to get people to meet and participate. What good
would a music exchange be if there was not enough people there? We faced a few obstacles in
spreading the word. One, being new to the city, we did not know exactly where to start. We did
not have that large social and professional network that comes from living in a city for multiple
years. We could not rely on a tight circle of friends because simply put, we did not have one.
Also, we were new to the media and organizational landscape. We needed to find more local
allies, like an Ethan Van Thillo, that would not only provide us wisdom, but that could also could
help promote our event and spread the word.

Our first step was to branch out and to connect with other local organizers that could
help us do just that. My correspondence with Ethan proved how valuable this step was and we
needed to continue to find potential allies within the community. We spent the next few weeks
sending emails, making phone
calls, and setting up meetings with
leaders, artists, entrepreneurs, and
activists in the area. We reached
out to not just break into their
mailing lists, but more importantly,
we wanted to hear their story. We
wanted to learn from their
experiences and missteps. We
knew that we were not the first or
last to try to do something good or
creative or different in the San
Diego community. If we could find
and have a meaningful
conversation with those already
invested in that work, then maybe we would not just hear some lessons, but we could potentially
build early partnerships that would later provide necessary resources and in roads to new
communities.

That would be our primary means of promotion and our-reach. No real commitment to
social media. No fliers stacked in coffee shops. We would deliberately find others that we could
connect and develop relationships with. That process would prove to be obviously more time
and energy consuming, but also more useful and gratifying. With that approach in mind, we
were able to connect with Jason Foat. We actually met Jason in a coffee shop after he
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overheard me pitch the music exchange to a friend. Afterwards, we stayed in touch through
email. Jason, born and raised in San Diego, has been involved in the hip hop scene, known as
DJ @Large, in the city for the last twenty years. On top of his night job, he is also the founder of
Helping Hands, an upstart non-profit that raises money for charities down in Tijuana.

From the get go, Jason could not of been more helpful. From offering his own services at
our next community music exchange to connecting us to other local resources, he opened the
door to people and worlds that we simply had no access to. Jason was the first to get out his
phone and physically start dialing those that could/would help me push our project along. He is
an example of the ideal benefits of our outreach efforts- a sustainable relationship that will
provide both complementary skills and different resources to help an initiative grow. On top of
spreading the necessary word, Jason set up his turntables at the event and bumped music as
people walked through the doors.

Connecting with Jason happened entirely by chance and those encounters should be
embraced. However, they are obviously rare. We also needed to make intentional efforts to
connect with organizations. It would not be enough to pick up the phone or send an email or
hang out in coffee shops. Email can open the door or keep it open after initial contact (as with
Jason), but we needed to establish a personal relationship that went beyond the normal routes
of email and phone calls. For every Jason, there would be countless others who either did not
respond or who did not want to invest the same level of support.

We needed to do more if we wanted to find more local support. With that goal in mind,
we started to go to other community events and support other causes. From art openings to
fundraisers, we used these events as a means to not only connect with other organizers, but to
also find new crowds and groups already active in community engagement. After reading a flier
hanging in a local coffee shop (ironic due to our unwillingness to hang our own fliers), Henry
and I decided to attend a community event organized by a group named Sunday Assembly. Self
described as a secular church, Sunday Assembly looks to foster community that meets monthly
to hear great talks, connect for service projects, sing songs and generally celebrate life.
Although different in approach, we
quickly realized that our goals for
organizing were the same. Both groups
wanted to provide opportunities for
neighbors and strangers to congregate,
share, and connect.

After the event, we met with a
lead organizer to Sunday Assembly, Neil
Passons and talked about our project
goals. We identified similar themes,
brainstormed new ideas, and most
importantly, talked about ways that we
could support each other in the near
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future. That thirty minute conversation did more than a month of emails could ever do- it helped
us better understand each others work. From there, we would not only better understand what
each other was doing, but why we were. That link made both us and Neil more invested in the
growth of each others young project. Neil ended up not only coming to our event, but he
brought three other friends, including Pippa who graciously participated in our post event focus
group.

With Jason and Neil, we were developing relationships that would help us promote our
event and gain access to different resources.

Part II. Designing To Maximize Choice and Participation

The pieces were starting to come together. With a venue in place, a functional (albeit
limited) website created, and early connections within the community, we started to plan and
prepare for the event. The design of the event would be important- not only would it have to be
practical to allow for a large group to mix, it would also have to be intimate where everyone
could have the opportunity to be heard. Although music would be the focus, we wanted to
make it secondary to the conversations and connections being made. That came with its
obvious challenges.

The Music Swap: First off, we never felt comfortable with how many people would
actually show up. Every day we would have another person register online, but there was never
a guaranteed number. So, we needed to be flexible with the program to both provide enough
space and time for a large number to meet, but also to build in time that would allow us to adapt
and react to the number of warm bodies in attendance. This challenge, however, helped us
consider another design challenge. Everyone participating will have come to share music, but
not everyone is a public speaker. Not many people want to stand up infront of total strangers
and share their own personal interests. We needed to design a program that allowed for all
voices, from the most shy to the most loud, to be equally heard and respected. Like planning
any classroom project, we needed to diversify the sharing experience, allowing a proper amount
of choice for participants to feel both comfortable and empowered by.



Three Sharing Experiences
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With this in mind, we first focused on designing the sharing experiences. How could we break
down this large group into more manageable groups that differed in process and experience?
We decided to set our attendance goal at 30- thus splitting the group into three smaller groups-
the Public, Social, and Silent Share.

On top of the main program, we also needed to distinct ways to break the proverbial ice. In
trying to bring new people together, there will inevitably be those awkward moments where no
one is talking. We can all think of those moments where re raced for the nearest corner, friend,
or technological device to avoid either conversation or public isolation. In organizing this event,
especially with the intention of facilitating new conversation, we recognized from the beginning
that it was our job to programmatically overcome these routine obstacles. Bound to happen of
course, but our responsibility as organizers was to provide those creative bridges for folks to
cross and meet. With that in mind, we designed to additional structures to spark conversation
and hopefully make the event less awkward.

The Community Mixtape: Participants were already coming to the event ready to talk
about music. They were warned before the event (through our website) to be prepared and to
bring a song ready to share. We knew we could start there. Taking a cue from Candy Chang
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(discussed in the Understandings) we wanted to create a structure or piece that each participant
could add to and that would help generate
conversation. We wanted to compliment our
celebration of music with a visual that recorded
the individual voices at the event.

So, we created the Community Mixtape
and its album art. When people walked into our
event space, they would automatically register
for a sharing experience and also their song they
planned on sharing. After the event, we took all
the songs (or at least the ones collected) and put
them into an online playlist that we later sent out
to the group two weeks later. The playlist served
not only as a way for them to find the songs that
they enjoyed but to also collectively see the
different tastes and interests of the larger group.
From Notorious B.I.G to Loretta Lynn to Arcade
Fire, the songs featured on our first community
playlist serve as a musical reflection of our
diverse community.

At the event, we also charged
participants in creating the album art for
the playlist. We painted a large piece of
plywood with chalkboard paint and then
stenciled Community Mixtape at the top.
Below, I added about thirty white squares.
Each participant would theoretically have
his/her own square to fill at the beginning
of the event. We encouraged them to put
their song in the box- in whatever form
they wanted. They could use an image or
just words, but those boxes would each
visually represent the range of music on
our playlist. Although many appreciated
the concept, the final product was not the
main goal. Instead, the process of
deliberating on design and drawing it out eventually helped push new conversation. The board,
and the surrounding ten feet, could become this voluntary zone of interaction, thus pushing an
early dialogue.

Question Cloud- However, we needed more. Although we were offering a differentiated
program that allowed for different sharing experiences, we recognized that we needed to do
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more to facilitate conversation before the event. The Mixtape helped, but we needed to get
people talking before we threw them into their smaller groups. With that in mind, we designed
the Question Cloud.

After registration, we
asked participants to write a
question on a notecard. Their
question could be about
music or their song or it could
be more general. We then
asked them to upload that
question to our cloud- a
bunch of strings clipped to an
overhanging art piece. Within
the first twenty minutes, there
were an assortment of
different questions hanging
from our cloud. After some
opening remarks, we then
asked everyone to grab a question from the cloud and find a partner to respond to that question.
After four minutes of sharing each others question, they switched cards and then found a new
partner. We did this for three rounds. This exercise worked really well in encouraging
conversation and helping our participants feel more comfortable in reaching out to complete
strangers.

The Cloud also tied into an intentional theme that we discussed in the beginning. The
Cloud and again the entire concept of a music swaps, stems from our goal to connect people
authentically beyond the reach of social media and the internet. We want to create
conversations that may be more than 150 characters and will not have the option of countless
viewers liking or disliking them. We kicked around a few names for this activity (very close to
being named the Question Tree), but in the name, the Question Cloud both explained the
basic design and served as that intentional parody to the internets capability. We wanted to
make that clear, point to it, and use that as bridge into what we considered more meaningful
conversation.

Part III. The Community Music Exchange- January 25, 2014

Feeling both encouraged by the growing number of RSVPs (over forty participants registered)
and confident in our design and preparation, I woke up ready to seize the day and put this vision
into action. With my car stuffed with speakers, posters, and a giant chalkboard, I drove down to
the Digital Gym and walked up to the front. However as I turned the corner, the lights were dark.
When I approached the door, I only found a giant lock keeping the two fronts doors shut. We
were less than ninety minutes away from the event and expecting our small army of student
volunteers to show up at any minute. Being in contact with the venue two weeks ahead of time, I
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was confident of the date and time. However, with no signs of light and no working number to
call, we quickly had to get creative. We walked into neighboring businesses, asking the
managers if they knew the owners number. Some did not, others provided the line to the venue,
leading to an answering machine that we already pleaded with before. Finally, through a
clothing shop a block down, we fortunately found Ethans personal line and were assured within
ten minutes that someone was on the way.

Although forty five precious minutes behind schedule, we were now in the venue and able to
start setting up. We recruited about eight student volunteers to set up the event, help manage
the activities, participate in the swap,
and document the event. All
photographs and documentation you
see here was taken by those students.

With the extra set of hands, we were
able to quickly (albiet a bit chaotically)
set up for the event. The MixTape Art
board propped up with both chalk out
and explanation pinned. A registration
table prepped for incoming participants
to sign up for a sharing experience and
give us some email. The Question
Cloud tied with strings and clips. The
apple cider and desserts set on a table.
Even our house DJ, Mr. Jason Foat aka
DJ @Large (pictured above), was able to unload and set up his tables exactly at 2 pm, dropping
that needle exactly for that first group to walk through the door.

With the music bumping, we were ready to go.

Our participants, however, were not as eager. Instead of this collective entrance at 2 pm, people
came sporadically, tricking in every five minute. By 2:15, we wanted to get started, but only half
of those registered had showed up. This left us in a precarious situation. Those who were there
were restless- wanting to get on with it, share music, and stop the awkward walk around. On the
other hand, we were not ready knowing that others were running late and unsure about starting
our program as others arrived late. We decided to hold on for another fifteen minutes, providing
not only enough time for the late comers to run in, but for us to all balance out the group and
insure a healthy, but intimate number of folks within the same sharing experience.

WIth the majority of registered participants in attendance, we decided to start. We built into the
program time for opening remarks. Keeping in line with Daniel Pinks third drive, we wanted to
both introduce folks to our new initiative and also explain why we organized this event. As he
notes in his 2009 Drive, we needed to share a collective purpose because our participants
would be thirsting for context, yearning to know that what they do contributes to a larger whole.
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(138) I felt like it was important to be as obvious as possible. We wanted them to talk, share,
and connect. In order to do so comfortable and safely, we also needed them to take risk and to
be open. Our designed program tried to structure that experience, but it was important to
encourage that behavior. It was
important to just come out and say it-
to use words to directly communicate
our hopes and goals. Music was
secondary to the conversation. We
wanted to make that clear and provide
that necessary lens for everyone to
view our program.

Video Reflection: Opening remarks
describing our program with footage
from the exchange

However, despite this effort, the
energy still felt stiff. Regardless of how loud I hollered or how much I ranted about the
significance of interpersonal communication, my words alone would never inspire our programs
goals. The group needed to practice and engage with each other in order to really warm up.
They needed to begin that collective dialogue and try to connect on a personal level as active
participants and not just timid spectators. Following our opening statement, we dove right into
the Question Cloud exercise. One by one, everyone picked a card from a string and found a
stranger to ask their question. We allowed for about four minutes of conversation and then
called out SWITCH. They then switched cards and found new people to talk to. With every
round, the group became louder. Conversations became more fluid. Laughter more authentic.
Questions more developed and sincere. This activity really helped us not only break the ice,
but it also reinforced our organizational principle- we wanted people to talk and have new
conversations. Although most of the questions could be considered trivial (Peanut Butter or
Jelly?), they provided that necessary bridge for people to meet, get comfortable, and find a
more useful social confidence. With that increased energy, we moved onto the music share and
to our main program.

BoomBox Interview: Our focus group on the overall positivity at the event and the Cloud
activity

Observations of the Sharing Experience
After Henry announced the names for each group, we all broke into our separate meeting room.
Outside, Henry facilitated the Public Share and we were lucky enough to have a partner help
lead the Silent Share in the front. I led a group of twelve into an adjacent classroom for the
Public Share. We rearranged the chairs in a circle, with a speaker and computer set up to the
side to play music. All in all, the room did not provide the best ambiance- a grey, bare room that
was in direct contrast to the bright, outdoor space we just left. However, it was quiet and had
enough space for us to all talk. After a few minutes of everyone shuffling in and prepping their
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songs, we first went around to introduce ourselves- name, neighborhood, occupation, and
favorite holiday (just for kicks). Reflecting back, the whip around should have been more
focused and prepared because it seemed like more of a chore than conversation. It was
important for everyone to share their name, but due to my loose instruction, it provided uneven
expectations. Some shared for thirty seconds and others for five minutes. Next time, we would
need to provide clear instructions and guidelines to keep this simple activity inclusive and short.

After introductions, I provided everyone time to share with a neighbor their song and story.
Public speaking is terrifying and I wanted to give participants a chance to practice. Their time in
front of everyone should not be the first time
they uttered their story out loud. After four
minutes, we started the exchange. With me
the first to jump in, we one by one stepped
up to the stereo, plugged in our music
playing device, and told why we wanted to
share this song to the rest of the group.
Some talked over the music, either to point
out musical technique or to let it serve as
background mood to their story. Others stay
seated allowing for a more casual
conversation around the song and sound.
After about five minutes, we all clapped to
celebrate the speaker and that speaker
then traded seats with the next in line.

BoomBox Reflection: Video explanation of
the Public Share and its value

The stories ranged from personal to the dramatic to the technical. Some simply wanted to share
their favorite band and talk about their music style or expertise. Others used the forum to tell a
specific story that marked an important event or moment in their lives. One youth participant
wanted to share a song about sandwiches because he simply liked the song and sandwiches.
The stories, although diverse, reflected each speakers personality and provided that necessary
vehicle for them to share their own experience. After the event, we asked participants to fill out a
quickly survey before they left. When asked about their
favorite aspect of the program, many explained the value
or significance of hearing each others stories and
experience through their songs. One participant
thoughtfully remarked:

I liked learning the background stories that made
each song so personal to people. Its a new way to
listen to new songs whereas before I may have
only listened for the beat
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The design of the Public Share allowed for extra time with each song and story. With that said
however, the experience was also awkward. When the music played, we all politely tapped our
feet and asked questions to break long silences. Many of the presenters were nervous, either
racing through their explanations or stumbling through it significance. However, that tension or
discomfort revealed an important element of this specific exchange and the event as a whole.
After talking to a few participants after the event (more below under Event Findings), I realized
that many simply had not done anything like this before. For the adults, these forums to openly
share and discuss their own experience or interests are rare and niched. Unless a job (like
teaching) requires it or a specific hobby entertains it, most adults do not have to talk about
themselves in front of stranger. As educators, we ask students to attempt this every week, but
adults rarely get that same treatment. Although that made this experience more awkward, I also
observed that it empowered people. By taking that social risk, many felt more emboldened by
their favorite music and more confident in their own experience.

Part IV. Our Findings: The Big Themes

Finding#1- Participants Valued Opportunities to Connect Face-to-Face Through Song

First and foremost, I found the event to be overwhelming positive and successful. We collected
thirty one exit card surveys from the event and every single participant marked that they found
the event to be valuable. Many commented that the program was unique and that it offered a
forum to connect with others. As I first combed through the exit cards, the words different and
new popped out in a majority of the surveys. When asked about if they found the experience
valuable, participants wrote:

Getting out of the comfort zone and meeting new people

Yes! I was considering a nap but this was a better choice. I was glad to step out and be
part of something different

Yes, I just enjoy having met so many people together from different backgrounds
making an effort to converse & learn about one another.

I learned a lot about creating a fun and friendly environment for a group of people as
well as encouraging connections and conversations between them

Out of those thirty one, twenty six of those surveyed explicitly mentioned that they appreciated
the opportunity to meet new people:

Loved meeting new people and learning about what music drives people.

Meeting new people who I might otherwise never spoken with or crossed paths with

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The feedback, both through our surveys and recorded interviews, supported my own
observations that the event was a success. We created an environment that encouraged
meaningful conversation and an exchange of personal experience. Check and check. The
surveys were rich with suggested improvements and necessary changes, but primarily the
feedback was that we were on the right track.

In a focus group interview after the event, I talked to a group of five participants and asked what
made the event valuable. After a few minutes, the group started to talk about connecting in the
modern world. Although technology does so much to connect us through social media and
email, the participants claimed that there is little opportunity to talk to others face to face and
truly connect. This event asked, even forced, the participants to not just talk, but to exchange
their personal stories and interests. In the end, that exchange proved valuable to our
participants and an integral part of our program.

BoomBox Interview: Participants talk about how connected we really are and the value of
talking person to person

To be honest, I am not too surprised by this finding. I could feel that positive energy throughout
the event and personally witnessed our programmatic goals becoming realized throughout the
course of the afternoon. We wanted folks to meet, exchange music, and share their stories.
That happened. Although our event was far from perfect and many organizational lessons still
need to be learned, the exchange was first something different and especially something
positive.

Finding #2- Art as a Catalyst for Conversation

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We knew that we wanted to use the arts as a way to engage and connect our participants. This
was central to our design of the program and an essential strategy that arose out of my
understandings section. Keith Knight and Mark Schwarzman, in their book A Beginners Guide
to Community-Based Art, note this value by stating that through, art people consciously take
ownership of their signs, symbols, rituals and stories in order to re-connect and extend their
sense of common ground. (2005, 23) As mentioned at the beginning of this chapter, music
would, obviously, be the primary framework in which we encouraged dialogue. However, we
wanted to incorporate other
mediums to help break down what
one participant coined those
stranger barriers in her survey.
The mixtape board was our
attempt to mix arts and provide
alternative means for participants
to share their music.

With that said, I never fully
considered that the music would
be more than just a spark for
dialogue. We designed our
program believing that music
would be secondary to the
conversation. The songs they
heard would be merely a catalyst
and afterthought to the personal
connections they would make. A
bit out there, but again, our intentions.

However, for many, their biggest takeaway was the unique exposure to new music. From our
surveys, after the mention of new people and positive connections, most commented on how
the event introduced them to different music. When we asked participants what they enjoyed
most about the event, we received responses such as:

I enjoyed listening to various genres of music that I otherwise couldnt have listened to.

It was good training for my ears, going beyond my musical horizons

Hearing a variety of music Ive never heard of

Out of the 31 participants surveyed, 18 of them remarked about the experience of hearing new
music and being exposed to different genres/artists. We wanted to use music as a vehicle for
social interaction, but in doing so, we also wanted to celebrate our diverse musical interests and
provide a creative forum in which those interests can be explored.

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Whether through the conversations or the Mixtape Board, we used mixed arts to keep our
participants busy and provide them bridges to connect through dialogue. One participant wrote,
This [experience] was like a catalyst speeding up small talk right to real substance. However,
as much as participants enjoyed those conversations, some also appreciated just a different
space to explore new interests and discover new music. In our interviews conducted after the
event, the participants mentioned that the event served as a creative release that pushed
participants to listen and consider new sounds and ideas. We thought that music would simply
be the vehicle for dialogue, but this creative focus to their participation served as a highlight to
an event.

Video Interview- Participants talk about the value of music and the arts

Finding #3- The Power of Reciprocal Youth and Adult Interaction

Henry and I knew we needed help for the event. We would need help documenting the event,
setting up, cleaning up, and possibly facilitating some of the program. We turned to our own
students to volunteer and to support. However, when designing the program and promoting the
event, we never gave much thought to opening and promoting the events to both students and
adults simultaneously. We did not purposefully dismiss the thought, but instead that intentional
mixing just never crossed our minds. Instead, we were just trying to get anyone there regardless
of their age, connection, or background to come and participate.

However, during our formal interviews and informal conversations after the event, we realized
how many participants both recognized and appreciated the mixture of ages and generations at
the event. Some spoke about the poise of the student volunteers, claiming that they did not
even realize they were students until the end of the event. Others recognized the value of
having a space to encourage a mutual trust and reciprocity between youth and adults.

Video Interview: Participant on the value of intergenerational connections through exchange

Those spaces are rare, especially outside of our schools. High Tech High, through internships
and exhibitions, provides unique opportunities for students to connect with adults through their
projects. However, those connections are often one sided and oriented primarily through their
academic work. At the music exchange, we observed a more level playing field amongst adults
and youth. Both were expected to not only tell their own story, but to listen and respect their
neighbors stories as well. This exchange not only empowered the youth to step up and engage
in what one student coined, mature conversations about music, but it also provided a rare
opportunity for adults to connect and learn from the youth. In some cases, they identified with
the youths experience and consequently, better understood their own growth and experience
as an adult.

In their exit card, one participant considered this space to be a classroom without borders and
another commented that they enjoyed most connecting with new people who I might otherwise
never spoken with or crossed paths with. Our program was not exactly community building,
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because that would be impossible to accomplish in only one afternoon. However, what we
wanted to do was community mixing and this was done by collecting youth and adults in the
same space. As mentioned in the Understandings, Lissa Soeps advocates for this
collaboration, articulating that through mutual work with adults, young people begin
participating at the edges of given activity, and with time and practice they grow into a fuller
role. (2005, 53)

The benefits of these interactions rang especially true for one specific participant at the event.
She told me the story of a student who shared an Alicia Keys song with her, explaining that the
song helped her get through recent tough times. This participant found that the exchange
empowered the student, as she confidently expressed her feelings through the lyrics and tone of
the song. However, the adult participant also became empowered by the students strength,
ultimately reminded of her own youthful challenges. Their exchange happened on an equal and
level playing field that allowed for both adult and student to safely step in and share their story.
The adult participant explained that as an educator, she does not think that there are enough
programs for that mutual exchange and believed it to be the real highlight of her afternoon.

That story not only best represents our intentions in organizing the community music exchange,
but also better frames a necessary next step for our second program- intentionally bring more
students and adults together to connect.