9 Pillars: A Look at how the Challenges of Homelessness in Youth Impact Creative Expression and Engagement in a Public Art Project

The following research is a look into how the challenges facing homeless youth impact creative expression and engagement during their involvement in a public art project. Creative expression can be one way to improve the perspective these youth have about their lives as they reflect on their strengths and talents. Creative expression can also provide youth with a platform for voicing their hopes, fears, and dreams. Using a safe forum to encourage self-expression, the youth participants developed 9 themes that conveyed what they most wanted the community to know about their lives and challenges. The youth also provided input to help create the art that would later become the murals in this public art project. The complex challenges facing these youth were conveyed through their expression. The stories told through the 9 Pillars project helped create a welcoming place that will help generate awareness about this marginalized population. Awareness is a critical component to improving and increasing the support needed for these youth to improve their lives.

9 Pillars: A look at how the challenges of homelessness in youth impact creative expression and engagement in a public art project By Lesly Allen A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in Community Leadership Westminster College Salt Lake City, Utah December 2014APPROVAL of a thesis submitted by Author's Name: Lesly Allen School Department: School of Education; Master of Arts in Community Leadership Title of Thesis: 9 Pillars: A look at how the challenges of homelessness in youth impact creative expression and engagement in a public art project The above named master's thesis has been read by the thesis advisor and has been found to be satisfactory regarding content, English usage, format, citations, bibliographic style, and consistency, and is ready for submission to the Westminster College Library. ______________________ ________________________________________________ Date Thesis Advisor, Dr. Jamie Joanou Approved for the School ______________________ ________________________________________________ Date Interim Dean, Dr. Peter Ingle STATEMENT OF PERMISSION TO DUPLICATE THESIS & DEPOSIT/DISPLAY IN THE INSTITUTIONAL REPOSITORY Name of Author(s)_________________________________________________________ School/Department_________________________________________________ Title of Thesis____________________________________________________________ __________________________________________________________________ With permission from the author(s), on the basis of an occasional and individual request, the staff of the Giovale Library of Westminster College has the right to make a copy of the above named thesis. The Giovale Library staff also has the right to mail or otherwise disseminate a copy to the requesting party and to be reimbursed by the requesting party for the cost of duplicating and mailing the thesis. I hereby give my permission to the staff of the Giovale Library of Westminster College to duplicate as described the above named thesis. Signature of Author(s) Date With permission from the author(s), the staff of the Giovale Library of Westminster College has the right to deposit and display an electronic copy of the above named thesis in its Institutional Repository for educational purposes only. I hereby give my permission to the staff of the Giovale Library of Westminster College to deposit and display as described the above named thesis. I retain ownership rights to my work, including the right to use it in future works such as articles or a book. Signature of Author(s) Date The above duplication and deposit rights may be terminated by the author(s) at any time by notifying the Director of the Giovale Library in writing that permission is withdrawn. Abstract The following research is a look into how the challenges facing homeless youth impact creative expression and engagement during their involvement in a public art project. Creative expression can be one way to improve the perspective these youth have about their lives as they reflect on their strengths and talents. Creative expression can also provide youth with a platform for voicing their hopes, fears, and dreams. Using a safe forum to encourage self-expression, the youth participants developed 9 themes that conveyed what they most wanted the community to know about their lives and challenges. The youth also provided input to help create the art that would later become the murals in this public art project. The complex challenges facing these youth were conveyed through their expression. The stories told through the 9 Pillars project helped create a welcoming place that will help generate awareness about this marginalized population. Awareness is a critical component to improving and increasing the support needed for these youth to improve their lives.Dedication To my parents, Scott and Betty Allen. Dad, you always told me "You don't go to college to learn. You go to learn how to learn". Your gentle and wise example of hard work has always inspired me. I know you are proud of my accomplishments and I miss you every day. And Mom, your unconditional love and endless support has helped me throughout my life. Thank you for all the energy and time you've devoted to me.Acknowledgments I would first like to thank the organizations and people that helped make the 9 Pillars mural project possible. Thank you to the Utah Department of Transportation for allowing us to transform this area with paint and creative expression. And to Volunteers of America for providing access to the youth whose stories are the foundation of this project. I would also like to thank New Look International, Visit Salt Lake, Lumenas Studios, and Westminster College for their support, and the many others who donated their time, talent, and financial support. To my professor Jamie, thank you for introducing me to the research process, for trusting me with this extensive project, and for your encouragement along the way. Darin McDaniel, thank you for your support and for asking me, "Why don't you paint these pillars?" the day I was discouraged about finding a location for the project. Your insight regarding how the murals would add to the neighborhood helped create a welcoming place and a vehicle for expression. To Hannah, Miranda, Sophie, and Olivia: you may not yet understand what being able to attend graduate school at this point in my life means to me. But I could never love you more and I will always be grateful for your patience and willingness to go without home cooked meals for two years. I hope that my experience will be an example to you and that you always value the rewards of education. And most importantly, I would like to thank the youth who allowed me into their lives and trusted me with their expression. The stories you shared through the murals have left a powerful and enlightening view into your world.TABLE OF CONTENTS CHAPTER 1. INTRODUCTION………………………………………………………………..1 Topic and Purpose………………………………………………………………..2 Root Causes………………………………………………………………………2 Project Concept…………………………………………………………………...4 2. LITERATURE REVIEW………………………………………...………………5 Overview…………………………………………………………..………….......5 Impacts of Youth Homelessness………………………………………..…….…..5 Creative Expression in the Lives of Homeless Youth…………….…………..….7 Creative Expression and Identity………….……………………..…….…7 Creative Expression and Empowerment……………………………….…8 Increasing Awareness of Homeless Youth Through Expression…………..……10 Homeless Youth and Public Art………………………………………….….…..12 Challenges of Research Involving Homeless Youth Participants………….……14 Discussion……………………………………………………………………..…17 3. METHODS…………………………………………………………………..…..19 Project Overview…………………………………………………………..…….19 Participant Population……………………………………………………..……..20 Participant Recruitment…………………………………………………...……..21 Project Details………………………………………………………………..…..22 Logistical Elements…………………………………………...…….……22 Concept Development……………………………………………………23 Mural Art Development…………………………………………….……24 Artist Volunteers…………………………………………………..….….25 Engagement.……………………………………………….………..……26 Community and Volunteers…………………………………………………...…32 Organizations……………………………………………………….…....32 Community Members…………………………………………………....33 Family and Friends……………………………………………………....33 Participant Observation………………………………………………….……….34 Data Collection…………………………………………………………..…...….34 Data Analysis…………………………………………………………………….36 Ethical Considerations…………………………………………….……………..36 4. FINDINGS……………………………………………………….……….….…..39 Youth Expression…………………………………………………….….…….…39 Trauma…………………………………………………………..……….39 Trust………………………………………………………………..…….40 Past……………………………………………………….……………....41 Resources…………………………………………………….…………..41Talents……………………………………………………….…………...42 Judgment…………………………………………………………..……..43 Mural Themes. …………………………………………………………….…….45 Public Awareness………………………………………………………….……..50 Cai………………………………………………………………………….…….52 Final Thoughts………………………………………………………….………..53 5. REFLECTION……..……………………………………………….……………55 Implications…………………………………………………………………...…55 Implications for Youth Participants……………………………………...55 Implications for Organizations…………………………………………..56 Implications for the Community…………………………………………56 Limitations……………………………………………………………………….57 Funding Cuts……………………………………………………………..57 Communications…………………………………………………………59 Transportation….………………………………...………………………59 Other Limitations………………………………………………………...60 Future Research………………………………………………………………….61 Recommendations………………………………………………………………..62 Learning Objectives……………………………………………………………...63 Conclusion……………………………………………………………………….64 REFERENCES…..................................................................................................65 APPENDICES Appendix A: Consent Form for Adults…………………...............................69 Appendix B: Cover Letter, Research Involving Minors…………………70 Appendix C: Media Release......................................................................71 Appendix D: IRB Approval Notification Form……….............................72 Appendix E: Master of Arts in Community Leadership Learning Objectives………………………………………………..73 Appendix F: Personal Reflection………………………………………...75List of Figures Figure 1. Judgment Figure 2. Trust Figure 3. Resources Figure 4. Past vs. Future Figure 5. Rock Bottom Figure 6. Believing in Yourself Figure 7. Words From Our Lives Figure 8. Challenges Figure 9. Community Figure 10. The 9 Pillars Mural Site1 9 PILLARS Chapter 1 Introduction Throughout my life, I have witnessed the remarkable effect the arts can have on people, either through participation or appreciation. I also recognize how art can contribute to shaping a person's identity. Art means something different to everyone. I find unique appeal and curiosity in community or public art because of its accessible and inclusive qualities, and for its ability to draw attention to social issues through creative expression. Both Sharp, Pollock, and Paddison (2005) and Hall and Robertson (2001) support the idea that public art can be a powerful tool in providing communities with a way to express and to address social issues. In this context, a community can be defined as a community of interest, as with specific populations or groups with their own culture and history, homogeneous values, and interests (Kay, 2000). This concept can be applied to marginalized populations as well, and the issues and challenges they face that set them apart from other populations. The distinct characteristics of these communities can be represented through various means such as public art. One such population in which to study participation in community art is that of homeless youth. Homeless youth are a uniquely vulnerable population that face complex challenges every day. There is significant research showing that creative expression through engaging in the arts can have numerous positive effects on the lives of homeless youth (Prescott, Sekendur, Bailey, & Hoshino, 2008). The purpose of this study was to take these findings beyond individual creative expression and further examine the engagement of homeless youth in a public art project. This study intended to provide a means for homeless youth to express themselves through participation in a public art project, one that might raise 2 9 PILLARS awareness about the challenges they face through the creation of a welcoming place within the community. Topic and Purpose According to the National Coalition for the Homeless (2009), homelessness in youth is defined as an adolescent or young adult who lacks a fixed or permanent, adequate nighttime residence. According to Ottaway, King, and Erickson (2009), the amount of time youth spend on the streets, the quality of life they create for themselves, and the success in exiting street life is dependent on the coping skills and resiliency these youth either possess or build while on the street. In the past, research regarding possible interventions used "a damage model that focuses on pathology and attempts to rescue the youth from their plight rather than exploring ways to strengthen and encourage them" (Prescott et al., 2008, p. 156). A damage model provides support to meet the immediate needs of homeless youth, but is only a temporary solution and does not help youth build the skills they need. This study attempted to provide homeless youth in Salt Lake with an empowering experience that would not only help them recognize their strengths, but also the ability they have to contribute to societal awareness through creative expression. Root Causes Studies estimate that there are approximately 1.7 million homeless youth on the streets in the United States (National Coalition for the Homeless, 2009). The root causes for youth homelessness are wide-ranging. Kidd (2007) acknowledges that the majority of homeless youth often end up on the streets as the result of an attempt to find an alternative to a troubled or abusive home environment. According to Prescott et al. (2008), these youth may be trying to escape neglect, poverty, confrontation or violence. 3 9 PILLARS Some youth are rejected by a member or members of their family for coming out as LGBT and are forced to leave their home, while others may be kicked out for substance abuse (Prescott et al., 2008). Prescott et al. (2008) also report that many homeless youth have aged out of foster care and have no constant adult figure in their life to care for or mentor them. These findings are consistent with the reasons my participants ended up homeless. They reported entering the foster care and group home system for varied reasons at a young age and then becoming homeless upon turning 18. Zachary Bale with Volunteers of America Utah reported the reasons youth are on the streets of Salt Lake are attributed to abuse in the home, the economic downturn, and aging out of foster care (Z. Bale, personal communication, May 27, 2014). Many homeless youth in Utah ended up on the street when they express a sexual identity often considered unacceptable by the predominantly LDS culture. Forty percent of homeless youth identify as LGBTQ, and in Utah this number has been reported to be 42% (L. Hinton, personal communication, February 21, 2013). Volunteers of America Utah report that during 2013, over 1000 youth accessed services from their organization (Volunteers of America Utah website, 2013). Because homeless youth live in environments that can be full of stress and danger, their way of life and even the chances of survival on the street require a significant amount of coping skills (Bender, Thompson, McManus, Lantry, & Flynn, 2007). Resiliency is another important factor in determining how homeless youth cope with the difficult situations they face. Creative expression has been shown to help individuals build self-esteem and coping skills, which can strengthen and facilitate resiliency to stress, as well as contribute to "social competence, problem-solving skills, autonomy, and 4 9 PILLARS sense of purpose" (Prescott et al., 2008, p. 158). Providing homeless youth with opportunities to participate in creative processes can give them a safe place to express themselves and to develop a brighter perspective of their future. Project Concept This project addressed the question: How will the challenges facing homeless youth impact their creative expression and contribution to a collaborative public art project that will serve as a means to raise public awareness about their lives? The purpose of this project was to create a public art installation of outdoor murals, a co-operative effort involving the clients of the Volunteers of America Utah's Homeless Youth Resource Center (HYRC). This project gave these youth an opportunity to engage in a collaborative process of artistic expression with their peers and mentoring artists. Through this process, I hoped to not only create a space where the youth felt safe to express themselves through creativity, but also felt empowered and valued. Another intention of mine was to give these youth a platform to tell their stories in a way that would contribute to greater public awareness about the challenges facing homeless youth. 5 9 PILLARS Chapter 2 Literature Review Overview There is a substantial amount of literature examining the impacts that creative expression through the arts can have on the lives of homeless youth. However, much of this literature focuses on center-based programs or individual art. Therefore, this study used an approach to investigate homeless youths' creative expression through participation in an outdoor community art project. The study explored the use of public art's ability to be a vehicle for expression for homeless youth, and to serve as a permanent reminder to the community about the struggles these youth encounter on a daily basis. The following articles were reviewed for their research and as a means of framing this study. Impacts of Homelessness on Youth Before one can understand how homeless youth may benefit from participating in the creative process, it is necessary to illustrate the consequences that homelessness can have on the life of a youth. Youth experiencing homelessness face challenges that are unique to this population due to their age, their degree of vulnerability, and the complexity of their issues. These youth are likely to experience a variety of mental health issues such as low self-esteem, anxiety, depression, or even post-traumatic stress disorder (Prescott et al, 2008; Kidd, 2009; Ottaway et al., 2009). Homeless youth are also at a greater risk for suicide, the leading cause of death among homeless youth ("Consequences of youth homelessness," n.d.). Homeless youth have a higher chance of pregnancy, substance abuse, violence, and sexually transmitted diseases (Prescott et al., 6 9 PILLARS 2008). Many homeless youth often lack hope and "feel trapped on the street, with few options or alternatives" (Ottaway et al., 2009, p. 20). According to Charis Pankratz, Program Director at the HYRC, every youth that walks through their door is considered a victim of trauma (C. Pankratz, personal communication, March 22, 2014). Prescott et al. (2008) add that health problems, illness, and death are more common from living on the street. According to Kidd (2007), sexually transmitted diseases can be prevalent, often related to youth engaging in survival sex (exchanging sexual activity for money, drugs, or acceptance). Ottaway et al. (2009) report that unplanned pregnancy rates in homeless youth can be as high as 50%. And substance abuse magnifies these problems for many youth. Approximately 80% of homeless youth report having used alcohol or marijuana, and over 30% report the use of harder drugs such as ecstasy, amphetamine, or cocaine. As a result of exposure to this difficult and often threatening way of life, homeless youth make choices and seek out "nontraditional resources and internal strengths to navigate this often precarious and hazardous street environment" (Bender et al., 2007, p. 37). Bender et al. (2007) summarize this challenging and complex existence by explaining how these factors described by the authors are often compounding and can create situations where the coping skills and resiliency of homeless youth are compromised on a daily basis. These attributes, to whatever degree they were present in the youth who participated, needed to be considered for their contributions to the findings of this study. It is important to note that along with the factors directly effecting this population, homeless youth also face many external factors that impact their quality of life. Kidd (2007) explains how the trauma these youth have experienced causes them to feel 7 9 PILLARS isolated, less trusting of others, and have low levels of self-esteem resulting from the social stigma associated with a lifestyle that is outside the accepted norm. Heineman (2010) states "many young people who live on the street or in unstable living situations have not had the good fortune to have grown up in homes where they had the opportunity to form stable attachments early on" (p. 3). Bowlby's Attachment Theory, which looks at early relationships between infants and caregivers and how the patterns that developed affect the dynamics of their relationships later in life might be an important tool in explaining why some homeless youth choose not to access supportive resources (Heineman, 2010). These deep issues with trust or other fears might explain what keeps homeless youth from accessing services, as they might not feel connected to their community or believe that others may not be concerned about their welfare (Smollar, 1999). This was important to consider as this study attempted to connect these youth with their community, and to understand how it may have impacted their levels of engagement. And as this study was also investigating the project's role in increasing the public's knowledge about this population, it is significant that a lack of public knowledge about their unique issues compounds these problems, resulting in little attention given to the issue and limited services available to homeless youth ("Consequences of youth homelessness," n.d.). Creative Expression in the Lives of Youth Homelessness Creative Expression and identity. Creative expression through art has been shown as a way to shape identity in the lives of homeless youth (Prescott et al, 2008). Kidd (2009) points out the frailty of identity in homeless youth by explaining that street youth go through a process of marginalization that creates many aspects of "outside" for 8 9 PILLARS them. The youth are forced outside their homes, families, and friends. Their homeless identity is one that exists outside conventional society. Kidd (2009) adds that the dangers and experiences of the street such as sexual assault, sex trade, criminal activity, unemployment, compromised health, and drug addiction further compromise their situation and widens the gap between themselves and mainstream society. Public perceptions of moral degradation, worthlessness, confusion, and pity cause them to feel excluded further (Kidd, 2009). To emphasize the importance of identity in the lives of homeless youth, it is important to note that the factors of resilience that encourage youth to access services, avoid dangerous situations, and sustain a valued sense of self in the face of all their adversity are dependent on the concept of their own identity (Kidd, 2009). This study gave homeless youth opportunities to express who they are underneath the homelessness and to reduce the gap that makes them feel isolated from society. The goal was not only to help these youth feel more confident about their position in their community, but also eliminate some of the barriers that contribute to a lack of awareness and support for services. Creative Expression and Empowerment. Several of the studies reviewed for this project supported the idea that creative expression can add value to the lives of homeless youth. Prescott et al.'s (2008) study demonstrated the relationship that art has to personal exploration, self-esteem, and growth for homeless youth. Art allowed these youth to reflect on their lives and experiences and generated pride as a result of their creative expression. It helped them search for direction in making decisions about their lives. Ottaway et al. (2009) also point out the benefits received by homeless youth with the opportunity to highlight their strengths and tell their stories through creative 9 9 PILLARS expression. The creative writing workshops and accompanying website offered by the Toronto Youth Street Stories (TYSS) project provided a way for these youth to "express a balanced view of their lives by recognizing some of the attractions, as well as the downsides, of street life" and still express optimism despite a life full of abuse, violence, fear, and pain (Ottaway et al., 2009, p. 20). Burnell (2012) adds that giving youth the opportunity to reflect on their lives through artistic expression can provide them with a different perspective. Burnell (2012) suggests that marginalized populations are full of hidden talents, and aspirations, and through creative means, they can find a voice through artistic expression, which can lead to positive change. This idea provided a foundation for this study, which attempted to examine the degree to which the homeless youth participants would be able to express and participate in the mural project. Kidd (2009) reinforces the benefits of artistic expression by explaining how art can provide youth with a safe environment for expression in ways they might not otherwise feel safe doing. Furthermore, Prescott et al. (2008) report that the youth in their study felt that art provided a safe avenue for them to express strong and often difficult emotions, and that recognizing the expressive power of art could fuel other empowering forces in their lives. These concepts were important to this study as I recognized the importance of providing youth with a safe and trusting environment for expression. Our discussions gave the participants a forum to think about who they are despite their homeless situation and the ability they have to communicate this message to the public. As the nature of this project was a collaborative awareness effort, the Photovoice study conducted by Wang, Cash, and Powers (2000) is relevant as it supports the idea 10 9 PILLARS that creative expression can not only benefit an individual, but can also provide a supportive environment among participants. This was evident in this study as the collaborative sessions with the youth gave them a chance to discuss their challenges with each other and learn from each other's perspectives and experiences. Wang et al. (2000) found that their participants were able to create ties, build friendships, and become a support group for one another. Their participants described the opportunity to "speak from their experience and talk about what mattered to them so that they could help one another better survive" (p. 86). This was an important assumption to this study as a group effort was a central component to the mural project. Increasing Awareness of Homeless Youth Through Expression As a secondary goal of this study was to explore how the creative expression of homeless youth could create dialogue and potentially raise awareness about their lives, the following literature is significant. Kidd (2009) reported that art had the ability to challenge the negative stereotypes that society often has of homeless youth. Many of the youth in his study hoped that the messages their art conveyed might be heard by mainstream society and could help others see who these youth really are beyond the negative stereotypes (Kidd, 2009). The TYSS project also aimed to increase society's awareness of the problems facing homeless youth and to debunk stereotypes by letting the youth tell their own stories (Ottaway et al., 2009). And Luna (1987) adds that art provides a raw look into the culture of homeless youth. It is important to note that what these authors contribute is somewhat limited as it relates to this study. Their information pertains more to graffiti or the individual art that was produced by the participants in the studies of Kidd (2009) and Ottaway et al., (2009). Whereas, the 9 Pillars study attempted 11 9 PILLARS to examine the potential that homeless youth have in impacting negative stereotypes through creative expression through public art project. We see how creating public awareness about the complicated trials facing homeless youth through art is important, but it seems that doing so can help reduce the amount of isolation and rejection these youth feel as well. Luna (1987) suggests that homeless youth are eager to be accepted by society, which leaves them vulnerable, yet they face the reality that they are avoided and ignored by society, which makes them an invisible population. This incongruous nature produces the need to express their situations and struggles in a way that is accessible to society, often done so with art (Luna, 1987). An example of this is the time Kidd (2009) spent with the homeless youth of his study. This interaction gave these youth an opportunity to interact with someone who represents mainstream society; whose rules and social norms typically make homeless youth feel like marginalized outsiders (Kidd, 2009). Kidd noted that the youth he worked with looked at art as a way to bridge the gap of disconnect they feel from society (Kidd, 2009). The benefits of bridging the gap between homeless youth and society through awareness can lead to further positive measures for these youth. By creating social awareness, art might be able to affect public policies that have the potential to better the lives of homeless youth. As Kidd (2009) stated, "creation can be transformative both for homeless young people and the viewers/readers of their work, and it can provide a vehicle for the connection and understanding that can bypass racist, bigoted, and otherwise ignorant ideas" (Kidd, 2009, p. 359). This study attempted to address the often-misunderstood nature of these youth. The fact that they often go unseen by society 12 9 PILLARS calls for the need to bring attention to their issues. As citizens and policymakers become more aware of the realities of the homeless youth problem, they may be more willing to support funding for programing and resources for these youth. Hall and Robertson (2001) strengthen this idea by pointing out that public art projects can increase awareness by addressing social exclusion and "drawing attention to issues of local concern within excluded or marginalized communities and communicate them externally" (p. 15-16). These authors add that public art is a way for artists to advocate for social change exposing underlying social contradictions. And while art in itself cannot solve the problem, it has the ability to bring greater awareness to the issues through its creative, thought provoking, and often controversial messages (Sharp et al, 2005). Homeless Youth and Public Art Considering that research has shown how creative expression through art can benefit homeless youth, and that public art can help improve the lives of disadvantaged populations, it is curious that the literature studying homeless youth and their direct involvement in public art is very limited. Sieber, Cordeiro, and Ferro (2012), reported on public art murals and the benefits they provide to the disadvantaged populations of the Boston area, including marginalized youth. Their study explained how these murals acted as the power of speech for those who are traditionally excluded from visual representation in urban areas, and give them the opportunity to express their hopes for their community. Public art projects were also a source of cultural pride and neighborhood identity, as was the case in Cannuscio et al.'s (2012) study. Their Philadelphia Mural Arts Program's project called A Place to Call Home was created as a 13 9 PILLARS way to engage homeless youth in the community in artistic projects that would bring awareness to the housing insecurities facing the neighborhood (Cannuscio et al., 2012). Through various projects such as painting buildings bright colors, transforming an abandoned crack house into an arts center, and creating colorful murals throughout the neighborhood, the youth were given a means to express their own perspectives of the housing crisis. The project created constructive dialogue and generated a positive environment of which the youth were proud. These studies are encouraging to this research. Providing an opportunity for homeless youth to contribute their artistic expression in the creation of a welcoming place in which they would feel pride and ownership was also a focus of this project. The limitations in the literature discussing the direct involvement of homeless youth in public art projects and the benefits for the youth involved are mainly that there is such a lack of it. Of the literature that is available, some addresses marginalized populations in general, as opposed to specifically homeless youth, as is the case in Sieber, et al. (2012). And the study by Cannuscio et al. (2012) focuses more on the overall effects of the community as opposed to the reactions and observations gathered from the youth. While obviously limited in number, the studies looking specifically at homeless youth's participation in public art projects supports the theory that these youth can gain a variety of benefits in this manner. It seems that the recent studies recognizing the positive role that art can play in the lives of homeless youth, as well as those studies that consider public art as a way to engage communities together call for further research and attention to efforts combining both topics. The messages are positive and leave room for 14 9 PILLARS further study. However, it is important to note that much of the literature emphasizes the idea that art alone cannot do all of this. A common theme among these authors is that while this type of public art can engage and empower individuals, it must be part of the bigger picture in terms of its ability to created sustainable impact (Burnell, 2012, & Kay, 2000). Challenges of Research Involving Homeless Youth Participants In terms of framing this study, it is important to consider the relevant differences or challenges when working with the homeless youth participants as opposed to other populations. According to Abrams (2010), qualitative research studies are often evaluated on the methods for sampling the participants involved, and that random sampling methods assume that " ‘one person is as good as the next' as a data point so long as they contribute to representing the larger population" (p. 527). However, Abrams (2010) points out that these assumptions are not attributed to studies conducted with hard to reach populations, including homeless youth. This could be explained by Gharabaghi and Stuart's (2010) reference to homeless youth being a population that exists on the outskirts of the service sector, and that there are major gaps in research and evaluation related to programing for these youth. Recruiting and sustaining engagement of hard to reach populations was also addressed in the studies of Abrams (2010), Ensign (2006), Miles (2008) and Taylor (2009). Abrams (2010) asserts that most researchers gain access to populations such as homeless youth through agencies that provide readily available participants and meeting space. This seemed to be the most logical and ethical approach for this study due to time limitations and difficulties accessing this hard to reach population. However, Abrams 15 9 PILLARS (2010) suggests that this approach can exclude those that are not associated with the agency providing services. Furthermore, Miles (2008) advocates that street-based recruitment will provide access to the most vulnerable or at-risk participants. Unfortunately, the limitations of this study, which are discussed further in Chapter 5, did not allow for this recruitment method, and as Miles (2008) suggests, these methods can be time consuming and come with their own limitations. This was initially disappointing, as I hoped to gain a better understanding of those youth who are not accessing services. However, as the findings in Chapter 4 reveal, this group of participants would have undoubtedly been even harder to engage than those I gained access to directly through the HYRC. Also regarding recruitment, Ensign (2006) acknowledges that while trust issues and the vulnerable and transient nature of homeless youth can make researching this population difficult, providing "appropriate, non-coercive and non-harmful incentives for research participation" can be problematic (p. 648). Conversely, stipends were considered to be appropriate and valuable in Taylor's (2009) study on effective strategies for engaging and retaining vulnerable youth in qualitative research. She concluded that there are five factors that can contribute to the engagement of hard-to-reach populations. These include the relationship of the researcher to the participants, screening procedures, initial interviews, stipends, and frequency of contact (Taylor, 2009). These components were important points to consider for the impact they would have on the findings of this study. The obvious issues with recruitment, communication, and frequency of contact were evident throughout my interactions with the youth.16 9 PILLARS Other limitations that exist in qualitative research involving homeless youth can contribute to the complexities of these studies. Abrams (2010) points out that many homeless youth suffer from some type of mental illness, which can impact outcomes. And often these youth are using drugs or alcohol to survive on the streets, which can interfere with their participation (Ensign, 2006). This was found to be a common limitation in this study. Drug use can "mess up the research results, because they won't know what they're saying while they're using (drugs)" (Ensign, 2006, p. 650). Other factors that impact studies involving homeless youth are simply a result of the transient nature of these youth. Insecure housing and the lack of reliable phone services and other types of communication make retention problematic (Abrams, 2010). These issues were common and created many obstacles in this study as well. Ottaway et al. (2009) noted that the youth who attended their workshops were considered to be better off than most homeless youth due to the fact that they were even able to get to and sustain attention during their two-hour workshops. Throughout this study, I was constantly aware of the fact that there were many youth with whom I had no contact and whose lives were far too complex and challenging to be able to participate in the mural project. And as Kidd (2009) told of how one youth's art, "more that her words, told me that her experience of the world is very dark", I wondered how the project would have turned out differently with contributions from some of the unreached members of the homeless youth community (p. 348). All of these limiting or contributing factors were considered and most likely had an impact on the outcomes of this study. Additionally, Ensign (2006) provides an interesting perspective that since the results of most research studies involving hard-to-17 9 PILLARS reach populations are written for journals or government materials, these participants are most likely never aware of the results. She suggests building some type of interactive forum into the study that will provide an appropriate and informal way to share the results to the community, such as a drama performance (Ensign, 2006). The murals resulting from this project serve as a permanent format to informally present the findings of this study to the community. The murals are also a reminder to the youth of their participation in this study and hopefully act as a voice for all homeless youth. The limitations of the literature discussing the engagement of hard to reach populations is specifically related to studies examining their involvement in service provision. The challenges and limitations are relevant to this study in terms of how they relate to this population in general. However, these studies are limited for the purpose of this research, as they do not specifically look at how these challenges are applicable to other activities outside service provision that meets their basic needs. Discussion The issues facing homeless youth are often tragic and discouraging. Their complex lives are unique in that homeless youth deal with many challenges that the older homeless population does not always face. The limited services available to these youth and the lack of public awareness compile to create a devastating and obscure situation. Considering the research showing that youth who have strong resiliency and coping skills fair better on the street and have more success in exiting street life, it is evident that providing opportunities for homeless youth to engage in programs and activities that build these skills is paramount. From the research we can see that art can have a remarkable effect on helping youth build the skills they need to improve their lives, and 18 9 PILLARS that through creative expression, these youth can feel empowered and gain a healthier perspective of their lives. And through this expression, homeless youth can bring attention to their lives and generate awareness that might help bring about positive change. The research provided here supports this collaborative project which allowed homeless youth to tell their stories through murals that created a public space that is not only relevant to their lives, but also brings awareness to the plight of homeless youth. 19 9 PILLARS Chapter 3 Methods Project Overview The project created for this study provided an opportunity for some of Salt Lake City's homeless youth to provide their creative expression as the heart of a public art installation. This project was a collaborative effort between the participants who were clients of the Homeless Youth Resource Center (HYRC), three artists who provided creative talent and direction, and other volunteers from the community. Upon completion, this project provides a permanent representation of some of the challenges and concerns facing Salt Lake's homeless youth. The project was also one that generated dialogue among community members, project volunteers, local business owners, and passersby. The goal of the project was not only for the youth to be involved in the creation of the designs and in the painting of the murals, but also to provide the youth with an experience that would allow them to reflect on their lives and express themselves in ways that they otherwise might not. Other goals of this project included giving these youth a chance to tell their stories through murals that would be a permanent reminder to the community about the challenges facing homeless youth. This experience was ideally intended to be one that would allow the youth to step outside their challenging lives into a creative experience that might have a positive impact on their lives and be a source of pride for the youth after its completion. Although the youth were given opportunities for creative expression throughout the process of developing the mural art, it later became evident that engaging the youth in the actual painting process was problematic. At that point, the project clearly evolved into more of vehicle for youth expression that20 9 PILLARS contributed to the creation of a welcoming public space, a space that speaks to the community about their lives and challenges. Participant Population Participants involved in this study were clients from the HYRC, which is operated by Volunteers of America Utah (VOA). The HYRC provides help to homeless youth by covering their basic needs such as clothing, personal care items, laundry and showering facilities, as well as life skills classes, case management, and referrals to other human service programs. At the time this project was proposed, the HYRC was operating as an all-day drop-in facility offering three meals a day. However, just prior to the onset of the project, VOA had an unfortunate reduction in funding, which forced the HYRC to cut back on staff, limit services, and reduce meals to daily lunch and dinner on Fridays only. This prohibited the drop-in nature of the center, as the remaining staff only allowed clients in on a one-on-one basis with a Youth Advocate during a three-hour window from 10:00 am to 1:00 pm. The HYRC also saw major reductions in their street outreach program, which was designed to meet the basic needs of youth on the street and provide them with additional resource information. This study was open to any HYRC clients that were interested in participating. The HYRC serves homeless youth between the ages of 15-24, but their clients are typically between 18-22. They serve a mix of male and female clients, with a higher percentage being male. And many of their female clients have one or more children. The number of participants in this study was dependent on many different variables. These included the client's interest in participating, access to participants, communication factors, and HYRC staffing and operational issues. As the homeless youth population 21 9 PILLARS often tends to be very transient, I was aware that consistent engagement could be a challenge (Cannuscio, et al, 2012). Considering this, the project was structured so that the youth who participated could come and go as they chose. The participants involved in the design process were different every day. Overall, there were 17 youth who attended Art Group. Eight particular youth attended more than once, and five were fairly consistent in their participation during the Art Group sessions. The most problematic situation occurred after the mural designs had been created and the actual painting process was to begin. Due to several limiting factors, which are discussed further in Chapter 5, I was unsuccessful in getting any youth participants to the mural site to be engaged in the painting process. Participant Recruitment The project was promoted in different ways. Flyers describing the project were distributed at the HYRC and information was posted on the HYRC's Facebook page. I also created a 9 Pillars Mural Project Facebook page, as I did not have access to the HYRC's client page. A large butcher paper poster was put up at the center that displayed information about the project, and gave the clients a place to leave comments and suggestions about what they thought the murals should say about their lives. The HYRC provided a critical link between the participants in my study and me. Youth experiencing homelessness are a vulnerable population, and often have difficulty in trusting adults. It was essential that I spent time getting to know the youth by volunteering at the HYRC, which I began doing a few months before the project began. My hopes were that by interacting with the youth before the project began, I would develop relationships with the youth, generate interest in the project, and determine 22 9 PILLARS which youth wanted to participate. Considering there was the possibly of minor participants, the HYRC would act as the guiding organization to help protect the rights and privacy of any minors who choose to participate. Project Details Logistical elements. The 9 Pillars are located at 600 South and 600 West in downtown Salt Lake City. The murals were painted on the supporting pillars of the 600 South freeway off-ramp. This is in an industrial neighborhood called the Granary District. The Granary has received attention lately due to the efforts that are being made to regenerate the area. Besides light industry, the neighborhood includes small businesses, restaurants, music venues, and art spaces. The murals have become part of the ongoing neighborhood narrative, which focuses on arts, asset-based community development, and community engagement. The Utah Department of Transportation (UDOT), who owns the property and the structural pillars on which the murals were painted, supported the project. I worked with various contacts at UDOT to gain approval for the project and to obtain the necessary permits. UDOT also required that the mural art be submitted to their aesthetics department for approval before any painting could begin. The local businesses were also supportive of the project. The project was funded through a combination of a small community grant, donations from local businesses, and a crowdsourcing campaign. These funds were used to purchase the paint, painting supplies, and to pay a stipend to the artists. Other in-kind donations were sought as well, including power washers, ladders, painting supplies, and other items as needed. This proposal also required approval by the Institutional Review Board at Westminster.23 9 PILLARS The entire project took over 6 months to complete, beginning with the mural art development with the youth at the HYRC, and then the actual painting process. Weather was often a factor. The project's timeline was adjusted to delay painting until warmer weather to achieve better results with the paint and concrete. The process of preparing the columns for paint was delayed due to rain and wind that occurred on several days. And it was also necessary to finish the painting before the hot summer months, as the paint does not react well above certain temperatures. Concept development. Part of the mural process was to allow the youth, with guidance from the artists, the chance to develop the theme and designs of the art for the murals during collaborative and creative sessions. Before work could be done, building rapport with the youth was essential. In order to facilitate dialogue among the youth about what aspects of their lives they wanted to see represented in the murals I began the project by holding an informal art group with the youth. These sessions took place at the HYRC during the hour and a half before lunch was served, and those who were interested in attending Art Group were allowed to enter the building without a Youth Advocate. Art group was initially held one day a week, as that was the amount of time the HYRC could allocate to the art sessions at that time. A few weeks into the project, we were able to add an additional day, allowing us to meet twice a week. During Art Group, the youth worked on an altered book project as a vehicle to foster their creativity and to generate discussions about what the murals should represent. The youth used various art mediums and techniques to repurpose and transform a hardbound book using their imagination and creativity. The book project's goal was not 24 9 PILLARS necessarily to end up with a finished project, but rather as a vehicle for discussion and creative expression. It was evident from the beginning that getting the youth to focus was going to be a challenge. It was also necessary to constantly reinforce the idea that this was a collaborative project and one that needed to fit within certain guidelines, including the scope and purpose of the project and the avoidance of any inappropriate images. Some of the youth initially envisioned they would be spray painting in a more traditional graffiti style, as this seemed to be a process with which they were more familiar. But as we discussed how the project would be carried out, they were equally interested in using regular paint and brushes. A few youth had the idea that they would each have their own pillar to paint however they wanted. But we talked about how the murals needed to represent those ideas and issues that were shared among their community and provide an accurate representation of their lives. They soon agreed that there were many commonalities about which they could paint. While the youth did want to express the hardships they face every day, they also felt strongly that the art communicate a positive message about their hopes, abilities, and talents. Our discussions were very informal and often went off on many tangents. And while these diverse conversations did not always contribute directly to the mural art, they allowed time for the youth to express themselves and helped me gain a better understanding of their lives. Mural art development. Over the course of our art group sessions, the youth and I discussed the murals and possible approaches to how their message should be conveyed through the art. We explored whether all the pillars should have similar or different themes, the size of the murals, and whether the images should be simple or 25 9 PILLARS detailed. We also had conversations about the logistical aspects of the project, including surface preparation, the equipment that would be needed, the painting processes, and weather implications. The themes for the murals were developed over several weeks. Those in attendance discussed what themes were most important to them, and how these messages should be conveyed through art. The youth also felt that each pillar should have a different theme, each representing a different aspect of their lives. As the youth attending were often different, a new list of themes was developed during each day for the first several sessions of Art Group. It soon became apparent that there were many common themes among all those that were voiced. The five youth who attended most consistently began to show ownership in the themes and what they felt the art should look like. By the end of the Art Group sessions, the 9 themes that the participants thought were most important and that represented the voices of the homeless youth community in general were chosen for the murals. These included Trust, Believing in Yourself, Judgment, Community, Rock Bottom, Resources, Past vs. Future, Challenges, and Words From Our Lives. As a way to brand and raise awareness about the project, I had special t-shirts made for the youth and volunteers. I enlisted the help of a graphic designer, and with input from the youth, we developed a logo for the 9 pillars project. This logo and a narrative about the project were printed on the t-shirt. The t-shirts were then given to the participants, volunteers, HYRC staff, and community members. Artist Volunteers. Helping the youth turn their ideas into art required the help of volunteer artists. I recruited three talented artists, two art students from Westminster 26 9 PILLARS College, and a friend who was also a member of the community in which the 9 Pillars were located. After the youth narrowed their ideas down to nine themes, the artists and the youth collaborated on what the images should look like. The youth needed additional guidance in keeping the art appropriate and realistic in terms of project guidelines and limitations. As a group, we discussed a common style in order to maintain a consistent look between all murals. The artists worked together and drew up rough sketches based on the youth's ideas. And in two final art group sessions, the artists were able to show these designs to the youth for feedback. Engagement. Throughout the mural art development process, there was much discussion about the actual painting process. We talked about the details of transportation, communication, and other issues such as providing the youth with public transit tokens and lunch when they would be missing meals at the center. There were many details that had to be worked out before we could actually begin painting, such as acquiring paint and supplies, preparing the surface of the pillars, waiting for the weather to warm up, and getting the designs approved by UDOT. I did feel that the youth were looking forward to the painting process. But when I was given approval to begin painting, I saw how challenging it was going to be to actually get the youth to the mural site. For a variety of reasons, which became more apparent as the project progressed, the youth did not participate in the painting process. These limitations will be discussed further in Chapter Five, but it was disappointing that the youth were not involved in this part of the process, as their engagement initially seemed to be an integral part of the study. 27 9 PILLARS Additionally, I recognized some challenges in my interactions with the youth. I initially attributed this to the rapport I had yet to develop with them, their unfamiliarity with the project, and the differences in our ages. But as time went on and I was more confident that the youth were comfortable expressing to me and understood more about what I was trying to accomplish, I noticed there were deeper issues effecting our communication. Not knowing much about each of their pasts and the trauma they had experienced, I assumed that these difficulties had had lasting impact on their personalities. And I also was not aware whether or not any of them were using any kind of substance during our time together. Later, during a conversation with Charis, the HYRC Program Director, we talked about the large amount of homeless youth who have mental health issues, either pathologically or as a result of the trauma they have experienced. She confirmed that 80% of the youth served by the HYRC have a diagnosed mental illness, and particularly those youth who were involved in my project. This did help me understand the complexity of the communication during our interactions, including the distractibility shown by the youth, and the inconsistent and peculiar things they often said. But this also brings up an interesting view in consideration of Abrams (2010) assumptions that qualitative researchers cannot assume a "normal distribution" or participant's experiences, and that any one participant is as effective as any in representing the larger population (p. 537). I wondered how the project might have turned out differently with a different or wider base of participants. As the painting process began, I tried several times to communicate to the youth in various ways about the painting schedule. I received very little to no response from28 9 PILLARS my attempts at texting or emailing them. Going to the center to try and rally any youth who were there was also difficult, as there were very few youth at the center due to policy changes, and those youth who had been involved in the design process were rarely around. After inquiring, I was informed that two of the youth who had been consistently involved previously had gained employment. While this was welcome news, it also could have contributed to their decline in attendance at the center. I expressed to Charis my concerns that I had not been successful in getting the youth to the mural site to participate in the painting. And while I did not want to keep after them if they had other priorities, I was also concerned about them feeling any regret that they had not had the opportunity to paint when the project was completed. Charis explained that these youth have great difficulties prioritizing and arranging their lives. And especially for those who have a job or are in school, being able to organize and overcome their day-to-day challenges is often more than they can handle, making extra activities impossible. An exception to this participation challenge occurred one day when a major news outlet was scheduled to visit the site and do a story on the murals. It was important for Volunteers of America to be represented in the story as the main provider of homeless youth services in Salt Lake, and as the organization sponsoring the project. VOA provided two staff members that day to be interviewed about homeless youth services and the unique challenges facing this population as well. And to create added interest to the story, the staff brought two youth participants, Dave and Shae1, to be there that day as well. As per VOA policy, the staff was able to drive the youth to the mural site. Dave and Shae participated in painting the murals and Dave was interviewed about his 1 . Participants gave permission to use their real names.29 9 PILLARS involvement in the project and the challenges of being a homeless youth. And while the importance of having Dave and Shae there to represent the vulnerable population that VOA serves is understandable, this isolated example of engagement provided a somewhat distorted view of the youth's involvement in the painting process. As a researcher, it was a bit disheartening that VOA was able to get youth to the site for the purpose of the interview but not for the purposes of the study, especially as I was subject to VOA policies and the many other limitations of working with this hard-to-reach population. However, the apparent lengths the staff went to in order to get these two youth to the site confirms the challenges I had with the same goal. One interesting point made after the fact was a discussion I had with DeAnn Zebelean, a marketing consultant for VOA, about engagement levels and the how the youth had responded to various attempts at communication. As she is aware of the various programs and facilities operated by Volunteers of America Utah, she pointed out that I might have had better success getting youth to participate in the painting process if I had worked with the women from the transitional housing unit. She explained how these youth are in a more stable position and might have been at a better place to fit the experience into their lives (D. Zebelean, personal communication, May 6, 2014). It could also be assumed that these young women might have offered a different perspective to the murals and the themes that have contributed to the public awareness vehicle that the murals have become. These findings continue to support Abrams' (2010) theories on validity relating to sampling methods and constraints. According to Abrams, as traditional research emphasizes the quality and size of sample groups, qualitative researchers must continue 30 9 PILLARS to have conversations that, within a qualitative framework, shed light on the "constraints imposed by settings, gatekeepers, IRBs, and the participants themselves when conducing research with hard to reach populations" (2010, p. 548). This will not only, as Abrams puts it, "advance our own critical thinking about qualitative methods and help guide the next generation of scholars", but hopefully add meaning and credibility to studies such as this whose outcomes are far from qualitative and vague at best (2010, p. 548). The obvious concerns the low level of participation brought up could be related to the integrity of the study, as Abrams (2010) explains, and how the extent of the conclusions is connected to the quality of the data collected. However, he points out that there is little mention in the literature of how these measures apply to research with hard-to-reach populations. Abrams (2010) suggests as a way to overcome some of the inevitable obstacles that exist when working with hard-to-reach populations, researchers should implement other methods or approaches to data collection that can provide different perspectives and can augment the scope of the findings. My interactions with Cai, which are detailed further in Chapter 4, did just this, and provided valuable insight into the findings of this study. Despite the low levels of engagement, the few youth who were involved on a consistent basis engaged in ways that seemed to express their commitment to the study. This level of commitment was, of course, expressed within their individual personal issues, physical limitations, and mental health challenges. Their energy level and excitement about the project was consistently high during all of our interactions. And most notable was the amount of respect and politeness they regularly showed to me. One participant, Rome, often expressed frustration with the level of commitment shown by the 31 9 PILLARS other participants. And on my very first day at the HYRC, one youth who was never identified told a staff member how impressed he was that someone would take the time out of their lives to do this kind of a project with them. Three youth, John, Carlos, and Rome2 participated on the most consistent level. And there were two others, Dave and James3 who attended a few sessions as well. Each of these youth had similar struggles. All of them talked about who they were in high school or before they became homeless. They also all talked about the various foster homes and group facilities they had been in or kicked out of. This was similar to Gharabaghi and Stuart (2010) who reported that most of the youth in their study had or nearly gone through all possible foster and child welfare programs. And each of my participants spoke of tremendous tragedy or hardship. Rome spoke of becoming homeless with his brother. Carlos spoke of the challenges he faces with his new baby that was born during the time we were working together. Yet they all voiced the great hope they have for their lives despite the struggles they face each day, and despite the way they feel society perceives them. There were three other young men who each provided valuable insight to this study, even though they only came to one or two sessions. Styx4 was a young man who had come to Salt Lake from the New York City area. He contributed a unique perspective about being a homeless youth in Salt Lake because he felt that the fact that he was African-American made him the target of further stereotyping. His vibrant personality added a level of high energy to the group. And out of all the participants, 2 . Participants gave permission to use their real names. 3 . Participants gave permission to use their real names. 4 . Participant gave permission to use his real name. 32 9 PILLARS Duane 5 seemed to be the least impacted by his homeless situation. Although Duane had been through the same foster care system and through other challenges, his level of coping skills and resiliency seemed higher than the others. He was articulate and educated, and at the time of our sessions was planning on applying to the Police Academy. And Trevor6, although he only came once, contributed more ideas for the murals than any other youth and provided some very profound insight into the challenges facing these youth. Community and Volunteers As part of the original goal of this study was to have other volunteers involved in the painting process to give the youth opportunities to engage with members of their community, I did have groups interested in helping out. But as the challenges of getting the youth to the mural site to participate in the painting process became evident, the necessity to recruit more volunteers became more important. This support came from a variety of volunteers from different sources in our community. Organizations. One of the organizations I reached out to was the Community of Caring board at our local high school. On four different occasions, members from Skyline High School's Community of Caring Board and their faculty advisors came to help paint. These young girls and their advisors were very excited to be able to be involved and worked very hard each time they were there. I spent a few minutes explaining the project to them and the meaning behind the murals. And they were given a t-shirt to wear while painting and to wear later. They also seemed to have a great deal of fun posting pictures of themselves painting on social media. 5 . Participant gave permission to use his real name. 6 . Participant gave permission to use his real name. 33 9 PILLARS Another volunteer group came from my fellow students at Westminster. One evening, the Arts and Communities class came to help in the painting for a hands-on class. We had a discussion on the process, the challenges, and the impact the project was having on the community, as well as the ramifications of the youth's challenges on their engagement. And on many other occasions, several students from my MACL cohort volunteered to help. This provided another opportunity to discuss the challenges I had faced and the positive response that the project was receiving from the community. Community Members. There were two local business owners who volunteered in the painting process on multiple occasions. Both of them provided additional help such as loaning ladders and other equipment to the project, a place to store the paint and supplies, and helping with other logistical issues. Other community members who helped were several children of people who live and work in the neighborhood. This provided a wonderful opportunity for dialogue about the project. And these young children displayed a great deal of enthusiasm and even a little ownership from being involved in the project. Family and Friends. This project gave me a wonderful opportunity to share this experience with my family and many of my friends. Three of my four daughters were able to help paint and recruited some of their friends as well. And on several occasions, I reached out to friends and received a great deal of support from them in the painting process. We even held several "Painting Parties" at the site, with music and food. The support and encouragement from family and friends was vital to this challenging project. 34 9 PILLARS Participant Observation My role as the researcher included facilitating each step of the project, which allowed me to conduct observational research at the center and the project site, and with different groups of participants, volunteers, and community members. The project was carried out over several weeks, allowing for a variety of circumstances and situations to occur. The experiences and interactions I observed allowed me to investigate how this public art project can provide homeless youth with an opportunity to express themselves and build awareness about their lives within their community. Data Collection As a researcher, I was hoping to gain a deeper understanding of the homeless youth community and explore their engagement in a community art project. I hoped to study the ways in which this creative process could impact their perceptions of themselves in relation to the challenges they face, as well as how they feel they are viewed by society. My research methods primarily included participant observation, as well as recorded audio of the art group sessions. Photographs of the completed murals documented the final outcome as well. I was also able to interview an individual from the homeless youth community named Cai. While Cai was not a direct participant, she did provide a great deal of insight into the findings of this study. I met Cai when I interviewed her for a previous Intercultural Communications course. Cai became aware of the project when I reached out to her in my search for volunteers. She stopped by the mural site one day to see our progress, and at that time we had a long discussion about the project and especially the challenging lives of homeless youth and the impact those 35 9 PILLARS challenges had on their engagement. After my conversation with Cai, I wrote field notes highlighting those areas of our discussion that related to this study. Most of the observational research came through the interactions and discussions I had with the participants during the mural art development phase. This data was written up in the form of field notes. Other qualitative data was obtained during the painting process through interactions with community members, passersby, the media, and volunteers. Field notes were written from these interactions as well. Taking into account the vulnerability and guarded nature of this participant population, I anticipated that data analysis would be challenging. I knew that careful consideration would be needed to avoid imposing my values and biases, or any preconceived ideas as to what the results would be. Early analysis was important to recognize how the experience was affecting the participants and also helped me to recognize gaps in the data and ways in which supplemental data should be collected. From this data collection, I used a system for coding the data that related to the research question and the framework of the study, as suggested by Miles and Huberman (1994). These codes were used to determine the findings, specifically those relating to youth expression that contributed to the mural themes, and those that contributed to the public awareness of the project and the homeless youth community. These codes reflected the topics such as past trauma, judgment from their community, and hopes for their future and are discussed further in the following chapter. These codes also helped lead the research and needed to be revised as the project moved forward (Miles & Huberman, 1994). From there, themes or patterns in the data were developed and organized. And noticing how the data related to the literature was considered as well, 36 9 PILLARS and whether or not the supporting literature needed to be modified, challenged, or expanded (Miles & Huberman, 1994). Data Analysis From a research perspective, it was challenging to avoid the preconceived framework in which I had viewed homeless youth up to this point. And it was challenging as well to avoid leading the conversation towards those issues that I assumed to be part of their lives. As Miles and Huberman (1994) point out, it is important to allow yourself "to be open to and reeducated by things you didn't know about or expect to find" (p. 56). It was critical for me to objectively listen and filter through the distractions and dysfunctional conversations that were often the case, and, as Miles and Huberman (1994) also suggest, safeguard "against tunnel vision, bias, and self-delusion" (p. 56). This continued to be a challenge as I began coding my data. Using the field notes I took from the discussions during Art Group in particular, I looked for consistent points of reference or topics within these notes to use as codes, as suggested by Saldaña (2009). Saldaña explains that as researchers, we view our data through filters that effect our perspectives of the findings, and those perspectives can determine how we interpret, or code, the data. It was necessary for me to avoid letting my preconceived ideas and biases determine what I was hearing from the participants. It was important that I focus on the context of their situations to try and understand the true meaning behind the data. Ethical Considerations The vulnerability of the homeless youth population created ethical issues that needed to be considered. The potential of having any participants under the age of 18 was a concern, as these youth are typically on the street because they have chosen or have 37 9 PILLARS been forced to leave home, and do not wish to have any contact with their parents or guardians. I did not have any participants under age 18. However, I needed to be prepared to address the issue with a cover letter for research involving minors rather than a parental permission form. Trust was another potentially ethical issue. As stated, youth who are experiencing homelessness often have difficulty trusting others and forming relationships. Therefore, it was crucial that as the researcher, I respected their privacy and social boundaries. As a volunteer for the HYRC, I was expected to follow all policies regarding the confidentiality of their clients and appropriate interactions. This confidentiality was also extended to the youth as participants of my study. The HYRC provided a stable and familiar place for the youth as they participated in the project. Another issue that needed to be considered was how the community would receive the message about homeless youth. I felt strongly that the study should safeguard the image of these youth and not perpetuate the deviant stereotype that is often held by society. The dialogue surrounding the project needed to be positive, empowering, and encouraging as opposed to an attitude of pity, shame, or distrust. This was also an important concern as the media became involved. Volunteers of America provided support by having a spokesperson explain their services and advocate for the youth when the media covered the story. As Walsh, Hewson, Shier, and Morales (2008) explain, the research must consider the question that by targeting a particular community for the proposed study, will there be an increase in the level of stigmatization associated with this particular group? Or will the benefits of the potential outcomes supersede any negative effects (Walsh, Hewson, Shier, & Morales, 2008).38 9 PILLARS As the researcher, I struggled with my own ethical concern as to how to present this project to the participants. I was aware that although this project fulfilled my educational goals as a graduate student, it was important that I focused on this as a project for the youth, and that the goals of the project remained consistent to the research question as opposed to any preconceived ideas I had about the outcomes. It was important for me to step back as much as possible and let the participants, with guidance from the artist(s), decide how they wanted their lives to be represented in the mural designs. 39 9 PILLARS Chapter Four Findings The purpose of this study was to examine how the challenges facing homeless youth would affect their engagement during a public art project. This study also hoped to investigate how the creation of a community art project that is intended to generate public awareness would impact homeless youth participants and the community. The findings in this chapter will address what was expressed by the youth of this study, as well as the processes, limitations, and other outcomes relating to the 9 Pillars Mural Project. Youth Expression During the Art Group sessions, the youth were encouraged to talk freely about their lives and what they would like to communicate to their community through the murals. Through these discussions, there were several common themes that the youth spoke passionately about. And while the youth often had different perspectives on these issues, there were common core struggles that were apparent in each of their lives. Trauma. Each of these youth has been through various traumatic experiences throughout their lives, some recent and some when they were much younger. John spoke of being given up by his family at an early age and moving through the foster care program to a group facility, and then aging out with nowhere to go. Dave spoke one word…"starvation" when we were discussing the biggest trials they had faced. Rome spoke about his life as "I grew up in a pretty shitty neighborhood, grew up gang-banging and shit…and then I came out here to see my Dad before he died…" He explained how he ended up homeless in Salt Lake with nowhere to go, and "decided he didn't care anymore." They talked about the cold, about being hungry, and about losing friends to 40 9 PILLARS drugs or suicide. Throughout our conversations, it was very apparent that these youth have had to deal with many extreme challenges that youth their age should not have to. Trust. Another theme that was common among the youth was trust. I assumed that these youth would have difficulties trusting adults due to the situations they have been through. As Ensign (2006) reported, most homeless youth have issues with trust due to their histories of "harmful experiences with various adults and institutions in their young lives" (p. 648). However, the participants of this study spoke mainly about the issues of trusting others on the streets, their friends and other homeless youth they don't know rather than trusting adults and organizations in general. They talked about how vital it was to have friends they could trust, and how having those they could trust was vital to their survival. Rome stated that he has a more difficult time trusting others and that he is more guarded when it comes to getting to know others. He explained how he "doesn't like to talk to people he doesn't know", and "why would you want to stick your neck out for someone you don't know?" James felt differently about trust and commented on how his friends "make it or break it for him". James shared how he and his friends trust each other, share their resources, and "take care of each other". Bender, et al. (2007) reported similar attitudes in their findings on the street smarts homeless youth often develop to increase their chances of survival. One participant in Bender's study stated "that's how you pick your friends on the streets. You share with someone, they'll share back with you, and there's other ones who will just stick around and just take everything ‘til you have no more" (p. 31). And similar to Rome's outlook, Bender, et al.'s (2007) participants reported the need to exercise caution when offering information about themselves to others in whom they had yet to develop trust. 41 9 PILLARS Past. All of the youth expressed the idea that their troubled pasts had contributed to who they are and to the situation they are in currently. Most of them recognized the negative effects their past has had on them. But they also acknowledged that they have the ability to learn from their mistakes, forget the past, and try to move on and improve their lives. Dave spoke about his past verses where he is now, and wanted the pillars to represent "when I was dirty and when I was sober, and how it all plays in". Rome expressed a great deal of passion about what he referred to as "Rock Bottom", and how each of them have either been at that point before or are at it currently. He explained how hitting rock bottom can be a turning point in their lives and that "when you hit rock bottom, you have to do everything possible to get back on your feet, you have to lift yourself up, you have to get a job." This is similar to the findings of Ottaway, et al (2009) and the arc of experience that was revealed through their storytelling project. The narratives of their participants expressed emotional and tragic experiences of their past and often detailed the critical point that made them realize they needed to ask for help or change their lives and begin to recover (Ottaway, et al., 2009). Styx shared his perspective about his past. "I don't care about the past because the past is the past. I like to do what I got to do now and be in tune with my star player which is me". Styx added that he will "try to laugh about it and tell himself that once he is living in his own apartment that he will look back ant this time of his life and laugh". Resources. The youth all spoke about the importance of resources in their lives and there was a common theme of appreciation for the services they receive, especially from the VOA. In trying to articulate what these services meant in his life, Trevor imagined a ticket booth and a person who was excited to have finally received a ticket. 42 9 PILLARS The ticket represented housing and how hard it was for these youth to get. He added that many youth "don't even know it's available or how to get it". And while there were some inconsistencies in their perspective on the best way to access services, the common theme among them was that they are not always available when they need them. Rome mentioned that many of the services available to homeless youth are only open in the early hours of the morning. He explained that this was difficult for many youth as they are still asleep at that time, either from having a difficult night finding a place to sleep, or no alarm clock to wake them up. He expressed the challenge in light of the recent funding cuts as "…you can't do much anyways, so you have to try to figure out more resources and some of those resources are only open up from 6:00 to 7:30 am, so….some youth like me that don't wake up that early don't get those kind of resources". Overall, the youth expressed great appreciation for the service they received from VOA. It was evident that these youth were aware of the lack of services available to homeless youth, and they showed appreciation for the services they were able to receive. The participants of Gharabaghi and Stuart's study expressed feelings similar to Trevor's comments on the difficulty of gaining housing. Their study revealed that homeless youth appreciated the simple solutions to everyday problems and cared less about service design and delivery (Gharabaghi & Stuart, 2010). Talents. As the youth spoke about what was important to them, it was evident that all of these youth have talents and aspects of their lives of which they are proud. Dave was proud of his abilities in math and how he did well in that subject in school. He said "I view myself as a nerd…and I'm proud to be a nerd. I've been into math and science for a while and they were my two best subjects in school". Along with this idea 43 9 PILLARS was the common feeling they expressed about the importance of believing in yourself. Dave expressed it by saying that "looking at yourself in the mirror, you are all normal outside your reflection, but inside you are a rock-star God. Your reflection is still the same face, but different than who you are. Just who you want to be. Who you dream you are". Judgment. Out of all the common themes discussed by the youth, the most obvious and powerful one was about judgment. All of the youth expressed the idea that they wished society understood them for who they really are, as opposed to just the homeless deviant they are stereotypically know as. And they wanted others to know about the talents, as discussed above, that each of them possess. Dave expressed it by saying, "Cuz I'm a really smart guy. I mean, because I'm homeless, people don't want to take the time to look past me. Oh, you're homeless….you're stupid……you're on drugs……No!" He added, "people are just ignorant about life, about being homeless. More power to them, but at least try to get to know what it's like to be homeless before you start judging." James added to the discussion by saying, "Like, most adults that you come across won't even give you the time of day. You say Hi. Sometimes, rather that say Hi to someone, they'll just walk right on past like you don't even matter." Styx had additional feelings. Being African-American, he expressed how he received additional judgment based on the color of his skin. He compared himself to the character Shrek, and said, "I'm not the one with the problem. The world has a problem with me. They judge people before they get to know them". The youth were very adamant in their feelings about spanging, short for spare changing, or when a youth panhandles for money. They felt that those youth who do 44 9 PILLARS spange give the rest of them a bad name. They understand that society has reservations about those who do panhandle, and that makes it harder for them to want to help other homeless people they encounter. The most powerful statement about judgment came from John during one art session. He was looking at a picture in a book of a woman sitting alone in a park full of people. She was sitting with a typewriter in her lap. John made the statement, "sometimes the person who stands out the least has the most to say". Over the course of the art sessions, John made several references to helping or making sure the underdog was protected. He told a story about a girl he knew in high school who was rumored to be contemplating suicide. He told how he organized a campaign to show love and support for this young girl by having all the other students painting crosses on their wrists. This story was part of the inspiration for the art shown in the pillar titled "Believing in Yourself". The findings surrounding the youth's attitudes toward talents and judgment are consistent throughout much of the literature reviewed for this study. Kidd (2006, 2009), Prescott, et al. (2008), Bender, et al. (2007), and Herth (1998) all refer to similar ways in which the youth's talents contributed to their identity, and the perceptions they had about how society passes judgment without really seeing them for who they are. Kidd suggested that the intense and widespread social stigma facing homeless youth remains overlooked in much of the literature. He stressed the impact this judgment can have on these youth in terms of feeling worthless, lonely, alienated, and even suicidal (Kidd, 2007). And the participants in Bender et al.'s study argued that the perceptions society places on homeless youth are mistaken. The youth in their study wanted to emphasize 45 9 PILLARS that their ability to survive on the streets was in fact an extraordinary skill of which they were very proud regardless of the disrespect and stigma they feel from the general public (Bender, et al., 2007). These studies support what the participants in this study consistently shared. They were passionate about wanting the public to know and understand who they were behind the homelessness and accept them for what they have to offer, rather than what they are lacking. These feelings expressed by the youth in this study are an important message to spread to their community, the general public, and policy makers. In order for the allocation of more resources to help homeless youth, they must become more of a priority for funders. And as long as these youth remain a misunderstood and invisible population, they will continue to struggle with insufficient levels of programing that is vital for their survival on and exiting the streets. Mural Themes During our Art Group sessions, the youth were encouraged to come up with nine themes, one for each of the pillars, that most represented what they wanted to see depicted in the mural designs. These themes are the messages that will be shared for many years to come with whoever sees the pillars. The nine themes that were expressed as being the most common among all the youth who participated were: Trust, Judgment, Community, Challenges, Past vs. Future, Resources, Believing in Yourself, Hitting Rock Bottom, and Words From Our Lives. Each of these themes related to the findings from the youth expression discussed above. 46 9 PILLARS Figure 1. Judgment Figure 2. Trust There were clear correlations between some of the issues the youth expressed and the mural themes, such as Judgment, Trust, and Resources. The mural theme Past vs. Future was an important connection to the feelings these youth had about overcoming their pasts and the hope they felt about their futures. This is similar to Ottaway, et al. (2009) who noted that although their participants had histories of abuse, fear, violence, and pain, they still expressed a great deal of optimism about their future. 47 9 PILLARS Figure 3. Resources Figure 4. Past vs. Future Other themes were developed from the feelings and emotions that were brought out by their expression. Rock Bottom was one in particular that had an emotional tie to the trauma the youth had faced and rising about this trauma to a better life. Believing in Yourself was inspired by John's story, but also by their great deal of confidence in their abilities and hope for their futures. And the pillar titled "Words From our Lives" was a compilation of many words and phrases that describe their world and included such words as time, joy, sobriety, sun, loss, hunger, regret, and peace. Figure 5. Rock Bottom48 9 PILLARS Figure 6. Believing in Yourself Figure 7. Words From Our Lives During our discussions, we agreed that the designs should be simple enough that they would not be too challenging or time consuming to paint, but at the same time providing enough detail in the art to emotionally convey the message. Ninja made the comment that "the designs should be unique and abstract so that people will want to look at them more and see the reality in them". There were four youth in particular, John, Rome, Dave and Carlos, who had particularly strong feelings about one particular theme and how each of them should look. While I continued to stress the importance of consensus, I also recognized the passion each of these youth had for their respective theme. And since these particular youth had shown the most commitment to the project, I felt it was appropriate to allow them to have some ownership in the design for that theme. Each had distinct ideas about how they envisioned the theme to be conveyed. As mentioned, the theme John felt strongly about was Believing in Yourself. Rome's ideas were based on his concept of how homeless youth often hit Rock Bottom and the process 49 9 PILLARS of overcoming their challenges to move out of that place. And for Carlos and Dave, their ideas represented the judgment they face every day as a homeless youth. It was evident that each of these youth had experience enough to generate strong feelings and ideas about what they wanted the community to know about these issues and how they impact their day-to-day lives. By using art to express these ideas, it gave these youth a means to expose themselves in ways they might never be able to and tell their stories to hundreds of people who will see the pillars each year. This is so important in terms of helping these youth feel valued and less marginalized by society. Such as in the literature of Kidd (2007, 2009), Ottaway, et al., (2009), Bender, et al., (2007), and Wang, et al., (2000), homeless youth are a misunderstood and invisible population that wants to be seen and respected for who they are and who they can become. And until society recognizes this pervasive dilemma, the lack of resources available and the complexity of their lives will continue to contribute to this dismal situation. Figure 8. Challenges Figure 9. Community50 9 PILLARS Public Awareness Development of the mural themes took place during the first phase of the project. The second phase was the actual painting of the murals. As the second phase began, the project began to take a different shape due to the lack of youth participation in the painting process. There was some disappointment that the component of youth and community engagement was lost. The project outcomes then became more heavily weighted in the creative expression of the youth, and how the youth's views of the world could speak to their community through the mural designs. Throughout the painting process, those of us working at the site had many opportunities to talk about the project to people in the community. This gave us the opportunity to tell about the process of working with the homeless youth to develop the themes for the pillars, and to talk about how they chose the issues to depict in the murals. The response from the community was very positive. The art made a big difference in the way many people view this area. Several people commented on how the art gave the area a welcoming feeling and that there is a need for more public art projects such as this. Others suggested that the murals have created a place where outdoor events could be held. Another thought that the murals should be a stop on Salt Lake's monthly Gallery Stroll event. The area had now become one that people noticed, rather than just a stark freeway underpass. And one viewer proposed that the same idea should be implemented on the supporting pillars under the 400 South and 500 South viaducts as well. It was fun to see people gathering around the pillars as they walked by to notice the art. On two different occasions I saw people stop their cars at the pillars and get out to take pictures in front of them. A friend of mine brought his children by to show them the 51 9 PILLARS art and tell them about the project. And another friend of mine, one who helped with the painting, told me how she now makes a point of driving by the pillars on her route to work every day, and said "they make me happy when I drive by". Figure 10. The 9 Pillars Mural Site As more people began to learn about the murals and get a sense of not only the meaning behind it, but also what it was adding to the community, word spread to the media. The project received attention from five different media outlets, including local television, newspaper, and a free, independent publication. The stories did an excellent job explaining the unique and complex issues facing homeless youth and how those issues are portrayed in the murals. A Facebook page was created as well to promulgate the purpose of the project. Through this media exposure, the attention of those who saw it was given to this vulnerable population that often goes forgotten and unnoticed. It became apparent that there was an obvious connection between the place that had been created by the murals and the dialogue it created among the community. Lowe52 9 PILLARS (2000) suggests that community art gives members of that community the opportunity to reflect and communicate about social issues. She adds that the artistic experience itself can help individuals develop shared meanings that are conveyed through the art. Cai One of the most profound experiences during the project came through the interaction with an individual named Cai Noble. Cai herself has struggled with homelessness for many years. She is an advocate and activist for homeless youth and has organized events around the country trying to help homeless youth and raise awareness at the same time. She is currently stable with housing and employment. When Cai visited the project site, I told her about my disappointment in not being able to get any of the youth to the site to help in the painting. She began to explain to me really what it is like for these youth and how difficult it is for them to prioritize and make decisions in their daily lives. I thought I understood this, and I assumed that if there was something fun for them to do like painting outside on public property, that they would be able to make it work. She articulated it by saying that through the interactions I had with the youth at the center, and the way they seem so much like "normal" youth, it's easy to assume that they are capable of arranging their lives to make it to the painting site, including scheduling the time, finding transportation, etc. But she went on to emphasize the complexity of their struggles. She gave the example of something as simple as water, and how difficult it is sometimes for them to find clean drinking water. She said that some youth will go two or three days just trying to find water. They are kicked out of public places where drinking fountains are, don't have money to purchase water bottles, and are too strung out to know where to find it. As we were talking, she often had 53 9 PILLARS difficulty expressing what she was trying to say. She told me how difficult it is to even have conversations with people sometimes, as a result of being so socially rejected for so long. And then she got emotional and started talking about guilt. She asked me if any of the youth I had worked with told me about "the guilt". Through her tears, she explained how now that she is stable, she sometimes will be sitting in her apartment watching her TV and feeling terrible that she has these luxuries, while she knows so many of her friends and other youth are still out on the street (C. Noble, personal communication, May 20, 2014). This paralleled a quote by one of the participants in Gharabaghi and Stuart's (2010) study who said "When you are on the street, you're swimmin' with a bunch of fishes…" When you are off, you're housed, but you're alone, it's still not normal." Cai is someone I will never forget. I am grateful for the opportunity to learn from her insight. Through her input, I understood even more the discrepancy between the knowledge I thought I had going into this project, and the realties of the issues facing these youth. Final Thoughts While the outcomes of this study are different than I originally anticipated, it was gratifying to see the impact the project has had in other ways. The awareness the murals have generated will continue to spread, as more people see the pillars and appreciate the messages in the art. And even those who walk or drive by the site, unaware of what the pillars represent, can appreciate the warmth the murals add to the neighborhood and the refreshing feeling the pillars contribute to the community. 54 9 PILLARS The 9 Pillars Mural Project was created to provide an opportunity for homeless youth to engage with their community in a fun and collaborative way. However, the day-to-day challenges facing these youth had a profound effect on their ability to prioritize and structure their lives in order to access this opportunity. While I originally hoped that the process would be one that would contribute to the lives of these youth in ways that might help shape their identity and build their self-esteem, I was left knowing that the youth were able to express those issues that are most important for society to know about their lives. The messages in the murals are a view into the lives of these youth and these messages are conveyed in a permanent display through the 9 Pillars Mural Project. What these youth are telling their community is consistent with the struggles of other homeless youth. These stories need to be told to the public in order to reduce the marginalization felt by these youth and to bring awareness to the need for more support and resources. The messages and stories in the art will remain there and will give these youth a sense of pride and ownership whenever they see the murals. And we will all feel a sense of achievement when these murals and the messages behind them are discussed in ways that create positive social change.55 9 PILLARS Chapter Five Reflection Implications The magnitude and scope of the 9 Pillars Mural Project was extensive from the beginning and continued to be so even as the project and its meaning evolved over time. While difficult to know the reaching impact of the project on all who were involved, the murals will continue, as reported by SLUG Magazine, to be "a visual representation that created a sense of place for the youth, as well as started a dialogue about the homeless population" (SLUG Magazine, June 16, 2014). Implications for youth participants. The youth who attended Art Group and collaborated with the artists in the development of the mural design were provided with a unique opportunity to express what is both positive and negative about their lives, both on an individual level and from a generalized perspective that applies to their community. It was apparent that having someone to listen to them and who wanted to learn about their lives was meaningful on several levels. As is supported by the findings of Kidd (2009), this creative process can provide youth with "insight into themselves, emotional relief, and empowerment" (p. 350), and allows them to tell their stories in a way that "highlights their own strength and resilience" (Ottaway et al., 2009). The messages that were created and conveyed through the 9 Pillars will allow these youth to feel a sense of ownership in the project and that they have contributed to the welcoming place that the murals created within the community. It is interesting to note Ensign's (2006) discussion of how many homeless youth participants often never see the results of the studies in which they are involved as the findings are written in academic journals or government documents. Ensign suggests that researchers "build 56 9 PILLARS into the research results in an informal and culturally appropriate format" (2006, p. 650). The 9 Pillars Mural Project provides these participants with such a format, as the results of the study are partially conveyed through the messages in the murals. Despite this, it is valuable to point out that qualitative researchers must recognize the many constraints involved in studying hard-to-reach populations (Abrams,2010),. Additionally, researchers must consider how the participants will feel about the outcomes and the role they played within the qualitative framework of the study. Implications for organizations. Given an opportunity for these youth to express themselves creatively, whether it was their first or one of many, this project may have spurred their desire for continued involvement in the artistic process. If so, there is a need for organizations that serve homeless youth to provide more opportunities for them to engage in creative efforts. This seems to be a challenge, as funding and resources to provide these opportunities are often limited. Many funders are more willing to donate to programing for homeless youth that addresses more basic needs or supports the health, employment, and education for these youth. In order for organizations to have the ability to provide artistic programing for youth, funders and policy makers need to see and understand the benefits that homeless youth can gain from creative expression. Implications for the community. As a result of the media attention given to the project, much has been said about the issues facing homeless youth and the need they have for resources and public support, including the ability to have a voice in their community. This attention is another step towards increasing the public's awareness of the issues facing homeless youth. Slugmag.com provided the most accurate coverage of 57 9 PILLARS the project and did an excellent job of putting into words what the project meant to those involved and continues to mean to the community. Considering the overall positive response about the project from the community and the welcoming feeling it helped create, the murals call for similar projects that can benefit other communities. The feedback also suggests considering how the meaning and purpose behind the project can be continued, and how the idea of engaging at-risk youth with their community through public art projects can be propelled further. Limitations There were many limitations that determined the outcome of this study. Overall, the complexity and depth of the problems homeless youth deal with every day contributed to the challenges of this study. Most significant was the effect these challenges had on the lack of consistent participation. The lack of stability they experience makes it difficult for them to prioritize, find transportation, and commit to opportunities. Supported by Maslow's (1943) Hierarchy of Needs, the survival mode in which homeless youth operate can make it impossible for them to deal with anything other than just getting through the day, finding their next meal, or figuring out where they are going to sleep at night. The challenges that seemed obvious at the beginning of this study became far more apparent and of broader scope as I continued in my attempts to work with these youth. Despite the novelty and significance of the project, it was not enough for these youth to want to or be able to make participation a priority in their lives. Funding cuts. My access to these youth was limited because of the funding cuts that affected VOA's policies shortly after I began working with the HYRC. The change affected this study because the youth were not allowed free access in and out of the center 58 9 PILLARS and were no longer able to hang out at the center. Clients were asked to wait outside until there was a staff member available to attend to their needs, or were allowed in if they were there to attend an activity such as Art Group. As many of these youth have difficulty prioritizing and planning, there were no longer youth around the center who might have been interested in Art Group if they had been there at the time. The staff would try to recruit clients to Art Group who came to the center for other reasons. But, for the most part, it was only those youth who remembered that Art Group was being held that were able to prioritize and plan in order to be there. Therefore, these limitations had an indirect effect on engagement levels. This reduction in staffing at the HRYC also limited the amount of time staff members could engage in promoting the project and encouraging youth to attend. It was apparent that the staff was already having difficulties meeting the needs of the clients, and giving attention to the mural project was not possible on most days. As Abrams (2010) suggests, gaining access to hard-to-reach populations is often done through agencies, as this approach provides easier access to participants and often has a readily available group of clients who might want to be involved. The HYRC acted as what Abrams (2010) refers to as a gatekeeper. Gatekeepers provide access to the participant population, and researchers must negotiate access to the participants. Often, as was the case of this study, the researcher must rely on the gatekeeper to determine who the participants are and this can affect the outcomes of the study. The limited staffing also made it impossible for me to recruit participants who might not be accessing services through the HYRC, as their funding for street outreach was cut. 59 9 PILLARS Communication. Recruitment and retention strategies through various forms of communication were for the most part problematic and unsuccessful. Posts on the client's Facebook page did not seem effective, as many of these youth do not access this page. As a volunteer, I did not have access to this page and relied on staff members to post information about Art Group and the murals. Communication about the project was also difficult. Due to VOA confidentiality policies, I did not have access to client information. However, as youth agreed to participate in the study and signed participation waivers, I did collect their contact information at that time if they were willing to provide it. But the obvious challenges still existed with this as well, since some of these youth do not have cell phones or consistent access to email. Those who did provide cell phone number or email addresses typically would not respond to texts or emails I sent about Art Group or painting. Because of these limitations, attendance at Art Group was difficult to predict. There were several days when only two or three youth were there, and there were even a few days when no one showed up. Transportation. As stated, getting the youth to the mural site a mile away from the center ended up being the most challenging part of this study. As per VOA policy, I was unable to transport the youth in my own vehicle. And as I relied on the staff to transport the youth to the site, it was determined on a day-to-day basis whether or not the HYRC had the appropriate staffing levels to allocate a staff member to do so. This was challenging, as there were days when the staff to client ratio was too low to allow for a staff member to leave the facility to drive the youth to the mural location. The other option was for the youth to get to the mural location on their own. As the location was not far from the center, and was also close to public transportation, this seemed possible. 60 9 PILLARS I also informed the youth that I would provide them with TRAX or bus tokens when they arrived, as an incentive and to provide their returning fare. However, neither of these factors made a difference in my attempts to get the youth involved in the painting process. Other limitations. Another difficulty with Art Group that limited interactions with the youth occurred when the center was forced to close on a few occasions due to staffing and security issues when art sessions were scheduled. Twice there were incidents between clients that threatened the safety of staff and other clients, and the staff felt it was best to close the center on those days. There were many other logistical limitations that while not directly related to the youth still had an impact of the project. Weather was a constant issue. As painting on concrete is not possible during cold winter months, it was necessary to postpone the painting portion of the project until spring. And in later months, days with high temperatures were also problematic. And although the freeway covers the location of the pillars, wind was a factor on several occasions as well. Considering the nature of this project, it was considered to be significantly high-risk, partly due to the physical nature of the process, but also the vulnerability of the participant population. Because of this, another major limitation occurred when Westminster's Institutional Review Board required me to procure an insurance policy to cover my participants. This was a difficult setback, as it took several weeks to find an organization that was willing to sponsor the project and provide a general liability policy. The many logistical limitations of this study such as weather, funding, and policy not only had a tremendous impact on the difficulty of this study, but also on the project's 61 9 PILLARS timeline. Considering the innate challenges of research involving homeless youth, this study has shown that difficult projects only add to the complexity of working with homeless youth participants. Therefore, preplanning and anticipation of possible complications should be carefully considered. Future Research As mentioned, there is a significant amount of research that explains the benefits homeless youth can receive by participating in art and the creative process. However, the studies that involve homeless youth expression through direct involved in public art projects are very limited. This perspective would be a valuable addition to understanding the impacts their challenges have on accessing opportunities for expression, how they prioritize their lives when faced with these opportunities, and the other benefits that could be gained through such experiences. In addition to these ideas, a key component of experiences such as this that would be to examine the benefits that homeless youth can gain from engaging with their community through the installation phase of a public art project. When considering the factors that contribute to a youth's resiliency and coping skills, the self-esteem, pride, and community connection from such experiences are worth investigating. As this study evolved from being one of empowering and strengthening homeless youth to one of more of an awareness project, I also discovered a lack of research studies that examined how the use of art, and specifically public art, can be used as a way to advocate for and create public awareness about specific issues. There are multiple studies that look at the importance of raising awareness about the benefits of art in general, but there seems to be a need for more literature studying ways to promote and/or 62 9 PILLARS educate others through the use of public art. As public art is becoming more a part of many urban landscapes, it would be interesting to study how the voices of communities and cultures can be represented through the public art medium. Recommendations Based on the difficulties this study presented in terms of participation levels, the lack of resources within organizations can limit what opportunities these organizations are able to provide to their clients. Obviously, if organizations were given more funding to extend their services beyond basic programing, they would have the resources to offer artistic and other opportunities to their clients. By providing education and awareness to policymakers and funders about the benefits of the creative process, hopefully organizations will receive more funding to develop other programs. However, it also appears that if organizations were more invested in certain programs, they could prioritize schedules and resources to make other opportunities available to their clients. Additionally, certain policies that limit how organizations operate, as was the case of transportation policies in this study, can determine the outcome and success of programs. Understandably, organizations must have such policies in place to protect their clients and themselves. By partnering together, organizations can provide for each other the missing elements to make programs successful. Simply being able to transport the youth would have made a significant difference in the outcome of the painting process. Recognizing that while there are a variety of organizations in the Salt Lake area that provide artistic programing to various populations such as children, disabled individuals, and those with limited access, opportunities that focus directly on at-risk 63 9 PILLARS youth are lacking. Considering the positive community response to the idea behind this project, and the growing trend for public art projects, creating an organization that serves at-risk youth by providing opportunities to express through public or community art projects should be investigated. Learning Objectives The primary goal of this project was to study the impact that the challenges facing homeless youth would have on their creative expression and engagement during this opportunity. I also hoped to study the potential of raising awareness about the lives of homeless youth through a public art project. Underlying goals were to learn more about the culture of homeless youth, the organization that serves this population, and the ethical considerations involved when working with these youth. Through this research and methodology, I also hoped to exercise my organizational and leadership skills to organize collaborative efforts across different networks, resulting in a successful project. Through this opportunity, I was indeed offered a valuable look into the complex layers of their lives and the impact these challenges have in their ability to prioritize. I have seen how creative expression and art can draw attention to a community and create a welcoming place for conversations about social issues to take place. And this experience most definitely gave me a unique opportunity to use the skills I have to organization this collaborative and extensive project. Through this project, I have received opportunities to further the arts in various communities, as well as incorporating the 9 Pillars idea into the Utah Arts Festival in 2015. 64 9 PILLARS Conclusion Public art can be an engaging tool for creative expression and for generating conversations about important social issues. Public art can also create a welcoming environment within neighborhoods that have previously been seen as cold and uninviting. Creative expression can be a way for homeless youth to speak about their lives in ways they might not otherwise be given a chance to do so. And through this expression, these youth can reflect on their lives and speak to their community about what is important to them. Limited funding and resources makes it difficult for organizations to provide access to programing in these areas. Organizations that serve homeless youth are doing what they can to strengthen and improve the lives of this vulnerable population. But through increased awareness, education, and funding, homeless youth can be given additional opportunities for creative expression that can help empower them with positive perspective and potentially create public awareness that can contribute to positive change.65 9 PILLARS References Abrams, L. S. (2010, June 30). Sampling 'hard to reach' populations in qualitative research: The case of incarcerated youth. Qualitative Social Work, 9, 536-550. http://dx.doi.org/10.1177/1473325010367821 Bender, K., Thompson, S. J., McManus, H., Lantry, J., & Flynn, P. M. (2007). Capacity for survival: Exploring strengths of homeless street youth. Child Youth Care Forum, 36, 25-42. http://dx.doi.org/10.1007/s10566-006-9029-4 Burnell, J. (2012, August 29). Small Change: understanding cultural action as a resource for unlocking assets and building resilience in communities. Community Development Journal, 48, 134-150 Cannuscio, C. C., Bugos, E., Kellom, K., Keddem, S., Hersh, S., Golden, J., & FitzGerald, E. (2012, May). A place to call home: Public art as a tool for housing advocacy. Philadelphia Social Innovations Journal. Retrieved from http://www.philasocialinnovations.org/site/index.php?option=com_content&view=article&id=434%3Aa-place-to-call-home-public-art-as-a-tool-for-housing-advocacy&catid=58%3Aarts-and-public-health&Itemid=103&showall=1 Consequences of youth homelessness. (n.d.). Retrieved from http://www.nn4youth.org/system/files/IssueBrief_Youth_Homelessness.pdf Ensign, B. J. (2006). Perspectives and experiences of homeless young people. Journal of Advanced Nursing, 54, 647-652 Gharabaghi, K., & Stuart, C. (2010, April 10). Voices from the periphery: Prospects and challenges for the homeless youth service sector. Children and Youth Services Review, 32, 1683-1689. http://dx.doi.org/10.1016/j.childyouth.2010.07.01166 9 PILLARS Hall, T., & Robertson, I. (2001). Public art and urban regeneration: Advocacy, claims and critical debates. Landscape Research, 26(1), 5-26. http://dx.doi.org/10.1080/01426390120024457 Heineman, T. V. (2010). Relationships beget relationships: Why understanding attachment theory is crucial to program design for homeless youth. Retrieved from California Homeless Youth Project: http://cahomelessyouth.library.ca.gov/docs/pdf/HYP-Report.pdf Herth, K. (1998). Hope as seen through the eyes of homeless children. Journal of Advanced Nursing, 28(5), 1053-1062 Kay, A. (2000, October 4). Art and community development: the role the arts have in regenerating communities. Community Development Journal, 35, 414-412 Kidd, S. A. (2007). Youth homelessness and social stigma. Journal of Youth Adolescence, 36, 291-299. http://dx.doi.org/10.1007/s10964-006-9100-3 Kidd, S. A. (2009)."A lot of us look at life differently": Homeless youths and art on the outside. Cultural Studies - Critical Methodologies, 9(2), 345-367. http://dx.doi.org/10.1177/1532708608321402 Lowe, S. S. (2000, June). Creating community: Art for Community Development. Journal of Contemporary Ethnography, 29, 357-386. Retrieved from http://douri.sh/classes/ics235aw05/readings/Lowe-CreatingCommunity-JCE.pdf Luna, C. C. (1987, September/October). Welcome to my nightmare: the graffiti of homeless youth. Society, 24, 73-78 Maslow, A. H. (1943, July). A theory of human motivation. Psychological Review, 50, 370-39667 9 PILLARS Miles, B. W. (2008, January). Recruitment in qualitative research with hard-to-reach youth: Experiences and issues taken from multiple studies with homeless youth. Paper presented at the Society for Social Work Research, Washington, DC Miles, M. B., & Huberman, A. M. (1994). Qualitative data analysis: An expanded sourcebook (2nd ed.). Thousand Oaks, London, New Delhi: Sage National Coalition for the Homeless. (2009). http://www.nationalhomeless.org/factsheets/who.html Ottaway, N., King, K., & Erickson, P. G. (2009). Storying the street: Transition narratives of homeless youth. Journal of Medical Ethics; Medical Humanities, 35, 19-26 Prescott, M. V., Sekendur, B., Bailey, B., & Hoshino, J. (2008). Art making as a component and facilitator of resiliency with homeless youth. Art Therapy: Journal of the America Art Therapy Association, 24, 156-163 Saldana, J. (2009). The coding manual for qualitative researchers (1st ed.). Retrieved from http://www.slideshare.net Sharp, J., Pollock, V., & Paddison, R. (2005, May). Just art for a just city: Public art and social inclusion in urban regeneration. Urban Studies, 42, 1001-1023 http://dx.doi.org/10.1080/00420980500106963 Sieber, T., Cordeiro, G. I., & Ferro, L. (2012). The neighborhood strikes back: Community murals by youth in Boston's communities of color. City & Society, 24, 263-28068 9 PILLARS Slug Magazine. (2014, June 16). Retrieved from http://www.slugmag.com/articles/7845/Underpass-Voices-Homeless-Youth-Awareness.html Smollar, J. (1999). Homeless youth in the United States: Description and developmental issues. New Directions for Child and Adolescent Development, 85, 47-58 Taylor, S. A. (2009). Engaging and retaining vulnerable youth in a short-term longitudinal qualitative study. Qualitative Social Work, 8, 391-408. http://dx.doi.org/10.1177/1473325009337848 Volunteers of America Utah website. (2013). http://www.voaut.org/Services/Homeless-Outreach--Housing-Programs/Homeless-Youth-Resource-Center Walsh, C. A., Hewson, J., Shier, M., & Morales, E. (2008, September). Unraveling ethics: Reflections from a community-based participatory research project with youth. The Qualitative Report, 13, 379-393 Wang, C. C., Cash, J. L., & Powers, L. S. (2000, January). Who Knows the Streets as Well as the Homeless? Promoting Personal and Community Action through Photovoice. Health Promotion Practice, 1(1), 81-89.69 9 PILLARS Appendix A Consent Form for Adults Before you agree to participate in this study, it is important for you to understand the purpose, procedures, benefits, and risks of the study. It is also important that you understand that participating in this project is completely voluntary and that you may drop out at any time. It is also necessary to explain that there is n