Fellowship Paper

I. Introduction

Picture this---

A hand-painted banner bearing the name "Café Wednesday" hangs from the ceiling rafters and serves as the backdrop to a raised podium. 150 white plastic folding chairs form a semi-circle around the make-shift stage. The lighting is dim, with only two halogen lamps giving off a gentle radiance. A twelve year-old girl walks anxiously to the podium and sings an impressive rendition of Fiona Apple's "Criminal," a cappella style. The audience of parents, students, teachers, and friends applauds enthusiastically. The student emcee then invites a fifteen year-old saxophonist to the stage to perform a jazz duet with his pianist father. The music is riveting, magically transforming the windowless room into the feel of an authentic city nightclub. The crowd again cheers with unconditional affirmation. Next up is an enchanting young poet, a seventeen-year-old who rarely speaks a word in class but who is a regular performer at Café Wednesday. Her words send a chill through the assembled spectators, who again ardently demonstrate their approval. Nearly two hours and numb\erous performances later, the show ends, and intimate "congratulations" abound. Talk of the next Café Wednesday is already underway.

In five short years, Café Wednesday has evolved from a good idea to an intimate gathering in a classroom to a genuine community united around creativity. Despite its rapid growth, the magic of Café Wednesday has not been lost. Each occasion provides a truly unique, truly "Parker" experience: a peer culture that encourages and supports risk taking, an opportunity to celebrate and share in a non-academic arena, and perhaps most importantly, a safe and welcoming invitation to perform. The success of Café Wednesday is a great testament to the students, parents, teachers, and friends of the Parker School.

II. History

Each year at the Francis W. Parker Charter Essential School, our community decides on an essential question for exploration in the curriculum, through each of the disciplines. After much conversation and a democratic process, it was determined that for the 1996-1997 academic year, we would investigate the question, "What is Change?" We were in our second year of existence, had grown by 60 students and 8 faculty members, and the chaos and uncertainty of the first year were slowly giving way to stability and structure. The Parker School was undergoing significant change, and we felt that the question we chose would be both developmentally appropriate and academically rich.

As I walked with a colleague one morning, during summer planning time, we hatched an idea for a curriculum unit to be implemented in the fall. As part of their Arts and Humanities coursework (integrated history, literature, and the arts), all students would choose an "object" to observe over the course of three months; they would regularly record the changes, through writing and drawing, and would ultimately exhibit their findings through one of many possible creative media. We were convinced that this project was the perfect entry into the essential question of "What is Change?" And we convinced our other A/H colleagues to give it a go.

Our next steps were to determine the various types of media that the final exhibitions might utilize and then delegate our planning responsibilities accordingly. The goal was to allow students multiple ways to showcase their observations and to provide them with some autonomy in creating their final products. When it was all said and done, the A/H teachers assumed responsibility for different areas. Matt decided to work with students in the realm of technology (computer graphs, charts, etc.), Elisabeth took the painters, Suzy chose the illustrators, Teri selected the thespians, Deb picked the orators, and I volunteered for the creative writers. Not only did this allow students to work within their favorite medium, but it also was an opportunity for us to teach to our individual passions. Once a week throughout the fall, we agreed to dissolve our normal class configurations and meet in media groups to prepare for the final exhibition.

When the students arrived in September and soon thereafter learned of the observation project, they responded skeptically with cries of "What does this have to do with school?" and "What are we going to learn from this?" and "This feels like kindergarten!" As teachers we weathered this initial storm with good humor, knowing wholeheartedly that the skills of close observation and careful attention to detail would serve our students well in all facets of the Arts and Humanities, particularly in reading and writing. Fortunately, our greatest carrot was the fact that we were to work with students who wanted to be in our media groups. After the students were presented with all six options, I ended up with a group of 15 aspiring young writers.

Their "objects" for observation ranged from trees to pets to fire hydrants to younger siblings to even the audacious piece of white bread in a jar. For the next two and a half months, the students dutifullyif not enthusiasticallyobserved their objects, made detailed notes of the changes, and kept an ongoing sketchbook and journal of what they perceived. As winter approached, we, the teachers, were again faced with a dilemma: What should we do for the final exhibitions? After some debate, we decided to hold an evening exhibition extravaganzaopen to parents/guardians and the general publicwhere each media group would showcase its work in a separate classroom. The evening would run from 7-8:30 P.M., and each teacher would be responsible for preparing his/her own students.

Whereas most of my colleagues opted (with student input) to hold "Open Gallery" exhibitions in which the kids would remain at their stations and visitors would browse through and ask questions, my group decided to hold a "Coffee House" exhibition with scheduled readings in front of a microphone, light refreshments, dimmed halogen lamps, and seating for 25. In preparation, we made up programs, asked for "delectable donations," agreed to brew some coffee, and decorated the room with funky artifacts. When the exhibition evening finally arrived, my students were both nervous and excited, yet they (and I) had no idea how the visitors would respond to our makeshift coffeehouse. Much to our collective surprise and delight, however, by 7:15 there were nearly 75 people crammed into our tiny classroom, all eager to listen to these 15 wonderful poems and short stories about change. The space was tight and the room was hot, but for nearly an hour the overflowing audience stayed and enthusiastically affirmed each student who stepped up to the microphone.

When the exhibition was over, a handful of people approached me and shared the following reactions: "This was the best thing we've ever experienced in a school"; "These kids were amazing"; "Thank you for giving our students the opportunity to explore and share their creativity." On my ride home from school that same evening, the idea for Café Wednesday was born.

III. What is Café Wednesday?

"What if this type of exhibition were to occur on a regular basis and even more people were invited to attend and perform?" I thought to myself. When I arrived at school the next day, I assembled a group of 4-5 of my poets and writers and asked them this same question. Not surprisingly, many of them had been wondering the same thing since we left the school only twelve hours earlier. Together we decided to organize and implement another evening of performance to be held two months later, this time with an "open mic" and in a much larger venue.

The next step was to recruit performers and to advertise abundantly throughout the Parker School community. But first we had to give this event a name. Since we tentatively scheduled the next performance evening for a Wednesday, and we hoped to preserve the coffeehouse feel of the first exhibition, I spontaneously proposed "Café Wednesday." With no objections, our ad hoc committee quickly decided to adopt this name, and we soon began to spread the word about the "official" debut of Café Wednesday. We put posters all over the school, wrote a brief blurb to be included in the Friday Announcements (the weekly school newsletter), and made frequent announcements at faculty meetings, whole school gatherings, and in class. Within a week, the Parker School was in abuzz about this new phenomenon.

As the date of Café Wednesday approached, I began to receive a number of phone calls and e-mail from parents who wondered if they could perform. Without hesitation, I responded affirmatively and told them to bring along whatever poem or story they wished to share. At the same time, a group of three students asked if they could play some music, as they had recently formed a band and were looking for a "live" audience on which to test their stuff. Again I agreed enthusiastically. When other students caught wind of the debut of this new band and that Café Wednesday would not be limited to the literary arts, a number of other musicians inquired if they too could perform. Before long, we had a full line-up of nearly fifteen acts.

In anticipation of the big event, I purchased a few $20 halogen lamps, a couple of industrial-sized coffee pots, and some Christmas lights to be strung around the walls of the "vault" (our community gathering spot at the end of the hallway, in the former military intelligence building that the Parker School occupied at the time). I encouraged the students to include in their signage the fact that although admission to Café Wednesday would be free, donations of refreshments (food and cold drink) would be most graciously appreciated. With my committee, I also decided to paint a large banner bearing the name "Café Wednesday," so we would have some sort of backdrop to the stage. I brought in an old white sheet and borrowed a can of paint from the art room, and on Monday afternoon a few of us stayed to paint the banner in the now-familiar "Mistral" font favored by the sign makers. All that remained was the show itself.

Immediately after school on Wednesday, my committee assembled in the vault, set up a semi-circle of chairs around the school's archaic sound system, and ran off about 50 programs to be distributed at the door. We then waited in anxious anticipation as I supervised the students during a two-hour study session. At about 6:15, some of the performers began to trickle in to set up their equipment and run through their acts one more time, and by 6:50 all of the seats in the vault were already occupied. We quickly scurried to set up additional seating, but since the show was called for 7:00, we didn't have time to rearrange the room entirely. When I approached the podium at 7:00 to welcome everyone to the first official Café Wednesday, I was met with an overwhelming applause from the more than 100 individuals in attendance. At that moment, the culture of Café Wednesday was instantaneously established; it was one of camaraderie, affirmation, good will, and community.

Despite some minor technological snafus and a few less-than-perfect performances, the evening went off without a hitch. When the last performer finished reading his story at 9:00, I asked everyone to stay for five minutes to pick up trash from the floor and stack the chairs against the wall. Energized by the performances and the warm spirit of the evening, everyone responded with perfect cooperation and gratitude. I knew then that Café Wednesday was at Parker to stay.

With the urging of my committee (and virtually everyone else in attendance), the next day I scheduled Café Wednesday to occur once a month for the remainder of the school year. Unlike many fledgling institutions, the novelty never wore off; instead, the excitement only continued to grow. With each Café Wednesday, more and more students, teachers, and parents took the risk of performing in front of an audience that now consistently numbered greater than 150, and both the quality and variety of the performances improved greatly over time. In the first year alone, we were witness to magicians, singers, poets, jugglers, dancers, comedians, and musicians.

In the surveys completed for the 1996-1997 Parker School Annual Report, many parents commented on Café Wednesday as the single-most refreshing contrast between Parker and their students' previous schools. Rather than only the "best and the brightest" being encouraged and nurtured to share their talents, Café Wednesday allowed any member of the Parker community the opportunity to perform and be affirmed in front of an audience. The supportive interplay between audience and performer was consistently mentioned as a major key to Café Wednesday's success.

Riding the success of the first year, my committee and I again decided to schedule a Café Wednesday each month throughout the 1997-1998 school year. My sentiments at this point were perhaps best summed up by a letter I wrote for the Friday Announcements upon returning home from the first Café Wednesday of this second season:

Wednesday, October 8, 1997, 10:47 P.M.

It's late, but for some reason, I don't feel tired. I feel exhilarated, the way I always do in the immediate aftermath of Café Wednesday. There's something magical about the evening, something unique that transcends the reality of most schools in our country.


On his way out of the building, my new Arts & Humanities colleague Bill York turned to me and said, "One word... WOW!" Knowing Bill, I sensed that he must have been dying to say more, so I invited him to elaborate. He quickly accepted. "I knew when I took this job that Parker was a special place, but tonight was one of those indelible moments that makes it all real." I smiled and nodded my head.


Bill was right. Parker is special, and in my mind, Café Wednesday is Parker at its finest. It's about a group of students rehearsing for countless hours in preparation for the public debut of their band. It's about a seven-year old sibling reading his poem about a rainbow. It's about singing without accompaniment in front of 150 people. It's about taking something personal and sharing it for the first time with others. It's about fond memories of a lost companion. It's about making Beethoven come alive. It's about a peer culture that encourages and supports risk takers. It's about an audience that genuinely embraces every performer.


Come see for yourself. As many like Bill York can attest, it's the only way to "get it." The next Café Wednesday will be held on Wednesday, November 12. Hope to see you there.

Although the performances are now bi-monthly instead of every monthdue to increasing demands on the students' time and their subsequent desire for a longer creative "incubation period"Café Wednesday continues to be one of the true hallmarks of the Parker School. In five years, over 125 individuals have performed, and the total attendance is well into the thousands. The now celebrated Holiday and Year-End Café Wednesdays are particular crowd pleasers, and the fall and spring performances are not far behind. As for me, I have delegated virtually all planning and coordinating responsibilities to the students and now enjoy the performances stress-free as a proud member of the audience.

IV. What function does Café Wednesday play in the Parker School community?

To best explore this question, I have assembled a number of testimonials from Parker folks who have been involved with Café Wednesday in a variety of capacities. In the spring of 2001, through e-mail and in person, I asked students, parents, and teachers three questions: 1) What has been your experience with Cafe Wednesday? 2) How has Cafe Wednesday impacted you as an individual? and 3) How do you feel Cafe Wednesday fits into or contributes to the community of the Parker School?

The following excerpts are taken from some of the responses. For the purpose of authenticity, I have not edited them for grammar or content. I have, however, used pseudonyms.

The community is already sort of unusual in the sense that older and younger kids get to know each other more than in other schools. Cafe Wednesday takes that even farther, and students, teachers and parents who wouldn't otherwise meet end up getting to know each other. Café Wednesday's made the Parker community closer, I think. It's also given anyone who wants it a time and place to really stand out, something our school is good at. I honestly don't see Parker without Cafe Wednesday - there are so many things that get changed around, replaced or added to school life, but Cafe Wednesday hasn't stopped since the beginning. (Student, Grade 11)


I have been an audience member at almost every Cafe Wed. My main reason for attending, at first, was to drive Erika so she could see her friends. I was so impressed with the spirit of Cafe Wed that I found myself going even when I wasn't needed to drive. It's always an enjoyable evening. It's been a privilege to watch the development of so many of the Cafe Wed performers. (Parent)

 

I've been performing at Cafe Wednesday since 8th grade, so this will be my 3rd year. It's always been a great experience for me. I can get up and do my thing without worrying about winning some kind of contest. Everybody is supportive, not critical, of performers, which is very encouraging. (Student, Grade 10)


One of our first Cafe Wed experiences was a piano player who was so nervous, he kept making mistakes. Everyone kept clapping and encouraging him to go on anyway. He started to walk out, but someone gave him a hug and everyone cheered him on. He came back, played on. It wasn't great but everyone was so excited that he got the courage to finish that he got the loudest applause ever. (Parent)


I got over the fear of performing in front of a big group and I think I've gotten a lot more confident with public speaking. That's been tremendously helpful in school and I know it will be in college. I've been looking for cafes or other performance places in my top choice colleges so I can keep on doing that. (Student, Grade 11)


I get to have the Deviant Misfits invade my home for marathon "practice" sessions.... Just kidding! The Misfits are a good example of what Cafe Wed can create.  Allan has always been a creative kid interested in performing. When he came to Parker he was also a young adolescent with a driving desire to "fit in with the crowd."  At Parker and Cafe Wed he found he could "fit in" by doing whatever inspired him.&nbsp Allan and Omar (and soon Steven) had fun fooling around with music and comedy.  Cafe Wed gave them an outlet. At Cafe Wed it was OK to try something different and it was OK to have technical difficulties and even fail. The crowd was always supportive. They had a new reason to get together and make music and comedy. Cafe Wed was the incubator that aided the development of the Deviant Misfits.&nbsp&nbspIt's great to see how much the Misfits enjoy what they're doing.&nbsp As a parent, I see the pride Allan has in his work and his amazement when someone from Colorado buys their CD over the internet. (Parent)


People often ask me why my kids go to Parker. I tell them the best thing about Parker is what a wonderful and accepting community it is. I use Cafe Wed as an example. I tell them about watching 14-year-old boys not afraid to read poetry they wrote in front of an audience. That doesn't happen in just "any " school.


Café Wed builds community for Parker. It gives kids, staff and parents a chance to socialize with each other and get to know each other outside a strictly academic setting. I can't imagine Parker without Café Wed. (Parent)


Since I first came to Parker in 8th grade, I have participated in many Cafe Wednesdays. I have used it as an opportunity to collaborate with other musicians, to play some of my favorite songs by other artists, and as a place to showcase my own new original material. I have found it to be the perfect environment to try out my own new songs because it is a comfortable setting where I am not afraid to try something new and get audience feedback. (Student, Grade 12)


Regarding Café Wednesday, I always saw it as Parker's instrumental (no pun intended?) vehicle for forging a sense of community. In a school that always seemed to be on display for the outside world, and struggling daily to maintain some sanity, I appreciated that Cafe Wednesday really felt like "down time," nothing to sell, no one to impress but ourselves. Key to its success, I think, was the fact that the stage welcomed not only students, but faculty and family members, extended family members, and anyone even remotely connected with the school who had something to offer. The inclusiveness allowed us to ponder our common fears and frailties, as well as be amazed by the depth of talent in our midst. (Parent)


With some students, the talent was of the quiet type that evolved and revealed itself only slowly through the years. The audience savored its appreciation of certain talents, sort of like waiting for great wine to mellow. With others, it was a one-time, vulnerable step towards revealing oneself. Those of us who were never so venturesome learned to respect those who plumbed deeply for the courage to perform, and watched members of the community develop confidence and a sense of self worth that was progressive and palpable. Sort of like one big "therapy session" with lots of laughs and love, and some astonishing, mind-blowing talent. (Parent)


Cafe Wednesday has made me an incredibly more confident performer. I'm sure if you looked at a tape of me performing the first time and then looked at a tape of the most recent performance, you would see a drastic difference. Cafe Wednesday has been a great forum to develop as a performer. (Student, Grade 12)


I've thought a lot about this, and I think much of this happened because it was an ongoing, sustained opportunity. Community members learned over time that it was a safe place to perform. Had it been a once a year talent show, the atmosphere would not have been at all the same. It was a great idea well implemented. (Parent)


I think Café Wednesday contributes to community in many many ways. First of all, it creates a wonderful setting for artists of all kinds to come together and share their work with the greater community. It creates a bond between those who attend it. From a musician's point of view, I feel it really benefits the community to have a place where musicians can share and perform because we don't have a structured music program where things like that would happen automatically. The quirky-ness of Cafe Wednesday is comforting. It is truly Parker. (Student, Grade 12)


When our family begin looking at Parker 5 years ago, it was suggested to us that we attend a Cafe Wednesday to help up get a "feel" for Parker. We did attend and were so impressed that there was a place where kids would feel comfortable enough and such a part of their community that they were willing to share a part of themselves in the way they were. I think it is a huge part of what lets the kids at Parker have respect for each others' uniqueness and accepting of what everyone has to contribute to the COMMUNITY! (Parent)

Without question, the magic of Café Wednesday is best articulated by these testimonials. Although each individual's experience with Café Wednesday has been unique and different, the themes of community, risk taking, encouragement, and progress appear throughout.

V. How might the Café Wednesday model work in other school settings?

Unfortunately there is no "magic formula" for the success of Café Wednesday. Because each school community has its own unique set of traditions, experiences, and values, what works in one setting may not work in another. Therefore, rather than create a "How To" guide for Café Wednesday, I will instead offer some suggestions that might be useful for those wishing to get started.

#1--Start Small. At Parker, Café Wednesday did not just happen overnight. Without that initial exhibition with limited space in a small classroom, the idea never would have been hatched in the first place. Most coffeehouses are quaint and intimate, so there is nothing wrong with hosting an evening with a few performers and a small audience. The key is for the physical space to appropriately accommodate the number of people in attendance. If the first evening is a success, then grow the next one accordingly.

#2--Use the Kids. As educators, we know that students often respond more favorably to the ideas and emotions of their peers than they do to those of adults. Assemble a group of hard-working, motivated, and competent students, and allow them to spread the word. They do not all have to be artists, poets, or musicians; in fact, the more diverse the committee, the more likely the kids are to reach all sectors of the school community. Once these students have volunteered or been selected, give them real responsibility. Once they become invested in and excited about the culture of performance their peers will soon follow suit.

#3--Tap into Existing Pockets of Creativity. Most schools have a range of co- and extra-curricular offerings in the Arts. Invite members of the literary magazine, the chorus, the school band, and the string ensemble, for example, to get involved. Investigate whether there are any student bands forming "behind the scenes," and ask them if they'd like to debut in a public arena. The more people included early on, the more likely the performance evening will be both an immediate and long-lasting success.

#4--Encourage Parents and Other Adults to Help Out. Adult members of school communities often want to be more involved in their students' lives, but they frequently do not know how they can contribute. Make it clear from the outset that the performance evening is open to all of the school's constituents: students, parents, and teachers alike. Since the audience is as integral to the success of the evening as the performers, everyone can have a role in the start-up process. There are plenty of jobs to go aroundfrom baking goodies to setting up chairs to operating the sound system to printing the programs to cleaning upso individuals should easily find ways to pitch in according to their interests and experiences.

#5--Do NOT Charge Money. Although an evening of this sort could easily be seen as a fundraising opportunity, the fact that Café Wednesday is free of charge liberates performers from feeling as if they have to live up to a certain standard. As a result, many more individuals actually take the risk to try out a new poem, song, or essay. Once they receive initial approval and affirmation, they then gain the confidence to perform again, and they invariably improve in the process. Charging money also makes a statement that perhaps not everyone is welcome to attend. Although a few dollars may seem to be a minimal amount, some individuals and families may be deterred from attending if they have to pay. The same principle goes for refreshments. By asking attendees to "donate" food and drink to a communal table, no one will feel singled out and all parties will be happy and well fed. On the other hand, if other organizations (travel groups, class officers, spirit clubs, etc.) wish to set up tables for the purposes of fundraising during intermission or before and after the event, then so long as they don't interfere with the sanctity of the performances, there's no reason why they should be denied. Again, inclusivity builds community.

#6--Anything Goes. Sort of. Censorship is a hot topic these days in schools all around the country. What should students be allowed to say, wear, and otherwise express? At Parker, Café Wednesday would appear on the surface to be a fertile ground for inappropriate conduct and expression, but never once has this been an issue. The key is to set a positive, family-centered tone from the outset, and then entrust the performers with the responsibility of crafting their material accordingly. Because the audience members may range in age from newborns to great-grandparents, in no way will every individual like every performance. What's most imperative, however, is that no one is offended by any of the acts. Generating a list of performance guidelines and norms with the initial committee of students can go a long way in addressing this issue proactively. We didn't do this initially, but I wish we had. If the expectations are clear from the outset and performers are aware of the intended audience and culture, there should be no surprises.

#7--Limit Individual Performances to 5-7 Minutes, Groups/Ensembles to 10-12, and the event to 1-2 hours. So that everyone who wants to perform has the opportunity, it's important not to allow any single "act" to monopolize the show. With advance knowledge of clear, reasonable, and consistent guidelines around time, the performers will be able to prepare accordingly. Of course, there will be exceptions to this "rule," particularly on evenings where the line-up is short, but generally speaking, these suggested timeframes should allow the show to move forward without the performers feeling rushed. In addition, I recommend limiting the length of the event1 to11/2 hours at first, and if the practice takes off, like it did at Parker, I would establish an upper limit of 2 hours. Too much of a good thing can detract from its effectiveness.

#8--If Necessary, Hold a Meeting Ahead of Time with All Interested Performers. Depending on the popularity of the event, it might become necessary to hold performance sign-ups a few days before the actual evening. This will provide the planning committee with a sense of timing and duration for each of the individual acts, and it will allow committee members to put a program together, scheduling performances ahead of time. Although an "Open Mic"1 format also has its merits in encouraging spontaneity (and in the beginning Café Wednesday functioned as an open mic event or included a combination of scheduled and spontaneous performances), a more planned "program" allows for greater structure and predictability for the show as a wholeespecially useful as the program evolves.

VI. Conclusion

When schools are at their best, they are not merely holding tanks for young people for seven hours a day; they are vibrant community centers where adults and young people alike gather to learn, share, ask questions, and celebrate. Similarly, when schools are at their best, they do not view students as empty vessels waiting to be filled with facts, numbers, and words; they treat students as "whole people" with a wide range of interests, passions, needs, and learning styles.
Café Wednesday has played a pivotal role in moving the Parker School closer to the accomplishment of each of these goals. As evidenced by the nearly 200 people who regularly attend Café Wednesday, the school does habitually extend its arms to the community at large. Additionally, as evidenced by the number of performers who have taken the stage over the years, Parker does indeed subscribe to Howard Gardner's notion of "multiple intelligences." It validates the many different ways that individuals can demonstrate that they are "smart."
In summary, Café Wednesday provides all members of the Parker community with a regular and supportive opportunity to perform in a public arena. It far transcends the typical flippancy of a "talent show" and is instead a place where students, parents, teachers, and friends come together in true celebration of one another. All schools benefit from their hallmark rituals and occasions, and without question Café Wednesday is one of the most revered "institutions" at the Parker School.

Jed Lippard was a founding teacher of the Francis W. Parker Charter Essential School in Devens, MA. He completed his undergraduate degree in American Civilization at Brown University in 1995, where he also earned Secondary English teaching certification through Brown's Teacher Education Program.

For six years(1995-2001), Jed taught Arts and Humanitieshistory, literature, writing, and the artsat Parker, and he had the unique experience of "moving up" with the first cohort of students from seventh through twelfth grade. He was honored to be chosen to speak at the Commencement ceremonies of the Classes of 2000 and 2001.

During each of the past two summers, Jed served as a mentor teacher for the Teacher Education Programs at Brown University and Harvard University, respectively. He worked closely with new teachers on methods of developing curriculum, pedagogy, and assessment. He is currently enrolled in the Principal Certification Strand of the School Leadership Program at Harvard University's Graduate School of Education.

Jed Lippard can be contacted at:
lippard@rcn.com