The first item in YALSA's Teen Programming Guidelines states, "Create programming that reflects the needs and identities of all teens in the community." And the overview of this guideline goes on to say:
In order to ensure that library programming meets the needs of all members of the community and does not duplicate services provided elsewhere, library staff should have a thorough understanding of the communities they serve. Library staff must continually analyze their communities so that they have current knowledge about who the teens in their community are. They must also develop relationships with community organizations already working with youth. Library staff play a crucial role in connecting teens to the community agencies and individuals that can best meet their needs.
The part of the overview that I think sometimes is difficult for library staff working with teens is the "continually analyze their communities so that they have current knowledge...." Read More →
The Teen Programming Guidelines discuss the physical spaces of hosting teen programs in their eighth guideline. When YALSA released its Teen Space Guidelines in May 2012, I dove into the wealth of information that the guidelines provided. My school was in a transition period where we gained an additional media center space that needed to be completely renovated. Our original media center also needed some updating, so the Teen Space Guidelines was the perfect tool for me to use in approaching our spaces.
The first teen space guideline states, "Solicit teen feedback and input in the design and creation of the teen space." Librarians and media specialists should always take into consideration the community they serve. I needed feedback on what our students wanted to see in our original space. A simple Survey Monkey survey was all it took to gain valuable insight into layout, furniture, needs, and wants for our high school students. With their advice, we were able to rearrange furnishings and incorporate a few new pieces to freshen up our original media center. Students also suggested that we move our manga section closer to the circulation desk. Manga books are cataloged in the 740s in the nonfiction collection. In our media center, this happened to put them in a far corner of our space and hard to see from the circulation desk. Not only are these super popular books that are checked out frequently, but they became hot commodities that were frequently stolen. (We do not have a book security system.) After moving these books closer to the circulation desk, students have easier access to them, and we do not lose near as many to theft. This also allowed us to promote the books more easily, which is also one of the guidelines in Teen Space Guidelines. Teen feedback can never be underestimated.
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In the Fall 2014 YALSA journal (vol 13, number 1), I published an article about creating outcome measurement tools collaboratively with staff and participants for a teen program (Measuring Outcomes for Teen Technology Program, p. 25). The program I discussed is the Teen Tech Squad, tech workshops for teens led by teens at Hennepin County Library.
When I began working with the teen librarians to identify outcomes and measurement tools, an important step was relying on the expertise of the teen librarians. I did not assume that I knew what teens were doing in the workshops or what skills they were gaining. I relied on the expertise of the teen librarians to identify these things. I worked with them to make sure that they understood what outcomes are and we collaboratively created the outcomes and survey questions. We also took the time to get teens opinions on the questions we asked so we knew our questions would be understandable and effective. I empowered staff to take the lead on implementing the evaluation and continue to offer my assistance as they discover what is working and what isn’t.
This approach to evaluation is called “developmental evaluation,” a concept developed by program evaluation consultant Michael Quinn Patton. Developmental evaluation differs from traditional evaluation in many ways. For example, one way is the role of the evaluator. Traditional evaluation positions the evaluator as an outsider from the program they are evaluating while developmental evaluation positions evaluation as a job duty of the program deliverers. Developmental evaluation is most suited to programs that are innovative and adaptable; that is, not static.
Why this is important is that I see a need for libraries to have an in-house evaluation expert. It may seem easier (although more expensive) to hire an outside firm to evaluate. What library staff miss out when they do this is learning how to evaluate on their own. Knowing how to evaluate means that you can work evaluation into the biggest and smallest projects at your library. It can help you design projects intentionally, evaluate them, and decide what should continue, what should change and what can come to an end.
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Last spring, a couple of coworkers and I did some outreach at an event called Girlvolution. It was a completely youth-led conference, with sessions on social justice issues ranging from foster care reform to sexual identity. The teens leading each session mixed statistical and factual information with their own perspectives and experiences.
It was the best conference I had ever been to. I was blown away by how poised, informed, and prepared the youth were. But I wondered: how did they do their research? Had they been visiting our libraries every year without us even knowing it?
Our Youth and Family Learning Manager looked into it and found out that this was exactly the case. Although Powerful Voices (the organization that hosts Girlvolution) had a "Library Day" as part of their program each year, the library had not been providing direct support.
What an awesome organization.
So this year, we collaborated. My coworkers and I met with their staff to hear more about their organization's mission and goals, and to learn how we could help. We arranged for me to visit Powerful Voices on a Thursday afternoon a couple of weeks ago to talk to the youth and their adult allies (mentors) about research. It was a great conversation about everything from whether all the world's information is available on Google (heck no) to evaluating resources.
Results of a survey asking participants to rate the effectiveness of Library Research Day.
That Saturday, the girls and their allies all came to the library. We settled down in the computer lab and got SERIOUS about research. I showed them how to find books in our catalog, and how to decode Dewey. We dug into databases to find the most up-to-date information and the best statistics. We ended the day with pizza, which is never a bad idea.
Powerful Voices ends their sessions with a gratitude circle. That Saturday, many youth and adults mentioned finding out about all the great resources the library has to offer, and how helpful librarians can be. I was grateful for all I learned from them, and to be part of the support network for such talented and engaged young women.
One thing many of my teens enjoy is competition. Whether they play for bragging rights or a gift card, they enjoy being the master or best in their favorite games. Over the years I've learned that hosting tournaments is an easy program that can gets my teens really excited and involved in the planning.
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Many libraries across the country are offering great STEAM programs for teens; but are these programs as accessible and interesting to diverse teens as we would like them to be? Teens identified as underrepresented minorities--i.e., African-American, American Indian, Hispanic/Latino, and Pacific Islander teens--routinely score below their white peers’ in math and science. It’s not about aptitude, though; it’s about whether these teens have adequate access to learning opportunities that prepare and inspire them to pursue and succeed in science, technology, engineering, and math. That’s where the library can step in with informal learning opportunities that engage all teens in STEAM.
To make STEAM programs accessible and motivating, directly involve teens in the process of “doing” STEAM. Hands-on learning is great, as it emphasizes that every person is capable of doing science. Even better is collaborative work, which allows teens to work together to create a product greater than they could accomplish on their own; this is often called “citizen science.” Hands-on activities also allow teens to prioritize the things they enjoy and find interesting in a program.
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Name: Green Screen by Do Ink
Platform: iOS, compatible with iPad
While digital media labs complete with green screens, cameras, computers and software may be out of reach for many libraries, creating composite photos and videos with your teens doesn't have to be. I set out a few weeks ago to find a free or low-cost green screen option and have been fortunate. After testing several chroma key apps, Green Screen by Do Ink is the one I keep coming back to for flexibility and user friendliness. I had begun by looking for free apps, and quickly discovered that I could either pay up front for green screen capabilities, or download free apps that include "in-app purchases." In-app purchases meant paying to unlock the chroma key tool or to get rid of an obtrusive watermark that rendered the free version essentially useless. I also discovered in one case that the developers' definition of green screen did not match my own (it was basically a $4.99 masking tool, something that comes included in many photo editing apps). With no advertisements or watermarks, Green Screen's $2.99 cost is worthwhile.
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They were pretty excited about the new library.
For the past six months or so, my fellow teen services librarian and I have been building a partnership with a local drop-in center for homeless youth. We began by meeting with staff several times and taking a tour of their facility to get a better sense of what they do, and how we could help. Then we moved into outreach efforts, like tabling at an on-site job fair. We even revamped their on-site library. Read More →
"Mrs. Thompson, why we only got two Bluford High books?" "We need more manga." "I like that Sharon Draper lady. We got anymore of her books?" These were just a few of the questions and statements directed at me about our high school media center's collection when I became a media specialist. Through day-to-day direct observation and through results of a student survey, I quickly realized areas of our collection that were being underserved - manga and urban fiction. There were groups of students who were all clamoring for the same few titles that we had of a certain genre or series and our "hold lists" were growing longer by the day.
Several reasons may attribute to underserved groups in a library program. Community dynamics change. Our small suburban school system has seen tremendous growth in the 18 years that I have been here - 400% growth. That translates into a graduating class of 78 in 1998 to a graduating class of 478 in 2015. In the same time period, our minority population grew from 5% to 30%. Our media center's collection does not reflect this growth. Another reason for underserved groups is the rapid growth in new styles of writing, like manga. It can be difficult to know whether new styles of writing are going to be accepted by your patrons, and we hate to waste money on books that are just going to sit on the shelves. We started out with three different manga series to test the waters. The popularity of these titles exploded! They rarely made it back onto the shelves as students would grab them from the "re-shelf" cart as soon as they were checked in. They also became our most stolen titles! (We do not currently have a book security system.) There were titles that our students desperately wanted to read, so why wouldn't I listen to them to continue to foster their love of reading.
As a reader, I cannot stand to read things in a series out of order. Many of my students are the same way. Why did we only have some of the Bluford High series? Why were #1, 4, 6-8 of Full Metal Alchemist missing? Our database showed that we had owned, at one point, #1-15 of the manga series BlackCat, but several of the titles were now marked "Lost". I set filling in the gaps of the asked about series as my first goal in strengthening our collection for our underserved patrons. In the urban fiction section, we went from two Sharon Draper titles to all 10 of her young adult titles. We were also able to fill in the missing Bluford High titles, which serve our urban fiction fans as well as our Hi/Lo students. For the manga patrons, we filled in all of the holes in the series we already had and aimed to include four new series a year.
Another strategy for building our collection for these underserved populations was to get input from the students. In adding more manga, we allowed the students who were most interested in these series to help us with the selection of new titles. They perused catalogs and looked online for reviews and suitable content (as some manga is aimed at a more adult audience). My African-American girls, who were devouring the urban fiction, asked about adding the Drama High series. They loved looking for new authors to tell me about as well. With the addition of the new titles, plus the marketing of the items through displays, our circulation increased 67% in one year! Allowing students to assist in making our collection stronger for them gave them a sense of ownership and pride in our media program.
YALSA's Teen Programming Guidelines states that librarians should "create programming that reflects the needs and identities of all teens in the community." Many media centers and libraries run into the problem of having an underserved population, and it is the duty of the librarian to recognize the needs of all patrons and work to strengthen the weak areas. Investigate your collection for missing titles and allow your teens input. These practices can go a long way in reflecting the needs of the communities we serve.
Platform: iOS and Android
Several years ago, YALSA Blog covered the original StoryCorps app, but recently StoryCorps released a new app that offers some great new features. The app allows you to create an account, but you can also proceed without an account if you would prefer. Once you make that decision, you can get started with your first oral history right away.
When you get started with your first interview, you can opt to either start recording right away or prepare your interview questions in advance. If you pick the option to prepare your interview first, you are offered several tips on best practices for conducting this time of interview. These are very approachable for those who are new to interviewing and cover the basic protocols that should be followed in a way that lets novices feel like experts very quickly. You are then prompted with the three preparatory steps for the interview: customizing a question list, selecting who you will interview, and setting the length of your interview. Read More →