Curriculum

Title of Curriculum Project

Know Thy Self: Legends Academy

Project Teachers and/or Leaders

Sanovia Garrett

Date

June 26th-30th
Age of Children/Youth

5-17 y/o

Project/Course Description Overview

Know Thy Self is an arts-integrated curriculum facilitated by local artist practitioners
and teachers in the Legends Academy Camp. The time spans over a 3-day period aimed
at teaching youth who may be living in crisis and poverty to be the you, you want to see
shine in the world. The curriculum aims to increase the performance of young girls
through elements of the BuildaBridge International SSM (safe space model).Each lesson
will integrate at least two art modalities and focus on increasing student holistic
development, including social, spiritual (character), and artistic skills.

Goal(s)
To foster resilience through community and safe spaces.
Love, Affirmation, Meaningful Productivity, Purpose, Belonging
Create Self Rituals that affirm BElonging.
Create a threshold for a community space, Build community, Create safety
Promote healing, Teach values.
Emphasize atleast two way-power aspects of hope.

Teacher Objectives.
1. Engage students in learning experiences that are fun and creative.
2. Increase learning in the area of spoken word poetry.
3. Provide opportunities for students to influence and have input to their learning.
4. Students will be able to tie in a metaphor/life skill learned based upon the art-making
process.
5. Use elements of the BuildaBridge Classroom Model.

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Learning Outcomes. (What skills and/or knowledge (related to goals and objectives)
will they have at the end of your classes? List no more than four outcomes, preferably
one in each area of academic, artistic, social, and character skill development).

By the end of these lessons,

100% of instructors will demonstrate spoken word through a presentation

100% of instructors (volunteers, etc.) will display emotional awareness as

measured by an emoji clothespin ritual.

100% of the girls will demonstrate an increase in learning spoken word poetry as
demonstrated by completing the worksheet with an I Am statement and words.

50% of students will contribute at least one idea (oral or written) to what and how
they would like to see the week transpire.

100% of the girls will create an I Am sheet as demonstrated by handing in a

completed sheet.

100% of the girls will agree to follow the expectations for the week as measured
by a visual (hands raised) or verbal agreement.

Metaphor: The metaphor can be flexible. As you work with the group the
metaphor should mirror the experience that is currently happening in the
classroom. The metaphors can be worked out through conversation and activity.

The MAIN metaphor that is the underlying theme of the lesson plan is that as the
sun gives light to the world everyday, we can bring the same light and energy to
the world we live in (family, friends, school, church, etc.).

Spoken word poetry is meant for people to be able to influentially present their message.
Their message being who they are.

Assessment methods(s) selected for the project: (At least one arts-based authentic
assessment)

Sun-Spoken Word Coloring Sheets

Pre-post oral and written assessment
Emoji clothes pins for emotional agency
Curriculum and commentary of curriculum
Childrens Hope Scale

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Number of Lessons: Three lessons over three days will incorporate
six of the nine learning intelligences: (musical, linguistic, visual-spatial, bodily-kinesthetic,
intrapersonal, and interpersonal).

Lessons will utilize three art forms:

Spoken Word will provide the students a way to express how they view themselves and
their relationship to the world around them. (Interpersonal, Intrapersonal)
Movement will provide the students a way of understanding how they work in
relationship to one another. (Kinesthetic, Interpersonal)
Music will provide the students a way to express themselves in the bound of community
and togetherness. It will also serve as the point of ritual.

List References, Resources, Books, and CDs Websites to be used in the curriculum

Materials needed for the Project:

Lesson Sun Handout; writing utensils (markers, colored pencils, pencils, pens, crayons), sheets of paper,
Cut out earth run way, bluetooth speaker, Multi-colored Index cards with colored envelopes, tape, emoji
clothespin, audio capability and lesson plan handouts, paperclips.

SUN Coloring Page:

http://www.marthas-vineyard-vacation-tips.com/sun-coloring-pages.html
Cross the Line If Statements:
https://wwwp.oakland.edu/Assets/upload/docs/Instructor-Handbook/Crossing-The-Line--
-Second-Version.pdf
Childrens Hope Scale:
https://static1.squarespace.com/static/557062b2e4b0b65c351948df/t/579a4120c534a544b
31687e3/1469727009106/Hope+Theory%2C+Measurements+and+Applications+to+Sch
ool+Psychology.pdf

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Curriculum Project Title: Know Thyself
Lesson Title: I Am Here.
Lesson Number: 1
Teacher(s) Name : Sanovia Garrett

Lesson Overview
Instructors will use the elements of spoken word poetry to engage students in creating a
four line spoken word piece about who they are.

Lesson Goal: Introductions and creating a safe space.

The overall goal of these lessons is to increase the students

comprehension of knowing and being more aware of who they are in the
world.

Teaching Objectives
1. Engage students in learning experiences that are fun and creative.
2. Increase learning in the area of spoken word poetry.
3. Provide opportunities for students to influence and have input into their learning.
4. Students will be able to tie in a metaphor/life skill learned based upon the art-making
process.
5. Teach the four elements of spoken word poetry.

Learner Outcomes
By the end of this lesson, 100% of students will demonstrate their understanding
of the four elements of spoken word poetry as measured by a spoken word
presentation.

100% of teachers will show an understanding of emotional awareness through an

emoji clothespin ritual.

50% of teachers will compose and perform spoken word piece displaying four
elements of performance.

Lesson Description

1. P re-Assessment Activity (likert emoji scale) & Welcome to engage the brain
(10-12 min.) As you greet each child into your space (shaking their hands,

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 hi-fives, hugs or whatever seems appropriate for the audience) instruct them to
grab an emoji clothespin that closely relates to how they feel at the moment.
Administer the Childrens Hope Scale (Snyder et al., 2003)You can decide as the
leader to either talk about these with the entire group or just to get a few
volunteers. Bringing class to Attention: Direct the class to sit in a circle and the
instructor will clap or play rhythms and see if class can imitate with claps assess
sense of rhythm.

Ritual (3 mins)
Singing

Call: (I see you)

Response: (I am here)

Without using direct instructions attempt to use body language, eye contact and
movement to pull the group together. It is helpful to have one person who already
knows what to say after you say the call and eventually you should have everyone
saying the response. After doing this for several days begin to change the texture,
tone and intensity of your voice depending on your evaluation of the skill level of
your class. Eventually you will ask for volunteers to lead and this ritual becomes
something that the teachers sing automatically when they come to class.

We will sing this song in order to assess their ability to keep rhythm and
understand the concept of repetition, to vocalize collectively, to understand
self-concept, emotional lability & awareness.
It serves as: intro, attention-grabber, pre-test for musicality, gives everyone a
chance to come together under one common theme, tension releases, and it binds
anxiety. It is also a central part of the SSM (safe spaces model) in the form of
ritual (recognizable and anticipated activities for children that make them feel
safe).

2. Introductory Activity/Experiential (7 min.)

The Name Game
This game is a dance where each child says My name is_____ while showing
an action of their choice and the rest of the group repeats his or her name and
mimics the action.

(The Name Game helps group members bond and affirmed each member
individually. Mimicking others movements built connections and provided
opportunities for members to reflect on their movements and those of others).
Once everyone has had a chance to play the name game transition into sharing a
spoken word piece.

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 Demonstrate a spoken word poem of 4-8 lines related to the topic of Knowing
Thyself.

Example:
I am a woman.
I am Black. OR
I am beautiful. I get distracted easily
I am snatched (hahaha--dont say I know that I am able of doing
hahah lol). anything.
See.
See. I believe in belief, I be light
to this world.
I am, Me

3. Mini-Lecture (5-10 min. discussion)

SAY: We just shared with you a few elements of spoken word that we will be teaching
you soon. Before we begin,
1. What did you notice about the pieces?
a. What did you notice about delivery?
These questions do not necessarily have to be asked, just flow through the conversation.
These are questions that can assist you.
2. Can we have a volunteer to summarize what they heard?
3. How did it make you feel?
4. What is the purpose of these pieces?
5. What message is being shared?
6. If you were to perform this, how would you change it?

Ask: What are some elements of Spoken Word poetry? (3 minutes)

Rhyme-The use of the same of similar sounds at the end of your sentences. Aids
in the clearness of the poem and is recommended but not 100% necessary.

2. (Poetic) Rhythm-Is putting different amount of stress on different syllables.

Helps the poem to flow and keep a steady beat. This is significant in poetry
because poetry is so emotionally charged.

3. Repetition- Audience stays more focused on the point you are trying to
communicate if you gradually use repetition within our poem (repeating certain
phrases or words throughout poem)

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 4. Expression-the act of making your thoughts, feelings, etc., known by speech
and the use of nonverbal (eye contact, gestures, facial expressions) to relay an
interpreted meaning or message.

http://publicwritingguide.weebly.com/spoken-word-poetry.html

4. Learning Activity (20-30 minutes)

First, have them put together a (minimum) 4 line spoken word piece using the
aspects of the 3 rs and expression that speak on who they believe they are.
Secondly, have them decorate the page using markers, stickers, and available
materials.
Thirdly, have them write the phrase I Am Light on their papers.
Remember that the example is just that, an example--people should be creating freely, not
being forced to copy.

Tell them the reason we selected a sun is because it gives light and energy to the
entire world. Matthew 5:14 states: You are the light of the world--you cannot be
hidden. Because you cannot be hidden, it is important to know who you are and what
you are bringing to the world.

Closing Ritual: Ask before you leave each day for the students to share one highlight
from the day and one area of improvement. While they are completing this on a small
sheet of paper or verbally, collect the emoji clothespins. Begin to sing the song when you
feel the class has had enough time to write their responses and direct them to the door as
you receive each sheet of paper while singing the same song sang at the beginning of
class.

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Curriculum Project Title: Know Thyself
Lesson Title: I Am Here, Too.
Lesson Number: Two
Teacher(s) Name & contact information: & Sanovia Garrett

Lesson Overview
Students will engage in group conversation regarding their art-work from the previous
day. They will begin to learn more about their peers through a restorative circle
shareback and will end the day by participating in a cross the line if activity.

Lesson Goal
To emphasize the importance of knowing and communicating personal values as well as
understanding and embracing their similarities as well as their differences.

Lesson Description

1. Pre-Assessment Activity (likert emoji scale) & Welcome to engage the brain
(10-12 min.) Bringing class to Attention: Direct the class to sit in a circle and the
instructor will clap or play (if you have djembes) rhythms and see if class can
imitate with claps assess sense of rhythm.

Ritual
Singing

Call: (I see you)

Response: (I am here)

Without using direct instructions attempt to use body language, eye contact and
movement to pull the group together. It is helpful to have one person who already
knows what to say after you say the call and eventually you should have everyone
saying the response. After doing this for several days begin to change the texture,
tone and intensity of your voice depending on your evaluation of the skill level of
your class. Eventually you will ask for volunteers to lead and this ritual becomes
something that the teachers sing automatically when they come to class.

We will sing this song in order to assess their ability to keep rhythm and
understand the concept of repetition, to vocalize collectively, to understand
self-concept, emotional lability & awareness.
It serves as: intro, attention-grabber, pre-test for musicality (3 Rs), gives
everyone a chance to come together under one common theme, tension releases,
and it binds anxiety.

8
2. Activity/Talk (30 min.)

Restorative Circle Share Backs: Instruct group to sit in a circle and pass out the
sun-sheets from day 1. Be sure to open the floor to anyone who wants to speak. As a
group, create rules and expectations for the circle sharing time that can be written down
or simply verbally stated by the group. If you decide to write it down, be sure to ask for a
volunteer to be the scribe. After your rules and expectations are set, survey the room by
asking Do we all agree to abide by these expectations? Be sure to get 100% agreement
by a raise of hands.

Open up the floor for volunteers to share about themselves and their poems. As the
conversations flow begin to ask Inquiry Based questions to continue to direct the
conversation.

Examples:

1. How did you start your poem? (If they did not do a poem, that is fine) After
actually doing this, I realize that embracing their creativity is very important.
2. What do you believe was the purpose of this activity?
3. What new information did you learn? About you? About spoken word?
4. How did it feel to work together as a group?
5. What was helpful for you in this process?
6. What was difficult about this process?
7. How can you use or incorporate this into what you do?

3. Learning Activity : Cross the Line IF (10 min)

Use the document provided by Oakland.Edu or find another cross the line activity that
fits your demographic.

Say: This activity is fairly simple. Ask everyone to gather on one side of the
room/line and face towards its center. I will call out specific
categories/labels/descriptions, and ask that all of those to whom this applies, walk to the
other side of the room/line. For example, I might request that anyone with glasses please
cross the room. If this describes you and you feel comfortable acknowledging it, you
would walk to this side of the room/line. Once there, turn and face the crowd you just
left. Get in touch with your feelings and think about those people on both sides, then
return to the side you started from. After a few seconds, I will continue with a new
question. Remember, there is no pressure to cross the room/line if you dont feel
comfortable doing so. You will need to make that decision. At the conclusion of the
activity, we will discuss what we felt and what we learned. There may be times when this

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activity makes you feel slightly uncomfortable. I would urge you to lean into that
discomfort since it may mean that you are about to gain an important learning or insight.
Ground Rules There are two important ground rules to this activity. 1) The first involves
listening. Lets have silence throughout the exercise. No talking, snickering, giggling,
nonverbal messages. 2) It is imperative that we respect the dignity of each person who is
here. All that is shared should remain confidential. Nothing that is offered should leave
this room. However, if after the workshop you really need to talk to a particular person,
be sure to ask his/her permission.

4. Closing Assessment
Similar to lesson one, use Inquiry based questions to create meaning of the importance of
recognizing our differences and similarities.

Before closing ask the students to begin to think of a song that they feel helps them to
express themselves for tomorrows activity.

Closing Ritual: Ask before you leave each day for the students to share one highlight
from the day and one area of improvement. While they are completing this on a small
sheet of paper, collect the emoji clothespins. Begin to sing the song when you feel the
class has had enough time to write their responses and direct them to the door as you
receive each sheet of paper while singing the same song sang at the beginning of class.

10
Curriculum Project Title: Know ThySelf
Lesson Title: We Can and We Will
Lesson Number: Three
Teacher(s) Name & contact information: & Sanovia Garrett

Lesson Overview
Students will write letters to their future selves and will be challenged to express
themselves in movement via a song of their choice. Students will affirm one another with
a complement activity and will learn the importance of positive self-talk as well as
encouraging others.

Lesson Goal
To increase participant's self-esteem, to facilitate participants sharing positive feedback
with peers, and to build resilience through way-power and will-power thinking (guided
by questions).

Teaching Objectives
1. Sense of Mastery.
2. Build Positive Self-Esteem.
3. Hope for the future.

Lesson Description

1. P re-Assessment Activity (likert emoji scale) & Welcome to engage the brain
(10-12 min.) Bringing class to Attention: Direct the class to sit in a circle and the
instructor will clap or play (if you have djembes) rhythms and see if class can
imitate with claps assess sense of rhythm.

Ritual
Singing

Call: (I see you)

Response: (I am here)

Without using direct instructions attempt to use body language, eye contact and
movement to pull the group together. It is helpful to have one person who already
knows what to say after you say the call and eventually you should have everyone
saying the response. After doing this for several days begin to change the texture,
tone and intensity of your voice depending on your evaluation of the skill level of
your class. Eventually you will ask for volunteers to lead and this ritual becomes
something that the teachers sing automatically when they come to class.

11
 We will sing this song in order to assess their ability to keep rhythm and
understand the concept of repetition, to vocalize collectively, to understand
self-concept, emotional lability & awareness.
It serves as: intro, attention-grabber, pre-test for musicality (3 Rs), gives
everyone a chance to come together under one common theme, tension releases,
and it binds anxiety.

2. Introductory Activity/Experiential (20-30 min.)

Spotlight: tell each child to think of the song that they felt expresses who they are. After
about one minute, play the song of your choice, and strut down the Earth Carpet for
30-45 seconds in a way that exemplifies your confidence and identity. Explain to the
children that this is a time to celebrate each person who decides to walk down the carpet.
Using applause, party materials, cheering, etc. encourage each girl to celebrate one
another.

After you are finished, explain to them what movements you did and why you did them.
Ask for a volunteer to go next and repeat the process. Each child is given the opportunity
to express themselves on the carpet and clarify any movements, emotions and feelings
they had or experienced while on the carpet.

This is not an activity in which every child has to participate (most likely not everyone
will feel comfortable). In conversation use inquiry based questions to find out why some
people decided not to participate. Be sure to begin to incorporate the aspect of hope (I
Am, I Have, & I Can).

Example Questions: (Lead to Agency & Pathway thinking)

1. How can we work on being more comfortable with who we are?
2. What is Hope?
3. What can you do to be more comfortable with you?
4. What makes you uncomfortable?
5. How can we help one another be who we want to see shine in the world?

3. Learning Activity:Part 1 (10 mins)

Find an appropriate time to transition that leads the group into the complements activity.

The paper you use should be brightly colored and folded in threes (like a tri- fold
brochure). Have the participants decorate the front flap with their name in any manner
they want. Then have them open the brochure and readout categories to them to list on
the inside. Some examples are: my best feature, my proudest moment, my favorite
activity, something I'm good at, etc. I usually have about 10. Be sure that three of the
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categories they include are I AM, I HAVE and I CAN. After they list them they should
provide an answer and I tell them that no one else will be looking at these, so they can
feel free to write anything, as long as it is positive. When everyone is done, participants
fold up the brochure and paper clip it shut. Then everyone passes their brochure to the
person on their right. When you receive a brochure from your neighbor you are to notice
who it belongs to, turn it over (never opening it)and write a comment about them on the
back.

An alternative of this activity is the have the students count off in groups of three and
with an adult facilitating each group, have them directly share compliments about each
girl they are sitting with. For the younger children this may be easier than writing.

Part 2:(10 mins)

Give the students the opportunity to pick what color index card (or cardstock) and an
envelope. Have them write a letter to their future selves (who they see themselves to be in
the future) and seal it. After the summer is over, return the letters to the children for them
to read and process.

4. Closing Assessment
Readminister the (Snyder et al., 2003) Childrens Hope Scale.

Closing Ritual: repeated ritual from the previous day.

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 Commentary on Arts Intervention Curriculum
Sanovia Garrett
Eastern University
Population
The inner city is riddled with the daily issues of life that impact the youth who
call it home. These communities, neighborhoods and groups of people are living their
day-to-day lives in a constant threat of being at-risk. According to Camilleri (2007), at
risk is defined asin danger of negative future events. The result of these events are
linked to life challenges like depression, educational failure, addiction, unemployment,
incarceration, poverty, or death (p.17). Understanding that living in an area like
Philadelphia, Pennsylvania which has one of the highest poverty rates at 26%
(Projecthome, 2017), there are guaranteed overt effects of that poverty within the city.
One of the things we do not always notice or focus on with youth or adults in poverty is
the mental and emotional health necessary to foster resilience and hope.
As a City Year Americorps member, I spent a lot of time with these at-risk
students in the classroom setting. As I sat in the classroom I would often be very plagued
and disturbed by the way the teachers would interact with the children. Sometimes, they
would outrightly call them bad. Jonathan Purtle (2012) stressed the importance of the
developing brain in his article How to Turn Whats Wrong with You? into What
Happened to You?. In the formative years for children, the brain is adapting and learning
how to live and survive through the experiences it undergoes. This physiological
development is important in understanding the impact trauma has on the brain.
Nurturing, positive, and trusting relationships with adults can repair damage done and
reshape the brains neuro-architecture in a way that is advantageous to the childas well
as society.
Rachel Smith, a psychology intern for the Mount Sinai Adolescent Health Center
(2016) states that trauma sticks to the body. The disparities for Black children when it
comes to prison and exposure to violence is a risk factor that causes this trauma to make
it difficult for youth of color to truly thrive in society. When gaining a bit of background
information about the population before building the curriculum, the founder of Legends
Academy who is currently pursuing a Masters in mental health counseling, told me
stories of some of the young girls she has worked with over the years. Some of these
stories were tough to swallow. Some of the children have dealt with physical and mental
abuse, witnessing death, and sexual abuse to name a few. One of the young ladies had a
troublesome time working within the group because she had experienced something so
traumatic that the way she found happiness and joy was by doing what she actually knew
was wrong. This is something the young girl admitted to the staff.
The Know ThySelf Curriculum is birthed from the need for children to
restructure their physiological selves while fostering hope, connection and healing. The
ultimate goal is for children to start to be who you want to see shine in the world. Aside
from that, I would also love for caregivers to gain a greater understanding of how to teach
from a trauma-informed arts-based perspective.

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 Know Thy Self is an arts-integrated curriculum facilitated by local artist
practitioners and teachers in the Legends Academy Camp. Legends Academy is located
on South Street near Center City in Philadelphia. The girls were all girls of color from
neighborhoods in the surrounding areas in Philadelphia.
The time spanned over a 3-day period aimed at teaching youth who may be living
in crisis and poverty to be the you, you want to see shine in the world. The curriculum
aims to increase the performance of young girls through elements of the BuildaBridge
International SSM (safe space model).Each lesson will integrate at least two art
modalities and focus on increasing student holistic development, including social,
emotional, mental, spiritual (character), and artistic skills.

Metaphor
The metaphor of the Sun being a light to the whole world will be linked to how we are
light to the world around us. We will also tie in how the words we speak about ourselves
and our others make us who we are.

Intervention Goal Areas

Providing Safe Spaces
The interventions are structured in a way that enables a child to be able to predict how
they will begin and end through the use of ritual. By using the emoji clothespin ritual as
well we are opening up the days with an awareness of the way we feel. The physical
space is also clean and free from physical harms and objects.

Behavioral Responses
Youth in trauma may experience feelings of hypervigilance, a lack of conflict-resolution
skills and may believe other people to be unreliable, unpredictable and unsafe (Malchiodi
2015, p. 261). I believe that the environment of resiliency fostered during the
interventions allow children to support experiences of mastery over fear, panic, doubt
and other responses. We know that a characteristic of trauma is often broke relationships.
The interventions are sure to foster healthy attachment as well as a supportive
environment.

Cognitive-Perceptual
The interventions give the students ample opportunity to experience the arousal that
comes as an effect of music. Arousal as defined by Corbitt (1998) is a condition of
heightened alertness, awareness, interest, and excitement: a generally enhanced state of
being (as cited in Storr, 1992, p. 24). The music in congruence with the movement
(kinesthetic element) to it helps to create meaningful connections to one's self and the
greater community.

Resilience & Protective Factors

As this was the first series of lessons in a 6 week long series of lessons, I believe
that a protective factor that was established was the establishment of a safe space. The
space has over 5 role models who can serve as strong social support and show be
15
examples of good parenting skills. The International Resilience Project (Grotberg, 1995)
notes that I AM, I HAVE, and I CAN are building blocks to building youth resilience.
The curriculum project touches each of these categories.
I HAVE: connection and connectedness to those around me.
I AM: able to follow instructions and to create.
I CAN: manage my feelings and emotions, problem solve and communicate.

Attributes of Hope
Dr. Shawn Ginwright said in his lecture, A Love Note to Justice: Hope &
Healing in Urban Education that many students are good kids in toxic cities. He
mentioned that hopelessness is a predictor of violent behaviors, fatalism and depression
to name a few. Being sure that the conversations that are taking place in the classroom
setting are not punitive or focused on pathology are instrumental to the health of a child.
These conversations help breed hope, or, the expectation for a better future and resilience.

Way-Power
The youth will demonstrate having realistic routes toward goals by participating
in creating the expectations for the week and abiding by those expectations. When groups
establish their own rules they become empowered and are viewed as stakeholders in
the group (Camilleri 2007, p. 166).

Will-Power
The youth will demonstrate having energy to initiate and sustain toward a goal by
creating their I AM sun sheets/poem. They will also do this bey writing a letter to their
future selves (future orientation).

Transcendence
Transcendence will be fostered as the metaphor of being who you want to see shine in the
world becomes more of a reality. Through discussion and through the compliment
activity the youth will be be able to tap into the inner power that brings them to a fresh
sense of awareness and enrichment of being.

Interconnectedness
I believe that the most connected the youth will be during these interventions are during
the use of ritual. Building trust in the beginning phases of a group are vital to the overall
productivity of the group.

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Corbitt, J. Nathan. (1998). The Sound of the Harvest. Baker Books.

Grotberg, E. (1995).
A Guide to Promoting Resilience in Children: Strengthening the Human Spirit.
Retrieved from
https://drive.google.com/file/d/0B54n9iOmApVfYzZfOXFqcmJsdjg/view

Malchiodi, C. A. (2015).
Creative Interventions with Traumatized Children. Guilford Press.

Project HOME. (n.d.). Retrieved July 18, 2017, from https://projecthome.org/

Purtle, Jonathan. (2012). How To Turn Whats Wrong with you into What happened to
you. Retrieved from
http://www.philly.com/philly/blogs/public_health/How-to-turn-Whats-wrong-with-you-in
to-What-happened-to-you.html

Smith, Rachel. (2016) Black Chidren, Trauma and the School-to-Prison Pipeline.
Retrieved from
http://www.teenhealthcare.org/blog/black-children-trauma-and-the-school-to-prison-pipel
ine/

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