Through LEAP Ada Anderson wanted to expose teenagers
between 13 and 18 years old to the opera, but she didn't
want to limit the program to just opera. She wanted to use
LEAP as a vehicle to help the teens identify and pursue
personal goals, raise their self-esteem, help raise their
level of career aspirations and instill in them some
self-confidence. In a nutshell, she wanted her program to
develop the "total kid"... a future leader. She's quick to
let you know that LEAP has a bottom line, which is "helping
these kids get into the college of their choice and to show
them how to be successful once they're there.
Joseph McClain, the General Director of the Austin Lyric
Opera, commends Anderson on her approach, saying "through
the exposure to the arts, they (the kids) will be open to
ways they can lead in their community, and the much larger
community". He goes on to add "these kids will realize they
can take an active part in their future". McClain feels LEAP
would not have existed so long without Anderson at the helm.
"She made it happen," he says. He adds that LEAP has matured
to the point where it can be "replicated in other cities".
He also hints that other ethnic groups could take on a
similar program. McClain says, LEAP uses art to educate and
develop. " Exposure to the arts opens up their (the
students) thinking about who they can be, what they can do
and what their potential is in the world". And Anderson
wants the students involved in LEAP to expand their horizons
and acquire a better outlook on life. She says, " I have a
real serious problem with people saying I don't need that
'cause it's white folks stuff." She adds that it's important
for people to understand that "opera is not just European."
She tells the students in LEAP; "you live in a global
society. You must think globally. You must go far beyond
your neighborhood, you must think beyond your city, and
beyond your state".
In addition to taking its participants to operas, visits to
museums and other cultural exhibits, LEAP also sponsors
receptions for local businessmen and women, and forums for
political candidates. For both events, the students are
responsible for part of the planning, the hosting, and in
the case of the forums, all of the introductions and
questioning of prospective office holders. Anderson says,
this was a way to help them learn to feel comfortable around
adults and develop some self-esteem. "We do what we call
exposing them to successful adults of all kinds of careers
and all kinds of colors."
For Cheryl Middleton, the receptions and forums were a
wonderful learning experience. She says, " at a time when I
didn't know what I wanted to do in life... it was pretty
neat that they had time specifically meant for us to mingle
with various professionals in various fields to see what
they do, and to see what their jobs were like, and whether
they liked their jobs." Cheryl is now a programmer analyst
for a major corporation. But at one time she wanted to be a
lawyer. LEAP offered her the opportunity, while in high
school, to meet dozens of lawyers and judges in the Austin
area. Sherrie, her mother says the exposure her daughters
were given to professional women and men gave them a great
outlook on life. " I think its good and all kids should have
an opportunity to meet people of all different areas of
work."
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LEAP also holds periodic work sessions with the students to
show them how to apply for admission to a college and also
how to apply for scholarships. LEAP also provides financial
assistance to those students whose parents cannot afford to
pay for college. Part of the program involves getting the
students not just prepared but also accustomed to college
life. That's where a component called "a taste of college"
comes into play. It allows a student to live on a college
campus for 2 weeks with a roommate, take classes, attend
seminars, and participate in putting on an opera production.
It initially started with Wellesley and St. Edward's
College. Now LEAP is associated with Texas A & M
University, Trinity College, Emory University, Cornell
University, George Washington University, Southern Methodist
University, Lamar university, Drake University, Duke
University, and a number of college preparatory high
schools.
LEAP's existence grew out of a community outreach program of
the ALO in 1989. It was during a time when there was an
enormous push to attract and enlist (minority) members and
patrons to support the ALO. Anderson says, "when the Opera
was organized, and there wasn't a huge ready made audience
in any culture, everybody was helping with audience
development and this was my way." There was no funding for
the first year, just artistic and technical support from the
ALO. However, she was determined to make it work. Anderson
says even when she couldn't find a corporate sponsor she
didn't get discouraged. But everything eventually worked out
better than expected. She says, "with the help of former
federal judge Gabrielle McDonald, a plea was made to local
Black attorneys in October of 1989. The response was
overwhelmingly positive, "Individually, for 110 dollars they
could sponsor a kid for the whole year." Soon afterward, "
other black professionals did the same thing. So the first
year was funded 100 percent by African-Americans." LEAP
began that first season with enough funding for more than
100 kids to get their first taste of opera.
Anderson was responsible for raising all of the money to pay
for opera tickets the first year. She says she oftentimes
insisted on the best seats in the house, too, right behind
the trustee. "I insisted that if they were going to have an
experience, I wanted their first experience to be a very
good experience. And I didn't want them thrown up in the
balcony". According to ALO General Director McClain, LEAP
has grown so much over the years that it now has its own
non-profit status. However, the ALO remains the fine arts
provider and donates tickets to LEAP students and their
parents for each opera performance. The ALO also holds "prep
sessions" for the students and their parents, in which
performers discuss the production and present a brief
overview before the performance. Anderson says, "frequently
some of the performers come by. And when we have an
African-American performer, generally they will really go
out of the way to come visit with the kids".
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