The Magic 25: Reaching Out

For almost two and a half decades, IFCC has provided wonderful experiences to many youth in dance, theater and other performing art workshops. Community arts programs for young people play a crucial role in their education and social development. IFCC have long recognized that the means by which a youth production reaches show time is often more important than the show itself.

As early as 1982, one of IFCC first outreach programs was Jeff Ditzler’s Student Production Company. Young company members participated year round in workshops and plays. For many of them, the IFCC was a home away from home. In 1996, the annual “theater in D Hood” workshop took on a new name and a bigger audience. The workshop, renamed the Neighborhood Youth Theater Project featured a larger cast of producers and participants – setting a stage for improved relationships between Portland’s ethnic communities such as the African-American, Hispanic and Asian communities. In addition, IFCC collaborated with the Portland Police Bureau’s Gang Resistance Education and Training program (aka GREAT). With their combined resources, plus assistance from community and corporate sources, the program was able to expand the scope of their outreach. Today, IFCC is still committed to youth outreach and provides vital resources to many young performers.

“There are so many memories created at the IFCC, my home away from home for many years. It has been my place for support and a creative lab for new work and approaches.

Over a decade ago, I worked with a wonderful Native American artist, Charles Tailfeathers. He would come down the mountain from Warm Springs and we would meet in Rhododendron, Oregon. During our meetings we would explore how our culture dance, and music could tell our American story. We also worked with Bobby Fouther who brought an African American perspective. We explored how we were alike or different. We premiered “DrumSouls” an original view of America from Asian, African and Native American perspectives exploring a new expression of America through music, dance and text. We performed several times around Oregon, but it was during the IFCC production I remember Charles and I were dressed in full traditional costumes, Japanese and Native Regalia. During the show we had to enter from opposite sides of the theatre and with no crossover space available, we had to run around the front of the building during the middle of the show. I am sure it was quite a sight for anyone passing by! Later, the IFCC fellowship allowed me to create a youth version of “DrumSouls” called “We Are You.” This student matinee series auditioned multicultural students from throughout the city and created an original piece with Native, African, Asian, Hispanic and Irish Americans perspectives of youth and was highlighted at a conference focused on Families and Youth. All of us involved were transformed by working with each other and will be forever connected.
Thank you IFCC to a life of art, and glorious creativity!”

by Chisao Hata,
dance instructor, choreographer

“Teaching dance classes at the IFCC will always be one of the highlights of my life. It was a pivotal time (pun intended) for me and I am so grateful to have taken part in the history of this amazing space. I found out about the IFCC in the fall of 1982 and was soon recruiting students to take classes upstairs in the beautifully appointed dance studio. Sue took me by surprise when she informed me that I would be choreographing some dance pieces for the first Annual Dance Variety Show set for the spring of 1983. My students rose to the challenge and put on a great show. For the next 6 years, I had more students based on word of mouth than recruitment and they continued to raise the bar in terms of performance, grace, and versatility. I taught two classes year-round – Beginning and Intermediate Jazz Dance. The children ranged in age from 6 to 17. Some years we actually had several boys join us. The classes were designed to be very grassroots, with a little bit of ballet, folk, and modern thrown in, so the students, many of them brand-new to dance, could get a feel for the basics. Some students took my classes, danced in the variety show, and then moved on to either theater or more in-depth dance programs. Three of my students who were with me the entire time ended up being bridesmaids at my wedding, dancing down the aisle in gossamer gowns, tossing blossoms and delighting everyone in the wedding party.

Throughout my 7 years teaching at the IFCC, I always felt like I gained more from the students than they did from me. The children and teens came from near and far to be a part of this magical place and time. I shared many picnics in the nearby park with my students after class, talking about school, growing up, boys, life in the present and in the future. It was great fun to dance in the shows myself, using choreography created by my students. We all learned how to get past difficulties, maintain a sense of dignity and respect, and realize the fierce importance of teamwork. Everyone worked very hard to make the shows a big success, and it was so gratifying to see all of the proud faces during the final curtain call year after year.”

by Janis H Khorsi

“In January 1990, Jefferson Performing Arts High School’s Theatre Department produced Day of Absence by Douglas Turner Ward at the Interstate Firehouse Cultural Center. The play was a big success and helped build a stronger bond between the Performing and Visual Arts programs at both Jefferson and IFCC. Some of the cast members of the show were: Keith Bowden, Jermaine Atherton, Jessica Rawlins, Shalanda Brown, Tanisha Floyd, Misty Meriweather, Sedric Ford, Clarence Richmond, Mukibi White, and Dwayne Fleming. I bet they have fond memories of the experience, including all that white face makeup they put on each night.”

by Brian M. Biggs
Jefferson Theatre Program Leader, 1988 – 1992

“I remember that I could not wear high heals. I was raised by hippies, and fashion items that interfered with your personal comfort or spinal alignment were strictly prohibited. Then, I had to play the engenue in “Dracula,” and I had to do it well, because my first sweetheart was the director. I was 15. I put on the first pair of high heels I’d ever tried-on and walked around the block, past the seesaws and Taco Time (the casts’ favorite break? Mexi-fries! Aka tater tots….”) until my calves were sore, but I could walk onstage and anywhere else like a pro after that.

But the SPC gave everyone much more than silly stories like that. It really gave me freedom and a purpose in life at age 15. I could have grown-up into a thousand corrupt pursuits at that age, but instead, something much more exciting happened. Plays at IFCC; daily rehearsals, and an opportunity to learn that happiness comes from being absorbed into something larger than yourself.
Thank you, IFCC!”

by Lisa Catterall
Biologist

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