A New Dawn: Sarab Strings of Change

Program Evaluation by Caitlin Leffingwell

Eastern University
August, 2015

Executive Summary
After growing up in the Bedouin city of Rahat and later working with university youth from similar
backgrounds, Jamal Alkirnawi witnessed firsthand the daunting challenges faced by this new generation.
Because almost 65% of Rahats population is under 18 years old, Alkirnawi noted that most of the city is
essentially voiceless and unseena generation of lost potential growing up in a system with basic
services but little social change. Moved to address this grave situation by putting his academic training
into action, Alkirnawi launched a social initiative called A New Dawn in 2009, which has since grown into
a variety of related programs all focused on addressing the social and cultural isolation experienced by
Bedouin youth and creating new opportunities for young people from both Jewish and Bedouin
backgrounds.1
The most recent addition to this initiative has been Sarab: Strings for Change, which launched in May of
2015 and operates with the belief that Music can be the start of a different, better life for the Bedouin
community, and a new basis for establishing a fruitful cooperation and communication between the
Bedouin and the Jewish communities.2 Though still in its very early stages, this program currently
provides fifteen fourth graders from the Rahat Al Salam school with two semi-private violin lessons and
a group theory class each week, as well as community performances and a mix of Western and Bedouin
music soon to come. Through these outputs, Sarab aims to supplement the overall, aforementioned
mission of A New Dawn by working to change the social reality of the Bedouins of the Negev by
providing quality music education, starting with children in elementary schools.2
In order to help Sarab achieve these goals as effectively as possible, Alkirnawi requested a full program
evaluation from an American violin program coordinator3 during August, 2015. This timing corresponded
with a relaunch of sorts for Sarab after skewed attendance rates due to the month of Ramadan, which
provided an opportunity to assess general program health and determine ways of addressing areas of
weakness or need. As such, this evaluation is based on a week of observations and discussions with a
group of key stakeholders: Alkirnawi, the two lead violin instructors, several interpreters, and various
students. Observations took place during two days of semi-private lessons and one day of theory
classes, while supplemental discussions occurred before classes, after classes, and during numerous car
1

A New Dawn in the Negev (2015). http://www.anewdawninthenegev.org/#!about/c1knw

Sarab Strings of Change (2015). http://www.anewdawninthenegev.org/#!strings-of-change/c19nf
3
This collaboration also fulfilled requirements for her practicum work as an Eastern University student in the
Masters of Urban Studies program.
2

rides or phone calls throughout the week. The resulting report takes the form of an official S.W.O.T.
Analysis by describing the strengths, weaknesses, opportunities, and threats observed through this
process, and it concludes with concrete recommendations that take these factors into account and aim
to increase overall effectiveness. Similarly, the final appendixes include numerous resources and
contacts that can also help this program grow to its full potential. Overall, this evaluation found Sarab to
be an incredibly innovative program facing many unique challenges, yet sustained by numerous
strengthsa program that is well on its way to providing greater hope to the rising generations of
Rahat.

Strengths
From both observations and discussions with various stakeholders in Sarab, I believe that one of the
greatest strengths of this program is the dedicated enthusiasm of its founder and director, Jamal
Alkirnawi .His experiential understanding of the Bedouin communityspecifically in the city of Rahat
lends unique insight and motivation that has the power to sustain this program even through
challenging phases. Deeply knowing and caring for the population that he serves gives this program a
clear advantage over programs with leaders who are not personally invested in or deeply
knowledgeable about their target audiences.
Due in part to this form of leadership, Sarab has also benefited from a strong emphasis on the highest
quality programming, which revealed itself most strikingly through distinguished instructors, dedicated
staff, and quality facilities. Both instructors exhibited strong musical skill and ample preparation, while
one in particular also exhibited remarkable skill as an educator in this unique context. She truly enjoyed
teaching and sought to develop personal connections with each student, as well as balancing correction
and high expectations with support and encouragement. Moreover, the lead interpreter contributed a
great deal of value to each lesson not only by bridging the language gap, but also through her awareness
of student needs and her proactive approach to meeting those needs. Her insight into classroom issues
(student confusion, inappropriate behaviors, paperwork requirements, etc.) proved very helpful on
numerous occasions. Even the facilitiesfully equipped with violin storage, separate lesson rooms, nice
music-based white boards, air conditioning, good lighting, etc.are designed specifically for this
program, which contributes greatly to students overall success.
Finally, Sarab is already starting with a strong structure and subsequent student engagement. Because
students are learning to read music and play the violin so rapidly (a process that could take months
when taught using other methods), this program seems to have caught their attention and encouraged
relatively timely attendance for those who do attendquite the feat in the Bedouin culture. Moreover,
reading music so early will ultimately allow for higher levels of musical independence and greater
potential for diverse performances. Developing this skill is an important part of what makes music such
a powerful tool for producing academic achievement, personal confidence, and a more hopeful future.
Additionally, this theory was often balanced with significant levels of ear-training as well, which is an
equally important part of developing well-rounded musicians with quality characterparticularly in
traditionally oral cultures.
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Weaknesses
Although enthusiasm is a great strength of Sarab, unbalanced attachment and passion for such a
meaningful initiative has the potential to lead to undue discouragement or rash, emotion-based
decisions. Avoiding this weakness requires stepping back, seeking input and guidance, and truly
engaging both staff and studentsboth seeking their input and putting it into practice as much as
possible.
Although highly skilled as musicians, not all of the violin instructors seem fully on board with Sarabs
mission to serve the Bedouin community. One teacher in particular made many disparaging comments
regarding the stupidity and irresponsibility of Bedouins during class, which potentially stemmed from
unaddressed discouragement, insecurity or disinterest as a teacher, or unmet expectations regarding
students progress in general. Although such mindsets can change and need to be understood as fully as
possible, this mentality can quickly prove discouraging at best and destructive at worst.
Perhaps one of the most obvious weaknesses from both external and internal perspectives is that of the
language barrier. Highly skilled instructors cannot fulfill their full potential without being able to
communicate and form connections with students, and these important components are severely
hindered by the need for constant translation. Learning to play such a difficult instrument is an
incredibly complex process; instructors must rely heavily on their ability to evaluate what a student
understands and must subsequently readjust their teaching method constantly to fill comprehension
gaps. This process is almost completely undermined when a student and teacher cannot communicate
directly, which significantly delays the learning process and can lead to frustration for everyone
involved.
Moreover, the delay created by this language barrier is compounded even further by a lack of
consistency for both practicing and lessons. Attendance seems to be a critical weakness, particularly
due to religious holidays and a very different cultural view of time. Similarly, students cannot take
instruments home and therefore have little opportunity to reinforce skills learned in class each week
leading to a loss of learning that can be discouraging when seen as a lack of progress.

Opportunities
As the first music program of its kind in the entire city of Rahat, Sarab has an incredible opportunity to
set the precedent for a new generation of social initiativesparticularly those using music as a tool for
social change. By forging ahead in this laborious, yet highly rewarding work, this groundbreaking
endeavor is paving the way for similar programs and making each new step easier along the way.
Moreover, the students of this initial program will ultimately become the teachers of future musical
generationsa positive cycle that will only deepen over time if pursued with an emphasis on excellence.
Similarly, because Sarab is essentially the only program of its kind, it has the possibility of finding very
little competition in the quest for funding. Such opportunities include various foundations, consulates,
grants, private donors, and some government funds, while Alkirnawis growing international network is
opening door to new fundraising possibilities, speaking engagements, and collaborations. Appendix A
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includes a list of both current funders and potential collaborations that could prove very fruitful in the
years to come.
Finally, this early seasoncomplete with a relaunch period after Ramadanprovides Sarab with an
ideal opportunity to begin infusing the existing program structure with ongoing monitoring and
evaluation strategies. Key to attracting and retaining funders, such strategies can also be arts-based due
to the nature of this program, which offers funders a unique and often more captivating way of
determining program value.

Threats
One of the unique external factors that poses a threat to this program is actually one of the main social
problems that it is trying to address: the isolation and discrimination facing Bedouins in general and
Bedouin youth in particular. Many peoplewhether from Israel or notare ignorant at best and
prejudiced at worst regarding this unique population, and negative stereotypes range from laziness and
stupidity to violence and crime. As such, these viewpoints can cause severe discouragement and overall
ineffectiveness if found within the program, as well as resource limitations and even antagonism if
found outside of the program.
Similarly, Sarab faces a variety of difficulties related to the unique culture of its target population. In
addition to language barriers, staff discussed the challenge of contacting parents without phones,
inconsistent attendance related to religious holidays, and chronic tardiness stemming from a more
stretchy concept of time. While these complications are certainly counterbalanced by (or potentially
even the source of) many cultural strengths, such as the potential for stronger oral learning skills and an
incredibly relational culture, this program must ultimately take both into account in order to thrive.
Finally, perhaps the greatest threat facing all nonprofits at this time is the challenge of finding sufficient,
consistent funding. Although virtually no competition exists in the form of similar programs, funding
opportunities for this particular kind of social initiative are also therefore limited and difficult to
discover.

Recommendations:
First and foremost, all leaders involved in Sarab could greatly benefit from training in restorative arts,
which involves best practices, concrete skills, and relevant information on the powerful ways that music
can benefit both individuals and communities who are considered at-risk or underserved. In addition
to providing a larger resource network, such training (see Appendix A under BuildaBridge information)
aligns well with the deep mission of this program and would be both enlightening and encouraging.
Purposefully seek (or train) instructors who demonstrate musical skill, teaching skill, and a passion for
serving this specific community. These traits are all equally important in providing quality music
education to students, and an investment in well-rounded instructors is ultimately the greatest
investment possible in students.
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Actively address the detrimental communication gap by investing in instructors who speak Arabic. This
strategy could involve training existing teachers in Arabic, hiring violin instructors who speak Arabic, or
even intentionally teaching interpreters basic music skills.
After choosing staff who exhibit such traits to the greatest degree possible, provide them with
consistent support through regular observations and relevant professional developmentall designed
to capitalize on existing strengths and strengthen any weaknesses. In addition to any trainings aimed at
minimizing the language gap, such trainings should begin with Culturally Responsive Training specifically
regarding Bedouin culture, social injustice, and trauma-informed work through the arts. This orientation
is an opportunity to share knowledge of and love for this community, which can set a firm foundation
for all further work.
Foster a positive learning environment for students by encouraging and supporting them in the
following ways:

Develop a small, simple ritual to occur at the beginning and end of each classconsistently
marking the time as something safe and special. This can be something as simple as the teacher
and student(s) bowing together or high-fiving at the door. Repetition often helps children feel
safe.
Designate the music classroom as a safe space, where students can feel secure and welcomed.
Protect this environment of trust by consistently reinforcing rules and refusing to tolerate
destructive behavior (by either students or staff).
Use students names, especially when they arrive to class and succeed at a given task!
Provide opportunities for students to publicly showcase their progress, in the form of
performances in class or in the community.
Provide small incentives for students who attend class, arrive on time, and bring all finished
homework.
During instruction time, patiently give students time to process new information without
providing answers or berating them for being slow. Particularly with the language gap, quality
learning cannot happen if rushed, and students need to learn that failure is truly an important
opportunity for growth.

Many of these principles are part of the BuildaBridge model, which was developed specifically for using
restorative art with children from underserved communities around the world.
Increase family engagement by inviting parents to lessons and performances, regularly sending notes
home to update them on their childs progress, and calling if a child is absent or tardy.
Enhance the existing instruction structure by incorporating the following elements of the Suzuki
Method (more information found in Appendix A under Suzuki information):

Ear-training and instrument skills emphasized above reading skills, just as children learn to
speak a language before learning to read and write it.

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The teaching segment or scaffolding method utilized when introducing new skills, such that
each skill is broken down into the smallest possible increments and introduced at a rate that
works students through a series of successes rather than expecting skill leaps that exceed
reason and therefore lead to discouragement. This also encourages differentiated learning in
group classes.
Develop a modified structure that includes individual private lessons, weekly group lessons
according to skill level, and a theory class only once students are deemed developmentally and
musically ready.

Because setbacks are often just a new opportunity for learning and growth, this re-launch phase of
Sarab is an ideal opportunity to strategically introduce arts-based monitoring and evaluation methods
into the program design. Depending on what is most appropriate, these methods can include pre- and
post-tests (written, oral, or authentic performance-based), recordings, skill evaluations, etc. Appendix
B includes a sample evaluation sheet, as well as references showing arts-based evaluation strategies and
examples. All staff members should also be observed and evaluated regularly, in order to give
supervisors greater insight into any changes necessary for moving forward.

Sarab: Strings of Change (August, 2015)

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Appendix A
Additional Resources and Contact Information
1. BuildaBridge (nonprofit)
Contact: Dr. Nathan Corbitt, ncorbitt@buildabridge.edu, (610) 656-3499
Resources: Restorative Arts expertise, annual Restorative Arts and Culturally Responsive
Trainings, wealth of international contacts for social change through art, and access to
student volunteers interested in international service through the arts.
More information: http://www.buildabridge.org/

After a week of learning both music and life

skills, students conduct their peers using
instruments made from recycled materials.
(BuildaBridge in Israel, 2015)

Students from the Bedouin village of Qasr Al Sir learn that waste is an unused resource by
creating inst ruments out of recycled
materials. In the process, they also learned
about dynamics, ho w instruments make
sound, musical notation , and how to conduct!
(BuildaBridge in Israel, 2015)

2.

Suzuki Associations (method and network)

Resources: teacher network, teacher trainings, recognized and established teaching
method, teaching materials and resources, and funding possibilities.
More Information: http://www.europeansuzuki.org/ (European Suzuki Association) and
http://internationalsuzuki.org/method.htm (information on the Suzuki Method
approach)

3. Bright Stars of Bethlehem: Diyar Academy for Children and Youth (restorative arts organization)
Contact: Rev. Dr. Mitri Raheb, Diyar: pr@diyar.ps and +972 2 277 0047

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Resources: similar arts program operating in Bethlehem (although heavier on art forms
other than music potential area of collaboration), teacher network, very relevant
research material, potential collaborator for peace-making efforts, performances,
funding opportunities, etc.
More Information: http://www.diyarconsortium.org/?TemplateId=info&PageId=13&MenuId=17&Lang=1 and
http://www.brightstarsbethlehem.org/what-we-do/children-youth
4. Summer Anderson (business-owner and social change worker in Israel)
Contact: natureslace@gmail.com, (058) 419-7761
Resources: knowledge of local funding, significant experiential knowledge of Bedouin
culture, international connections with numerous nonprofits and student groups
5. Caitlin Leffingwell (violin program coordinator, and international teaching artist)
Contact: cleffing@eastern.edu, (774) 287-1042
Resources: program evaluation, restorative arts (Suzuki-based) violin instruction,
potential U.S.-Israel collaboration as a partnering violin instructor and program
coordinator in the United States
More Information: http://freebylove.wix.com/clef and Masters sample work at
http://clef356.weebly.com/

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Appendix B
Arts-based Evaluation Resources
Example of arts-based evaluation, using either live or recorded student performances. Such arts-based
evaluation data can be used in reports to significantly increase funder connection to programming and
results. See below for research articles related to this form of monitoring and evaluation.

Score Sheet
Student:

Date:

Experience Level:
Repertoire

Most advanced
piece

Correct Notes

Correct Bowing

Correct Rhythm

Batman Song (harmony)

Song from Sweden (harmony)
A Major Scale (ascending)
A Major Scale (descending)
Twinkle Little Star (variation)
Twinkle Little Star (theme)
Super Bass
We Found a Love
Jingle Bells
Other:
0 errors
1-3 errors
4-6 errors
7+ errors
0 errors
1-3 errors
4-6 errors
7+ errors
0 errors
1-3 errors
4-6 errors
7+ errors

Technique
Rest Position

Playing position

Bow hold

Violin hold
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Feet together
Bow tip down
Left hand holding violin
Standing up straight
Feet angled one step apart
Bow hold (see below)
Violin hold (see below)
Bent thumb
Curved Pinky
Three Floppy Fingers
Held with head not hand

Rhythm

Off to the left side at appropriate angle

Standing up straight
Steady pulse
Emphasized necessary beats

Tone
Intonation

Tonalization

Correct pitches
Corrected pitches if necessary
Ringing tones
Bow sinking into strings
Fingers sinking into strings
Proper Hinging (wrist/elbow)
Straight Bow
Good Tone Zone
Clean Bowing (one string at a time)
Appropriate amount of bow
Finger-bow coordination
Smooth string-crossing

Musicianship
Violin Care

Virtuosity

Tightened/Loosened bow
Rosined bow
Shoulder rest on correctly
Treated instrument carefully
Demonstrated self-control
Visibly enjoyed playing
Appears comfortable
Respectful of violin, self, teacher, and classmates
Total: _______________

Cleveland, W. (2010). Arts-Based Community Development: Mapping the Terrain. Animating Democracy.
http://www.lacountyarts.org/UserFiles/File/CivicArt/Civic%20Engagment%20Arts%20Based%20Commu
nity%20Develop%20BCleveland%20Paper1%20Key.pdf (Google title and author)
Hartsough, R. (n.d.). An Evaluation Resource Guide for Arts Programming. Nevada Arts Council.
nac.nevadaculture.org/dmdocuments/evaluationresourceguidelr.pdf
Simons, H. and McCormack, B. (2014). Integrating Arts-Based Inquiry in Evaluation Methodology
Opportunities and Challenges. Qualitative Inquiry. http://qix.sagepub.com/content/13/2/292.abstract
Spaniol, S. (2012). An Arts-Based Approach to Participatory Action Research. Lesley University.
http://www.lesley.edu/journal-pedagogy-pluralism-practice/susan-spaniol/arts-participatory-actionresearch/

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