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(hip hop beat plays)

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>>Ayo, we not he about a S-O-L,

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we here to teach you 
to express yourself.

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>>Tryna get me all 
stuck in the zone,

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I'm tryna understand how 
I rock the microphone.

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>>Today, we're going to learn

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about a high school program

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that functions as a recording 
studio and creative hub;

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where students of all 
interests and backgrounds

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work together to 
create music and art.

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Join us as we visit Albemarle 
High School's A3 House.

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Come on.

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♪ Elastic

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>>Check check.

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♪ We aren't the same anymore,

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♪ it was fun while it lasted,

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♪ our time together 
was so fantastic. ♪

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>>The mission here at A3 house

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is to help students 
identify who they are

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and to pursue their passion

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by creating a vision

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to serve a purpose.

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In a broader sense,

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I think the vision 
is to take this model

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and solidify it and make 
it a permanent fixture

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in this school

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and also to plant 
it in other schools

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in this county, in this 
state and across the nation.

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And that's not tongue and cheek.

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Like I really honestly 
believe that we can

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make this a part of every school

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because it's that effective 
in helping students

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reach their purpose 
and identity.

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>>And you've spoken in the past

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about the importance 
of authentic experience

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as part of why you 
teach the way you teach.

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Talk about that.

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>>Well, when I was in school,

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I always felt like there 
was no authenticity.

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I felt like every time I 
was given an assignment

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or a test, it was always

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trying to

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almost trick me into 
learning something.

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Almost like a gimmick.

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Like hey, let's 
throw some hip hop

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on top of this 
chemistry project.

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It takes the authenticity away

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because it needs 
to be centered on

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what that individual 
student is interested in

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in actual reality 
for them personally.

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And not trying to 
use it to get them

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to buy into something else.

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Using it to get them 
to buy into themselves.

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>>So Bernard, give 
me examples of

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how you're doing that 
in the classroom.

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>>So for instance, we 
created a record label model

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which basically gave every 
student a role and a goal.

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So me and Mr. Dickerson sat down

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and we went through 
all the students

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and said, what have 
we observed about

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say for instance, A'nija.

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What is she interested in, 
what is she really good at?

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And so we set them 
up for success,

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We say okay, you're 
good at this,

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you do this a lot, so why don't 
we just create the project

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around that so when you 
engage that project,

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you feel a sense of 
confidence, self worthiness.

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I pretty much destroyed 
this project, you know.

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They pretty much 
tailor-made it for me

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and I feel really 
good about it so

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part of it is kind of 
for our own benefit,

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it's like hey, if I can 
get the ball rolling

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and you just go, I don't 
have to keep after you.

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So create autonomy 
within students

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by allowing them to self-engage.

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♪ Her voice inside screams out

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♪ she's a warrior, a 
fighter, and a survivor. ♪

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>>It's just roam free, 
do what you want.

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Ask for help if you need it

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and then other than that, 
you're just set free.

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And I like it 
because it's unique,

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it's not like your 
normal taught class.

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>>Having a hip hop 
tournament at my school

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is really amazing 
and it's exciting

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because I think we're 
like the first school

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in Charlottesville that 
has this thing going on

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and it's just really cool.

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>>My favorite about 
being in this class

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is probably Mr. Dickerson.

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He's a great teacher

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and you learn more 
than technology in here

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'cause I've learned 
so much from him

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that does not have anything 
to do with technology.

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He's like my role model.

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>>You like to collaborate 
within genres,

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within the arts, and so the 
students work on projects

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all year long.

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Sometimes they collaborate 
outside of the classroom

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with other classrooms.

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Talk about that.

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>>Well, I think the great 
with the record label model

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now that you know I have a 
graphic designer over here

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and a videographer in that 
class; I need a music video.

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So it created a natural context

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for people to be 
able to work together

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'cause now you're aware 
of these other talents

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that are available to you.

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>>I always wanted 
to be a program

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that was open to all 
forms of creativity,

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painting, photography, music,

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dance, any creative art form, 
it was open to that art form.

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And then when it became 
accredited classes,

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there was like this 
pressure that was applied

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that was like, oh 
it's a class now,

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it needs to be taken seriously,

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so we have to create 
this curriculum

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where you learn how to record 
on the microphone day one

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and then you learn how 
to use a Midi controller

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and then you learn how 
to apply audio effects.

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So, it had this rigidness,

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but then it was like we have 
so many different talents

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why not create

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a record label

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'cause that's something 
that's familiar

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and I think that is the 
structure that it needed

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but then you still 
could have them

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pursuing their personal 
passions and their talents

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without the rigid test 
taking and assignments

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and all that teacher stuff.

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(student raps in 
foreign language)

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>>Life is neither happy 
or nor sad in fact--

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>>So as the teachers, 
as the instructors,

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what are your 
roles at the label?

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>>Well, we're not teachers.

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I mean we are teachers--

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>>But what are you at 
the label? (laughs)

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>>I am the chief 
creative officer.

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>>I'm the director of 
vision and dreaming.

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>>And our other 
cohort was Mr. P.

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He was the primary instigator.

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>>Say his full name 
though so everyone knows

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who we're talking about

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>>Trevor Przyuski.

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>>Thank you, who is also 
a teacher here. (laughs)

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>>He's been a teacher 
here for a while

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we were doing TV production,

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he was an inspiration 
to me last year

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because I was seeing 
how he was working

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with his film kids

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and I was like okay, 
there's some advantage

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to putting kids in 
a work environment

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then allowing them to 
still have fun in play.

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♪ Everybody just 
wave, yeah, yeah. ♪

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>>The label is really enjoyable

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for all the students 
because we all,

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most of us want record 
deals when we grow up

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so having something here, 
just for that feels good.

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>>We have a lot 
of collaboration,

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other people don't 
know something,

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other people come in to help

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and they learn stuff 
in the process.

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It's kind of like a family.

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We all just come here, 
we collab on stuff.

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It's cool.

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>>Yeah, I am the first person

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to come to A3 House.

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I mean that's just 
the work I put in,

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the effort, how 
much I love music.

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That's why I'm the first 
one to come in, you know.

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>>Just recently you 
all had a huge showcase

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of everything that the 
label's been working on

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at IX Art Park.

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Talk about that.

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>>I think the showcase 
worked out the way it did

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because we did have so 
much authentic buy in

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from the members of 
the record label.

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And we had tried 
showcases in the past,

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but it was more of this 
like talent show format

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but we really wanted to 
create this environment

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that was more like a festival 
where you could move around

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and go to different places 
and see different things

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and explore different art

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and touch and move 
and hear and eat

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and experience, have an 
immersive experience.

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And also, it was reflective 
of how we teach the class

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because the visitors

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at the showcase,

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they were not required 
to be at any one place

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at any one time.

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They weren't required 
to listen to anything.

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They could roam freely 
and pursue their interests

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as observers.

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>>He says festival,

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I forgot this was a school event

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and it made me have this 
new vision for education.

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I was like, why isn't 
education festive?

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Why isn't it people 
setting up tables

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and making beads and showing 
crafts and performing

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and you're learning 
through doing.

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>>A3 House is where 
the magic happened.

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All the music cookin' 
is where it happens.

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>>It makes school fun.

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I get a grade for 
doing something I love

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and I don't think I could see 
myself doing anything else.

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It's a good feeling.

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>>When I learn how to 
produce, how to record,

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and how to make music, I 
learn that the certain steps

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you have to take are not 
something that can be taught,

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that's something that 
has to be experienced.

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>>Not every setting's the same.

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In each song is a new lesson

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to be learned from the last one.

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>>When the students are 
creating in the classroom,

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what are the rules?

215
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So if you're dealing 
with songwriting,

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if you're dealing with hip hop,

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is there censorship, 
no censorship?

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How do you deal with 
that with teenagers?

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>>All right, so we have 
something in place,

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it's sort of our 
charter called AAMPP.

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It stands for authentic, 
artistry, meaningfulness,

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and polished production.

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And so with AAMPP,

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students are 
encouraged to produce

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art that is

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from them

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and is a true authentic 
representation

228
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of who they are or 
where they are in life.

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And so the idea is

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not to censor

231
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or I wouldn't even 
call them rules,

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it's not like a rule, 
like you can't do this,

233
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but it's just a reminder, 
it's a guide to say

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if you are doing something, 
if you are making some music

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or making poetry or painting,

236
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remember, is this 
from your identity?

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Are you representing yourself?

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Are you representing 
someone else's experience?

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And so this space 
is actually designed

240
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to create a safe environment 
to put yourself out there

241
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but they're also 
building that security

242
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to withstand criticism,

243
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to withstand people 
talking about it,

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to withstand cameras,

245
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and so it's about building 
security in your identity.

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>>So all year, I've 
just been trying to

247
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at least make one song that 
I really enjoy and like

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because I make a lot of music

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and it's just like, no. (laughs)

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So, that's why I've 
been trying to do

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maybe like, make a EP

252
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so I could like put 
it out on SoundCloud.

253
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>>We just making songs,

254
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we just writing and just 
working hard everyday.

255
00:10:07,466 --> 00:10:09,266
And asking him for help, Mr. H,

256
00:10:09,266 --> 00:10:11,233
y'all might know him already so,

257
00:10:11,233 --> 00:10:13,033
he's always on me, so yeah

258
00:10:13,033 --> 00:10:14,733
just learning everyday.

259
00:10:14,733 --> 00:10:16,966
>>I feel like if I don't 
have anything hands-on

260
00:10:16,966 --> 00:10:18,666
I never really learn anything

261
00:10:18,666 --> 00:10:20,600
so now I know how to 
set up the microphones

262
00:10:20,600 --> 00:10:22,033
when I wanna record.

263
00:10:22,033 --> 00:10:24,000
I know how to set up 
other people's microphones

264
00:10:24,000 --> 00:10:25,766
when they wanna record, 
set up the headphones,

265
00:10:25,766 --> 00:10:27,866
set up the actual 
screens and everything.

266
00:10:27,866 --> 00:10:30,000
So I feel like it's 
important to do hands-on work

267
00:10:30,000 --> 00:10:31,200
because if you don't,

268
00:10:31,200 --> 00:10:32,466
I feel like you don't 
really learn much.

269
00:10:32,466 --> 00:10:34,433
>>So, what do you 
want your students

270
00:10:34,433 --> 00:10:35,600
to take with them?

271
00:10:35,600 --> 00:10:36,933
What is most 
important to you all

272
00:10:36,933 --> 00:10:40,000
that they take with 
them throughout the year

273
00:10:40,000 --> 00:10:43,233
and then when they go off 
into the big wide world.

274
00:10:43,233 --> 00:10:46,000
>>Got this from Bernard 
Hankins, identity.

275
00:10:46,000 --> 00:10:48,166
If you walk away from 
this program with identity

276
00:10:48,166 --> 00:10:50,500
then I think you can apply 
that understanding of yourself

277
00:10:50,500 --> 00:10:55,466
to almost any task, 
any challenge, any 
hurdle, any vision.

278
00:10:56,366 --> 00:10:58,000
You must know who you are

279
00:10:58,000 --> 00:10:59,500
and I think that's what 
we're doing with kids.

280
00:10:59,500 --> 00:11:03,300
We're tryna show them hey, 
you are an individual.

281
00:11:03,300 --> 00:11:07,466
You have a very 
uniquely designed gift

282
00:11:07,466 --> 00:11:11,566
that you can use to do 
absolutely anything.

283
00:11:11,566 --> 00:11:13,300
>>And I think connected 
to that identity

284
00:11:13,300 --> 00:11:15,200
is a sense of self worth.

285
00:11:15,200 --> 00:11:16,833
You know, the amount of 
skills doesn't matter

286
00:11:16,833 --> 00:11:20,266
if you don't have 
that life confidence.

287
00:11:20,266 --> 00:11:22,000
You have the 
day-to-day confidence

288
00:11:22,000 --> 00:11:23,400
but do you have 
the overall sense

289
00:11:23,400 --> 00:11:25,600
that I can do something in life.

290
00:11:25,600 --> 00:11:27,333
So I think when 
people just walk away

291
00:11:27,333 --> 00:11:28,933
honestly feeling loved,

292
00:11:28,933 --> 00:11:31,900
like these people 
thought about me

293
00:11:31,900 --> 00:11:34,666
and cared about 
me, feeling human.

294
00:11:34,666 --> 00:11:36,366
You know, feeling 
ultimately human

295
00:11:36,366 --> 00:11:39,233
I think is what if you were 
to sum it up, feel human.

296
00:11:39,233 --> 00:11:40,466
>>I run to this class,

297
00:11:40,466 --> 00:11:42,466
I'm like I'm going 
to class, I'm happy.

298
00:11:42,466 --> 00:11:43,966
This is my happy place.

299
00:11:43,966 --> 00:11:45,966
This is where I wanna be 
at for the rest of the day.

300
00:11:45,966 --> 00:11:48,033
>>A3 House is amazing, 
put it that way.

301
00:11:48,033 --> 00:11:50,966
A3 House is amazing, even 
when I get up in the morning

302
00:11:50,966 --> 00:11:53,233
at 6:20 to walk to 
school just like me.

303
00:11:53,233 --> 00:11:54,800
So, that's how fun it is.

304
00:11:54,800 --> 00:11:56,933
>>Hip hop was made from Jazz,

305
00:11:56,933 --> 00:11:58,866
and then Jazz was 
created from the Blues,

306
00:11:58,866 --> 00:12:01,000
and Blues was created 
from African Drumming,

307
00:12:01,000 --> 00:12:02,633
and it's so on and so on.

308
00:12:02,633 --> 00:12:05,033
So it's just seeing 
the evolution of music

309
00:12:05,033 --> 00:12:07,366
and referencing the 
past in order to make

310
00:12:07,366 --> 00:12:09,433
the future music 
is amazing to me.

311
00:12:09,433 --> 00:12:12,033
♪ I'll turn the 
lights back on now ♪

312
00:12:12,033 --> 00:12:14,400
♪ Watchin' watchin'

313
00:12:14,400 --> 00:12:16,500
♪ As the curtains 
all roll down ♪

314
00:12:16,500 --> 00:12:18,833
♪ Cryin' cryin'

315
00:12:18,833 --> 00:12:22,233
♪ You know we're playing 
to a full house, ♪

316
00:12:22,233 --> 00:12:24,233
♪ House

317
00:12:25,266 --> 00:12:28,200
(Jazz music plays)