When will we begin to take child sex trafficking more seriously?

Resultado de imagem para When will we begin to take child sex trafficking more seriously?
Photo by Robert Nickelsberg/Getty Images

Regan Williams, co-founder of Seen and Heard, wants adults to listen to children.

Williams says 300,000 American children are commercially trafficked every year.

Children in our society are ignored except when they’re famous or sexualized, which is part of the reason sexual abuse is not covered.

Between Jeffrey Epstein and George Nader, there’s been a lot of talk about child sex trafficking and child pornography in the news lately. If the media properly covered these topics, we would always be talking about how children are abused. Sadly, the reason we’re discussing it now is due to these men’s links to the current administration. Better that than nothing, however.

Some people do talk about these topics often; they just aren’t heard all that much. Regan Williams, the CEO and co-founder of the nonprofit, Seen and Heard, has made taking care of and raising awareness of foster youth a focus of her life. Having known Regan for a number of years, it is refreshing to watch someone so fully try to create a better world for the underserved, especially as those in need are children.

They need our help. As you’ll read in our conversation below (listen to our talk here), 300,000 children in America are trafficked for sex every year; the global number is in the millions. Sadly, foster youth are a prime target for traffickers.

Organizations like Seen and Heard are essential for helping to raise children to be empowered adults. The nonprofit teaches social and career skills through performing arts. As Williams mentions below, most foster youth have experienced trauma, often physical abuse or sexual trauma. Acting and role playing offer them opportunities to cooperate and collaborate while thinking critically and creatively. No child deserves abuse from the worst of us.

Photo By Jerry Holt/Star Tribune via Getty Images
Pictured: The Goodsky children, who have spent more than 1,000 days in foster care.

Derek: You’ve worked with foster youth for a long time and you’ve also cared for three foster daughters. What are the biggest challenges you’ve had?

Regan: The things that pose the largest challenges I’ve experienced really have to do with behavior. Usually when a child is removed from their home, there’s been a significant amount of trauma or neglect. You’re almost always going to be getting a kid that has some pretty significant behavioral challenges, like reactive attachment disorder or fetal alcohol syndrome or drug exposure in utero.

It affects how they can learn and it also affects how to correct or discipline them. Traditional disciplinary measures just don’t work with kids that have experienced trauma or have learning delays or disabilities or mental health issues. So you have to have proper training.

Derek: You started a nonprofit, Seen and Heard, which develops character through performance art training. Why did you choose that direction to work with foster youth?

Regan: Both my husband and I have backgrounds in performing arts. We noticed that our training really is a transferable skill set. There are a lot of services being provided for foster youth as far as jobs training. There are a lot of life skills-style training, yet there seems to be [a lack of] professional skills for a lot of transitional-age youth.

This is basically for kids between the ages of 16 and 21. You could provide employment or a college education scholarship for these young people, but the likelihood of them retaining their job or completing their education is more unlikely. That’s because when kids are bounced around from home to home or living in a group home environment, they really have created a lot of maladaptive behavior over the years to protect themselves or get their needs met. Receiving constructive criticism or collaborating with others are skills that haven’t had a chance to take root.

We found that a performing arts education — for example, improvisation or scene study, creating a character, working with a scene partner — are directly applicable to a workplace environment. Even a skill like mindfulness is something that actors really have to build before they can take on a role or enter into the life of the character. You have to empty out and focus on your breathing. You have to be present in your physical body. That skill is tremendously hard for young people who have experienced trauma because their default is to escape, lash out, fight, flight, or freeze. We’re building on EQ or soft skills through the performing arts…


F. Kaskais Web Guru

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