This survey on arts practices and support networks was created by the Social Justice Artists' Collaborative (SJAC). The survey was intended to help us learn more about those doing arts and social justice work. The responses collected will help us further develop opportunities for the SJAC network.
Arts and Social Justice: Staying Resilient in Challenging TimesIrini Neofotistos
In October 2012, the Social Justice Artists' Collaborative (SJAC) conducted a survey on arts practices and support networks to capture information about sustainability. This report highlights information about individual artists and arts organizations working toward social justice in New York City as well as the networks we utilize for support.
This survey on arts practices and support networks was created by the Social Justice Artists' Collaborative (SJAC). The survey was intended to help us learn more about those doing arts and social justice work. The responses collected will help us further develop opportunities for the SJAC network.
In its arts patron behavior research since1995, the consulting firm TRG Arts has seen what it takes to increase numbers, loyalty, and investments from members and annual fund donors. This session from the 2011 ArtsReach conference in San Francisco, illuminates five dynamics that together make a successful fund- and friend-raising strategy for any organization. Get an expert overview on who are your organization’s best prospects, what you have to do to win them, and how you can go about it. Take home ideas you can implement whether you are a member of the development, marketing or ticket office team.
Jill Robinson, President
As co-owner of TRG Arts, Jill Robinson leads the consulting firm’s day-to-day operations and service to arts and cultural organizations and to the industry. Under Jill’s leadership, TRG has expanded its scope of service to all arts genres throughout the United States and into Canada. The firm’s relentless consulting focus on measurable revenue results is a hallmark of Jill’s leadership that has generated hundreds of millions in revenue – earned and contributed—for clients. Jill developed TRG’s counsel on integrated patron loyalty programs, bringing together colleagues across organization departments to build stronger, longer paid patronage. As a TRG lead consultant, Jill has recommended solutions for growth to scores of individual clients including orchestras, opera, dance, and theater companies, arts centers, festivals, and museums.
To post or not to post: Social workers’ perceptions on the use of a closed Fa...husITa
A presentation made by Simon Lowe (University of Waikato) and Neil Ballantyne (Open Polytechnic of New Zealand) to the #husITa16 conference held in Seoul, Korea.
This document discusses cultural competence and diversity. It provides definitions of culture, cultural determinism, ethnocentrism, and cultural relativity. It describes how culture manifests itself through symbols, heroes, rituals, and values. The document also discusses developing culturally competent health promotion programs by understanding an individual's worldview, assessing one's own organization, and utilizing the National CLAS Standards. The overall purpose is to facilitate understanding of cultural diversity.
Susan Oman presents paradata from her nationwide focus groups on well-being. These data suggest that everyday conversations offer the same well-being effects as more formal participation methods, and by extension indicate that research and evaluations which assume the social effects of certain forms of cultural participation are currently overreaching in their claims.
Suzanna Sanchez is an advertising executive for an Hispanic television broadcast network in Los Angeles. She has extensive experience in business development, strategic planning, and mergers and acquisitions for Fortune 500 companies. Throughout her career, she has advocated for the Latino community and ensured social responsibility and diversity in business and media. She is passionate about the arts and has served on boards to support Latino and Latina artists.
A short slideshow on the use of social capital in one of the Puerto Rican Cultural Center's programs at the American Public Health Association Conference in 2003
Arts and Social Justice: Staying Resilient in Challenging TimesIrini Neofotistos
In October 2012, the Social Justice Artists' Collaborative (SJAC) conducted a survey on arts practices and support networks to capture information about sustainability. This report highlights information about individual artists and arts organizations working toward social justice in New York City as well as the networks we utilize for support.
This survey on arts practices and support networks was created by the Social Justice Artists' Collaborative (SJAC). The survey was intended to help us learn more about those doing arts and social justice work. The responses collected will help us further develop opportunities for the SJAC network.
In its arts patron behavior research since1995, the consulting firm TRG Arts has seen what it takes to increase numbers, loyalty, and investments from members and annual fund donors. This session from the 2011 ArtsReach conference in San Francisco, illuminates five dynamics that together make a successful fund- and friend-raising strategy for any organization. Get an expert overview on who are your organization’s best prospects, what you have to do to win them, and how you can go about it. Take home ideas you can implement whether you are a member of the development, marketing or ticket office team.
Jill Robinson, President
As co-owner of TRG Arts, Jill Robinson leads the consulting firm’s day-to-day operations and service to arts and cultural organizations and to the industry. Under Jill’s leadership, TRG has expanded its scope of service to all arts genres throughout the United States and into Canada. The firm’s relentless consulting focus on measurable revenue results is a hallmark of Jill’s leadership that has generated hundreds of millions in revenue – earned and contributed—for clients. Jill developed TRG’s counsel on integrated patron loyalty programs, bringing together colleagues across organization departments to build stronger, longer paid patronage. As a TRG lead consultant, Jill has recommended solutions for growth to scores of individual clients including orchestras, opera, dance, and theater companies, arts centers, festivals, and museums.
To post or not to post: Social workers’ perceptions on the use of a closed Fa...husITa
A presentation made by Simon Lowe (University of Waikato) and Neil Ballantyne (Open Polytechnic of New Zealand) to the #husITa16 conference held in Seoul, Korea.
This document discusses cultural competence and diversity. It provides definitions of culture, cultural determinism, ethnocentrism, and cultural relativity. It describes how culture manifests itself through symbols, heroes, rituals, and values. The document also discusses developing culturally competent health promotion programs by understanding an individual's worldview, assessing one's own organization, and utilizing the National CLAS Standards. The overall purpose is to facilitate understanding of cultural diversity.
Susan Oman presents paradata from her nationwide focus groups on well-being. These data suggest that everyday conversations offer the same well-being effects as more formal participation methods, and by extension indicate that research and evaluations which assume the social effects of certain forms of cultural participation are currently overreaching in their claims.
Suzanna Sanchez is an advertising executive for an Hispanic television broadcast network in Los Angeles. She has extensive experience in business development, strategic planning, and mergers and acquisitions for Fortune 500 companies. Throughout her career, she has advocated for the Latino community and ensured social responsibility and diversity in business and media. She is passionate about the arts and has served on boards to support Latino and Latina artists.
A short slideshow on the use of social capital in one of the Puerto Rican Cultural Center's programs at the American Public Health Association Conference in 2003
This document discusses cultural understanding and civic participation. It explores how design can be used to increase youth involvement in politics through rearranging cultural elements and creating participatory experiences. Evaluation principles for potential campaigns and tools emphasize issues that are timely, allow concrete actions, and increase political and cultural impact through connecting communities and inviting participation.
This document introduces Arts-Informed Evaluation as a creative approach to assessing community arts practices. It discusses community arts practices, traditional approaches to evaluation, and then defines Arts-Informed Evaluation. Arts-Informed Evaluation uses artistic processes and creative expression to capture all aspects of community arts programs and their impact in a way that traditional evaluation methods cannot. The document provides an overview of Arts for Children and Youth (AFCY), the organization piloting this approach. It explains how AFCY uses community arts programs to empower marginalized youth and build community. The handbook aims to help community artists and organizations understand and apply Arts-Informed Evaluation to reflect on and communicate the full value of their work.
12) Meaning, Representation & Values pt. 2.pptxJamesDixon10403
The document discusses how media represent the world and influence audience perceptions. It explains that media are a primary source for how people see the world and tend to promote broadly similar views that establish a "normal" worldview. While media are not the only influence, they generally reinforce the values of dominant white, patriarchal, capitalist culture through their content. To gain support from minority groups, media must provide some pleasure but ultimately resolve social issues they depict in a way that does not disrupt the status quo or dominant ideology. Consideration is given to the limitations of viewing media as only promoting a single dominant ideology and the potential for media to challenge norms and stereotypes.
HU 140 Cultural Diversity Unit 5 Template
Community, Art, and Identity
The people of Herzing University (Atlanta Campus featured above) makes up a rich and thriving community. This piece of visual art is something current students as well as potential students see in social media and when searching the website giving it power to build community by creating a sense of welcome. Examine the picture above and consider how it represents the 'Identity' of Herzing University and address the following:
· In what ways does this image create a sense of welcoming?
· In what ways does this image reflect the reality of achieving your academic goals through hard work?
· Does this image help you to embrace a new sense of empowerment for as you become a part of the Herzing University community?
Click here
Community and Identity Through Art
Your local community is another place where you can celebrate who you are and how you contribute to society. Visit either a local newspaper website or the nearest large city newspaper to you. Go to their community page and locate three 'positive' images that demonstrate community in your area. Click on the word "Text" and describe the ways each image empowers your sense of community and identity. (How does this image project an "I am proud to live here" type of atmosphere). Would this image encourage others to join your community? Why? Remember to reference the image on the References page.
Community and Identity in Music
Music of all genres often tell personal stories of identity as well as broader narratives of community. For example, Lee Greenwood's classic song, "I'm proud to be an American" demonstrates the feeling all Americans share about the opportunities they have received to build strong families and strong communities.
Go to YouTube and find a dance or musical performance that reflects your sense of community (that can be local, regional, or your Herzing community) and/or your sense of identity.
Once you select your video, share the URL in the textbox below. Be sure to reference the video on the References page.
Click here
Address the following:
1. What video did you select and why?
2. Would an audience understand the connection between the performance (or song lyrics) and the ideas of community or identity if it wasn't in musical form? Support your position.
3. What imagery in the performance or the lyrics connect most with you? Why?
4. What did the performance contribute to your understanding of community building and/or identity awareness?
Click here
Literature and Community
Literature is a powerful artform known for its ability to explore unique perspectives of historical eras that reflects and celebrates community in its many forms. Literature can also reflect on the destruction or loss of community. Leslie Marmon Silko is an example of how identity and community are linked into an unbreakable bond. Like the writer Ruski ...
The document discusses representation in the Netflix series Stranger Things. It outlines key areas of representation to consider, including stereotypes, under-representation, realism, and how representations convey values. It also notes how audience and historical context impact interpretations. Tables are included to analyze how characters in Stranger Things follow or challenge stereotypes related to age, gender, class, ability, race, region, and sexuality. Theories of representation from scholars like Stuart Hall, David Gauntlett, and others are referenced to help analyze characters.
This document outlines the role of community participation in public health. It defines key terms like civil society and community. A community is a group sharing beliefs and understanding. Community participation is defined by WHO as enabling people to be actively involved in issues affecting their lives. Benefits include education, advocacy, mobilizing resources, and problem identification. Barriers include lack of control and issues being non-goal oriented. Recommendations are to represent public interests in policy, ensure equitable resource allocation, and leverage existing community institutions like religious groups and schools.
We can build more diverse and inclusive journalism if we engage directly with community members. This interactive session — part discussion, part workshop — will take participants through a design thinking exercise for moving at the “speed of inclusion.” We'll explore how to represent the full diversity of voices in our communities to make them more present in our reporting. You’ll walk away with an engagement plan for a project that puts community at the core of reporting and learn foundational skills — such as how to map stakeholders — for putting these lessons into action.
Kristen Purcell spoke at the Art Museum Marketing Association (AMMA) meeting at the Baltimore Museum of Art on Friday, May 17th, for an audience of marketing directors from the largest art museums in the U.S. Sharing insights from Pew Internet's recent national survey of arts organizations, Kristen discussed how these organizations are using digital tools to carry out their missions and the key questions art museums can focus on in developing their own digital strategies.
Salt in a pepper world working interculturally in indigenous nursinggriehl
Greg Riehl presented on working interculturally in Indigenous nursing. He discussed recognizing his own privilege as a non-Indigenous person (môniya:s) working with Indigenous communities. He emphasized the importance of listening to Elders, using a strengths-based approach, and ensuring research is community-led and benefits the community. Riehl also highlighted cultural safety, humility, and the need to constantly reflect on one's role and assumptions to build trust as an ally.
This document provides guidance for hosting community gatherings to discuss anti-oppression principles and practices. It emphasizes that hosting involves creating space for respectful, inspiring, accountable and critical dialogue where people can share experiences and learn together. Key principles for hosting include: being encouraging, aware of power dynamics, and challenging prejudice, bias and discrimination when they arise. The goal is to prevent harm, build trust, center marginalized voices, and transform dynamics of oppression through collaborative discussion. Hosting responsibilities may include facilitating discussion, supporting decision making, providing arts activities, and ensuring childcare. Communities have a legacy of hosting such gatherings to strategize creative responses to issues of equity and social justice.
The document discusses the importance of education in empowering people to critically engage with reality and transform their world. It then discusses several examples of organizations addressing social issues like poverty, discrimination, and hunger. It outlines instructions for a final project where students are asked to identify a social issue they care about, investigate it, and design a service project to address an identified community need through awareness, fundraising, or partnering with an existing organization. The goal is for students to work on meaningful projects that create positive change and allow others to get involved.
This document summarizes the results of a questionnaire applied to 59 students aged 16-19 in a project about religious stereotypes. The questionnaire included 14 multiple choice questions about reasons for religious discrimination in their country, experiences witnessing aggressive behavior due to religion, how they would react, common religious stereotypes, experiences with religious racism, freedom to express religious beliefs, how progressive their country is regarding stereotypes, changes over time in how society deals with stereotypes, the role of education and media in overcoming stereotypes, the relationship between nationality and religion, the influence of family on views of religion, and which religious group stereotypes are most pronounced against. The document concludes that the questionnaire helps clarify issues to ensure religious tolerance and integration in
Participatory rural appraisal (pra) basic skills for need identificationLiris Thomas
Participatory rural appraisal (PRA) is an approach that aims to involve local communities in identifying and analyzing their needs and solutions. It addresses criticisms of top-down development by putting research in the hands of community members and having experts act as facilitators. The process involves collecting data as a whole community to gain a detailed understanding of the local context and have communities prioritize their own needs. Key aspects include encouraging the use of local knowledge, involving communities at all stages, and helping communities find their own solutions to problems. Data collection techniques are designed to be usable by people with low literacy levels and involve group-based learning and investigating issues from different perspectives.
The document provides instructions for how to request and receive writing assistance from HelpWriting.net. It outlines a 5 step process: 1) Create an account, 2) Complete an order form providing instructions and deadline, 3) Review bids from writers and select one, 4) Review the completed paper and authorize payment, 5) Request revisions until satisfied. It emphasizes that original, high-quality content is guaranteed or a full refund will be provided.
Deconstructing Privilege workshop presented by Valerie Rudolph and Sarah Ryan from DePauw University during the Bonner Summer Leadership Institute at Stetson University, June 2009
A Report based on the responses of residents of the Anson Estate to a questionnaire produced after consultation within the Anson Cabin Project.
In looking to the future, it was recognised that there was a need to more clearly evidence the needs of local people, particularly children and their parents and young people. Additionally it was felt that this would be an opportunity to engage all age ranges and produce evidence that would also be of use to the Anson Residents’ Association.
Group 1 conducted a consumer market research project on mental illness in the San Gabriel Valley. Their survey of 36 residents found that 87% were Asian. Most believed there is a stigma around mental illness and would seek help first from doctors or counselors rather than friends or family. They recommend that NAMI concentrate efforts on teenagers, provide resources in Asian languages, modernize communications, and involve celebrities to raise awareness.
This document discusses asset-based community development (ABCD) which focuses on identifying and mobilizing the assets of individuals and communities rather than focusing only on needs. It provides an overview of key ABCD concepts like social capital, the importance of building relationships, and empowering community members. It also offers tools for transforming organizations and communities to adopt an asset-based lens including asset mapping, learning interviews, and developing partnerships with community stakeholders. The goal is to discover what resources already exist in a community and empower residents to create solutions.
Final Project Cultural ImmersionCultural Competence is an ess.docxAKHIL969626
Final Project: Cultural Immersion
Cultural Competence is an essential aspect of counselor training. In order to begin to understand a culture, it is essential to have sustained interaction with the culture. For the final project for this course, each student will be responsible for actively investigating multicultural issues in the “real world,” by gradually immersing in a culture different from their own. The immersion project will involve experiential learning about other cultures. The intent is to increase your knowledge and sensitivity to other cultures.
In order to complete this project successfully, you will need to work on it throughout the entire course. As part of the project, each of you will select a culture different from your own and participate in at least three distinct cultural immersion experiences/observations within that culture. The idea is to gradually immerse into the different culture over the course of the term. You may use the list of suggestions below to guide your immersion process or you can devise some ideas of your own. It is essential that each experience is qualitatively different from that of your own culture and that the experiences gradually become more involved directly with the culture of choice.
1. The activities you select must include active involvement in the culture/activity. In other words, you may “observe” the culture but you may not limit the activity to passive observation. Make sure that each activity involves interaction with members of the culture, either through active participation in the activity itself or through conversations with members of the culture. Of course your third activity, the personal dialogue, already requires your active participation.
2. Submit a written narrative of your immersion activities. The paper will be 8-10 pages long (typed, double-spaced, 12 point font), This paper must include the following elements:
· Identification and Description of Population: This section must clearly identify the population you will be studying, how this population is different from you, and what your perceptions of this group are at this point in life. The description of differences should include both the obvious (visible differences, etc.) and the not so obvious (religious beliefs, sexual orientation, etc.). Please state all the differences you can identify. Your perceptions of this group should include information such as what you were told about this group as you were growing up, any beliefs/perceptions/assumptions you have about this group, what your sources of information about this group have been in the past, and why you have an interest in this group. In this section, you must make a case for how this person is different from you and why this experience will be challenging for you.
· Observation: You will need to complete at least three observational activities of the group you have chosen to study. Examples and suggestions of observational activities are listed below. If y ...
This document discusses cultural understanding and civic participation. It explores how design can be used to increase youth involvement in politics through rearranging cultural elements and creating participatory experiences. Evaluation principles for potential campaigns and tools emphasize issues that are timely, allow concrete actions, and increase political and cultural impact through connecting communities and inviting participation.
This document introduces Arts-Informed Evaluation as a creative approach to assessing community arts practices. It discusses community arts practices, traditional approaches to evaluation, and then defines Arts-Informed Evaluation. Arts-Informed Evaluation uses artistic processes and creative expression to capture all aspects of community arts programs and their impact in a way that traditional evaluation methods cannot. The document provides an overview of Arts for Children and Youth (AFCY), the organization piloting this approach. It explains how AFCY uses community arts programs to empower marginalized youth and build community. The handbook aims to help community artists and organizations understand and apply Arts-Informed Evaluation to reflect on and communicate the full value of their work.
12) Meaning, Representation & Values pt. 2.pptxJamesDixon10403
The document discusses how media represent the world and influence audience perceptions. It explains that media are a primary source for how people see the world and tend to promote broadly similar views that establish a "normal" worldview. While media are not the only influence, they generally reinforce the values of dominant white, patriarchal, capitalist culture through their content. To gain support from minority groups, media must provide some pleasure but ultimately resolve social issues they depict in a way that does not disrupt the status quo or dominant ideology. Consideration is given to the limitations of viewing media as only promoting a single dominant ideology and the potential for media to challenge norms and stereotypes.
HU 140 Cultural Diversity Unit 5 Template
Community, Art, and Identity
The people of Herzing University (Atlanta Campus featured above) makes up a rich and thriving community. This piece of visual art is something current students as well as potential students see in social media and when searching the website giving it power to build community by creating a sense of welcome. Examine the picture above and consider how it represents the 'Identity' of Herzing University and address the following:
· In what ways does this image create a sense of welcoming?
· In what ways does this image reflect the reality of achieving your academic goals through hard work?
· Does this image help you to embrace a new sense of empowerment for as you become a part of the Herzing University community?
Click here
Community and Identity Through Art
Your local community is another place where you can celebrate who you are and how you contribute to society. Visit either a local newspaper website or the nearest large city newspaper to you. Go to their community page and locate three 'positive' images that demonstrate community in your area. Click on the word "Text" and describe the ways each image empowers your sense of community and identity. (How does this image project an "I am proud to live here" type of atmosphere). Would this image encourage others to join your community? Why? Remember to reference the image on the References page.
Community and Identity in Music
Music of all genres often tell personal stories of identity as well as broader narratives of community. For example, Lee Greenwood's classic song, "I'm proud to be an American" demonstrates the feeling all Americans share about the opportunities they have received to build strong families and strong communities.
Go to YouTube and find a dance or musical performance that reflects your sense of community (that can be local, regional, or your Herzing community) and/or your sense of identity.
Once you select your video, share the URL in the textbox below. Be sure to reference the video on the References page.
Click here
Address the following:
1. What video did you select and why?
2. Would an audience understand the connection between the performance (or song lyrics) and the ideas of community or identity if it wasn't in musical form? Support your position.
3. What imagery in the performance or the lyrics connect most with you? Why?
4. What did the performance contribute to your understanding of community building and/or identity awareness?
Click here
Literature and Community
Literature is a powerful artform known for its ability to explore unique perspectives of historical eras that reflects and celebrates community in its many forms. Literature can also reflect on the destruction or loss of community. Leslie Marmon Silko is an example of how identity and community are linked into an unbreakable bond. Like the writer Ruski ...
The document discusses representation in the Netflix series Stranger Things. It outlines key areas of representation to consider, including stereotypes, under-representation, realism, and how representations convey values. It also notes how audience and historical context impact interpretations. Tables are included to analyze how characters in Stranger Things follow or challenge stereotypes related to age, gender, class, ability, race, region, and sexuality. Theories of representation from scholars like Stuart Hall, David Gauntlett, and others are referenced to help analyze characters.
This document outlines the role of community participation in public health. It defines key terms like civil society and community. A community is a group sharing beliefs and understanding. Community participation is defined by WHO as enabling people to be actively involved in issues affecting their lives. Benefits include education, advocacy, mobilizing resources, and problem identification. Barriers include lack of control and issues being non-goal oriented. Recommendations are to represent public interests in policy, ensure equitable resource allocation, and leverage existing community institutions like religious groups and schools.
We can build more diverse and inclusive journalism if we engage directly with community members. This interactive session — part discussion, part workshop — will take participants through a design thinking exercise for moving at the “speed of inclusion.” We'll explore how to represent the full diversity of voices in our communities to make them more present in our reporting. You’ll walk away with an engagement plan for a project that puts community at the core of reporting and learn foundational skills — such as how to map stakeholders — for putting these lessons into action.
Kristen Purcell spoke at the Art Museum Marketing Association (AMMA) meeting at the Baltimore Museum of Art on Friday, May 17th, for an audience of marketing directors from the largest art museums in the U.S. Sharing insights from Pew Internet's recent national survey of arts organizations, Kristen discussed how these organizations are using digital tools to carry out their missions and the key questions art museums can focus on in developing their own digital strategies.
Salt in a pepper world working interculturally in indigenous nursinggriehl
Greg Riehl presented on working interculturally in Indigenous nursing. He discussed recognizing his own privilege as a non-Indigenous person (môniya:s) working with Indigenous communities. He emphasized the importance of listening to Elders, using a strengths-based approach, and ensuring research is community-led and benefits the community. Riehl also highlighted cultural safety, humility, and the need to constantly reflect on one's role and assumptions to build trust as an ally.
This document provides guidance for hosting community gatherings to discuss anti-oppression principles and practices. It emphasizes that hosting involves creating space for respectful, inspiring, accountable and critical dialogue where people can share experiences and learn together. Key principles for hosting include: being encouraging, aware of power dynamics, and challenging prejudice, bias and discrimination when they arise. The goal is to prevent harm, build trust, center marginalized voices, and transform dynamics of oppression through collaborative discussion. Hosting responsibilities may include facilitating discussion, supporting decision making, providing arts activities, and ensuring childcare. Communities have a legacy of hosting such gatherings to strategize creative responses to issues of equity and social justice.
The document discusses the importance of education in empowering people to critically engage with reality and transform their world. It then discusses several examples of organizations addressing social issues like poverty, discrimination, and hunger. It outlines instructions for a final project where students are asked to identify a social issue they care about, investigate it, and design a service project to address an identified community need through awareness, fundraising, or partnering with an existing organization. The goal is for students to work on meaningful projects that create positive change and allow others to get involved.
This document summarizes the results of a questionnaire applied to 59 students aged 16-19 in a project about religious stereotypes. The questionnaire included 14 multiple choice questions about reasons for religious discrimination in their country, experiences witnessing aggressive behavior due to religion, how they would react, common religious stereotypes, experiences with religious racism, freedom to express religious beliefs, how progressive their country is regarding stereotypes, changes over time in how society deals with stereotypes, the role of education and media in overcoming stereotypes, the relationship between nationality and religion, the influence of family on views of religion, and which religious group stereotypes are most pronounced against. The document concludes that the questionnaire helps clarify issues to ensure religious tolerance and integration in
Participatory rural appraisal (pra) basic skills for need identificationLiris Thomas
Participatory rural appraisal (PRA) is an approach that aims to involve local communities in identifying and analyzing their needs and solutions. It addresses criticisms of top-down development by putting research in the hands of community members and having experts act as facilitators. The process involves collecting data as a whole community to gain a detailed understanding of the local context and have communities prioritize their own needs. Key aspects include encouraging the use of local knowledge, involving communities at all stages, and helping communities find their own solutions to problems. Data collection techniques are designed to be usable by people with low literacy levels and involve group-based learning and investigating issues from different perspectives.
The document provides instructions for how to request and receive writing assistance from HelpWriting.net. It outlines a 5 step process: 1) Create an account, 2) Complete an order form providing instructions and deadline, 3) Review bids from writers and select one, 4) Review the completed paper and authorize payment, 5) Request revisions until satisfied. It emphasizes that original, high-quality content is guaranteed or a full refund will be provided.
Deconstructing Privilege workshop presented by Valerie Rudolph and Sarah Ryan from DePauw University during the Bonner Summer Leadership Institute at Stetson University, June 2009
A Report based on the responses of residents of the Anson Estate to a questionnaire produced after consultation within the Anson Cabin Project.
In looking to the future, it was recognised that there was a need to more clearly evidence the needs of local people, particularly children and their parents and young people. Additionally it was felt that this would be an opportunity to engage all age ranges and produce evidence that would also be of use to the Anson Residents’ Association.
Group 1 conducted a consumer market research project on mental illness in the San Gabriel Valley. Their survey of 36 residents found that 87% were Asian. Most believed there is a stigma around mental illness and would seek help first from doctors or counselors rather than friends or family. They recommend that NAMI concentrate efforts on teenagers, provide resources in Asian languages, modernize communications, and involve celebrities to raise awareness.
This document discusses asset-based community development (ABCD) which focuses on identifying and mobilizing the assets of individuals and communities rather than focusing only on needs. It provides an overview of key ABCD concepts like social capital, the importance of building relationships, and empowering community members. It also offers tools for transforming organizations and communities to adopt an asset-based lens including asset mapping, learning interviews, and developing partnerships with community stakeholders. The goal is to discover what resources already exist in a community and empower residents to create solutions.
Final Project Cultural ImmersionCultural Competence is an ess.docxAKHIL969626
Final Project: Cultural Immersion
Cultural Competence is an essential aspect of counselor training. In order to begin to understand a culture, it is essential to have sustained interaction with the culture. For the final project for this course, each student will be responsible for actively investigating multicultural issues in the “real world,” by gradually immersing in a culture different from their own. The immersion project will involve experiential learning about other cultures. The intent is to increase your knowledge and sensitivity to other cultures.
In order to complete this project successfully, you will need to work on it throughout the entire course. As part of the project, each of you will select a culture different from your own and participate in at least three distinct cultural immersion experiences/observations within that culture. The idea is to gradually immerse into the different culture over the course of the term. You may use the list of suggestions below to guide your immersion process or you can devise some ideas of your own. It is essential that each experience is qualitatively different from that of your own culture and that the experiences gradually become more involved directly with the culture of choice.
1. The activities you select must include active involvement in the culture/activity. In other words, you may “observe” the culture but you may not limit the activity to passive observation. Make sure that each activity involves interaction with members of the culture, either through active participation in the activity itself or through conversations with members of the culture. Of course your third activity, the personal dialogue, already requires your active participation.
2. Submit a written narrative of your immersion activities. The paper will be 8-10 pages long (typed, double-spaced, 12 point font), This paper must include the following elements:
· Identification and Description of Population: This section must clearly identify the population you will be studying, how this population is different from you, and what your perceptions of this group are at this point in life. The description of differences should include both the obvious (visible differences, etc.) and the not so obvious (religious beliefs, sexual orientation, etc.). Please state all the differences you can identify. Your perceptions of this group should include information such as what you were told about this group as you were growing up, any beliefs/perceptions/assumptions you have about this group, what your sources of information about this group have been in the past, and why you have an interest in this group. In this section, you must make a case for how this person is different from you and why this experience will be challenging for you.
· Observation: You will need to complete at least three observational activities of the group you have chosen to study. Examples and suggestions of observational activities are listed below. If y ...
Similar to Arts and Social Justice: An Assessment (20)
Final Project Cultural ImmersionCultural Competence is an ess.docx
Arts and Social Justice: An Assessment
1. ARTS AND SOCIAL JUSTICE:
AN ASSESSMENT
SURVEY RESULTS
Survey Results by Survey Design by the
Irini Neofotistos Senior Program Officer, Union Square Awards
Neofotistos, Officer
Amanda Warco, Research Intern, Union Square Awards
2. This survey was released by the Social Justice Artists’
Artists
Collaborative (SJAC) and received 157 responses
between October 11 and 31, 2012.
Outreach was d
O h done b SJAC work group members
by k b
who shared it with others through social media, the
SJAC outreach email list, and their networks.
About SJAC:
SJAC is a collective of progressive artists, practitioners,
and funders that focuses on both individual artists and
small to mid size organizations reflective of NYC’s
mid-size NYC s
diverse communities. We come together as a network
that supports and shares best practices for social justice
work through the sustainability of our arts, culture, artists,
and organizations.
d i ti
3. KEY FINDINGS
Bridging Arts a d Soc a Just ce
dg g ts and Social Justice
Arts and social justice work raises visibility, gives voice and creates
engagement and interaction.
Important to those doing this work is uniting communities, empowering
individuals, developing opportunities to create and express, and providing
access to the arts.
Resources and Networks
Being connected to others with similar values is important. A vast majority
confirm they are connected to others that share their values.
While most respondents have the tools needed to be effective and know
where to turn to for needed resources, a significant number do not have a
support network they can rely on.
4. KEY FINDINGS
Financial Resources
a c a esou ces
Respondents found skills or resource sharing, individual donor engagement
and grassroots fundraising to be effective sustainability approaches.
70% of respondents have accessed grants to support their work. Of those,
half report they no longer have access to resources they have relied on in the
past.
Top 4 Challenges
Accessing Financial Resources
Reliable Support Networks
Time and Capacity
Framing and Promoting Work
6. HOW DO YOU IDENTIFY YOURSELF WITHIN THE
ARTS AND SOCIAL JUSTICE COMMUNITY?
32% of respondents
80%
chose more than one
70%
response
60%
50%
40%
30%
20%
10%
0%
artist arts administrator other service provider funder
157 responses
7. HOW DO YOU IDENTIFY YOURSELF WITHIN THE
ARTS AND SOCIAL JUSTICE COMMUNITY?
Other Identities
9
8
7
6
5
4
3
2
1
0
activist organizer educator
8. PLEASE INDICATE YOUR ARTISTIC DISCIPLINE:
60%
50%
40%
30%
20%
10%
0%
Visual Arts Media/ Theater Literature/ Conceptual/ Music Dance Other
New media Creative Performance
writing Art
Other Disciplines
Ot e sc p es 46% of respondents
p
6% chose more than
one response
4%
2%
0%
Multi-Disciplinary Poetry
157 responses
9. WHICH OF THE FOLLOWING TERMS DO YOU
MOST IDENTIFY WITH YOUR PRACTICE, IF ANY?
I.E., YOU WOULD FEEL COMFORTABLE USING
THEM TO DESCRIBE YOUR PRACTICE.
Social Change -3% 93%
Community A t
C it Arts
-7% 89%
Social Justice -5% 85%
Public Art -14% 79%
Social Practice
-10%
10% 76%
Other
12%
-0.2 0 0.2 0.4 0.6 0.8 1
Disagree Agree
130 responses
10. I USE MY PRACTICE AS A WAY OF CREATING:
The top two areas of agreement are that respondents use their practice as a
way of community building and responses to social issues.
Mostly Agree:
100%
80%
60%
40%
20%
0%
Community Responses A Broader Civic Call to Beauty Visibility for
Building to Social Definition of Engagement Action Myself and
Issues the Arts Others
Agree Somewhat Disagree
130 responses
11. I USE MY PRACTICE AS A WAY OF CREATING:
Split Opinion:
Healing -14% 88%
Outreach Tools -16% 80%
Political Expression -24% 70%
Organizing Tools -24% 68%
Training Opportunities -25% 68%
Political Education -25% 69%
Political Engagement -24% 68%
Rehabilitative Tools -34% 56%
Other
-4% 12%
-40% -20% 0% 20% 40% 60% 80% 100%
Disagree Agree
Political Education, Political Engagement and Rehabilitative Tools were the most
contested terms with larger numbers of respondents choosing “Somewhat Agree” or
“Disagree.”
“Other” responses included conversations, dialogue, attention, connection, and
expression.
130 responses
12. PLEASE ELABORATE ON YOUR CHOICES ABOVE OR
SHARE OTHER LANGUAGE YOU USE TO
CHARACTERIZE EITHER YOUR WORK OR PRACTICE
PRACTICE.
13. PLEASE ELABORATE ON YOUR CHOICES ABOVE OR
SHARE OTHER LANGUAGE YOU USE TO
CHARACTERIZE EITHER YOUR WORK OR PRACTICE
PRACTICE.
Individual responses that were especially interesting, challenging or
representative:
“Our mission is to celebrate our culture through the arts and educate people about our diversity.
Cultural identity is very important to an individual formation in life. The arts can give people a great
motivation in other fields.”
“Feel that it is important to manage artist currently incarcerated, to help motivate and prepare them to
be self sufficient and come come to make legal money to support their families.”
“The choices seem to frame publicly presented/socially engaged work within a binary frame of either
"romantic" art practice that occurs in the public sphere (beauty, sublime, grandeur, ego, et al) v. the
social practice school. Both are problematic. I would like to see categories from another set of
questions, like the categories one would ask bankers or lawyers or deep sea divers.”
14. PLEASE ELABORATE ON YOUR CHOICES ABOVE OR
SHARE OTHER LANGUAGE YOU USE TO
CHARACTERIZE EITHER YOUR WORK OR PRACTICE
PRACTICE.
“I prefer the concept of community engagement to outreach to reflect mutually beneficial
collaborations.
collaborations I also think of my work as part of broader efforts to engage people in the decision
making that has in impact on their lives. And I think of my work as cross sector and holistic -
recognizing how culture is integrated throughout our communities.”
“Art responds to social, community, and personal issues but is also responsiveness to the needs of
communities and individuals. Arts practices and outlets created cultivate a more equitable and just
society, particularly where those resources do not otherwise exist. I have some resistance to the terms
healing, therapeutic or rehabilitative in the traditional sense. As a conscious person, I feel responsible
to name, connect, and address what is not right, but also in a way that is productive, engages, and
visions/creates something new, effective, and just. That process by its nature creates personal and
collective healing. Lastly, while it is true that arts can create powerful tools for outreach, organizing,
education, etc. they are not a means to an end. If the art is meant to produce those outcomes then
some of its power is lost. Connection to community and the process of creating or sharing in a
collective way is important.”
15. DESCRIBE THE COMMUNITIES YOU WORK IN AND/OR
IDENTIFY WITH.
Immigrants, African- LBGTQ,
4 American, 6 13
Youth, 18
,
Latinos, 6
L ti
People of Artists, 15 Seniors, 5
Color, 11
Asian, 3 Women,
11
16. DESCRIBE THE COMMUNITIES YOU WORK IN AND/OR
IDENTIFY WITH.
Specified Need or Issue Area
International, 3
Educators, 2
Incarcerated/
Families of
Incarcerated, 3
AIDS/HIV, 4 Low-income/
Underserved
Communities, 22
Homeless, 6
Occupy
Movement, 2
Local
Neighborhoods,
13 Other nonprofits,
2
Disabled, 2
SurvivorsAbuse,
1
17. WHAT TYPES OF ORGANIZATIONS OR NETWORKS ARE YOU
CONNECTED TO WITHIN IN YOUR COMMUNITY? E.G.
COMMUNITY BASED ORGANIZATIONS, NEIGHBORHOOD,
BLOCK OR CIVIC ASSOCIATIONS, FAITH BASED INSTITUTIONS,
ETC.
Many answers
Arts Councils
including:
CBOs
Churches
Community Boards
Community Gardens
Elected Officials
Galleries
Grassroots Organizations
Libraries
Museums
Non-profits
N fi See A
S Appendix A f li t
di for list
Schools of specific
Senior Centers organizations cited.
Social Service Agencies
Union Organizers
YMCAs
18. BRIEFLY DESCRIBE YOUR WORK AND HOW IT BRIDGES ARTS
AND SOCIAL JUSTICE.
Main Theme #1: “To raise visibility and give a voice to those without
one.”
Main Theme #2: “To create engagement and interaction.”
Other prevalent themes were – uniting communities, empowering
individuals, opportunities to create and express, providing access to art
for those who might not have it.
To see specific quotes related to these themes see Appendix B
themes, B.
19. ARE THERE SHARED CHARACTERISTICS FOR THE WORK
THAT HAPPENS AT THE INTERSECTION OF ARTS AND
SOCIAL JUSTICE? IF SO, BRIEFLY DESCRIBE SOME
SO
COMMONALITIES.
There was a wide range of answers to this q
g question with similar
themes emerging as in the previous question, such as
• Creating a voice for the voiceless
• Offering new perspectives
• Bringing together people within and across communities
• Sparking conversations
• Creating respect, empathy and understanding
• Advocating for change
• Self determination and expression
• Tell a story
• Educate
20. RANGING FROM "OFTEN" TO "RARELY" PLEASE ANSWER
THE QUESTIONS BELOW:
100%
80%
60%
40%
20%
0%
I am connected I have I have the tools I know where to I have a support
pp
to others that opportunities to needed to be turn to for ( )
network(s) that I
share my values grow and effective needed can rely on
develop resources
Often Sometimes Rarely
It is important for people working at thi i t
i i t tf l ki t this intersection t connect with others sharing th i
ti to t ith th h i their
values. The vast majority of respondents report being connected to others that share their
values.
While most respondents report that they have the tools needed to be effective and they
p p y y
know where to turn to for needed resources, a significant number report that they rarely
have a support network to rely on.
84 responses
21. DESCRIBE OR LIST ANY ACTIVITIES THAT YOU UNDERTAKE
FOR YOUR OWN WELL-BEING OR SELF-CARE.
Eating well and making home
cooked meals.
Exercise
“It is a constant struggle ”
struggle.” Yoga
Prayer/Mediation Creating art.
Reading/Writing
Time with F il and Friends
Ti ith Family d F i d
Connecting with like-minded
individuals
22. HOW DO YOU SUPPORT YOUR PRACTICE IN TERMS OF
FINANCIAL RESOURCES?
80%
70%
60%
50%
40%
30%
20%
10%
0%
G a ts
Grants Artist Fees/ Residencies
t st ees/ es de c es Sa es/
Sales/ Donors
o os Co su tat o s
Consultations Employment Co
p oy e t Commissions Employment
ss o s p oy e t Ot e
Other
Honoraria to Earned and Services Related to Unrelated to
Develop Income Practice Practice
Work
Often/Sometimes Rarely
80 responses
23. ARE THERE FINANCIAL RESOURCES THAT ARE NO LONGER
AVAILABLE TO YOU?
51% of those responding to this question
60% reported losing foundation support
support.
50%
40%
30%
51%
20%
10%
12% 12% 12%
0%
Foundation Lost Job/Income Government Individual
Support Grants Donors
41 responses
24. EFFECTIVENESS OF SUSTAINABILITY APPROACHES.
Most Effective:
• Skill or Resource Sharing – A third of respondents indicate this as
the most effective. 33% or respondents found it effective and 29%
effective
found it somewhat effective.
• Individual Donor Engagement was found effective for 23% of
respondents and somewhat effective for about 40% or respondents.
• Grassroots Fundraising was found effective for 13% of respondents
and somewhat effective for 40%
40%.
Under Utilized or With Mixed Reviews:
• O li C
Online Crowdfunding was reported t be th l
df di t d to b the least used over all and
t d ll d
only 4% of respondents found it effective, 25% found it somewhat
effective and 17% found it not effective.
25. WHAT ARE SPECIFIC ISSUES OR CHALLENGES YOU
FACE THAT CURRENT NETWORKS ARE UNABLE TO
RESPOND TO?
1) Funding –
By far the most frequently mentioned challenge was sustainable financial
support. Many respondents mentioned not having health care as a
specific financial concern and several respondents spoke about the
burden of applying for grants and meeting their administrative
requirements. Several respondents spoke about the misunderstanding of
their work and the reluctance of artists and funders to get involved in
work with a political/social justice dimension
dimension.
2) Network/Community –
The second most f frequently mentioned concern was a lack of a network
f
to turn to for advice, resource sharing and support.
26. WHAT ARE SPECIFIC ISSUES OR CHALLENGES YOU
FACE THAT CURRENT NETWORKS ARE UNABLE TO
RESPOND TO?
3) Lack of Time –
)
Several people mentioned not having adequate time and being
stretched too thin to accomplish all the necessary work.
4) Publicity/Promotion –
A number of respondents struggle with publicizing and promoting
their events especially when they often have to reframe their work
for various audiences.
Other
Shared rehearsal and performance space and shared legal
assistance.
27. SJAC IS GROWING. WHAT CAN WE COUNT ON YOU FOR?
• 26 respondents said they could offer resources to the collaborative or
its participants including –
• Leading workshops about food politics, environment animal and people
politics environment,
communities, the politics of transportation or the politics of the built
environment, etc.
• Resources from Arts & Democracy and NOCD-NY - not financial, but
materials, approaches workshops
materials approaches, workshops, and lessons learned
• Sharing information with social networks
• Collaborating on projects.
• Providing event/meeting space.
• 19 respondents said they could act as a potential host space for future
events
• 29 respondents are i
d interested i j i i the work group to f h
d in joining h k further
shape the collaborative
• 54 respondents said that they would be interested in participating in
future networking opportunities
28. WORK GROUP MEMBERS
Initial conveners are the Union Square Awards
Awards,
Maysles Institute, The Laundromat Project,
Lambent Foundation, NYFA Immigrant Artist Project,
Hip Hop
Hip-Hop Theater Festival, Global Action Project (GAP),
Bronx Academy of Arts and Dance (BAAD!), and
Art for Change.
They were joined in 2012 by the Lower Manhattan
Cultural Council (LMCC), Crown Heights Film Festival,
and artists Beatriz Gil, Leenda Bonilla, Elizabeth
Hamby,
Hamby Carlos Martinez, and Hatuey Ramos Fermin
Martinez Fermin.
29. APPENDIX A: WHAT TYPES OF ORGANIZATIONS OR
NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR
COMMUNITY?
50/50 in 2020 Columbia University
ACNY Community Services Society
Actors Equity Association Cooper Union
Astraea Foundation District C
Di t i t Committee f P ti i t
itt for Participatory B d ti
Budgeting
Barnard College Diversity Council at Kean University
Bella Abzug Leadership Institute Doors Youth
Betty Shabazz Center Ecology Station Brooklyn
BRIC Eldert Street Community Garden
Broadway Housing Communities Feminist Press
Bronx AIDS Services Flomenhaft Gallery
Fresh Ground Pepper
Bronx Artisan's Initiative
Gay Men's Chorus
y
Bronx Arts Group
Greenlight District El Puente
Bronx Council on the Arts
Groundswell Community Mural
Bronx Economic Development Harlem Arts Alliance
Bronx Non Profit Coalition Hendricks Martin Institute
Bronx P i
B Price HERE Arts Center
Brooklyn Food Conference Hispanic AIDS Forum
Brooklyn Friends Humans Rights Association
Campaign to End the Death Penalty Independent School Diversity Network
Catskills Heritage Alliance INSPIRIT
Jewish Genealogy Society
Center for Urban Pedagogy
Choral Consortium of NYC Slide 1 of 2
30. APPENDIX A: WHAT TYPES OF ORGANIZATIONS OR
NETWORKS ARE YOU CONNECTED TO WITHIN IN YOUR
COMMUNITY?
NOMAA Third Wave Foundation
Jewish Voice for Peace Northern Manhattan Coalition for
Justseeds United Palace for Cultural
Immigrant Rights
La Union Arts
Odyssey House
Lavender Light Voice Male Magazine
On the Issues Magazine
Leslie Lohman Museum of Park Slope Food Coop West End Collegiate Church
Gay Contemporary Art People's Institute for Survival West Village Society for
LIC Artists and Beyond Historic Preservation
Longwood Arts Ga e y
o g ood ts Gallery Pepatian Women of Color Policy y
Make the Road Pergones Theater Network
Man Up Campaign Pipeline Theater Company Women's Enews
Men Can Stop Rape Queer Urban Orchestra Word Up Bookstore
Mental Health Association of New Jersey SAG-AFTRA WOW Café Theater
Metropolitan Community Church
M t lit C it Ch h SAGE
Morris Jumel Mansion Social Justice High School
Motel Room Studios Bushwick Campus
Mothers on the Move Start Small Think Big
Mountain Keepers Studio 889
Mural Arts The DreamYard Project
National Council for Research on Women The Feminist Art Project
National Organization for The House of Spoof Collective
Men Against Sexism The LGBT Center
New Brooklyn Theater The New Jim Crow
New York Foundation for the Arts The Point CDC
NOCD-NY The Tank Slide 2 of 2
31. APPENDIX B: BRIEFLY DESCRIBE YOUR WORK AND HOW IT
BRIDGES ARTS AND SOCIAL JUSTICE.
“Working as an art therapist with under represented persons allows for communities
to be heard. Themes for the artwork includes communities perceptions (how they are
being seen and how they want to be seen) and advocacy. We exhibit artwork in the
community (e.g., pop up galleries, court buildings, and small shows amongst peers)
as a way to practice sharing their knowledge with others.”
“With each of our free programs, we strive to offer safe and creative platform for our
community members to share their voice and struggles. As a community they now have
struggles community,
a space where they can share with the world their own stories through the creation of
original social justice theatre that brings focus and attention to issues they are affected
by.”
“Work with "At-Risk-Young People" using art to build a connection between them and
their community. Created Intergenarational art programs where young people and
elders work together to create an art project, in a effort to close the gap between the
generations,
generations so that they can talk to each other Once they can hear and share what
other.
the other's needs are, we can begin to work towards removing the social illnesses
running through our communities.”
Slide 1 of 2
32. APPENDIX B: BRIEFLY DESCRIBE YOUR WORK AND HOW IT
BRIDGES ARTS AND SOCIAL JUSTICE.
“We give educators tools to engage in conversations about race with their students in
kindergarten through fifth grade. We use role-play to allow the participants to practice
what they would say if they were in certain real life scenarios.”
real-life scenarios
“The location and time of my media/performances is intended to intersect with
demographics that may be at that location at that time; I find people who might not be
culture vultures to be a more interesting viewer than the galleristas.”
“Social Practice, is the utilization of an artist's art form welded with an intellectual, research and
experiment based p
p production which seeks to make work that is relevant in the social realm.
Historically, I have vehemently asserted that artists need to regain their position at the forefront of
social, critical, and technological innovation, right alongside scientists and academics. I feel it is
critically important to reinvest our intellectual practice within the art realm, in order to dovetail the
innovation that art allows with the critically important aspects of the scientific and academic realms.
Without the innovation possible within the art mindset, science can be stifled by restrictive academic
dogma. Without the intellectual heft of science and academic importance, I feel art can be doomed to
social irrelevance. In this critical time in world history, without a concerted effort to unite innovators
across disciplines, I feel the incredibly complex issues and problems we are facing as a nation, as a
people, and as a planet will not be adequately addressed or properly and comprehensively solved.”
Slide 2 of 2