The document provides guidelines for applying to become a Commonwealth Speaker through the Pennsylvania Humanities Council. It describes the speaker program which provides presentations on humanities topics to non-profits around the state. Examples of past successful presentations covering topics such as Nancy Drew, American folk music, and American history are provided. The document outlines eligibility requirements, benefits of becoming a speaker, the application process and criteria for selection. It encourages readers to apply to join the speaker program.
Agici Finanza d’Impresa is a research and consulting firm specializing in utilities, infrastructures and energy efficiency.
Agici collaborates with companies, organizations, local and national/international governments, and other institutions to recommend policies and to implement projects aiming at creating value for specific firms or for entire countries.
Agici professionals gained experience and expertise in many private and public sectors including:
• Water, Waste, Power, and Gas Utilities;
• Renewables;
• Infrastructures;
• Internet/Broadband Networks;
• Energy efficiency
New york academy of medicine, center for urban epidemiologic studies develo...Varun Saini
In 1994, the Cartier Foundation moved to the Rive Gauche and opened a headquarters in a building designed for it by Jean Nouvel. Following the accidental death of Robert Hocq in December of that year, his sister, Brigitte Hocq, became chairman. Joseph Kanoui became vice president of Cartier Monde. The next year, a major exhibition of the Cartier Antique Collection was held in Asia. In 1996, the Lausanne Hermitage Foundation in Switzerland hosted the exhibition "Splendours of the Jewellery", presenting a hundred and fifty years of products by Cartier. As of 2012, Cartier is owned, through Richemont, by the South African Rupert family and 24 year-old who is the granddaughter of Pierre Cartier, Elle Pagels
Cultural Experience Report #1Top of FormHide Assignment Inform.docxdorishigh
Cultural Experience Report #1
Top of Form
Hide Assignment Information
Turnitin®
This assignment will be submitted to Turnitin®.
Instructions
Cultural Experience Field Report #1
For this assignment, you will visit a cultural venue from the instructions below, talk with someone at the venue, and write a short 500-800 word report about your visit.
Purpose
The purpose of this assignment is to introduce you to the process of engaging with the cultural venues and communities in your locality. This will inform you personally of art in your area and groups that support it.
Skills
This assignment will help you practice the following skills that will be useful to you in your professional and personal life beyond school.
1. Identify local cultural venues and inform you with deeper knowledge about the art form chosen.
2. Organize reflections about engaging with a cultural experience and community
3. Use concepts and skills learned in class to describe and interpret cultural experiences and communities
4. Use appropriate and proper grammar, organization, and academic-style formatting in order to communicate
Knowledge
This assignment will help you become familiar with the following important content knowledge in the Humanities.
1. Available local cultural venues and communities
2. Methods of interpretation within the Humanities
Instructions
For your report, attend one venue from this list.
· art museum or sculpture garden
· significant or notable architectural site (if there is explanatory material there to help you understand it)
· music concert
· dance performance
· other displays, museums, or performances may be acceptable. Check with your instructor for approval beforehand.
Restrictions: The experience should be done in person during the current semester. If this is impossible, contact the instructor to arrange for alternatives. You may not report on a cultural experience from prior to this class.
Write a report after your attendance at the event or visit to a site.
Your report should include the following information. Include photos or links that help convey the information. As always, be sure to document all sources you consult in preparing your work. This includes brochures from the site or websites that informed you about the particular venue you visited.
· Name and location of the museum, site, or performance event. If there is on-line information about the site or performance, be sure to include a link to it within the text of your essay in an appropriate place.
· Type of museum, site or event. For example is it a portrait or sculpture museum, a music concert, or dance performance? If you attended a performance, name the performer or the piece. Be specific about what you attended, when, and where.
· Name and/or general description of the person you spoke with at the venue, and their answer to this specific question, "How did you become involved with this place/event/organization etc.?"
· Briefly describe the general setting by talking a bit abo.
Due Date 1159 p.m. EST, Monday of Unit 8 Points .docxShiraPrater50
Due Date: 11:59 p.m. EST, Monday of Unit 8
Points: 100
Overview:
Music has long been used by movements seeking social change. In the 1950s and '60s, this was
particularly true, as successful black and white musicians openly addressed the issues of the day.
During the '60s, popular white singers such as Bob Dylan and Joan Baez lent both their names and
their musical talents to the American Civil Rights Movement. In fact, music long assisted those
working to win civil rights for African Americans. Freedom songs, often adapted from the music of the
black church, played an essential role in bolstering courage, inspiring participation, and fostering a
sense of community.
For your final project in this course, you will explore a special topic and artist in American Music that
is connected to American society and culture. Then you will create a PowerPoint presentation to
share with the class and exhibit what you have learned.
Submission Timelines:
The project will be broken up into three parts and spread out over the course of several units to help
you complete your project in stages. You will be graded on these assignments and receive feedback
from your instructor so you will be comfortable knowing that you are on the right track.
The timeline of assignments for the course project include:
• Instructor assigns each student a special topic at the beginning of Unit 2.
• Project Resources Assignment due by Sunday of Unit 3.
• Project Outline Assignment due by Sunday of Unit 5.
• Course Project due by 11:59 p.m. EST, Monday of Unit 8.
Instructions:
Your PowerPoint presentation should include the following:
• Background and explanation of your special topic.
• Brief background of your American musician/artist.
• The relationship your American musician/artist had to this special topic and the contributions
they have made.
• An explanation of how your American musician/artist connected to and influenced both music
and American society and culture.
Special Topics in American Music - Final Project
MUS320 - American Music
Requirements:
• Presentation must consist of 7-10 slides, with additional title and reference slides, all formatted
in accordance with the most current APA guidelines.
• Each slide will provide succinct points of the key information that you wish to convey.
• Use the Notes section to elaborate on the information presented in each slide. The Notes
section is your narrative for the presentation.
o Here is a tutorial on how to use speaker notes in PowerPoint. If you do not have a
LinkedIn Learning account (complimentary for Post students), refer to the Course
Information page for information on how to set it up so you can properly view this video.
• At least four (4) images - Two (2) related to your special topic and two (2) related to your artist.
• A video example from YouTube including music from your artist.
• Cite and reference at leas ...
Vocabulary RubricThe review of the supporting literature is.docxdickonsondorris
Vocabulary Rubric:
The review of the supporting literature is obvious in the development of an instructional plan designed to address best practices to teach vocabulary in your content area. The plan is exemplary in its focus and development.
All eight considerations identified in the assignment description were addressed, analyzed appropriately for best practices, and incorporated fully in the instructional plan.
Thesis and/or main claim is comprehensive; contained within the thesis is the essence of the paper. Thesis statement makes the purpose of the paper clear.
Clear and convincing argument that presents a persuasive claim in a unique and compelling manner. All sources are authoritative.
A broad understanding of APA format and style is evident in use of level headings and lists, for example.
In-text citations and a Reference Page are complete. The documentation of cited sources is error-free
Name___________________________________ As it is on the roll
Section Number__________________________________________
Assignment ESSAY
EVENT: ESSAY TEAMWORK
How would you define an Event? An event is a professional Fine art museum event or a quality performance as discussed in class or in your text. It could be attending an art museum of quality, a professional musical concert like what we study in Humanities, or a play on campus at Richland or a play off campus at a professional theatre, a Dance Performance at a college or a professional dance group at Richland College, or a professional dance company production at another college or a professional performance group in a city or in a community. Event Examples: High quality art museums, Theatrical events such as professional plays and some on college campuses (ask me in an email if it will work) Dance Recitals and concerts, Musical Concerts such as Richland College noon recitals on Tuesdays, Theatro Dallas, Concerts and the Symphony concerts in the Morton Meyerson Symphony Center. Also, the Operas in Dallas and in Ft. Worth, the Kimbell Art Museum, Nasher Sculpture Center Museum. SMU Meadows Museum, Richland College brings artists to campus ask me about these events. Fill out the Introductionabout the Event by answering questions and the Second Part which is the Body, about the event and its impact upon you, the individuals who you spoke with who attended the event and then wrap it up in your conclusion
The draft questions do not need to be turned in to the instructor. Turn in the ESSAY. You will notice that it is organized with an Introduction, Body and Conclusion. Include your bibliography at the end. You will want to take notes when you are discussing the event. Include the individuals’ reactions to the event in your body of your ESSAY. Write about how you f ...
Agici Finanza d’Impresa is a research and consulting firm specializing in utilities, infrastructures and energy efficiency.
Agici collaborates with companies, organizations, local and national/international governments, and other institutions to recommend policies and to implement projects aiming at creating value for specific firms or for entire countries.
Agici professionals gained experience and expertise in many private and public sectors including:
• Water, Waste, Power, and Gas Utilities;
• Renewables;
• Infrastructures;
• Internet/Broadband Networks;
• Energy efficiency
New york academy of medicine, center for urban epidemiologic studies develo...Varun Saini
In 1994, the Cartier Foundation moved to the Rive Gauche and opened a headquarters in a building designed for it by Jean Nouvel. Following the accidental death of Robert Hocq in December of that year, his sister, Brigitte Hocq, became chairman. Joseph Kanoui became vice president of Cartier Monde. The next year, a major exhibition of the Cartier Antique Collection was held in Asia. In 1996, the Lausanne Hermitage Foundation in Switzerland hosted the exhibition "Splendours of the Jewellery", presenting a hundred and fifty years of products by Cartier. As of 2012, Cartier is owned, through Richemont, by the South African Rupert family and 24 year-old who is the granddaughter of Pierre Cartier, Elle Pagels
Cultural Experience Report #1Top of FormHide Assignment Inform.docxdorishigh
Cultural Experience Report #1
Top of Form
Hide Assignment Information
Turnitin®
This assignment will be submitted to Turnitin®.
Instructions
Cultural Experience Field Report #1
For this assignment, you will visit a cultural venue from the instructions below, talk with someone at the venue, and write a short 500-800 word report about your visit.
Purpose
The purpose of this assignment is to introduce you to the process of engaging with the cultural venues and communities in your locality. This will inform you personally of art in your area and groups that support it.
Skills
This assignment will help you practice the following skills that will be useful to you in your professional and personal life beyond school.
1. Identify local cultural venues and inform you with deeper knowledge about the art form chosen.
2. Organize reflections about engaging with a cultural experience and community
3. Use concepts and skills learned in class to describe and interpret cultural experiences and communities
4. Use appropriate and proper grammar, organization, and academic-style formatting in order to communicate
Knowledge
This assignment will help you become familiar with the following important content knowledge in the Humanities.
1. Available local cultural venues and communities
2. Methods of interpretation within the Humanities
Instructions
For your report, attend one venue from this list.
· art museum or sculpture garden
· significant or notable architectural site (if there is explanatory material there to help you understand it)
· music concert
· dance performance
· other displays, museums, or performances may be acceptable. Check with your instructor for approval beforehand.
Restrictions: The experience should be done in person during the current semester. If this is impossible, contact the instructor to arrange for alternatives. You may not report on a cultural experience from prior to this class.
Write a report after your attendance at the event or visit to a site.
Your report should include the following information. Include photos or links that help convey the information. As always, be sure to document all sources you consult in preparing your work. This includes brochures from the site or websites that informed you about the particular venue you visited.
· Name and location of the museum, site, or performance event. If there is on-line information about the site or performance, be sure to include a link to it within the text of your essay in an appropriate place.
· Type of museum, site or event. For example is it a portrait or sculpture museum, a music concert, or dance performance? If you attended a performance, name the performer or the piece. Be specific about what you attended, when, and where.
· Name and/or general description of the person you spoke with at the venue, and their answer to this specific question, "How did you become involved with this place/event/organization etc.?"
· Briefly describe the general setting by talking a bit abo.
Due Date 1159 p.m. EST, Monday of Unit 8 Points .docxShiraPrater50
Due Date: 11:59 p.m. EST, Monday of Unit 8
Points: 100
Overview:
Music has long been used by movements seeking social change. In the 1950s and '60s, this was
particularly true, as successful black and white musicians openly addressed the issues of the day.
During the '60s, popular white singers such as Bob Dylan and Joan Baez lent both their names and
their musical talents to the American Civil Rights Movement. In fact, music long assisted those
working to win civil rights for African Americans. Freedom songs, often adapted from the music of the
black church, played an essential role in bolstering courage, inspiring participation, and fostering a
sense of community.
For your final project in this course, you will explore a special topic and artist in American Music that
is connected to American society and culture. Then you will create a PowerPoint presentation to
share with the class and exhibit what you have learned.
Submission Timelines:
The project will be broken up into three parts and spread out over the course of several units to help
you complete your project in stages. You will be graded on these assignments and receive feedback
from your instructor so you will be comfortable knowing that you are on the right track.
The timeline of assignments for the course project include:
• Instructor assigns each student a special topic at the beginning of Unit 2.
• Project Resources Assignment due by Sunday of Unit 3.
• Project Outline Assignment due by Sunday of Unit 5.
• Course Project due by 11:59 p.m. EST, Monday of Unit 8.
Instructions:
Your PowerPoint presentation should include the following:
• Background and explanation of your special topic.
• Brief background of your American musician/artist.
• The relationship your American musician/artist had to this special topic and the contributions
they have made.
• An explanation of how your American musician/artist connected to and influenced both music
and American society and culture.
Special Topics in American Music - Final Project
MUS320 - American Music
Requirements:
• Presentation must consist of 7-10 slides, with additional title and reference slides, all formatted
in accordance with the most current APA guidelines.
• Each slide will provide succinct points of the key information that you wish to convey.
• Use the Notes section to elaborate on the information presented in each slide. The Notes
section is your narrative for the presentation.
o Here is a tutorial on how to use speaker notes in PowerPoint. If you do not have a
LinkedIn Learning account (complimentary for Post students), refer to the Course
Information page for information on how to set it up so you can properly view this video.
• At least four (4) images - Two (2) related to your special topic and two (2) related to your artist.
• A video example from YouTube including music from your artist.
• Cite and reference at leas ...
Vocabulary RubricThe review of the supporting literature is.docxdickonsondorris
Vocabulary Rubric:
The review of the supporting literature is obvious in the development of an instructional plan designed to address best practices to teach vocabulary in your content area. The plan is exemplary in its focus and development.
All eight considerations identified in the assignment description were addressed, analyzed appropriately for best practices, and incorporated fully in the instructional plan.
Thesis and/or main claim is comprehensive; contained within the thesis is the essence of the paper. Thesis statement makes the purpose of the paper clear.
Clear and convincing argument that presents a persuasive claim in a unique and compelling manner. All sources are authoritative.
A broad understanding of APA format and style is evident in use of level headings and lists, for example.
In-text citations and a Reference Page are complete. The documentation of cited sources is error-free
Name___________________________________ As it is on the roll
Section Number__________________________________________
Assignment ESSAY
EVENT: ESSAY TEAMWORK
How would you define an Event? An event is a professional Fine art museum event or a quality performance as discussed in class or in your text. It could be attending an art museum of quality, a professional musical concert like what we study in Humanities, or a play on campus at Richland or a play off campus at a professional theatre, a Dance Performance at a college or a professional dance group at Richland College, or a professional dance company production at another college or a professional performance group in a city or in a community. Event Examples: High quality art museums, Theatrical events such as professional plays and some on college campuses (ask me in an email if it will work) Dance Recitals and concerts, Musical Concerts such as Richland College noon recitals on Tuesdays, Theatro Dallas, Concerts and the Symphony concerts in the Morton Meyerson Symphony Center. Also, the Operas in Dallas and in Ft. Worth, the Kimbell Art Museum, Nasher Sculpture Center Museum. SMU Meadows Museum, Richland College brings artists to campus ask me about these events. Fill out the Introductionabout the Event by answering questions and the Second Part which is the Body, about the event and its impact upon you, the individuals who you spoke with who attended the event and then wrap it up in your conclusion
The draft questions do not need to be turned in to the instructor. Turn in the ESSAY. You will notice that it is organized with an Introduction, Body and Conclusion. Include your bibliography at the end. You will want to take notes when you are discussing the event. Include the individuals’ reactions to the event in your body of your ESSAY. Write about how you f ...
Read the complete description of the Oral History Interview Final Pa.docxtawnan2hsurra
Read the complete description of the Oral History Interview Final Paper due in this class. Here in Week Four, you must submit a draft of this paper. The draft should include an introduction, thesis, the information you provided in the Interview Description you submitted in Week Two, and be at least three to five pages in length (plus a title page and a reference page) at this time. The draft must utilize the course text and at least three scholarly sources, at least one of which you obtained from preliminary research in the Ashford University Library. The draft must be in paragraph form, properly formatted in APA style, and include an updated reference list of sources you intend to use in the final paper.
Final Paper: Oral History Interview Paper
Throughout the course, you will be exploring various aspects of culture and intercultural communications. Your final assignment in this course will be to
conduct an extensive oral history interview with a person who is somewhat older than you and from a culture or subgroup that you are not a member of.
This person can be a relative or acquaintance who is from a different generation. It can be someone who immigrated to this country either recently or some time ago. Or, it can be someone who belongs to a different subgroup from you and whose cultural experiences you believe would be very different from your own. Obtain permission from the person you are interviewing to record the conversation (either an audio or a video and audio recording) or to take handwritten notes during the interview.
Your overarching goals during the oral history interview are as follows:
To learn more about the culture and subcultures to which your interview subject belongs.
To determine what issues they encountered in terms of intercultural communications.
To relate concepts you have studied in this course to the experiences of this person.
After you have conducted the interview, review your recording or your notes and write a six- to eight-page paper (excluding a title page and a reference page), in which you discuss aspects of this person's culture and/or subcultures and communication issues related to his or her cultural identity. In the paper, you must also include the following:
The name of the person and his or her relationship to you.
The interview subject's cultural background and the culture and/or subcultures to which he or she belongs.
At least six questions from the following list. You may add additional questions or other questions not on this list, if you wish. Remember, though, that the focus of your paper must be on intercultural communication issues.
How far back in time can the person remember? What is his or her first childhood memory? (Consider how it reflects the interview subject's culture or subculture?)
What does the person remember of the experience of being an immigrant or a subgroup member in that time?
Which impressions or experiences from that time are most vivid to him or her today?
If he or sh.
Draft of Final Paper··Read the complete description of t.docxemersonpearline
Draft of Final Paper
·
·
Read the complete description of the Oral History Interview Final Paper due in this class. Here in Week Four, you must submit a draft of this paper. The draft should include an introduction, thesis, the information you provided in the Interview Description you submitted in Week Two, and be at least three to five pages in length (plus a title page and a reference page) at this time. The draft must utilize the course text and at least three scholarly sources, at least one of which you obtained from preliminary research in the Ashford University Library. The draft must be in paragraph form, properly formatted in APA style, and include an updated reference list of sources you intend to use in the final paper.
Final Paper: Oral History Interview Paper
Throughout the course, you will be exploring various aspects of culture and intercultural communications. Your final assignment in this course will be to
conduct an extensive oral history interview with a person who is somewhat older than you and from a culture or subgroup that you are not a member of.
This person can be a relative or acquaintance who is from a different generation. It can be someone who immigrated to this country either recently or some time ago. Or, it can be someone who belongs to a different subgroup from you and whose cultural experiences you believe would be very different from your own. Obtain permission from the person you are interviewing to record the conversation (either an audio or a video and audio recording) or to take handwritten notes during the interview.
Your overarching goals during the oral history interview are as follows:
1.
To learn more about the culture and subcultures to which your interview subject belongs.
2.
To determine what issues they encountered in terms of intercultural communications.
3.
To relate concepts you have studied in this course to the experiences of this person.
After you have conducted the interview, review your recording or your notes and write a six- to eight-page paper (excluding a title page and a reference page), in which you discuss aspects of this person's culture and/or subcultures and communication issues related to his or her cultural identity. In the paper, you must also include the following:
1.
The name of the person and his or her relationship to you.
2.
The interview subject's cultural background and the culture and/or subcultures to which he or she belongs.
3.
At least six questions from the following list. You may add additional questions or other questions not on this list, if you wish. Remember, though, that the focus of your paper must be on intercultural communication issues.
·
How far back in time can the person remember? What is his or her first childhood memory? (Consider how it reflects the interview subject's culture or subculture?)
·
What does the person remember of the experience of being an immigrant or a subgroup member in that time?
·
Which impressions or experiences f.
You must complete an Electronic Presentation on Black Culture.docxdavezstarr61655
You must complete an
Electronic Presentation on Black Culture
. You will select and present on the significances of two works of black culture. The first work you select must be a work of African-American literature, poetry, music, fashion, dance, or some other cultural art form that was created and/or popularized by an
African American
during the time periods of the Harlem and Chicago Renaissances (1917-1949). Your second work of black culture must have been created and/or popularized by a black person (but not necessarily an African American) within YOUR lifetime. For example, if you were born in 1999, your second cultural selection needs to have been created by a black person between 1999 and the present. The two works you select to present do not have to share a cultural form (i.e. one work can be a poem and the other can be a song; one work can be a painting and the other can be a fashion trend). Nor do the two works have to share a particular theme. You may choose to do a compare-and-contrast type presentation. But, you do not have to. In presenting the works, you will need to provide background information on your chosen works (i.e. when where the works created; who created them or made them famous; and, what impact did the works have on the cultural landscape when and since they first appeared?). You will also have to briefly explain why you made those particular selections, and explain what you think each work tells people about the ways in which African-American/Black culture and experiences remained congruent and/or changed from the eras of the Harlem and Chicago Renaissances to the modern era. Moreover, your Electronic Presentation on Black Culture must be creative in both style and substance.
Your Electronic Presentation should have a run time of 7-10 minutes.
And, it must contain both audio and visual components.
When delivering your Electronic Presentation, you will serve as the professor for the class. So, give a Presentation that your temporary students (i.e. your classmates and Dr. Brown) will find to be both impressive and informative. The more creative, interesting, organized, and informative your Presentation is, the higher your grade will be. If your Presentation is disorganized, bland, lacks imagination, or does little more than echo information and ideas that have already been presented through the course texts, media, and PowerPoint lectures, you should not expect to earn a stellar grade on it.
Your presentation should add information, details, and/or perspectives that we did not cover in class. As such, I strongly recommend that you research and select cultural works that we did not discuss in class. In other words, avoid selecting a poem by Langston Hughes or a song we covered in class. Be more creative. Do more research. And, you should use and cite outside sources for the Electronic Presentation.
(See page 15 for the Electronic Presentation on Black Culture Grading Rubric.) You wil.
GGH110 Assignment #2
Park University
Fall 2015
Exploring the “Core Components” of Culture Groups:
For this activity, you will use the Ethnologue website (www.ethnologue.com) and the Adherents website (www.adherents.com) in order to explore the two major “core components” (i.e., language and religion) of the cultures found in the place you have chosen to research this semester. Although some of the data in these resources may be relatively "old" (which really just illustrates the great need for current and sustained research in support of these languages and religions), together they represent perhaps the most comprehensive collection of information about the “core components” of the distinctive culture groups found throughout the world today.
As we have recently discussed in this course, language is often used as the most important "defining trait" of many culture groups and the primary means by which they are identified. Thus, exploring the linguistic diversity within a place is arguably the primary starting point for gaining a sense of its cultural diversity. In addition, understanding what the status is of the languages that are spoken in a place is significant because, as the Ethnologue states, “Since language is closely linked to culture, loss of language almost always is accompanied by social and cultural disruptions as well.” Finally, studying the languages of a place through a geolinguistics approach can also reveal a great deal about where a group of people came from and with whom they have been in contact. Therefore, most of this assignment will focus on finding information from Ethnologue.
Before you begin this assignment, you should take some time to become familiar with the array of information that is presented for each country and its languages on the Ethnologue website. A simple way of doing this is by going to its listing for the United States at the country index page: http://www.ethnologue.com/country_index.asp. Can you find all of the answers to the following questions?
· How many total languages are given for the United States?
· How many languages are classified as “living”? How many are “nearly extinct”? What seems to be the basis for classifying a language as nearly extinct?
· Does the U.S. have an “official language”? If so, what is it?
· What is the language family/branch/group classification for each language?
· What is the number of people who can speak each one? Where are these speakers primarily located?
· What other linguistic trends and patterns catch your attention? Notice that you can also see language maps that show where the people who speak these languages live.
Now, go back to the county index page and find the page for the country you have chosen to study for this class. Create a PowerPoint presentation that includes the following content:
1) Slide #1:
a. Name of the country/place you are studying
b. Go to the CIA World Factbook page for the place you are studying and gather and re.
This assignment continues discussion of rhetorical choices. Jodie GrazynaBroyles24
This assignment continues discussion of rhetorical choices. Jodie Nicotra, author of Becoming Rhetorical (2019) states, “all of us work to craft a persona for ourselves to help us appeal to specific groups and gain social standing” (p. 22). The term often used for the choices we make is personal branding. For this assignment, you will write an essay describing and analyzing the rhetorical choices you make.
Content and format requirements
Content: For this essay, discuss choices you make regarding at least two of the following:
· Your appearance (clothing, hair, body art, makeup, accessories, and so forth)
· Your living space (décor, furniture, tidiness/cleanliness, and so forth)
· Your social media activities (“about” information, photos, posting, commenting, and so forth)
· Your shopping choices (where you shop and the products you buy)
· Your behavior in different social groups (family, friends, work, classes, older people, younger people, and so forth)
Format:
· Standard essay format of introduction, body, and conclusion. Think of the five-paragraph essay model, though you are not restricted to five paragraphs. You may use more, if necessary, but keep the length in mind – 250 -500 words.
· Your introduction should include a thesis statement that expresses the main point of your rhetorical choices.
· Photos, screenshots, and other visual aids are optional for this assignment.
· Format the assignment in basic APA Style: APA 7 Template
Organization requirements
· Ideas are presented in a logical, sequential order
· Transitions link ideas within and between paragraphs to unify the discussion
Source/Support requirements
· Use of sources: For this essay, use of sources is optional. However, if source ideas are incorporated (this includes the textbook, Becoming Rhetorical, then APA in-text and APA reference citation required
· Provide adequate and appropriate evidence (examples, descriptions) to support the discussion
Technical requirements
· Use standard conventions of English: punctuation, capitalization, complete sentences
· Spellcheck and proofread before submitting
Assignment Standard 1.05 from the NASW Code of Ethics Cultural Awareness
Post a response to the following:
· Briefly identify and describe your culture.
· Describe your first memory of a cultural difference.
· Explain the information a social worker would need to know about an individual’s or family’s culture in order to effectively deliver services to them.
· Describe potential consequences of a lack of cultural awareness on the social worker’s part.
Requirement in the assignment
To prepare assignment
· Consider the different aspects of culture such as: language, communication style, art, customs/traditions (e.g., holidays, weddings, funerals), values, stories, religion, food, social habits (e.g., eye contact, how close one stands, how one greets or says “good”), gender roles, clothing, music.
· Reflect on the first time you remember someone else display ...
Music has long been used by movements seeking social change. In the.docxssuserf9c51d
Music has long been used by movements seeking social change. In the 1950s and '60s, this was particularly true, as successful black and white musicians openly addressed the issues of the day. During the '60s, popular white singers, such as Bob Dylan and Joan Baez, lent both their names and their musical talents to the American Civil Rights Movement. In fact, music long assisted those working to win civil rights for African Americans. Freedom songs, often adapted from the music of the black church, played an essential role in bolstering courage, inspiring participation, and fostering a sense of community.
Instructions:
Your PowerPoint presentation should include the following:
• Background and explanation of your special topic.
• Brief background of your American musician/artist.
• The relationship your American musician/artist had to this special topic and the contributions
they have made.
• An explanation of how your American musician/artist connected to and influenced both music
and American society and culture.
Special Topics in American Music - Final Project
MUS320 - American Music
Requirements:
• Presentation must consist of 7-10 slides, with additional title and reference slides, all formatted
in accordance with the most current APA guidelines.
• Each slide will provide succinct points of the key information that you wish to convey.
• Use the Notes section to elaborate on the information presented in each slide. The Notes section is your narrative for the presentation. Here is a tutorial on how to use speaker notes in PowerPoint. If you do not have a LinkedIn Learning account (complimentary for Post students), refer to the Course Information page for information on how to set it up so you can properly view this video.
• At least four (4) images - Two (2) related to your special topic and two (2) related to your artist.
• A video example from YouTube including music from your artist.
• Cite and reference at least three (3) scholarly sources. One of these sources may be your textbook.
.
Written Evidence of Cultural Immersion Paper DEAF CULTUREWrit.docxjeffevans62972
Written Evidence of Cultural Immersion Paper: DEAF CULTURE
Write 1-2 pages reflecting your interview. Which culture did you chose? Who did you interview? Where was the interview held? What did they tell you? (The culture chosen is the Deaf culture.
Write 5-7 pages discussing the culture itself, your experience in the culture, and your reactions to it. Ensure that you include the following:
A) Characteristics and Strengths
B) Family Structure
C) Cultural and Spiritual Values
D) Specific Challenges
E) Expectations Regarding Counseling
F) Reflection of Your Experience & Implications for Working with this population
Your paper should include at least 3 scholarly resources. APA format.
Attached are the rubric, Interview questions and answers, the PowerPoint that I turned in already about the Deaf culture, and the project directions of all parts (I completed parts I, II, and IV already). The directions are attached just so that you have an idea of the whole project. This bid is for Part III.
.
Running head: Research Paper
1
SHORT TITLE OF PAPER
2Disability Research Paper Krystal
MunozEEC2271
October 10, 2019
Dorothy KofflerDisability research Paper (Hearing IMP)
Begin your paper here. Double space the entire document. Be sure to indent the first line of each paragraph between five and seven spaces by pressing the Tab key one time on the keyboard. This section should include a detailed definition of the disorder and etiology.
Happy writing! EVERY PAPER SHOULD HAVE AN INTRODUCTION AND CONCLUSION!!!
Symptoms and Characteristics
This section includes thorough information of the symptoms and characteristics associated with the disorder. The heading must be in bold font.
Historical Aspects
This section includes a detailed description of the historical aspects of the disability. How were people with this particular disability looked upon throughout history? How are they perceived today? The heading must be in bold font.
Awareness Discussion
This section provides a detailed discussion on educational implications. Where are children with this particular disability most likely to be educated? The discussion must include children B-8 years of age. What are the laws protecting children and guaranteeing them an education? The heading must be in bold font.
Instruction
This section provides a detailed discussion of the instructional practices that would be used in the classroom. What changes to materials or classroom would need to occur? What teaching strategies should the teacher use? The heading must be in bold font.
Educational Neuroscience
This section provides a detailed discussion of the educational neuroscience perspective on the disability. Educational neuroscience looks at how our understanding of the human brain can affect the curricular, instructional and assessment decisions that teachers make every day. What research has given educators an opportunity to reflect on teaching strategies that can have an impact on their educational practices?
**All papers have a conclusion. This section does not have a subheading.**
References
This is a hanging indent. To keep the hanging indent format, simply delete this line of text using the backspace key, and replace the information with your reference entry.
Cleckley, B. (1997). Strategies for promoting pluralism in education and the workplace. Westport, CT: Praeger
Lunsford, A. A. (2009). The everyday writer (4th ed.). Boston, MA: Bedford/St. Martin‘s.
A book with one author could be formatted in any of the following ways:
In-Text Citation
Sample 1 According to Lunsford (2009), new writing spaces created by technology require the writer to focus on the audience and on the writing purpose more than ever before.
Sample 2 Writers today have many writing spaces created from new technologies that influence how writers approach a rhetorical situation (Lunsford, 2009).
Sample 3 Lunsford (2009) stated, ―Today, perhaps more than ever before, everyone can be a.
2. Examples of Presentations
in the Humanities
Our Speakers offer presentations on a range of popular
humanities topics. PHC seeks presentations that go
beyond the traditional lecture/Q&A format. The following
are examples of successful 2010-2011 presentations.
The (R)Evolution of Nancy Drew, by Wilson College
Professor Michael Cornelius, examines the history of the
most famous juvenile detective character of all time and
her impact on American popular culture.
Can't Tell a Lie, Peach Cobbler Pie!, by African American
Storyteller Linda Goss, includes oral histories, family narratives,
folktales, legends and play-party songs from the African
American tradition.
Thaddeus Stevens: The Politics of Freedom, by Living
History Interpreter Steven Anderson, uses classic American
storytelling, excerpts from historical speeches and fiery
discussion to shed new light on Thaddeus Stevens.
Sevdalinka: A Musical Tour of Bosnia, by Folk Musician
Mensura Berberovic, takes participants through the life of
a Bosnian from cradle to grave—all through folk song.
For additional examples, see our full roster of
Speakers at www.pahumanities.org.
Commonwealth Speakers
The Commonwealth Speakers program provides free
humanities presenters for arts centers, public libraries,
senior centers, historical societies and other nonprofits
around the state and is designed to bring the community
together to share a life of learning. Commonwealth
Speakers is a program of the Pennsylvania Humanities
Council, an independent nonprofit that supports arts and
heritage programs throughout Pennsylvania.
Call for Applications
Audience members call the Commonwealth Speakers pro-
gram “utterly charming, entertaining and educational.”
One at the Montgomery-Norristown Public Library said, “I
learned a lot without even realizing it... because I was
having so much fun!”
You can become a part of this experience. Apply now
to become a Commonwealth Speaker!
Warren Hoffman presents Blacks and Jews on Stage and Screen.
2012–13 Call for Speakers
Commonwealth Speakers
To apply to the Speaker’s program, please complete the application form on pages 3 and 4.
Please type or print all responses. Applications must be postmarked by February 21, 2011.
Mail to PHC, 325 Chestnut Street, Suite 715, Philadelphia PA 19106,
Attention: CWS Applications.
3. Eligibility Requirements
To apply to the 2012-13 season, prospective
Speakers must:
• Be available to present from January 1, 2012 through
December 31, 2013
• Be able to offer the presentation anywhere in Pennsylvania
• Permanently reside or be employed full-time in Pennsylvania
Benefits to Speakers
Speakers Receive:
• $300 honorarium per presentation, as well as full
reimbursement for all travel expenses
• Consideration for PHC’s new television series
Humanities on the Road, which showcases
Speakers and reaches 3.3 million viewers
• State-wide recognition for your expertise
• Opportunity to feed the intellectual curiosity of life-long
learners and to learn from their shared experience
Selection Criteria
The Speaker selection process is competitive. A panel
of leaders and peers from the arts and heritage communi-
ty reviews all applications and evaluates them for the
following criteria:
• Strong humanities content that articulates overarching
themes and questions
• Solid credentials, authority on the subject and passion
for the topic
• Ability to engage diverse audiences, encourage exploration
and provide an enjoyable learning experience
Clockwise: Charles Pettaway presents
The Black Mozart: Joseph Boulogna
Chevalier de Saint-Georges, Francisco
Javier Hernandez Carbajal presents
Mexican Identity in the XXI Century,
Paula Purnell presents Celebrate
Pennsylvania! A History in Story and
Song and Anna Drozdowski presents
Ballet: From Studio to Stage.
What are the humanities? Disciplines of the liberal arts
are often cited when the humanities are defined—history,
literature, philosophy, the history and criticism of the arts,
folklore, comparative religion, etc. What is essential to
these fields of knowledge is a special approach to under-
standing the human experience based on reflection and
dialogue. This approach is at the core of the humanities.
An important goal of humanities programming is to inspire
discussion and to encourage a better understanding of
ourselves and others, past and present.
2
4. 2012–13 Application Form: 1 of 2
Name _____________________________________________________________________________________________
Please provide both home and work addresses. Check the box next to your preferred mailing address.
Home Address Street ______________________________________________________________________________
City ____________________________________ State ____________ Zip _____________________
Phone (______)___________________________ E-mail _____________________________________
Work Address Organization _________________________________________________________________________
Street ______________________________________________________________________________
City ____________________________________ State ____________ Zip _____________________
Phone (______)___________________________ E-mail _____________________________________
If Applicable: Cell Phone (______)______________________ Website __________________________________
Please fill in check box to receive information via email on PHC programs and activities.
Preferred e-mail address ___________________________________________________________
Your presentation falls into the following categories: (select all that apply)
Family/Younger Audience presentation Hands-on/Active Participatory presentation
Lecture/Discussion presentation Performance/Discussion presentation
Please list any materials or equipment that will be used during the presentation (e.g., LCD projector, musical instrument,
artifacts, PowerPoint, video, etc.) ________________________________________________________________________
___________________________________________________________________________________________________
How did you hear about this opportunity? ______________________________________________________________
Supplemental Application Materials
In addition to pages 3 and 4 of these guidelines, please complete and submit the following in the order below.
Note: applications that are incomplete or do not comply with these guidelines will be returned without review.
Presentation Title & Description: Applicants can apply for one presentation only. On a separate sheet, indicate
your presentation title and description. Titles of seven words or less are highly preferred. Include a detailed description of
no more than 500 words that explains the content of your talk (what you plan to present), the format of your talk (how you
plan to present it) and your plan for engaging the audience.
Personal Statement: On a separate single-sided sheet explain why you want to be a Speaker. Describe your personal
journey to the subject, your experience as a public presenter or educator, as well as the expertise you bring to the topic.
Commonwealth Speakers
3
5. Resume, C. V. or Performance Bio: Include no more than two pages that highlight your expertise related to your
proposed presentation. Also include information that speaks to your ability as a presenter and/or your familiarity with
educating public audiences (e.g., teaching awards, media interviews, museum talks, etc.) Note: Additional pages
will be discarded.
Work Sample: If your presentation includes a PERFORMANCE element, you are required to include two copies of
a recent (within the last five years) performance on CD-Rom or DVD*. You may submit an additional sample related
to your presentation. Each sample should be five minutes in length or less (two copies per sample).
If your presentation is NOT performance-based, you are required to include two copies of: EITHER a CD-Rom or
DVD* of a recent (within the last five years) public speaking engagement OR a recent writing sample (no more than
three pages) which demonstrates expertise in your subject (e.g., excerpt from a published article). Include two sets
of the sample. Note: additional pages will be discarded.
On a separate sheet, include a description of the work sample with your name, title of
the work, date and location of the performance or speaking engagement and any other
relevant technical information. If including a writing sample, include the date and place
of publication.
Enclose a self addressed stamped envelope for work samples you would like returned to you.
*Some DVDs or CDs may not be compatible with our equipment. All DVDs or CDs must
be “playable” in a standard DVD player (in addition to the computer).
Postmark deadline is February 21, 2011.
2012–13 Application Form: 2 of 2
Clockwise: Steven Anderson presents Thaddeus Stevens: The
Politics of Freedom, Susan Leviton presents The Art of Jewish
Papercutting and Tom Breiding presents Steeltowns, Coalfields
and the Unbroken Circle.
4
6. Angela Watson presents Healing African Dance.
ConstitutionPlace
325ChestnutStreet,Suite715
Philadelphia,PA19106-2607
Phone:215-925-1005
TollFree:800-462-0442(inPA)
Fax:215-925-3054
E-mail:commonwealthspeakers@pahumanities.org
www.pahumanities.org
Become a Commonwealth Speaker
Current and past Speakers include poet laureates, orchestra
conductors, folk artists, award-winning journalists, professional
storytellers, published authors, distinguished academics, living
history interpreters and arts/museum educators. You could be
next — join our ranks!
How to Apply:
Review these guidelines and application materials.
Submit an application. PHC recommends that applications be
sent by certified mail, return receipt requested. PHC is not
responsible for applications that are lost or damaged in the
mail. The postmark deadline is February 21, 2011. We will
not accept applications that are incomplete or postmarked
after the deadline.
Notification letters will be sent to all applicants in June 2011.
For more information, visit www.pahumanities.org,
e-mail commonwealthspeakers@pahumanities.org or
call 800-462-0442.
7.
8. Introduction
Humanities Grants fund public programs that promote lifelong learning among Pennsylvanians from all walks of life.
The goals of this grants program are to:
• Expand access to the humanities by funding innovative programming that reaches non-traditional audiences
• Support experiences that foster an enjoyment of learning
• Create opportunities for Pennsylvanians to explore and discuss history, arts, literature, philosophy and more—
and particularly how the ideas integral to these fields both shape and are shaped by the human experience
HumanitiesGrants 2007- 08
Guidelines and Application Form
(Left to right)
From Kindertransport, a dance tribute
to child survivors of the Holocaust.
Presented by The Children’s Cultural
Center in Bucks County.
From Our Barns, a learning center
equipped with photographs and historical
information on barns in Clifford Township.
Presented as part of the Clifford Township
Bicentennial.
From If My Eyes Speak–Photographs by
Adam Nadel. An exhibition comprised of
photographic portraits of individuals who
have been affected by or have perpetrated
acts of genocide in Bosnia, Darfur and
Rwanda. Presented by the American
Jewish Museum in Pittsburgh.
New Large Grant Deadlines:
July 1st for Intent to Apply Forms & September 1st for Invited Applications. See page 4.
Projects funded by Humanities Grants:
• Are designed for members of the general public
• Have a strong and clearly articulated humanities content
• Engage individuals in humanities-based discussions as a way to learn
from others
• Explore meaningful and relevant issues in an open-ended manner
• Place humanities scholars or experts and, where appropriate, artists and
other experts, in a central role in planning and presenting programs
• Give community members a significant role in planning and shaping
the project
• Are new or special projects. Or are ongoing projects that require
Humanities Grant funds to add a new humanities component or to
reach a new audience
PHC Pennsylvania
Humanities
Council
9. THE HUMANITIES are stories of human struggle and success, conflict and
community, rooted in history, literature and other fields of knowledge.
They are ways to think critically about our most meaningful journeys: the
search through experience for wisdom, and the search through personal
life for connections to the lives of others around us, to those who have
gone before us, and those who will come after us. Besides history and
literature, humanities fields include philosophy, the history and criticism of
the arts, comparative religion and others.
The Humanities in Public Programming
The humanities are an excellent resource for engaging people in learning. With Humanities Grants, organizations can
enrich Pennsylvanians’ understanding of the human experience. The humanities provide historical, critical or personal
contexts and help participants analyze and interpret ideas, themes and questions raised by a program.
Examples of Humanities Programming:
• Women in the Civil War: What roles did diverse women play during the war—on the home front as well as
the battlefield? How did their backgrounds influence the kinds of roles they took? How did the war reshape
conventional gender roles? How do their roles compare to those of women today?
• Contemporary Indian art: How do contemporary Indian artists integrate India’s cultural traditions with
contemporary media and methods? How do they address issues concerning India’s rise as a political and
economic power? How does their work express the upheavals caused by global popular culture’s impact on
ancient culture and traditions?
• Urban neighborhoods: How do neighborhoods change over time? What places and institutions are important
landmarks in these communities? How have new groups of residents transformed the landscape? What
memories shape a neighborhood’s identity? What associations connect neighborhoods to communities in
other parts of the nation and the world?
Projects funded by Humanities Grants involve humanities experts in planning and presenting a public program. PHC
defines a “humanities expert” as someone with a graduate degree in a humanities field and/or someone who has
done extensive humanities-oriented research or has other interpretive experience. Artists can serve as humanities
experts if their bios or resumes demonstrate their expertise in the humanities, e.g., through publications or work
experience. Artists are involved in programs where the arts play a major role.
2
Some humanities programs that organizations can sponsor include:
• A discussion group in which participants examine a book or film with a
scholar
• Workshops, walking tours, panel discussions or lectures accompanying
an exhibit or performance
• Discussion sessions about personal stories and their significance
which then form the basis of an original work of art such as a play
• Craft demonstrations integrating conversations about the craft and its
relation to cultural traditions or historical themes
10. Eligibility
Eligible applicants include:
• 501(c)(3) organizations and local and state governmental agencies
that are conducting activities in Pennsylvania
• Ad hoc groups formed for the specific purpose of this project
• Colleges and universities proposing public programs that involve the
community in planning, execution and participation, and that will
attract the general public in addition to a campus audience
The following are not eligible:
• Individuals
• For-profit businesses
• Organizations that have received three or more years of PHC funding
for any one project or series of projects
3
NOTE ON LOCAL HISTORY PROJECTS
At the core of humanities programs are the
exploration and exchange of diverse ideas
and perspectives which help us understand
our experiences and also those of other
peoples. Projects that are primarily concerned
with conveying historical information or
which appeal principally to an institution’s
membership are not supported by PHC.
Note: For high-quality Pennsylvania history
projects—which do not involve the
humanities—please contact the Pennsylvania
Historical and Museum Commission.
Information on PHMC grants is available at
www.phmc.state.pa.us.
PHC invites proposals that explore significant
events and themes in American history. We
are committed to keeping the stories of our
nation alive so that, together, we can create
a hopeful future. PHC is particularly
interested in projects that reflect on stories
from American history that have urgent
importance for our lives today and are critical
to our future as a people. Projects should
illuminate current concerns, advance
knowledge of the American experience and
express diverse perspectives. History
projects may be funded in part by the
National Endowment for the Humanities as
part of its We the People initiative on
American history.
(All pictures)
From Once Upon A Nation
which places trained storytellers
at sites across Philadelphia’s
historic district. Visitors are
provided with free and inter-
active stories about diverse
Americans from the 17th, 18th
and 19th centuries. Presented
by Historic Philadelphia.
11. Types of Humanities Grants
• DEADLINE: Rolling, but must be received at least 8 weeks before project start date.
• One application per year may be submitted.
• DEADLINE: Rolling, but must be received at least 12 weeks before the project start date.
• More than one application per year may be submitted.
• Supplemental funds from PHC, for up to $6,000, may be available through Gift-and-Matching. See page 7.
• NEW POSTMARK DEADLINES: July 1 for Intent-to-Apply forms. September 1 for invited applications. For projects that
begin no earlier than February 1.
• More than one Intent-to-Apply form may be submitted per year with prior permission from PHC. One invited
application may be submitted.
All applicants must provide at minimum a contribution that, in value, equals or exceeds the requested funds.
See page 7.
Quick Grants
Requests up to $500
4
Small Grants
Requests between $501 and $3,000
What Grant Funds Cover
Humanities Grants underwrite costs related to the PRESENTATION OF PUBLIC PROGRAMS.
These include:
• Honoraria and travel expenses for humanities scholars and other experts
• Audience recruitment and promotion costs
• Costs of materials necessary to the project, such as books for book discussion
programs
• Production expenses, such as the costs of mounting and producing exhibitions
and performances and of renting and handling special equipment or facilities
(sound equipment, lights, musical instruments, projectors, screens)
• Rental costs for programs created by other organizations, if the overall project has the required humanities content
Please note: Exhibition/installation projects must include detailed plans for interpretive programming.
Large Grants
Requests over $3,000, with a maximum request of $20,000
12. What Grant Funds Cover (continued)
Humanities Grants also cover expenses associated with the DEVELOPMENT
AND PLANNING OF PUBLIC PROGRAMS in collaboration with humanities
scholars and other experts.
Planning activities must lead to the development of a public program and
may include:
• Advisory panel meetings or individual consultations
• Research conducted or assisted by humanities experts, such as
reviewing items in a museum’s collection or documenting oral
histories. (When research is done by organization staff or volunteers,
it must be completed with the guidance of a humanities expert.)
Planning projects can allow grantees to prepare proposals for larger PHC
grants or for grants from other organizations.
Note on Media Projects
Media projects must be commissioned by a nonprofit organization to be
eligible for funding. They must have strong Pennsylvania content and
appeal primarily to Pennsylvanians. Funding is available mainly for
preproduction, but applicants also may request some support for production
costs. Note: Humanities experts must be involved in planning and development.
5
WHAT GRANT FUNDS DON’T COVER:
• Expenses incurred prior to the
awarding of the grant
• Programs that are not available to
the general public
• Programs presented outside of
Pennsylvania
• Capital expenditures including
expenses for the acquisition of
permanent facilities or equipment
• Activities associated with institutional
planning, general operating support,
staff development or fundraising
• Writing or production of a
publication—not integral to a
PHC-funded public program
• Collection, conservation or
preservation of oral histories,
photographs or other materials—not
directly related to a public program
• Media projects that are the
endeavor of an individual rather
than commissioned by a nonprofit
organization
• Research, unless it is conducted
expressly to plan a public humanities
program
• Outreach efforts planned for the
community by academic or
scholarly organizations or major
cultural organizations that do not
significantly involve the community
• Internships, fellowships or scholarship
• Activities for which academic credit
is given
• Hospitality expenses including
food and beverage costs
• Activities that have a religious
purpose
• Activities supported by an active
PHC grant
Artist-in-residence Brett Keyser as “Turkomaton.” Inspired by a traveling chess set in an
exhibit celebrating the Ben Franklin tercentenary, “Turkomaton” raised questions about
human intelligence, intelligent machines and the virtues of strategy and discipline
associated with chess. Presented by the Museum of the American Philosophical Society.
13. CONTACT PHC
AT 800-462-0442 OR
VISIT WWW.PAHUMANITIES.ORG
WITH QUESTIONS.
Review Criteria
Humanities Grants proposals are evaluated according to the following criteria.
Responsiveness to the Community (40 points)
• Commitment to reaching the wider public, particularly nontraditional
audiences for humanities programming
• Understanding of the targeted audience(s) and their backgrounds,
needs and interests
• Effective process for enabling members of the targeted audience(s) to
play a significant role in planning and shaping the project
• Effective plan to attract members of the targeted audience(s) and/or
the wider public
• Accessibility to members of the targeted audience(s) and/or the wider
public
Project Content (40 points)
• Quality humanities content—Strong discussion components. Clearly
articulated topics, themes and questions. An open-ended approach
that presents a variety of viewpoints
• For arts-based projects and exhibition/installation projects—quality
arts or design content
• Program content and format that fosters enjoyment in learning and
that increases understanding of the project’s topic/themes and of the
humanities in general
• Innovative perspectives and formats that advance the field of public
culture
• Involvement of appropriate and qualified humanities scholars, and, if
applicable, artists and other experts, in the project’s development and
implementation
• Effective plans for assessing the project’s merit
Project Management (20 points)
• Applicant’s capacity to complete the project successfully, including
staffing, special expertise, track record and other resources
• Workable plan and schedule of activities
• Budget that is appropriate for the project
• Financial support from other sources
6
(Top)
From Ringing Out Freedom and
Independence in Germantown, a July 4th
celebration centered on the struggle for
freedom in America. Featuring the reading of
a famous Frederick Douglass speech by his
great-great grandson. Presented by Cliveden
of the National Trust in Philadelphia.
(Opposite - Left to right)
From Have You Eaten Yet?, an exhibit that
examined the Chinese restaurant and its role
in Chinese assimilation and American culture.
Presented by the Atwater Kent Museum of
Philadelphia.
From Great Novels to Great Films: American
Conflict and Identity, a five-part series that
explored films based on well-known novels.
Presented by Hiway Theatre in Montgomery
County.
The Lantern by Romare Bearden, part of an
exhibit and related programming on the
Harlem Renaissance. Presented by the Hoyt
Institute of Fine Arts in Lawrence County.
14. Applicant Contribution
Requirements
To demonstrate their community’s interest and support, all applicants must
provide at minimum, a contribution that, in value, equals or exceeds the
requested funds. For example, applicants requesting $1,500 must bring a
contribution of $1,500 to the project. This contribution can consist of cash
contributions, in-kind contributions or a combination of the two.
Applicant Contribution = Cash Contribution + In-Kind Contribution
Cash Contribution refers to monies raised for the project by the applicant
from sources such as individuals, corporations, foundations, state or local
governments and/or nonprofit agencies, etc. This also includes earned
income (e.g., admission or registration fees) anticipated by the applicant
which will directly support the project.
In-kind Contribution refers to non-cash contributions towards a project.
This refers to the dollar value of goods and/or services contributed to the
project by the applicant (e.g., % of staff salaries involved in the project,
miscellaneous expenses such as supplies) and/or a third-party (e.g.,
donated printing costs).
Gift-and-Matching
Gift-and-Matching is available to Large Grant applicants only. In addition
to requests of up to $20,000, applicants can apply for supplemental funds
through this special matching mechanism. Please note: this is above and
beyond the requested funds outlined on the Project Budget (A4).
For every $10 that an applicant raises in cash gifts from third-party sources,
PHC may give a $6 match.
For example, cash gifts of $1,000 from third-party sources could generate
a PHC match of $600. Cash gifts of $5,000, a match of $3,000. Cash gifts
of $10,000, a match of $6,000. The maximum amount of matching funds
that an applicant could receive from PHC is $6,000. Remember, this is
above and beyond any requested funds awarded.
Gift-and-Matching (continued):
• Applicants must apply for Gift-and-
Matching when submitting their
Large Grant application.
• The maximum Gift-and-Matching
amount is $16,000: $10,000 (third-
party gifts) and $6,000 (PHC match).
• Cash that is allocated in the
applicant contribution portion of
the budget cannot be used towards
Gift-and-Matching.
• Federal donations cannot be used
for matching purposes. Nor can
donations from persons or
institutions involved in the project,
family members of project
personnel, or current recipients of
PHC or National Endowment for
the Humanities grant funds.
• PHC matches only those cash gifts
received AFTER an applicant has
received notification of a PHC grant
award in January. Cash gifts
received before the grant is
awarded will NOT be matched.
• Grantees are not obligated
to pursue Gift-and-Matching,
but this vehicle is a good way
to demonstrate support from
the community.
7
15. 8
Primary funding for PHC’s Humanities
Grants comes from the National
Endowment for the Humanities. Any
views, findings, conclusions or
recommendations expressed by
grantees do not necessarily represent
those of the NEH.
Frequently asked
questions section now
on-line!
From Native American Spring and Fall
Festivals, a look at Native American culture
past and present. Featuring hands-on
activities, storytelling, drumming and dancing
from the Lenape tradition. Presented by the
Churchville Nature Center.
How to Apply
1. Review these guidelines and the Humanities
Grants application forms to determine if your
proposed project meets the program's requirements.
2. Submit an application. Instructions for preparing and
photocopying your proposal are included on the
application forms. PHC recommends that applications
be sent by certified mail, return receipt requested. PHC
will not be responsible for applications that are lost or
damaged in the mail. Incomplete proposals or applications postmarked
later than the deadline will not be accepted. Applications cannot be
submitted on-line. Applicants will be notified of all funding decisions.
Note: Organizations interested in applying to the Large Grant program
must first submit an Intent-to-Apply form. See opposite page.
DEADLINES:
• Quick and Small Grant applications can be submitted at any time,
but must be received at least 8 weeks and 12 weeks, respectively,
before the project start date. PHC will respond to Quick Grant
applicants within 4-5 weeks of receipt and to Small Grant applicants
within 7-9 weeks.
Note: New Large Grant Deadlines!
• Large Grant Intent-to-Apply forms must be postmarked by July 1.
Invited applications must be postmarked by September 1. (For
projects that begin no earlier than February 1.) PHC will notify
applicants of final funding decisions by early January.
The Review Process
The PHC funding process is a highly competitive one; more proposals are
received than PHC can support. Proposals are evaluated against the
guidelines and submitted materials must clearly and effectively state the
applicant’s case. Quick and Small Grant applications are reviewed on a
rolling basis by PHC staff. Large Grant applications are reviewed annually
by a rotating advisory peer panel that makes funding recommendations to
PHC’s board. All funding decisions are made and ratified by the board.
As part of the evaluation process, Large Grant applications are scored on
the review criteria, see page 6. Award amounts reflect the scoring of the
applications and also the funds that PHC has available for funding.
16. HumanitiesGrants 2007- 08
Intent-to-Apply Form for Large Grants
Pennsylvania
Humanities
Council
The submission of an Intent-to-Apply form is required for Large Grants only. Its submission is the first step in the Large
Grant application process. Only those applicants that meet minimum requirements will be invited to move forward
in the process. Note new deadlines! The postmark deadline for Intent-to-Apply forms is July 1. The postmark deadline
for invited applications is September 1.
1. Sponsoring Organization
Organization Name: __________________________________________________________________________
Mailing Address: _____________________________________________________________________________
City: __________________________________ State: _______ Zip: ________________ County: _____________
Phone: ______________________ FAX: ______________________ Website: ________________________
Have you received a grant from PHC before? ❏ Yes ❏ No
2. Project Information
Contact Person & Email: _______________________________________________________________________
Project Title: _________________________________________________________________________________
Project Dates (Start-End): ______________________________________________________________________
Project Location: _____________________________________________________________________________
3. Project Costs (See page 7)
Requested Funds $_________________
Applicant Contribution (cash + in-kind) $_________________
Gift-and-Matching (3rd party gifts + PHC match) $_________________
Maximum G&M amount is $16,000:
$10,000 (third-party gifts) and $6,000 (PHC match)
Total Project Costs $_________________
4. Project Description
On a separate single-sided page, briefly answer the following. Note: additional pages will be discarded.
A. What are the goals and activities of the project?
B. Who are you trying to reach? Why will this project be of interest to the people you are targeting? How will you
attract them?
C. Who are the humanities scholars, artists and other experts who have agreed to work on the project? What are
their responsibilities and qualifications for this project?
D. How will you use PHC funds for the project?
E. What resources (funds, special expertise and other resources) will you contribute to the project?
A1
Mail to: Pennsylvania Humanities Council, 325 Chestnut St., Ste 715, Philadelphia, PA 19106-2607
PleasePhotocopy
PHC
17. PleasePhotocopy
This form should be used in conjunction with current guidelines. Quick Grant applicants must complete pages A2-A4
and A9 only. Small Grant and Large Grant applicants to complete pages A2-A9. Please type all responses and collate
all copies, as directed on the Check List. Submit five sets of single-sided copies. Incomplete applications will not be
accepted. Applicants may create their own application forms as long as all elements of this form are included and
presented in the following order. Downloadable application forms available at www.pahumanities.org.
1. Type of Application (Check one)
❏ Quick Grant ❏ Small Grant ❏ Large Grant
2. Project Title:
3. Project Dates (Start-End):
4. Project Costs
Requested Funds $_________________
Applicant Contribution (cash + in-kind) $_________________
Gift-and-Matching (3rd party gifts + PHC match) $_________________
Maximum G&M amount is $16,000:
$10,000 (third-party gifts) and $6,000 (PHC match)
Total Project Costs $_________________
5. Sponsoring Organization Name:
Mailing Address:
City: State: Zip: County:
Phone: FAX: Website:
District Numbers
US Congress ________________________ PA Senate _______________________ PA House _________________________
6. Sponsoring Organization’s Profile
Yearly Budget __________ Total Number of Paid Staff ______ Total Humanities Programs Last Year _____
Have you sponsored other programs through PHC? ❏ Yes ❏ No ❏ Unknown
If yes, check all that may apply: ❏ Grants ❏ Commonwealth Speakers ❏ Read About It! ❏ Other
How did you hear about this grant? ________________________________________________________________________
For PHC use only
Send application to: Pennsylvania Humanities Council, 325 Chestnut St., Ste 715, Philadelphia, PA 19106-2607. Attn: Virginia Fahey
2007 Humanities Grants Application A2
HumanitiesGrants 2007- 08
Application Form
PHC Pennsylvania
Humanities
Council
18. 7. *Project Director’s Name & Title:
Mailing Address: City: State: Zip:
Phone: FAX: E-mail:
8. *Fiscal Officer’s Name & Title:
Mailing Address: City: State: Zip:
Phone: FAX: E-mail:
9. * Authorizing Official’s Name & Title:
Mailing Address: City: State: Zip:
Phone: FAX: E-mail:
* One individual may not be the Director, Fiscal Officer and Authorizing Official. Another person must assume one role.
10. Project Summary
(Briefly, in about 100 words or less, describe project activities, identifying the humanities content and
program format)
11. Projected Audience Size:
12. Schedule of Project Events
(Identify all activities that require PHC funds.)
Date/Time Activity Location Participant Fee
13. Experts in the Humanities and other Fields
Name/Title Degree/Discipline Mailing Address Phone
2007 Humanities Grants Application A3
Be sure to include bios or resumes for all key humanities scholars and, if applicable, artists and other experts who are
making significant contributions, with each copy of your application. See A6 for page restrictions.
PleasePhotocopy
19. PleasePhotocopy
Project Budget
Use this format as a guide for presenting your budget. Lay out your columns and categories as illustrated below. The
use of an Excel spread sheet is recommended.
Categories Requested Funds Applicant Contributions Gift-and-Matching
A. Your Staff
(Indicate names, positions and rates)
Note: Up to 25% of overall budget may
be requested for staff salaries.
B. Advisors
(Indicate names and rates)
C. Program Personnel
(Indicate names, positions and rates for
presenters, workshop leaders, panelists, etc.)
*D. PHC Evaluator
(Large Grant applicants only must allocate
$150 in requested funds column)
E. Travel and Expenses
(Specify items and rates. Mileage should not
exceed $.41 per mile.)
F. Promotion
(Itemize)
G. Production Expenses
(Itemize)
H. Printing
(Itemize)
I. Postage
J. Telephone
K. Supplies or Materials
(Itemize)
L. Rental Costs
(Itemize)
M. Other
(Specify)
TOTALS
Key Terms:
• Requested Funds refer to the cash you are requesting from PHC to support your project.
• Applicant Contributions is your contribution to the project. All applicants must provide a contribution that, in value, equals or exceeds the requested funds.
Contributions can be a combination of cash and in-kind. See page 7.
• Gift-and-Matching is a special mechanism that enables Large Grant applicants (only) to apply for supplemental monies, above and beyond the requested
funds. For every $10 that an applicant raises from third-party sources, PHC may give a $6 match. PHC’s contribution to gift and matching has a maximum
dollar amount of $6,000. The total G&M figure may not exceed $16,000: $10,000 (third-party gifts) and $6,000 (PHC match). See page 7.
2007 Humanities Grants Application A4
Maximum G&M amount is
$16,000: $10,000 (third-party
gifts) and $6,000 (PHC match)
(cash + in-kind)
20. Gift-and-Matching Budget
Relevant to Large Grant applicants only.
List the sources of all cash gifts from third-party sources (pending and confirmed) to be used towards PHC Gift-and-
Matching. Allowable third-party sources include individuals, corporations, foundations, state or local governments
and/or nonprofit agencies. Use this format as a guide for presenting your budget. Lay out your columns and
categories as illustrated below. The use of an Excel spreadsheet is recommended.
For every $10 that an applicant raises in cash gifts from third-party sources, PHC may give a $6 match. Remember,
this is above and beyond any requested funds awarded. For example,
Cash gifts of $1,000 from third-party sources could generate a PHC match of $600
Cash gifts of $5,000: a PHC match of $3,000
Cash gifts of $10,000: a PHC match of $6,000
Please note: Cash that is allocated in the applicant contribution portion of the budget (A4) cannot be used towards
Gift-and-Matching. The maximum amount of matching funds that an applicant could receive from PHC is $6,000. For
more information on Gift-and-Matching, see page 7.
Third-Party Cash Gifts
Source of Funding Solicited Amount Specify If Confirmed, Date Anticipated
Pending/Confirmed
$_________________ Total Solicited Third-Party Cash Gifts
$_________________ Potential PHC Match: (For every $10 raised, PHC may give a $6 match)
$_________________ Total Gift-and-Matching (3rd party gifts + PHC match)
Note: The maximum Gift-and-Matching amount is $16,000: $10,000 (third-party gifts) and $6,000 (PHC match).
2007 Humanities Grants Application A5
PleasePhotocopy
21. 2007 Humanities Grants Application A6
Narrative
All Small and Large Grant applicants must submit a narrative of four to six typed pages that answers the
following questions in the order listed. Use a reader-friendly font of 10 points or larger. Please note: pages in
excess of six pages will be discarded. Please single-side your copies.
A. Project Description
1. Briefly describe your organization and its mission.
2. Describe your project in detail. What work and/or events are planned? If you are primarily in the
planning phase of your project, please indicate this.
3. Specify the activities that require funding from PHC.
4. How will this project further your organization’s goals and mission?
5. How will you define and measure the success of your project?
B. Community Involvement
1. Describe the audience(s) that your project seeks to reach. What segments of the wider public, including
nontraditional audiences for humanities programs, will your project reach?
2. Explain why your project is significant to this audience. How will the project address their needs and
interests?
3. Describe your relationship to the targeted audience(s) and how your project will advance your
organization’s ability to serve this audience(s).
4. Explain how you will involve members of the targeted audience(s) in planning and shaping the project.
5. Describe your plans for publicizing the program. How will you attract members of the targeted
audience(s) and/or the wider public? How will you attract nontraditional audiences? Be specific.
C. Project Content
1. Describe the project’s humanities content. Be specific about the project’s discussion components; the
topics, themes and questions the project will explore; and the presentation of diverse viewpoints.
2. Describe how the content and format will foster an enjoyment of learning and also increase
understanding of the project’s topic/themes and of the humanities in general.
3. Describe any innovative perspectives and formats that your project will feature.
4. List the advisors who are shaping this project and their qualifications for this role.
5. List the non-staff humanities scholars, and, if applicable, artists and other experts who will serve as
presenters, panelists, workshop leaders, etc. Describe their qualifications for this project.
6. If applicable, describe the role of the arts or the installation of an exhibit in your project.
Send bios or resumes for all humanities scholars, and, if applicable, artists and other experts who are making significant
contributions to the project’s content and/or are bugeted to receive funds from PHC. Bios and resumes must be no more
than two pages each and should be included with each copy of your application. Note: excess pages will be discarded.
Please single-side your copies.
22. 2007 Humanities Grants Application A7
D. Project Management
1. List the staff members in your organization who are responsible for coordinating the project, their
specific responsibilities (planning, coordinating, presenting, evaluating, fundraising, marketing, etc.)
and their qualifications for the project.
2. Describe the specific capabilities of your organization that will help ensure the success of this project.
3. Discuss or clarify any unusual or large budget expenses, as listed on the Project Budget (A4).
4. If you have included in-kind contributions as part of the applicant contribution of your budget, describe
the donated goods and/or services and their sources.
5. If you are still raising funds for the project, specify the funds you are planning to raise and the sources
of those funds. Specify who is responsible for fundraising and their experience in this type of activity.
6. If you are a Large Grant applicant and plan to obtain supplemental funds through Gift-and-Matching,
list the monies you plan to raise and the sources of those funds on the G&M budget form (A5).
E. Work Sample Descriptions: Large Grant applicants only
1. On a separate sheet, list and describe work samples for artists and exhibition designers. See Work
Samples page (A8) for more information.
(Top)
From the Nate Smith Video Project, a short
documentary about the Pittsburgh labor
activist referred to as the father of the black
labor movement. Produced by Robert Morris
University in Allegheny County.
(Left)
From the Chinatown Oral History Project and
Walking Tour which explored the cultural,
historical, educational and economic aspects
of this Philadelphia neighborhood. Presented
by the Asian Arts Initiative.
(Right)
From Walker Evans and James Agee: Let Us
Now Praise Famous Men, an exhibition of
photojournalism with a moving account of rural
poverty in the US during the Depression.
Presented by the Westmoreland Museum of
American Art.
23. Work Samples
All Large Grant applicants requesting funds for arts activities or exhibitions/installations must submit
recent work samples by key artists or exhibition designers, particularly those who are budgeted to receive
funds from PHC. The samples demonstrate your project’s potential artistic or design quality—an important
part of the review criteria. Do not send samples in media not specified below.
Work Sample Format
• Visual arts: Submit an identical PowerPoint file with 12 images on two CDs, labeled with the applicant’s
name. Slides or hard copies of the images are not acceptable.
• Performing arts (literary readings, storytelling, dance, theater, musical performances): Submit two
identical copies of two performances on videotape (VHS), DVD or CD, labeled with the applicant’s name.
• Literary arts: Submit two identically printed copies of two work samples for writers who are not widely
known. The two samples, together, should not exceed 15 pages. (Note: extra pages will be discarded.) All
copies should include the applicant’s name.
• Exhibition/Installation: Submit an identical PowerPoint file with 12 images of a previous exhibition on
two CDs, labeled with the applicant’s name. Slides or hard copies of the images are not acceptable.
• Multidisciplinary arts: Submit a combination of samples, following the format guidelines above, that
represent the artistic disciplines encompassed by your project.
Work Sample Descriptions
Include a separate sheet describing each work sample.
• Visual arts: Include the title of each work, artist’s name, date of creation, medium and size of the object
in inches (HxWxD).
• Performing arts: Include the title of each work; the composer, choreographer or other creator and/or
performer; date and location of performance; and any relevant technical information.
• Literary arts: Include the title of each work, author’s name and publication information including
publication date.
• Exhibition/Installation: Include the title of the exhibition, the designer’s name, exhibition dates, venue
and any relevant technical information.
2007 Humanities Grants Application A8
24. Certifications
1. Certification Regarding Nonprofit Status
The applicant certifies that the sponsoring organization for the project is not a for-profit business or an individual.
Nonprofit status: Attach an IRS letter and indicate whether public (governmental) ____ or private ____.
2. Certification Regarding the Nondiscrimination Statutes
The applicant (other than an individual who submits an application to the Pennsylvania Humanities Council)
certifies that it will comply with the following nondiscrimination statutes and their implementing regulations:
(a) Title VI of the Civil Rights Act of 1964 (42 U.S. C. 2000d et seq.), which provides that no person in the
United States shall, on the ground of race, color, or national origin, be excluded from participation in, be
denied the benefits of, or be otherwise subjected to discrimination under any program or activity for which
the applicant received federal financial assistance;
(b) Section 504 of the Rehabilitation Act of 1973, as amended (29 U.S. C. 794), which prohibits
discrimination on the basis of handicap in programs and activities receiving federal financial assistance;
(c) Title IX of the Education Amendments of 1972, as amended (20 U.S. C. 1681 et seq.), which prohibits
discrimination on the basis of sex in education programs and activities receiving federal financial assistance;
(d) The Age Discrimination Act of 1975, as amended (42 U.S. C. 6101 et seq.), which prohibits discrimination
on the basis of age in programs and activities receiving federal financial assistance, except that actions
which reasonably take age into account as a factor necessary for the normal operation or achievement of
any statutory objective of the project or activity shall not violate this statute; and
(e) The Americans with Disabilities Act, as amended (28 CFR. 35.10 et seq.), which provides that no
qualified person with a disability shall, by reason of such disability, be excluded from participation in or be
denied the benefits of the services, programs, or activities of a public entity, or be subjected to discrimination
by any such entity.
3. Certification Regarding Debarment, Suspension, Ineligibility and Voluntary Exclusion — Lower Tier
Covered Transactions (45 CFR 1169)
(a) The prospective lower tier participant certified, by submission of this proposal, that neither it nor its
principals is presently debarred, suspended, proposed for debarment, declared ineligible, or voluntarily
excluded from participation in this transaction by any federal department or agency.
(b) Where the prospective lower tier participant is unable to certify to any of the statements in the
certification, such prospective participant shall attach an explanation to this proposal.
By signing and submitting this form, the individual applicant or the authorizing official of the applicant
institution is providing the applicable certifications regarding nonprofit status as well as debarment,
suspension, and compliance with the nondiscrimination statutes, as described above.
Required Signatures
Project Director__________________________________________ Date_______________________
Fiscal Officer __________________________________________ Date_______________________ __
Authorizing Official _____________________________________ Date________________________
PleasePhotocopy
2007 Humanities Grants Application A9
25. Check List
Please keep to the prescribed number of pages for the narrative and bios. Excess pages will be discarded.
Please type all responses and assemble COLLATED sets of copies as directed in the order that follows.
Materials are to be single-sided. Remember to keep a copy of the completed application for your records.
Quick Grant Applicants
Must be received by PHC at least 8 weeks before project start date
Small Grant Applicants
Must be received by PHC at least 12 weeks before project start date
5 copies ❏ Application Form (A2-A3)
5 copies ❏ Project Budget (A4)
5 copies ❏ Bios or resumes for scholars, artists, and other experts making significant contributions
Note: Each individual bio or resume must not exceed 2 pages
1 copy ❏ Certifications (A9)
1 copy ❏ 501(c)(3) form
5 copies ❏ Application Form (A2-A3)
5 copies ❏ Narrative (A6-A7)
Note: Not to exceed 6 pages
5 copies ❏ Bios or resumes for scholars, artists, and other experts making significant contributions
Note: Each individual bio or resume must not exceed 2 pages
5 copies ❏ Project Budget (A4)
1 copy ❏ Certifications page (A9)
1 copy ❏ 501(c)(3) form
2007 Humanities Grants Application
26. 2007 Humanities Grants Application
Invited Large Grant Applicants
New Large Grant Deadlines: Application postmark deadline September 1.
(Intent-to-Apply form due July 1.)
5 copies ❏ Application Form (A2-A3)
5 copies ❏ Narrative (A6-A7)
5 copies ❏ Bios or resumes for scholars, artists, and other experts making significant contributions
Note: Each individual bio or resume must not exceed 2 pages
5 copies ❏ Project Budget (A4)
5 copies ❏ Gift-and-Matching Budget (A5) (optional)
1 copy ❏ Certifications page (A9)
1 copy ❏ 501(c)(3) form
2 copies ❏ Artists’ work samples and 5 copies of sample descriptions (A8) (for arts or installation projects)
1 copy ❏ Envelope with sufficient postage, if desire return of work samples (optional)
From Jefferson and His Gardening Legacy, a workshop at Old
Economy Village that explored Thomas Jefferson’s views on
gardening, the history of garden design in America and the art of
propagating heirloom seeds. Presented by Harmonie Associates
in Beaver County.
From the documentary Tracks Across the Sky which depicts the
vision and hard work that went into the design, construction and
preservation of the Kinzua Viaduct. Produced by Seneca
Highlands in McKean County.
27. The Pennsylvania Humanities Council
inspires individuals to enjoy and share
a life of learning enriched by human
experience across time and around
the world. PHC integrates the
humanities into everyday life through
partnerships with cultural institutions
and community organizations.
In addition to Humanities Grants, PHC
offers Humanities-and-the-Arts Grants
in partnership with the Pennsylvania
Council on the Arts for humanities
programs promoting understanding
and appreciation of the arts. PHC’s
speakers bureau and book discussion
program also serve as resources for
residents of Pennsylvania. For more
information on PHC:
www.pahumanities.org
Phone: 215-925-1005
Toll Free: 800-462-0442 (in PA)
Fax: 215-925-3054
E-mail: phc@pahumanities.org
Nonprofit Org.
U.S. Postage
PAID
Philadelphia, PA
Permit No. 3274
Constitution Place
325 Chestnut Street, Suite 715
Philadelphia, PA 19106-2607
PHC Pennsylvania
Humanities
Council
From Times of Sorrow and Hope: Documenting Everyday Life in Pennsylvania During the
Depression and World War II. This Lancaster County Historical Society traveling exhibit
featured interpretive panels and photographs taken in PA between 1935-1946 by
photographers working for the U.S. government.