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Recent News: Arts and Cultural Democracy
April 29, 2010
OSI Prisons Podcast: Talking Texas Tough
Artists working on criminal justice can download a podcast of "Talking Texas Tough: The Past, Present and Future of Justice in the Lone Star State," a panel discussion at the Open Society Institute, April 14, 2010.
[more ]
April 21, 2010
NEH Grant Opportunity: Bridging Cultures
June 1, 2010, is the deadline for grant proposals to a new program of the National Endowment of the Humanities, “Bridging Cultures,” which explores the “ways in which cultures from around the globe, as well as the myriad subcultures within America’s borders, have influenced American society.”
[more ]
April 1, 2010
Integrated Dance Round Table & Intensive, Aug.
Choreographer Jürg Koch will lead a five-day intensive and a roundtable on integrated dance this summer at the University of Washington, Seattle, August 9-15, 2010.
[more ]
March 30, 2010
20th Anniversary NALAC Conference, San Jose, April
"Latino Creativity in the 21st Century: Beyond the Tipping Point" is the theme of the 20th Anniversary National Conference of National Association of Latino Arts and Culture (NALAC), April 14-18, 2010.
[more ]
March 30, 2010
Photographs of the Civil Rights Movement
New York's Bronx Museum visitors will gather for several community events during two exhibitions dedicated to the Civil Rights Movement in upcoming months.
[more ]
 More Arts and Cultural Democracy news
 Go to APInews for complete news listings
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| All Essays on Arts and Cultural Democracy |
"Creative Spaces" in the Land of the Long White Cloud:
Report on community arts conference in New Zealand.
By William Cleveland
(October 2003)
30 Years and Counting: A Context for Building a Shared Cross-Cultural Commons:
Calling for an alternative economic vision that puts freedom, justice and equity at the core of society.
By Jack (John Kuo Wei) Tchen
(November 2007)
[classified]: stories that catalyze dialogue about diversity:
Four Virginia Tech students bridge the gap between university policy and individual experience. From Community Arts Perspectives, Vol. 1, No. 1.
By Laura Agnich, Kimberly Baker, Megan Carney and Shannon Turner
(June 2008)
A Bridge Conversation about Animating a Latin American Idea in the U.S.:
Paul Chin and Vanessa Whang talk about crossing lines of culture and politics, race and ethnicity, and the local and global.
By Vanessa Whang
(April 2008)
A Bridge Conversation on Connecting Action and Academia in California's Central Valley:
Isao Fujimoto and Tim Marema on the power of "edgewalking."
By Tim Marema
(March 2008)
A Bridge Conversation on Creating with a Sense of Strategic Practice:
Maribel Alvarez and Jason Bulluck on paying attention to the “little stuff,” engaging in critical discourse and understanding how power can be shaken up.
By Jason Bulluck
(April 2008)
A Bridge Conversation on Direct and Indirect Approaches to Community Change:
Littleglobe and South West Organizing Project talk about finding a relationship between community-engaged arts and organizing.
By Valerie Martinez, Robby Rodriguez, Molly Sturges and Rosina Roibal
(June 2008)
A Bridge Conversation on Listening to the Stories Underneath the Work We Do:
Paula Allen and Lena Richardson talk about traditional arts and culture as resources for Native community health.
By Rebecca Lena Richardson
(June 2008)
A Bridge Conversation on Planning the Revolution over Collards:
Tufara Waller Muhammad and Javiera Benavente talk about the long tradition of arts and culture in Southern organizing and the danger of putting the spotlight on individuals.
By Javiera Benavente
(June 2008)
A Bridge Conversation on Traditional and Organic Bridging:
Francisco Guajardo and Edyael Casaperalta on intentionality, consciousness and creating new opportunities.
By Edyael Casaperalta
(April 2008)
A Bridge Conversation on Who Will Carry the Work Forward:
An intergenerational conversation at the State of Nation Arts & Performance Festival and a tribute to Nayo Watkins.
By Caron Atlas, Rebecca Lena Richardson and Carlton Turner
(June 2008)
A Bridge Conversation on the Creativity of Community Development:
Gayle Isa and Jeremy Liu talk about the power of spaces “in between.”
By Gayle Isa
(March 2008)
A Bridge Conversation on the Power of Art To Move People:
Ismael Ahmed and Anan Ameri discuss the extraordinary model of the Arab Community Center for Economic and Social Services.
By Anan Ameri
(March 2008)
A Bridge Conversation on the Spiritual Core of Indigenous Social Justice:
Tia Oros Peters and Vanessa Whang talk about maintaining your vision and integrity in rooms of power.
By Vanessa Whang
(March 2008)
A Text as a Bridge — for You, You and You:
Reflections and lessons learned during five conversations with Alternate ROOTS about Resources for Social Change.
By Gwylene Gallimard and Hope Clark
(January 2010)
Acting Like Women: Performance Art of the Woman's Building:
History and teaching methods of the Los Angeles center for women's culture. Puvblished in High Performance #11/12, Vol. III, Nos. 3/4, 1980.
By Cheri Gaulke
(September 2002)
Afterwords: A Conversation Around "Making Art/Making Home":
An online discussion of issues and ideas arising in an Alternate ROOTS collaboration with 2003 Spoleto Festival USA.
(October 2003)
Afterwords: A Conversation Around "Making Art/Making Home" – Part 2:
An online discussion of issues and ideas arising in an Alternate ROOTS collaboration with 2003 Spoleto Festival USA. Part 2
(October 2003)
An Introduction to Alternate ROOTS:
Introduction to Regional Organization of Theaters/Artists South.Published in High Performance #64, Vol. XVI, No. 4, 1993.
By Kathie deNobriga
(October 2003)
Art Club: A Safe Space in Baltimore:
On watching an amazing group of kids struggle, break down and challenge themselves.
By Mari Gardner
(February 2007)
Artibarri: To Share and Debate in Catalonia:
A community arts network animated by ideas.
By Arlene Goldbard
(September 2007)
Behind the Fence: Forum Theatre on Lupus, Lead Poisoning & Environmental Justice:
A Buffalo, N.Y., community cleans up its SuperFund site.
By John Sullivan
(February 2008)
Belongings - A Neighborhood Search: Creative Alliance at The Patterson:
We are born into our family, our skin color, our culture and class. Can we really choose a community?
By Luisa Bieri de Rios
(September 2008)
Beyond Victimization:
On not letting our identities by defined by our oppression. Published in High Performance #72, Vol. XIX, No. 2, 1996.
By Dan Kwong
(October 2003)
Book Review - Arts for Change: Teaching Outside the Frame:
Review of a new book by Beverly Naidus, the latest from New Village Press.
By Anusha Venkataraman
(April 2009)
Book Review: Art and Upheaval: Artists on the World Frontlines:
What are the roles that artists can play in the midst of severe violence?
By Craig Zelizer
(July 2008)
Call Me in '93: An Interview with James Luna:
The artist, of Luiseno Indian ancestry, talks about what it's like to be pigeonholed as an ethnic artist, and called upon only when his ethnicity is timely�as during the Christopher Columbus anniversary in 1992. He also addresses his place as an artist in his own community. published in High Performance #56, Vol. XIV, No. 4, 1991.
By Steven Durland
(September 2002)
Campus-Community Partnerships: Supporting or Destroying the Field of Community Arts?:
While higher education trains students to work in the community, are community partners experiencing funding setbacks and closure?
By Sonia BasSheva Majon
(July 2008)
Center for Cultural Exchange: It's About Form, Content and Letting Go:
Part 1 of The Administration of Cultural Democracy, profiling the Center for Cultural Exchange in Portland, Maine.
By Tom Borrup
(September 2003)
Children's Choir Bridges Racial Divide in Michigan:
Sometimes Martin Luther King's dream doesn't seem so far away after all.
By Larry and Sandy Feldman
(January 2010)
Community Arts 2007: A Muscular Year:
The field of community-based arts showed its muscle this year.
By Linda Frye Burnham
(December 2007)
Community, Culture and Globalization:
Chapter One of "Community, Culture and Globalization," anthology published by the Rockefeller Foundation.
By Don Adams and Arlene Goldbard
(January 2002)
Constructing Alternative Narratives: Mid-Western Bridges:
Multi-ethnic artists discover new ways of telling their stories in Open Space.
By J. Otis Powell!
(October 2006)
Cornerstone's Faith-based Theater Cycle: How Does Faith Unite and Divide Us?:
Got faith? 57 people, ten faith groups, 29 plays, five years.
By Jan Freya
(January 2006)
Cultural Exchange vs. Cultural Tourism:
There are significant questions about the ethics of cultural tourism, and they extend to the ethics of cultural exchange.
By Bau Graves
(February 2010)
Culture and Development: A New Paradigm:
Essay on cultural development in Europe.
By Cristina Losito
(October 2000)
Dance as Activism: Questions for a Little Black Girl:
Is it possible to build a community that takes stock in a Little Black Girl, invested in her value, her honor, her power and her potential?
By Carol Marie Webster
(August 2008)
Dancing in the Blind Spot:
CAN reviews "Disability and Contemporary Performance: Bodies on Edge" by Petra Kuppers.
By Stuart Pimsler
(July 2005)
Declaration of Cultural Human Rights:
Reissue of 1984 document.
By Alliance for Cultural Democracy
(August 2004)
Deeper than Skin or Gender: Community Arts and Cultural Diversity:
Overview of the intersection of art and cultural diversity from the director of Atlanta Partnership for Arts in Learning and former director of Alternate ROOTS.
By Alice Lovelace
(July 2002)
Do It Yourself: Producing Performance Art on Election Day:
Artists organize site-specific performance at polling places in Milwaukee, Nov. 4, 2008.
By Pegi Taylor
(January 2009)
Drawing the Line at Place: The Environmental Justice Project:
Artists and organizers collaborate to address environmental issues in Louisiana. Published in High Performance #72, Vol. XIX, No. 2, 1996.
By Mat Schwarzman
(September 2002)
El Teatro Campesino: An Interview with Luis Valdez:
The noted director talks about the cultural wing of the United Farm Workers union, a popular theater that took its material directly from the lives of its audience in the bean fields of California's central valley. published in High Performance #32, Vol. VIII, No. 4, 1985.
By Carl Heyward
(September 2002)
Everybody Say Hallelujah: the Burlington, Vermont, residency:
"Eastside Story," coverage of the Burlington, Vermont, residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Linda Frye Burnham
(May 2001)
Everybody Say Hallelujah: the Los Angeles, California, residency:
"Westside Story," coverage of the Los Angeles, California, residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Linda Frye Burnham
(May 2001)
Examining the Challenge of Cultural Diversity:
CAN reviews James Bau Graves' 2004 book "Cultural Democracy: The Arts, Community: the Public Purpose."
By Arlene Goldbard
(April 2005)
Exchanging Gifts in Charleston, South Carolina:
A Charleston critic looks at a local/global community arts project: The Future Is on the Table.
By Darryl Lorenzo Wellington
(March 2009)
Framework for Understanding Ruby Payne:
Teaching art students to apply a theory about poverty to their internships in Baltimore's public schools. From Community Arts Perspectives, Vol. 1, No. 1.
By E. Blaise DePaolo
(June 2008)
From Ghana to Greece to Lakota Sioux Nation: Cultural Diversity in Arts in Corrections:
Project Youth ArtReach of Class Acts Arts has 40 artists from around the world working with incarcerated people in the Washington, D.C., area.
By Claire Schwadron
(November 2009)
Fugitive Sites, Fugitive Meanings:
Review of "Fugitive Sites: New Contemporary Art Projects for San Diego-Tijuana."
By Arlene Goldbard
(May 2003)
Grassroots Arts Education on the Cutting Edge: An Interview with Sonia BasSheva Mañjon:
Talking with the Director of the Center for Art & Public Life at California College of the Arts. Part 4 of "A Landmark Year."
By Linda Frye Burnham
(September 2006)
Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Asheville residency:
Coverage of the Asheville, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Linda Frye Burnham
(January 2003)
Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Boone residency:
Coverage of the Boone, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Linda Frye Burnham
(January 2003)
Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Greensboro residency:
Coverage of the Greensboro, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Linda Frye Burnham
(January 2003)
Higher Ground: Informal Arts, Cultural Policy and the Evolving Role of Nonprofits:
With the rise of the creative class, prosumers, Pro-ams and Net-Geners, are our nonprofit cultural institutions becoming outdated?
By Tom Borrup
(July 2007)
Insights from Arts and Civic Engagement: 13 Profiles:
Pathways to building a participatory culture.
By Rebecca Lena Richardson
(November 2008)
Intermedia Arts: Bringing Many Voices to the Table:
Part 2 of The Administration of Cultural Democracy, profiling the Intermedia Arts in Minneapolis, Minnesota.
By Tom Borrup
(September 2003)
Interposing on the Collective Culture through the Arts: A Case Study of One University Course:
What if artists merged discussions about formal aesthetics and the elements and principles of art/design with discussions about moral growth and public good? From Community Arts Perspectives, Vol. 1, No. 1.
By Rachel Marie-Crane Williams
(June 2008)
It Was a Time of Hope – A Time of Challenge:
About some of the roots of community arts in the Southeast: vigorous action initiated by artists of color in Atlanta. Published in High Performance #64, Vol. XVI, No. 4, 1993.
By Alice Lovelace
(October 2003)
LA Commons: Engaging Youth in Community-based Cultural Tourism:
Artists, teens and city planners leverage local cultural assets to develop the economic and social capital of L.A.'s ethnic neighborhoods.
By Karen Mack
(December 2009)
LAPD, Skid Row & The Real Deal:
Two founders talks about the Los Angeles Poverty Department, a performance group that grew out of a 1985 workshop for the homeless of Los Angeles. Published in High Performance #43, Vol. XI, No. 3, 1988.
By Elia Arce and John Malpede
(September 2002)
Latitude 32° – Navigating Home:
On Lacy's performance/installation community arts work at 2003 Spoleto Festival USA.
By Suzanne Lacy
(October 2003)
Letter from an Artist: Boyle Heights, The Power of Place:
California performance artist writes about his participation in the ambitious Boyle Heights Project, in one of Los Angeles' most multicultural neighborhoods.
By Dan Kwong
(March 2003)
Letter from an Artist: Invisible Lines:
About a project in Oakland, Calif., with the artist's whole neighborhood.
By Lauren Elder
(July 2003)
Listening for the Lexicon of Cultural Shift:
New language from old wisdom about community art as lived experience.
By Linda Frye Burnham
(May 2007)
Living in the Questions of Animating Democracy:
CAN reviews a new book, "Civic Dialogue, Arts & Culture: Findings from Animating Democracy."
By Kate Collins
(January 2006)
Looking Back, Looking Ahead: An Address to the Wisconsin Regional Writers Conference:
Why ordinary people writing about their own lives is important to the future of democracy.
By Maryo Gard Ewell
(January 2009)
Making Art/Making Home:
Essays and discussions from Alternate ROOTS collaboration with 2003 Spoleto Festival USA.
(October 2003)
Making Art/Making Home: An Introduction:
Introduction to essays about Alternate ROOTS collaboration with 2003 Spoleto Festival USA.
By Neill Bogan
(October 2003)
Making Community: Voices from the dialogues:
Notes from the "Making Art/Making Home" workshops, bringing forth the voices
of those who were there.
By Gwylene Gallimard
(October 2003)
May I Borrow?:
About the National Teen Institute at the finale of the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Elizabeth Johnson
(March 2003)
Mildred Howard and Amalia Mesa-Bains: A Conversation on Community and Public Art:
Reflections on the role of the artist in culturally diverse communities.
By Amalia Mesa-Bains
(October 2009)
My Iron Tri-Angel: An Urban Neighborhood Seeks To Tell Its Own Story:
Residents of the Iron Triangle take control of their own narrative.
By Jordan Simmons
(February 2010)
Neither That Nor That: Trading Stories at the Intersection of Arts and Penal Welfare:
The Medea Project and Intersection for the Arts team up to explore the California prison system.
By Nina Billone
(May 2008)
New Beginnings for Old Stories? A Problematic Institution/Community Partnership:
Another Middle East dilemma — in Baltimore.
By Sarah Tooley
(November 2009)
No Time for the Blues (Aesthetic):
From an issue of High Performance magazine by African-American artists examining the blues not just as music, but as painting, photography, fiction, politics, social condition and cultural force. High Performance #52, Vol. XIII, No. 4, 1990.
By Pearl Cleage
(September 2002)
O.J. Simpson Coloring & Activity Book:
A community-engaged project on the racial aftermath of the Trial of the Century. Includes online CAN forum.
By Colin Quashie
(January 2005)
On Cultural Citizenship:
A commentary on artists participating the civic life of their communities. Published in High Performance #67, Vol. XVII, No. 3, 1994.
By John Killacky
(December 1999)
One Mosaic, Many Voices: Piecing Together the Story of Baltimore's 1968 Riots:
People who lived through violence 40 years ago come together to tell their stories.
By Christina Ralls
(October 2009)
Overlaps, Intersections and Conflicts: An Introduction to Arts and Culture:
Ideas about the state of cultural democracy by a noted arts consultant and author.
By Arlene Goldbard
(March 2002)
Pangea World Theater: Vibrant Voice of Immigrants and Exiles:
This Minneapolis theater has an interest in communities who haven't had much of a place at the table.
By John Townsend
(May 2006)
Principles of Working in a Community: Resources for Social Change:
The working philosophy of a mobile lab for arts and activism in the American South.
By Gwylene Gallimard and Hope Clark
(September 2008)
ROOTS & Race: Walking Our Talk:
Some thoughts on the 2003 Alternate ROOTS Annual Meeting and what was decided there.
By Lisa Mount
(March 2004)
Resonant Spaces/Dynamic Flow:
Connecting the culture, values and elements of Hip-Hop to ways of designing and experiencing urban spaces and structures.
By James Garrett Jr.
(March 2004)
Rez CAP:
Across a thousand miles, two cultures, two communities come together: MICA and the Dakota Nation.
By John Peacock
(July 2008)
She Who Would Fly: An Interview with Suzanne Lacy:
The performance artist talks about her large-scale performances about rape, aging and the status of women in U.S. culture. Published in High Performance #1, Vol. I, No. 1, 1978.
By Richard Newton
(September 2002)
Shock of the Real: An Interview with Karen Finley:
The notorious performance artist, who received the wrath of the religious right during the Culture Wars as one of the NEA Four, talks about issues that drive her work. published in High Performance #41/2, Vol. XI, Nos. 1/2, 1988.
By Margot Mifflin
(September 2002)
Signals of Exchange:
What are the qualities of community in this new era of globalism?
By Johanna Poethig
(October 2009)
Silk Road Theatre Project's Alternative Cultural Education:
Starting a conversation with U.S. students about the cultures of the Silk Road, an ancient network of trade routes connecting China, Asia and the Mediterranean world.
By Carol Ng-He
(February 2009)
Something Different Is Stirring: DIY Culture in Silicon Valley:
A glimpse of our cultural future in one of the first truly global metropolitan regions.
By Tom Borrup
(April 2010)
South Dakota Celebrates a Black Pioneer:
A tiny town on the northern plains is going down in African-American film history.
By Susan Stoneback
(July 2006)
Stepping In and Out: Performance Art in the Community College ESL Curriculum:
An immigrant artist tries an art strategy with 27 students who speak ten different languages.
By Carol Ng
(October 2006)
Structuring a Catalytic Arts Education Program: The Saturday Program at Cooper Union:
Student teachers run a powerful community program for teens in New York, founded by undergraduates in the 1960s. From Community Arts Perspectives, Vol. 1, No. 1.
By Karma Mayet Johnson
(June 2008)
Support for Art and Social Justice:
Remarks by arts director of Nathan Cummings Foundation, made at a 2002 Alternate ROOTS conference in Lexington, Kentucky.
By Claudine Brown
(February 2003)
Tamejavi:
A cultural festival that's part of a year-round exploration of new immigrant and refugee life in California's Central Valley.
By Dudley Cocke
(May 2005)
The "Place: Vision and Voice" Program – Power, Authenticity and Ethics:
An ASU professor on her community art project in the Gila River Community of Arizona.
By Stephani Etheridge Woodson
(May 2004)
The Administration of Cultural Democracy: Three Experiments:
Three arts organizations successful in cultural democracy.
By Tom Borrup
(September 2003)
The Alternate ROOTS Dilemma: From Little Black Sambo to Son of White Man:
Working toward ending racism, sexism and homophobia -- the hard way.
By Pat Arnow
(October 2003)
The Art and Craft of Integrating “Social Justice Ally” Curriculum into Service-Learning:
Getting at the central problem of teaching community-based art practice to university students in the real world: privilege.
By Kate Collins
(September 2009)
The Artist as Citizen: Guillermo Gómez-Peña, Felipe Ehrenberg, David Avalos and Judy Baca:
A discussion of four artists from Mexico, the border region and southern California and their art strategies for involvement in binational political struggle. Published in High Performance #35, Vol. IX, No. 3, 1986.
By Emily Hicks
(September 2002)
The Benefits of Community Art on the Fringe:
Four short stories by people who do diversity work in schools using the arts strategies of the California-based Fringe Benefits educational-theater company.
By Maria Beach, Natalya Brusilovsky, Michael Mendoza and Cynthia Ruffin
(January 2004)
The Choices We Have and Our Privilege To Move On:
How many of us who work with community choose to leave when things get tough?
By Laura D. Cohen
(November 2009)
The Circle Is Already Listening: Littleglobe's Collaborative Creative Process:
A means to know one another, to witness one another and remove hierarchical and preconceived notions of the "other."
By Molly Sturges
(November 2008)
The Community Artist from the Community:
A community arts grad student goes to work in the Native American community where she grew up.
By Ashley Minner
(August 2008)
The Community Cultural Development Field:
First chapter of Don Adams and Arlene Goldbard's "Creative Community: The Art of Cultural Development," book commissioned by Rockefeller Foundation in 2001.
By Don Adams and Arlene Goldbard
(August 2001)
The Latino Dialogue: A Shared Narrative of Hope and Power:
The Latinos of Monterey County, Calif., come together to talk about their culture.
By Amalia Mesa-Bains
(February 2010)
The Liberatory Critique:
Step by step, a critical pedagogy that nurtures the artist's unique voice in relationship to a broadly inclusive community of peoples, values, ideas and opinions.
By Ken Krafchek
(December 2009)
The New Hybridity: HOME, New Orleans and Emerging Forms of Community/ University/Arts Collaboration:
The ins and outs of a conflicted and fragile undertaking.
By Ron Bechet and Amy Koritz
(September 2008)
The Partnering of Artists and Communities: New Methods Evolving in the Durham CAPP:
Discussion of 11 projects in ROOTS' Community/Artists Partnership Project that were underway in Durham, N.C., that would be part of the ROOTS Community Arts Revival in January 1994. Published in High Performance #64, Vol. XVI, No. 4, 1993.
By Nayo Barbara Malcolm Watkins
(October 2003)
The Pedagogy of Intangible Heritage: Los Cenzontles and Mexican Folk Music:
Cenzontles is more than an "arts services provider." It's a hub for cultural critique.
By Maribel Alvarez
(May 2006)
The Porch — A Cultural Center in the Seventh Ward of New Orleans:
Starting a cultural organization in a neighborhood struggling with survival.
By Ron Bechet, Willie Birch and Helen Regis
(July 2008)
The Rubber Meets the Road: Community Arts Activism and Cultural Hegemony:
Community arts activists spend far too much time engaged in the perpetuation and recapitulation of the dominant cultural hegemony, evading the critical lens themselves.
By Carol Marie Webster
(December 2009)
The Selma Project: "Understanding, the Struggle for Community":
Reflection on a significant community-arts work in Selma, Alabama. Published in High Performance #69/70, Vol. XVIII, No. 1/2, 1995.
By Robert H. Leonard
(September 2002)
Transcending Words: Dance For Tolerance:
Teens from violent neighborhoods in Brazil and Colombia visit Brooklyn to prove dance is a medium for social change.
By Dana Edell
(July 2007)
Turning the Mirror Outward through Funding…Inward through Transformation: Meeting the Challenge:
On Alternate ROOTS' paradigm shift in funding priorities.
By Carolyn Morris
(March 2004)
Urban Bush Women and Community Engagement Pedagogy:
Urban Bush Women’s community engagement method outlines a creation process to radicalize diverse communities in society.
By Sophia Chakos-Leiby
(November 2009)
Virtual Reality Warriors: Native American Culture in Cyberspace:
A pre-WWW Information Age revolution among Native Americans. Published in
High Performance #57, Vol. XV, No. 1, 1992.
By Patric Hedlund
(December 1999)
Voices from the Battlefront: Achieving Cultural Equity Through Critical Analysis:
Artists call for a cultural policy of global pluralism that deeply respects local life and its tradition bearers.
By Jamie Haft
(September 2009)
Walaalo! Diverse Ambitions in Community-based Arts:
A compendium of case studies looks at New WORLD Theater's collaboration with women of the Somali refugee community in western Massachusetts.
By Ayaan Agane
(September 2009)
What Can You Teach Me? Intergenerational Community Arts in the Baltimore Lumbee Community:
An artist helps strengthen her community's culture by bringing together its two “anchor” generations.
By Ashley Minner
(December 2009)
What Does Democracy Look Like?:
Students in SUNY's alternative adult college create The Museum of Democracy's Hall of Curiosities.
By Lucy Winner and Katt Lissard
(April 2005)
When Stories Talk to Stories: The Dialogue of Dance:
The associate artistic director of Liz Lerman Dance Exchange writes about the creation of civic dialogue during the company's nationwide "Hallelujah" initiative, 1998-2002.
By Peter DiMuro
(March 2003)
Wing Luke Asian Museum: A Place for Voices Not Otherwise Listened To:
Part 3 of The Administration of Cultural Democracy, profiling the Wing Luke Asian Museum in Seattle, Washington.
By Tom Borrup
(September 2003)
Young People's Art Works Toward Social Change: Performing Visions of Utopia:
An analysis of art works created by young people in struggle.
By Sharon Verner Chappell
(October 2008)
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From the Archive...
" In the U.S., neither the arts community nor the organizing community has paid enough attention to the difference between cultural programming and cultural organizing; consequently, the not-for-profit arts sector has thousands of cultural programmers (also known as arts presenters) and only a relatively few cultural organizers. The two practices are radically different."
—Dudley Cocke in
Tamejavi
Recent Links: Arts and Cultural Democracy
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