"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)

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 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 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)

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)

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)

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)

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)

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)

Culture and Development: A New Paradigm
Essay on cultural development in Europe. By Cristina Losito (October 2000)

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)

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)

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)

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)

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)

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)

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 Gwyl�ne 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)

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)

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)

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)

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)

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)

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)

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 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, Natalya Brusilovsky, Michael Mendoza and Cynthia Ruffin (January 2004)

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 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 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)

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)

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)