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The Need for a Community Arts University Without Walls
Community arts training must engage community scholars in the field, community institutions, artists, students and professors as equals.
By Marta Moreno Vega
(February 2010)
Trimming the Sails: Assessing a Program in Midstream
With four graduated classes now working the field, Columbia College engages with the community to see if its AYCD program is delivering value.
By Phyllis Johnson
(December 2009)
Learning Culture and Change: A Place-based Community Arts Training Model
The Institute for Community Cultural Development shares its pedagogy.
By William Cleveland, Wendy Morris and Erik Takeshita
(December 2009)
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)
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)
Scroll down for a list of all essays on Working Methods, Skills and Best Practices
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Recent News: Working Methods, Skills and Best Practices
March 18, 2010
Nova Scotia's First Arts Engagement Convening
"Arts Engage! Arts for Community Engagement" is the first-ever training intensive and symposium on the subject in Nova Scotia, June 14-20, 2010.
[more ]
March 10, 2010
For Kids: Pages of Possibility in Providence
Artist Mary Geisser is blogging from Providence, R.I., where she's leading "Pages of Possibility," a book-making workshop with children ages three and up at the Fox Point Community Library.
[more ]
February 4, 2010
Call: Chapters for Civic Education Textbook
The editor of a new textbook on the university and democratic societies is looking for chapter proposals on how the arts and arts communities work with colleges and universities to pursue citizenship education.
[more ]
September 10, 2009
New Models Compete at Arts Journalism Summit
Five new arts journalism models will compete for a total of $15,000 in prize money at the National Summit on Arts Journalism in Los Angeles, Calif., October 2, 2009.
[more ]
September 1, 2009
Yes Men Honored by First Creative Time Prize
The Yes Men will receive the first Creative Time Prize for Art & Social Justice during the Creative Time Summit: Revolutions in Public Practice, October 23-24, 2009.
[more ]
 More Working Methods, Skills and Best Practices news
 Go to APInews for complete news listings
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| All Essays on Working Methods, Skills and Best Practices |
"Hallelujah" Diary:
An essay on the problems of presenting performance within a community-based project, based on experience with the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002.
By Jane Hirshberg
(January 2003)
23 Questions From Teachers that Artists Can Help Answer:
Ideas about artist-teacher collaboration, based on needs of teachers in educational-reform movements. Published in High Performance #71, Vol. XIX, No. 1, 1996.
By Linda Frye Burnham
(December 1999)
A Bridge Conversation on Innovative Approaches to Linking Nonprofit and For-profit Models:
Adam Huttler and Ruby Lerner talk about entrepreneurial strategies and changing paradigms for arts-service organizations.
By Adam Forest Huttler
(April 2008)
Activate the Learning, Support the Field: The Community-based Practicum in Youth Arts:
Catching up with the community-arts training program at Columbia College Chicago, including an academic plan and an assessment model.
By Nicole Garneau
(December 2005)
Attending to Your Process for Healthy Collaboration:
Artist and teacher Sheila Kerrigan has some pointers for artists and their community partners in collaborative projects. Her article is adapted from her new book, "The Performer's Guide to the Collaborative Process," published in February 2001 by Heinemann.
By Sheila Kerrigan
(March 2001)
Common Sense and Common Ground:
Survival skills for artists working in communities and social institutions.
By William Cleveland
(September 2001)
Community Artists Bring Lessons About Creativity and Learning in Difficult Times:
CAN reviews Keith Knight and Mat Schwarzman's "Beginner's Guide to Community-Based Arts."
By Erica Kohl
(November 2005)
Creative Economy Practitioner's Toolkit: Taking Advantage of Campus and Community Resources (Part 1):
Nine strategies for arts-engaged economic-development planning.
By Susan Monagan, Susan Christopherson and Suzanne Loker
(August 2007)
Creative Economy Practitioner's Toolkit: Taking Advantage of Campus and Community Resources (Part 2):
By Susan Monagan, Susan Christopherson and Suzanne Loker
(August 2007)
Developing Partners: Inside Three Arts Organizations:
Exploring three partnerships at New York's 651 Arts-Africa Exchange Project, the Five College Dance Department in Massachusetts and Tennessee's Carpetbag Theatre.
By Takiyah Nur Amin
(August 2005)
Doing Time in the Garden: Life Lessons Through Prison Horticulture:
An excerpt from a new book with some great ideas for teaching in prisons.
By James Jiler
(June 2007)
Five Keys to Growing a Healthy Community-connected Museum:
A Seattle director tells colleagues how his community turned a small historical society into a $1-million-year museum.
By Ron Chew
(February 2005)
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)
Glossary of Terms from Augusto Boal's Theatre of the Oppressed:
Excerpted with permission from "Playing Boal" (Routledge, 1994). Published in High Performance #72, Vol. XIX, No. 2, 1996.
By Jan Cohen-Cruz and Mady Shutzman
(December 1999)
How To Document an Event:
A quick and easy event-documentation checklist.
By Linda Frye Burnham
(September 2004)
How To Use a Consensus Process To Make Decisions:
Author of "The Performer's Guide to the Collaborative Process" presents a brief, accessible guide to consensus.
By Sheila Kerrigan
(September 2004)
Integrating Community Arts and Conflict Resolution: Lessons and Challenges from the Field:
Key observations on working in conflict transformation.
By Craig Zelizer
(June 2007)
It's About Building Relationships: Duke Performance Students Engage Community in Durham:
An artist and collaboration expert writes about teaching a 2003 course at Duke University, in Durham, N.C., "Community-Based Performance: Where Art and Activism Intersect."
By Sheila Kerrigan
(November 2004)
Learning Culture and Change: A Place-based Community Arts Training Model:
The Institute for Community Cultural Development shares its pedagogy.
By William Cleveland, Wendy Morris and Erik Takeshita
(December 2009)
Living Like a Refugee: Peggy Diggs Takes a Design Problem to Prison:
Straight out of maximum security: make your own portable desk.
By Linda Frye Burnham
(March 2007)
Making Exact Change: How U.S. arts-based programs have made a significant and sustained impact on their communities:
CAN's study of ten programs and how they've made a difference.
By William Cleveland
(November 2005)
Measuring Change in Continental Harmony:
Patricia Shifferd of the American Composers Forum (ACF) and William Cleveland of the Center for the Study of Art and Community devised a method for studying the effects of Continental Harmony, a large ACF music initiative.
By William Cleveland and Patricia A. Shifferd
(June 2001)
Models for Working with Youth in Community Arts:
A comparison of the educative model and the youth development model.
By Stephani Etheridge Woodson
(September 2008)
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)
Partnering for GOOD: Sojourn Theatre Cuts a Deal:
A new partnership model for local arts and businesses.
By Maureen Towey
(November 2007)
Pink Slips and Short Toes: An Interview with Celeste Miller:
A conversation with a resident artist of the Liz Lerman Dance Exchange about new techniques developed during the company's nationwide "Hallelujah" initiative, 1998-2002.
By Linda Frye Burnham
(March 2003)
Power in Practice: Notes on a New Kind of Arts Conference:
An early article on Open Space Technology at a Philadelphia arts conference. Published in High Performance #72, Vol. XIX, No. 2, 1996.
By Linda Frye Burnham
(October 2003)
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)
Putting Culture Back into Agriculture:
Looking for project ideas, a University of Wisconsin team went to the grassroots: artists and farmers.
By Maryo Gard Ewell
(December 2006)
Taking Action: Teaching Participatory Community-based Theater:
Seven college and university educators answer questions about their work.
By Linda Frye Burnham and Mark Weinberg
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Amy Sarno:
Seven college and university educators answer questions about their work.
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Ann Elizabeth Armstrong:
Seven college and university educators answer questions about their work.
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Kate Mendeloff:
Seven college and university educators answer questions about their work.
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Leslie Delmenico:
Seven college and university educators answer questions about their work.
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Mark Weinberg:
Seven college and university educators answer questions about their work.
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Sharon Green:
Seven college and university educators answer questions about their work.
(September 2001)
Taking Action: Teaching Participatory Community-based Theater – Sonja Kuftinec:
Seven college and university educators answer questions about their work.
(September 2001)
Teaching Topics for Community-based Arts for Social Change:
A list of topics that should go into any curriculum for learning how to do community-based arts work.
By Alternate ROOTS
(November 1999)
Telling and Listening in Public: Factors for Success:
Essay about what makes a good community-based narrative performance project, based in interviews with prominent practitioners in the field; part of "Connecting Californians: Finding the Art of Community Change" research project.
By Linda Frye Burnham
(February 2001)
The 1000 Kites Summit: A Community Arts Focus Group:
An example of cross-sector thinking that's integrating the arts into real-world change.
By Linda Frye Burnham
(October 2007)
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 Need for a Community Arts University Without Walls:
Community arts training must engage community scholars in the field, community institutions, artists, students and professors as equals.
By Marta Moreno Vega
(February 2010)
Toward a Process for Critical Response:
Early writing about the Critical Response Process now widely in use to critique artworks in process, developed by the author in collaboration with Alternate ROOTS.
By Liz Lerman
(October 2003)
Trimming the Sails: Assessing a Program in Midstream:
With four graduated classes now working the field, Columbia College engages with the community to see if its AYCD program is delivering value.
By Phyllis Johnson
(December 2009)
Truth UP: 23 Insights, admonitions and ideas about youth arts from the great masters:
Insights gathered from young people about successful creative collaborations and partnerships.
By William Cleveland
(August 2003)
Working Methods: Tools for Making Good Community Art:
A CAN tool kit for community arts.
By Community Arts Network
(October 2004)
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From the Archive...
" Many of the theater members described the foundation as being “like a family” and because they are all from Bosa, they know the community, its people and its culture. All theater members begin working at the foundation as volunteers and then eventually are eligible for a stipend."
—Susan Appe in
Cultura para Todos: Colombian Community Arts... and politics
Recent Links: Working Methods, Skills and Best Practices
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