Note the commas preceding and following Include the year only if it is different from the present year the year in which the publication or correspondence is dated and always if the year is different from the present year. Last has several meanings and its use in reference to time can be confusing. The phrase "during the last month" can mean either "during the previous month" or "during the final month.
Similarly, the word next also can be confusing and should be avoided. A week can be defined as a specific seven-day period or as any seven consecutive days. A month can be defined as a specific month of the calendar or as any period of 30 consecutive days. A year can be defined as a specific calendar year or fiscal year or as any period of consecutive days. If you write "During ," or "During the fiscal year," or "During the past 12 months," or "From April through March ," the period covered is more clearly defined.
For academic and fiscal years, use , not The single exception to this rule is at the end of a century, for example, Skip to main content. Use : We met in December not December of Be concise and consistent When to include the year Include the year only if it is different from the present year the year in which the publication or correspondence is dated and always if the year is different from the present year.
Avoid using "last" and "next" Last has several meanings and its use in reference to time can be confusing. Make your meaning clear A week can be defined as a specific seven-day period or as any seven consecutive days. Students and scholars from the island will have the opportunity to share and learn from the diverse backgrounds of visiting students and scholars. Ultimately, these mutual learning experiences will expand and deepen the practice of community arts work while contributing theoretical and practical methodology to the field.
The exchange of information and knowledge is designed to motivate creative, innovative thought while exploring possibilities for joint work with community cultural advocates in Puerto Rico. Program days will be divided between classroom sessions in the morning in which all students will attend together and site-based study in the afternoon in which smaller groups of students will participate.
The morning classes will provide information pertaining to the cultural, historical and policy-related contexts of partnering communities. The afternoon sessions will afford practical experiential learning opportunities with established local community groups. The Right to Cultural Equity: The Community Arts Imperative — 4 credits The continuous challenges posed by racial, ethnic and cultural diversity necessitate an understanding of the global issues and public policy decisions impacting these communities.
This course analyzes the global context and local innovations pertaining to cultural equity movements around the world and the importance of community arts in advancing this cause. For example, in spite of the historic Civil Rights Movement, existing and new migrant and immigrant groups continue to struggle to establish communities that reflect their aesthetic, creative vision, traditions and sacred expressions. How these cultural entities are received by the broader cultural and arts community raises many questions pertaining to ongoing inequities, racial and cultural discrimination, funding disparities and more.
It will also look at exemplary community-based organizations, movements and strategies. This course of study will include the review, examination and implementation of United Nations documents on cultural rights. Coursework will develop an understanding of community-based initiatives, varied narratives and organizational frameworks that assure the recognition of the heritage and legacies of grounded cultural communities.
Community Arts University Without Walls: A Collaboration
Included in this pursuit are new heightened levels of public discourse, awareness and involvement leading to significant policy changes. Special emphasis will be placed on the analysis of goals, strategies and outcomes of student movements.
A first-hand dialogue with Puerto Rican University students actively involved in raising issues of social, cultural and economic equity will be provided. Students will develop projects in collaboration with community cultural groups based on an agreed upon need and approach.
Students will, for the most part, work in unfamiliar communities in order to better understand and develop best practices for entering new communities. Based on their work at home and interests, students will be partnered with a single community site or rotate between two different sites.
This investigation combines a comprehensive analysis of the opportunities and challenges pertaining to community-directed equity with skills for practical implementation of projects and initiatives.
IVP - Strangely Dim - Best of 2011--An Entirely Subjective Treatment
Key to the integration of these varied educational backgrounds is a project-based approach whereby students can either bring a project from home or join in a community-based project underway in Puerto Rico. These hands-on projects will allow students to conduct critical analysis collectively from a variety of perspectives, in effect creating a basis for equitable co-learning despite different levels of formal education.
For students who will join an existing endeavor within Puerto Rico, descriptions of these sites and their work will be posted. Students can write a proposal as to why they are interested in this particular site and what they hope to contribute and take back to their own community. An admissions committee will review these proposals and provide feedback to students that will help focus their projects. This advice might include suggested readings, information about similar efforts in other parts of the world or introductions to other students with related interests.
- Artistry Through Turbulence.
- Mystery at the Moonlight Casino.
Applicants are encouraged to partner with other prospective students with the intent of collaborating before, during and after their certificate residency. Students will utilize their project proposals as benchmarks during the program, thereby allowing each to reflect on how their views and understandings have changed. Students will be asked to keep a journal that includes notes on their readings, classes, fieldwork and overall progress.
At the beginning, middle and end of their residencies, students will make presentations on their projects including problems they face and how they will be addressed. Students will continue to share from home the ongoing progress of their work with CAUWW partners and mentors, using blogs or wikis to create a network of peers and advisors. The online CAUWW program site will publish documentation of the summer projects so that prospective students in subsequent years can view and reflect upon these efforts. Proposed student projects must demonstrate a clear and well-defined need that is addressed through artistic and cultural practices within an engaged and reciprocal model.
Dates | Writing Style Guide | Western Michigan University
It is expected that students applying to the program will have had previous meaningful experience working in community. Students must have partners within their designated communities that include either families, community-based organizations or community leaders who value their proposed projects. This work may be documented in various forms such as interviews or testimonios, scholarly articles, video and audio documentary and self-reflective personal essays or journals that contribute new knowledge to the field of Community Arts.
Projects must demonstrate the integration of community needs, artistic process and cultural production. Special attention will be paid to candidates who have been working actively to eradicate cultural inequity through the arts and other socially conscious mediums. The program seeks to support those working in community by helping to provide access to resources assuring educational opportunities that reflect diverse historical legacies and heritage.
Candidates who have a history of working in marginalized communities around issues of social justice and inclusion will receive serious consideration. Moreno Vega is also the creator of the international conferences entitled Cultural Diversity Based on Cultural Grounding that were the basis for the publication Voices from the Battlefront Achieving Cultural Equity. The documentary, shot in Cuba, focuses on the impact of Santeria on the civil society of the island.
In , he co-founded the Museum of Chinese in America where he continues to serve as senior historian. Currently Tchen is researching the hidden tradition of intermingling and creativity in the political culture of New York City. During the University of Puerto Rico student strike he was one of the main spokespersons of the National Negotiation Committee, created by students from the eleven UPR campuses to negotiate with the administration and local government.
Currently, he works as a Spanish and history teacher in a nonprofit organization school. He has worked with well over 25 communities across the U. She collaborated in the creation of diverse art collections and conferences, in and out of Puerto Rico. Amalia Mesa-Bains, PhD.
Her artworks, primarily interpretations of traditional Chicano altars, resonate both in contemporary formal terms and in their ties to her Chicano community and history. She has pioneered the documentation and interpretation of Chicano traditions in Mexican-American art and is a leader in the field of community arts.
Among her many awards is the distinguished MacArthur Fellowship. Randy Martin, PhD. He has edited collections on U. Her charge is to enhance the university's outreach and engagement with Middletown, Hartford, New Haven, and Middlesex County communities; local and state government; as well as public and private organizations. He has been a member of the Puerto Rican Endowment for the Humanities, serving as its board president between and From to he served as professor and later board member of the prestigious Centro de Estudios Avanzados de Puerto Rico y el Caribe.
In , the Board of Trustees unanimously named him chancellor to lead the institution where he presently serves. Since , he has placed college students in a variety of arts-based programs serving youth and adults from the local Baltimore community. As founding director of MICA's Office of Community Arts Partnerships CAP , he supervised its creation in and led the ongoing development of programming providing a unique set of learning experiences grounded in art-based youth and community development practice.
In This Section. An Invitation. An Enriching Experience. About the Interaction. Center for Art Education. Community Arts Journal.