CultureWork
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Item Open Access CultureWork ; Vol. 22, No. 2(Center for Community Arts & Cultural Policy, Arts & Administration Program, University of Oregon, 2018-05) SV Flys, Elena; Fletcher, Tina; Eckberg, Jon; Blake, Amanda B.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This final issue is a fitting tribute to the beginning of CultureWork. The first article published by founding editor, Doug Blandy, explored website accessibility to users with disabilities. This double issue of CultureWork features two articles focused on accessibility for specific audiences in traditional arts venues: First, Elena SV Flys explores ways in which theatrical performance can be enhanced through well designed audio and visual tools that communicate with a wide variety of audience members. Then, a collection of authors affiliated with work at the Amon Carter Museum in Fort Worth, TX share outcomes of an art-based occupational therapy program targeted for families with children on the autism spectrum.Item Open Access CultureWork ; Vol. 22, No. 01(Center for Community Arts and Cultural Policy, Arts & Administration Program, University of Oregon, 2018-03) Guerriero, Maria; Jarvis, Kelly; Vaughn, Deborah; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This issue features collaborators from the Connecting Students to the World of Work (WoW) grant program implemented by the Oregon Arts Commission (OAC). Collaborators included a member of the OAC staff, a contracted researcher, and a contracted graphic designer. In this article, these three authors share how they determined a key design style to convey a complex message about program assessment data to a variety of audiences. They provide recommendations for establishing relationships and trust among an evaluation communications team as well as responsibility for how data sets are communicated to funders, policy makers, and general audiences.Item Open Access CultureWork ; Vol. 21, No. 04(Center for Community Arts and Cultural Policy, Arts & Administration Program, University of Oregon, 2017-12) Lim, Benny; Brady Nelson, Meaghan; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This late autumn issue of CultureWork explores ways in which communities enact arts and culture festivals to meet local needs, solve problems, or address health and well-being. Whether processing the outcomes of a political protest or seeking to bring families together around art making opportunities, the authors underscore interconnections between goals, values, programmatic choices, and relationships. Benny Lim describes how these attributes manifest in Hong Kong’s Umbrella Festival and Meaghan Brady Nelson through the Kids Arts Festival of Tennessee.Item Open Access CultureWork ; Vol. 21, No. 03(Center for Community Arts and Cultural Policy, Arts & Administration Program, University of Oregon, 2017-06) Cuyler, Antonio C.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-In this issue, Antonio C. Cuyler, Assistant Professor of Arts Administration at Florida State University, invites us to join and contribute to the ongoing journey of examining and researching diversity, equity, and inclusion within the field of arts administration. Cuyler introduces the range of his research around diversity in arts administration leadership and educational practices in the field. He further calls the field to conduct additional, purposeful research around markers of diversity such as race, gender, sexuality, socioeconomic class, indigeneity, and ability–as well as questions of equity and inclusion that his research has not yet engaged. This work is necessary to examine historical and contemporary structures, forms of knowledge, and ideologies that perpetuate and change the differentials and distribution of power in society as specifically represented in the arts and culture sector. Such research further builds the opportunities, teaching practices, content areas, analytical skills, and constructive thinking that are embedded into arts administration training programs that prepare arts and cultural sector leaders.Item Open Access CultureWork ; Vol. 20, No. 4(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2016) Fohl, Patrick S.; Wolfram, Gernot; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Item Open Access CultureWork ; Vol. 20, No. 3(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2016) Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Item Open Access CultureWork ; Vol. 20, No. 02(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2016-04) Friedenwald-Fishman, Eric; Fraher, David; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-We are pleased to introduce you to the Building Public Will for Arts & Culture Initiative, soon to be known as “Creating Connection.” The initiative is centered on everyday ways in which value and recognition are placed on the arts, culture, and creative expression. To help define these values and recognition the Metropolitan Group, a research firm for social change, has been working with Arts Midwest on national communications and engagement efforts. This current issue of CultureWork shares some of the findings of their research regarding how the arts are spoken about, where and how individuals anticipate or expect arts and cultural experiences to happen, and what acknowledgement of art and culture in daily life may contribute to broader social and individual health and well-being.Item Open Access CultureWork ; Vol. 20, No. 01(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2016-01) Katz, Anne; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Advocates lead, champion, and proselytize causes or policies for the public good. We consider them the spokespeople and guides upholding the fight on behalf of others, including ourselves. But what if we flip that notion? What if we consider that each and every one of us directing, designing, marketing, fundraising, researching, teaching, and creating in arts and culture sectors are the proponents and promoters of arts for the public good each and every day? That we individually, as well as collectively, advocate for the importance of the arts broadly? Specifically, advocating through our pre-show talks with our audience members, through the pastry and cup of tea we enjoy with our business colleagues at the Chamber of Commerce, through the messaging we send via social media outlets, or by encouraging our students to talk to their school board about their desires for more arts specialists in their classrooms? Anne Katz, Executive Director of Arts Wisconsin, explores these questions in the current issue of CultureWork: A Periodic Broadside for Arts and Culture Workers. We encourage you to read, comment, and share ways in which we each advocate for the arts.Item Open Access CultureWork ; Vol. 19, No. 04(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2015-10) Leonard, Kim; Worcel, Sonia; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Creating a holistic and broad ranging educational agenda in an era of sparse allocations of educational programming and school budgets is much on the minds of arts and culture sector workers. Indeed, calls for more science and technology; more basics of math, reading and writing; and more creative problem solving and design are found in the daily news. In the midst of these competing educational demands emerges a highly significant question: how do we create sustainable quality arts education for youth? The Oregon Community Foundation (OCF) has begun to tackle this question through its Studio to School pilot program. In this issue of CultureWork, authors Kim Leonard and Sonia Worcel, researchers at OCF, provide a snapshot of this case-study model within the State of Oregon. They describe the power of creative expression experienced by youth through the arts learning supported in these OCF funded programs. They also explore needs for differentiation in arts learning within specific school settings and suggest initial ways to think about successful arts education principles, outcomes, and offerings. As editors, we hope this articles leads to further dialogue and action about this important component of our national wellbeing–the future of arts education and the overarching educational robustness for our children.Item Open Access CultureWork ; Vol. 19, No. 03(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2015-08) Flood, Bill; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Seventeen years ago, Bill Flood, community cultural development facilitator, consultant, and organizer, wrote a CultureWork article defining community cultural development and how it was understood and practiced at the time. Since then, much has been learned with new questions and implications arising in the field each day. Now, Flood has interviewed professionals from across the field to bring together a sensibility of what is important as conceptions of community cultural development continue to grow and refine itself within the 21st century. Here, we learn current questions, concerns, and opportunities that will guide future directions.Item Open Access CultureWork ; Vol. 19, No. 02(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2015-06) Mathie, Kim; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Item Open Access CultureWork ; Vol. 19, No. 01(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2015-04) Moreland, Kimberly S.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Oregon has long acknowledged, portrayed, archived, and celebrated its pioneer heritage. Settlers and explorers of Western European descent have been the focus of most mainstream pioneer narratives. Deeper within state history, we find that Oregon’s social and economic growth was also built, despite exclusion laws and discriminatory practices, through often unrecognized contributions by Black settlers, slaves, immigrants, and emigrants to this state and nation. The all-volunteer organization, Oregon Black Pioneers (OBP), seeks to promote more complex and diverse pioneer stories. OBP is reclaiming these rich stories through exhibitions, historic preservation, and community events that assist to commemorate, interpret, and educate about Black pioneers who were drawn here seeking change, questing for new horizons and new beginnings. Understanding this pioneer precedent is evermore significant as Oregon experiences rapidly changing demographics, gentrification of historically Black neighborhoods, and ways in which decisions are made within, about, and for communities. We are pleased to present the OBP model in this issue of CultureWork as arts and culture workers around the country grapple with similar questions about ways in which to best represent new historical stories within previously established narrative frameworks.Item Open Access CultureWork ; Vol. 18, No. 03(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2014-07) Loewenthal, Tamara; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Item Open Access CultureWork ; Vol. 18, No. 03(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2014-07) Holladay, LuAnne; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Item Open Access CultureWork ; Vol. 18, No. 04(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2014-10) Susholtz, Lynn; Ryan, Leslie; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-The Fall 2014 issue of CultureWork: A Periodic Broadside for Arts & Culture Workers focuses on the active engagement of citizen artists committed to a specific neighborhood in San Diego, California. How does one grow an arts organization while also growing and expanding an engaged local neighborhood through events, exhibits, and aesthetically pleasing experiences and surroundings as well as public cultural policy? How does one do this in a way that does not gentrify but that builds over years of commitment to a sense of place and people, embracing those who live and work there and who seek expression through dancing, gardening, policy making, and educational engagement? Learn more about the corner called Art Produce in the North Park, San Diego neighborhood in which authors Lynn Susholtz and Leslie Ryan have lived and worked for the past 20 years.Item Open Access CultureWork ; Vol. 18, No. 02(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2014-04) Galligan, Ann M.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This quarter’s article focuses on recent policies, initiatives, and partnerships to develop “STEM to STEAM” movements, in which the initial focus on Science, Technology, Engineering, and Mathematics (STEM) moves toward the inclusion of the Arts as part of the educational core that now becomes STEAM. In particular, comparisons are made between implementation of such efforts in the states of Rhode Island and Oregon. Ann Galligan, Associate Professor and Co-Director of the Cultural and Arts Policy Research Institute at Northeastern University in Boston, MA, examines ways in which STEAM is now building on the momentum of the successful STEM initiative.Item Open Access CultureWork ; Vol. 18, No. 01(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2014-01) Garfinkel, Molly; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-This issue features background and future plans for a nomination of the South Bronx’s Casita Rincón Criollo as a Traditional Cultural Property on the National Registry of Historic Places. Within historic preservation policies in the United States, Casita Rincón Criollo has served as a challenge and a model for better integrating folklorists into the process of registry. Using a historical overview Molly Garfinkel, Director of Place Matters, outlines the territory of issues involved in this complex and challenging process. Additionally, the following article introduces Place Matters as a program that identifies, promotes, supports, and protects distinctive cultural traditions and environments in New York City.Item Open Access CultureWork ; Vol. 17, No. 03(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2013-10) Barrett, Savannah Chantal; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Item Open Access CultureWork ; Vol. 17, No. 03(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2013-10) Armstrong, Jennifer; Menchaca, Mitch; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Nearly fifty years ago, Robert E. Gard, Wisconsin community arts pioneer, challenged Americans to ensure our arts were for everyone, in every part of the country. The past two to three decades have seen great strides in diverse community-building, but it is still an unfinished conversation. How diverse are our art makers, leaders, audiences, funders, educators, and students? How equitable is funding for arts and culture? How accessible are the arts for every person living in the United States? Where are we succeeding, and where are our deepest challenges? As America indeed changes at a rapid pace, now is the time for communities nationwide to intentionally and thoughtfully investigate, evaluate, and set forth action agendas around the ideas of access and equity.Item Open Access CultureWork ; Vol. 17, No. 02(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2013-04) Yang, Nan; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-Almost three years have passed since the Central Art District (CAD) concept in Songzhuang, China was shown to the public. There are many questions left unanswered. For example: how is the development progressing? Is the policy suitable for the development? What is the artists’ living status after the CAD plan? During my research, I have examined those questions, analyzed the current situation of Songzhuang Culture and Creative Industry Cluster (SCCIC), tried to refine the current development strategy for the cluster, and eventually provided suggestions for SCCIC’s future development.