Your Life Is a Fraction of a Journey

2019 ◽  
Vol 6 (2) ◽  
Author(s):  
Ofelia Esparza ◽  
Rosanna Esparza Ahrens
Keyword(s):  
Los Angeles ◽  
Collaborative Work ◽  
Natural World ◽  
National Endowment ◽  
Subsequent Work ◽  
Art Activism ◽  
The Arts ◽  
Boyle Heights ◽  
The University ◽  
Traditional Arts

On March 1, 2019, the Transformative Arts Network at the University of California, Santa Barbara, held a two-day “Art, Activism, and Imagination” symposium. One memorable and infinitely generative part of the symposium came at the start of the second session, which was dedicated to the collaborative work between artists affiliated with the Alliance for California Traditional Arts and the Building Healthy Communities project in Boyle Heights in East Los Angeles. Altar makers Ofelia Esparza (a National Endowment for the Arts Heritage Fellow) and her daughter Rosanna Esparza Ahrens (graphic designer and cofounder of the artist collective Tonalli Studio—A Place of Creative Wellness) began the afternoon with an instructional session on “how to arrive” followed by a presentation about their work as altaristas. As participants gathered on a verdant lawn next to a peaceful lagoon near the ocean, the altar makers burned sage and spoke about our obligations at a meeting convened on unceded Indigenous land. Rosanna outlined the four-part process that has guided the process of making altars. This consists of (1) arriving with full awareness of ourselves, our ancestors, and the powers of the natural world; (2) connecting fully with the natural and human world; (3) making agreements for collective conduct; and (4) affirming the possibilities produced by our collective practice. This process guided all the subsequent deliberations of the symposium and has informed much of the subsequent work that has emanated from it. One reason for its impact and influence stems from the extraordinary presentation about altar making that Ofelia and Rosanna presented, which enacted the ideals that the four parts of “learning to arrive” envision. With their permission, we reprint here a transcript of part of their inspiring and enlightening presentation.

scholarly journals Grants and Acquisitions

2018 ◽  
Vol 79 (7) ◽  
pp. 396
Author(s):  
Ann-Christe Galloway
Keyword(s):  
National Endowment ◽  
University Of Arkansas ◽  
The Arts ◽  
The University ◽  
Traditional Arts

The University of Arkansas Libraries has been awarded a $30,000 grant from the National Endowment for the Arts to serve as the home for the Arkansas Folk and Traditional Arts Program.

Working at the Crossroads: A Guide for Border Crossing

2017 ◽  
Vol 4 (2) ◽  
Author(s):  
John Mckiernan-González
Keyword(s):  
American Studies ◽  
Collaborative Work ◽  
Border Crossing ◽  
Keynote Address ◽  
Cross Border ◽  
Entry Points ◽  
Academic Labor ◽  
Boyle Heights ◽  
The University ◽  
The Impact

This article discusses the impact of George J. Sánchez’s keynote address “Working at the Crossroads” in making collaborative cross-border projects more academically legitimate in American studies and associated disciplines. The keynote and his ongoing administrative labor model the power of public collaborative work to shift research narratives. “Working at the Crossroads” demonstrated how historians can be involved—as historians—in a variety of social movements, and pointed to the ways these interactions can, and maybe should, shape research trajectories. It provided a key blueprint and key examples for doing historically informed Latina/o studies scholarship with people working outside the university. Judging by the success of Sánchez’s work with Boyle Heights and East LA, projects need to establish multiple entry points, reward participants at all levels, and connect people across generations.I then discuss how I sought to emulate George Sánchez’s proposals in my own work through partnering with labor organizations, developing biographical public art projects with students, and archiving social and cultural histories. His keynote address made a back-and-forth movement between home communities and academic labor seem easy and professionally rewarding as well as politically necessary, especially in public universities. 

Source Theatre Company and the Mandate of the NEA: a Case Study

1995 ◽  
Vol 11 (42) ◽  
pp. 128-134
Author(s):  
Mary C. Resing
Keyword(s):  
Public Funding ◽  
The United States ◽  
National Endowment ◽  
Washington Dc ◽  
The Public ◽  
Chapel Hill ◽  
The Arts ◽  
Theatre Company ◽  
The University

The controversy in the United States surrounding the funding of ‘offensive‐ and ‘pornographic‐ works by the National Endowment of the Arts (NEA) has centered on whether or not the organization should espouse a morally conservative outlook in regard to the public funding of artistic works. However, the NEA arguably already pursues conservative policies rooted in its vision of the form, function, and outlook of the arts it exists to serve. The appointment of the actress Jane Alexander as chair of the NEA may have indicated that the organization would become more liberal in its moral stance, but the question remains: can government-supported art be anything but conservative? The following is a case study of one theatre's relationship to the NEA in the context of the Washington, DC, theatre community. The author, Mary C. Resing, is a former business manager of New Playwrights' Theatre in Washington, DC, and a former grant writer at the University of North Carolina at Chapel Hill. She is currently working on her dissertation on the actress-manager Vera Kommissarzhevskaia.

scholarly journals Looking Thru the Nano Lens: Art, Science and Nature

2019 ◽  
Vol 27 (7) ◽  
Author(s):  
Chiara O’Reilly ◽  
Alice Motion ◽  
Chiara Neto
Keyword(s):  
Informal Learning ◽  
Pilot Project ◽  
Natural World ◽  
Postgraduate Students ◽  
The Public ◽  
The Arts ◽  
Set Up ◽  
New Research ◽  
The University ◽  
Opening Up

In 2018, an interdisciplinary team of researchers from the School of Chemistry, Sydney Nano and the Department of Art History at the University of Sydney set up a pilot project called the Nano Lens. Our project set out to examine and experiment with what it means to look closely at the natural world and inviting us, as colleagues, into a discussion and collaboration, drawing on our different perspectives. The Nano Lens also gave agency to a group of scientists in training (undergraduate and postgraduate students), and a sense of ownership of the science, which was then transmitted to the public. Taking inspiration from the artwork of the prominent Australian painter Margaret Preston (1875-1963) and the flora she depicted, the Nano Lens has opened up new research that intersects science and the arts; celebrating the value of collaboration and offering opportunities for staff and students to engage in and lead interdisciplinary discussions with the public. This paper will discuss our pilot project and the initial findings of our research together and discuss the benefits that our alliance has had in fostering collaboration and outreach activities where academics and students work together to share their research with the public. We seek to reflect on what we have learnt from the project and from opportunities to share our work and approaches. What does it mean to look like a scientist or to look like an artist and how has this enriched student learning? What value is there in opening up opportunities for informal learning about science and collaboration outside your disciplines?

scholarly journals The Eyes of the Animals

2010 ◽  
Vol 1 (1) ◽  
Author(s):  
Linda Hogan
Keyword(s):  
Short Story ◽  
Associate Professor ◽  
National Endowment ◽  
University Of Minnesota ◽  
Linda Hogan ◽  
The Arts ◽  
Book Award ◽  
American Book ◽  
Story Writer ◽  
The University

Linda Hogan Linda Hogan (1947), a successful poet, short story writer, novelist, playwright, and essayist whose tribal affiliation is Chickasaw, spent most of her childhood in Oklahoma and Colorado. She taught at the University of Minnesota, and has been an associate professor in the English Dept. at the University of Colorado in Boulder (where she obtained her MA in 1978), since 1989. She has served on the National Endowment for the Arts poetry panel for two years and has been involved in wildlife rehabilitation as a volunteer. The main focus and movement of Linda's work concerns the traditional indigenous view of and relationship to the land, animals and plants. She has won numerous awards, such as the 2002 Wordcraft Circle Writer of the Year (Creative Prose: Memoir), the Lifetime Achievement Award from the Native Writers' Circle of the Americas (1998), the prestigious Lannan Award, which may not be applied for, for outstanding achievement in poetry (1994), the Oklahoma Book Award for fiction in 1991, and the American Book Award (1986). She was one of three finalists for the Pulitzer in 1990.

Ancient Rome mapped

Antiquity ◽  
2017 ◽  
Vol 91 (360) ◽  
pp. 1659-1662
Author(s):  
Bernard Frischer
Keyword(s):  
Los Angeles ◽  
Collaborative Work ◽  
Ancient Rome ◽  
Roman Archaeology ◽  
Ancient City ◽  
English Speaking ◽  
The Subject ◽  
The One ◽  
The University

When I first began my teaching career in 1976 at the University of California, Los Angeles, the subject of Roman topography was difficult to teach to English-speaking students. Most of the scholarship was written in Italian, and much of the rest was in French and German. Over the past 40 years the situation has changed significantly. We now have two useful introductory surveys in English: Coarelli'sRome and environs(2014) and Claridge'sRome: an Oxford archaeological guide(2010). We also have a host of monographic studies and, since 1988, innumerable articles and book reviews in theJournal of Roman Archaeology. Richardson's (1992)A new topographical dictionary of ancient Romeupdated the one venerable but antiquated English reference work that we had long had: Platner and Ashby's (1926)A topographical dictionary of ancient Rome. Meanwhile, at least for polyglot scholars, the situation became even more favourable with the appearance of Steinby's (1992–2001)Lexicon Topographicum Urbis Romae(LTUR), a collaborative work by a distinguished international team writing in Italian, French, German and English, with around 2300 individual entries on specific sites and monuments of the ancient city.

scholarly journals Not So Very Long Ago

2010 ◽  
Vol 1 (1) ◽  
Author(s):  
Linda Hogan
Keyword(s):  
Short Story ◽  
Associate Professor ◽  
National Endowment ◽  
University Of Minnesota ◽  
Linda Hogan ◽  
The Arts ◽  
Book Award ◽  
American Book ◽  
Story Writer ◽  
The University

Linda Hogan Linda Hogan (1947), a successful poet, short story writer, novelist, playwright, and essayist whose tribal affiliation is Chickasaw, spent most of her childhood in Oklahoma and Colorado. She taught at the University of Minnesota, and has been an associate professor in the English Dept. at the University of Colorado in Boulder (where she obtained her MA in 1978), since 1989. She has served on the National Endowment for the Arts poetry panel for two years and has been involved in wildlife rehabilitation as a volunteer. The main focus and movement of Linda's work concerns the traditional indigenous view of and relationship to the land, animals and plants. She has won numerous awards, such as the 2002 Wordcraft Circle Writer of the Year (Creative Prose: Memoir), the Lifetime Achievement Award from the Native Writers' Circle of the Americas (1998), the prestigious Lannan Award, which may not be applied for, for outstanding achievement in poetry (1994), the Oklahoma Book Award for fiction in 1991, and the American Book Award (1986). She was one of three finalists for the Pulitzer in 1990.

Heifetz-Tussman, Malka (1893–1987)

2018 ◽  
Author(s):  
Raphael Koenig
Keyword(s):  
New York ◽  
Los Angeles ◽  
Natural World ◽  
Yiddish Literature ◽  
Her Family ◽  
Sensory Experiences ◽  
Language And Literature ◽  
The Usa ◽  
The Russian Empire ◽  
The University

Malka Heifetz-Tussman was a twentieth-century American Yiddish poet. She was born in 1896 in the region of Volyn in Ukraine (then part of the Russian Empire), and immigrated to the USA with her family in 1912. Unlike Celia Dropkin (1887–1956) or Anna Margolin (1887–1952), Heifetz-Tussman was not based in New York, the major centre of Yiddish literary creation in America. Instead, she lived in Chicago and Milwaukee, taught Yiddish language and literature at the University of Judaism in Los Angeles, and eventually settled in Berkeley, California, where she remained until her death in 1987. She received the Itsik Manger Prize for Yiddish Literature in 1981. Inspired by Walt Whitman, her poems strike a balance between a concise, dense writing style, and a quest for simplicity and accessibility. Her work focuses on the sensory experiences of the lyrical ‘I’ as it encounters the natural world, reaching an intensity often expressed in mystical terms. Although never directly engaging with the experience of the Shoah, she thought of her poetry as an act of resistance and uncompromising affirmation of her right to exist.

After-Dinner Thoughts of America's Oldest Living Dramaturg

1994 ◽  
Vol 10 (37) ◽  
pp. 24-27
Author(s):  
Arthur H. Ballet
Keyword(s):  
Central Europe ◽  
English Language ◽  
National Endowment ◽  
New Work ◽  
Practical Advice ◽  
The Arts ◽  
The University

Arthur Ballet was a dramaturg in America before the English-language theatre really knew that such a theatrical functionary had long been leading a curious backstairs life in the theatres of central Europe. He directed and taught theatre at the University of Minneapolis for many years until, in 1961, he became Director there of the grandly-entitled Office for Advanced Drama Research – in which capacity he not only gave unstintingly of time and advice to hundreds of aspirant playwrights, but guided their work towards likely outlets, and selected and edited no fewer than thirteen volumes of new work in the Playwrights for Tomorrow series. He was also a regular dramaturg for the O'Neill Playwrights' Conference, and later served in that role at the Guthrie Theatre. During the Carter years Arthur Ballet was director of the theatre programme for the National Endowment for the Arts. In 1975 he became an advisory editor of Theatre Quarterly, as he has been of NTQ from our first issue. What follows is an after-dinner speech made to an association whose very existence would have seemed an improbability just a few decades ago – the Literary Managers and Dramaturgs of the Americas, to whom he here addresses some words of practical advice and cautionary wisdom.

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