Improving Community-Based Youth Work: Evaluation of an Action Research Approach

Few formal post-secondary educational programs in the United States focus on youth work, thus youth workers often enter the field with diverse backgrounds and varying levels of experience working with youth. Drawing on mounting evidence that quality youth service requires skilled staff, professional-development opportunities have received increasing support by agencies and funders. Typically, youth work professional development supports propositional (theory) knowledge learning to develop a more skilled workforce. This article describes an approach to youth work professional development that supports professional-craft knowledge learning (practice wisdom). Based on action research methodology, the approach has been developed over the last three years with groups of youth workers in a public organization. Using program evaluation data over the last two years and university-facilitator reflections, the authors describe what have been found to be the critical components of this approach. Also discussed are implications of using such an approach in day-to-day youth work practice.     

Group Homes for Problem Youth:

No abstract available for this article.     

Social Skills Training with Adolescents:

No abstract available for this article.     

Name Index

No abstract available for this article.     

The presence of absence: Beyond the “great goddess” in Ana Mendieta's Silueta Series

Ann Liv Young's The Bagwell in Me, which premiered at The Kitchen in NYC, 2008, continues this experimental dance-theater artist's characteristically brutal, anatomizing exposure of the performers’ bodies through both sexual and violent narratives. This analysis examines how Young's construction of a certain type of subject on the stage challenges the subjectivities of her audience members, provoking moments of potential eruption. By setting up the possibility of abjection through the ambivalent dynamic of attraction and repulsion, and bombarding the audience with tropes that engender a push toward Georges Bataille's concept of “radical formlessness,” I argue, Ann Liv Young's performance places notions of the stable subject – composed of a “whole” body that is coherently organized and intelligibly coded in terms of sex, gender, sexuality and race – into question. Not only will this analysis explore how viewing oral sex as choreography speaks to Bataille's discussion of radical formlessness through decontextualization and the maddening effects of staring at the sun, but it will also interrogate how the same strategy of radical formlessness could have entirely different performative effects regarding the threat of bodily coherence and taxonomy within the narrative of historical racial violence.     

Negotiating hybridity: Native women's performance as cultural persistence

New Delhi-based performer, Maya Krishna Rao’s experimental performances incorporate a variety of forms including kathakali, cabaret, comedy, drag, live music, and video, and draw attention to the performative, political, and ethical potential of gesture. This article traces Rao’s practice as a minor inhabitation of kathakali and everyday gesture. Following performance theorist Erin Manning (2016), I understand the “minor” to be a force that scrambles normative hierarchies of value and organization from within the intervals of the “major.” Rao’s minor practice retools the four-hundred-year-old dance-drama form to produce new sensory-kinesthetic knowledge of quotidian regimes. In works such as The Non-Stop Feel-Good Show, Khol Do, and A Deep Fried Jam, Rao straddles kathakali’s mythical economy, conventions, and physicality alongside snippets from contemporary news media, ideologically inflected historical narratives, and socially normative dress and behavior codes, to reveal the extraordinary with/in the everyday, such that we might inhabit the present differently. In distorting, combining, disarticulating, and deterritorializing kathakali’s gestural and expressive vocabulary, Rao invites audiences to partake and follow her into a gestural regime that lies alongside the known. By focusing on the possibilities for affective realignment and queering in a minor register, her experimental and hybrid kathakali-influenced performances impress upon discourses and practices of neoliberal urbanism, national memory, and gender and sexuality in New Delhi today.     

The call of the wise baby in Chaplin's The kid

In this study we seek to understand the gendered dynamics of bearing witness, remembering, and mourning in contemporary Israeli society by examining the performative practices of one protest movement, Women in Black (WiB). Our focus is on the Haifa chapter of the movement, whose vigils we observed over a seven-year period. After a brief overview of the literature regarding national remembering and commemoration in Israel, the formation of WiB and its place in Israeli political life and discourse, we move to our analysis of the vigil. We argue that by analyzing WiB's vigil as a performance, we are able to complicate the discussion concerning women, performance and remembrance in general and in Israel in particular. We find that through their performance WiB disrupts the current “economy of memory” in Israel; by remembering and performing that which many would like to remain forgotten – the occupation which followed the 1967 War and its consequences – it engages in a project of “transformative remembering,” which disturbs its audience's equanimity and forces it to review its past.     

提升文化产业职工素质的途径探析

职工素质的提升,对于文化产业维护、展示、弘扬和创新文化内涵具有十分重要的意义。提升职工素质可以通过树立榜样形成示范力、弘扬道德凸显约束力、完善体制提升竞争力、维护权益构建原动力、举办活动打造凝聚力来激发职工的劳动热情和创造活力。     

职工文化管理推动工会工作创新探析

工会工作创新不仅是党和国家对工会提出的重大政治任务,也是全面提升我国职工队伍整体素质从而建设社会主义现代化强国的战略需要,更是工会自身发展的内在要求。作为习近平新时代中国特色社会主义思想的重要组成部分,职工文化对于创新工会工作尤其调动广大职工群众的积极性有着特殊的政治意义和战略价值。因此,建议要在企业中大力推动职工文化管理。