North Georgia College & State University: Digital Commons
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Research-Practice Partnerships as Community-Engaged Learning: Lessons Learned from a Collaborative Project with Youth Development Programs
Full text linkTo bridge the gap between community-engaged learning and research-practice partnerships, we describe our experiences in a project jointly conceptualized and implemented by undergraduate students and youth development practitioners over the course of two academic semesters. The project offered students the opportunity to apply the skills they learned through coursework in a way that also supported the needs of community practitioners, providing both groups with opportunities to learn from each other. In this paper we describe the collaborative project, our process, the challenges we faced, and the impact of the project on the student researchers and the youth development practitioners. Written by representatives of both the student researchers and the practitioner collaborators, we hope this paper will inspire others to incorporate students in research-practice partnerships and that our reflections on the strengths and challenges of this process will facilitate more effective implementation of community-engaged scholarship in the future
Making Community-Based Research Work: Lessons Learned from a Liberal Arts College
Full text linkTrinity College launched the Community Learning Research Fellows Program in 2011 to support undergraduate community-based research (CBR). Our goal was to create an environment that supports high-quality undergraduate research consistent with the principles of community learning. Our strategy focused on building the right type of collaborative relationships among the different actors involved in CBR. We learned three important lessons in our efforts to support these relationships: (1) The community perspective must be integrated into the structure of the program to lend it authority; (2) Peer learning should be used to better prepare students to meet the challenges of CBR; and (3) Expanding the collaborative learning model to include a diverse group of participants empowers students to construct knowledge with and for their community partners. The broader implications of these lessons are discussed in the conclusion
Folklore Dancing
No full textThis art represents Hispanic folklore dancing. I spent 3 day working on i
France on my mind
Full text linkThis is a self portrait. It pictures me wearing a beret out of which come various French symbols in the form of monuments and iconic items. It represents my love for the French language, art, and culture. I spent 8 hours on drawing and coloring my project
Spanish 2 UNG language day project: poncho
Full text linkIt took a total of 37 hours and 43 minutes. I have 5 blocks of 10 rows of double crochets.
I crocheted a 24.5in ,from droop to tip, and 17.8in, top to sides poncho. The colors are red,navy blue, forest green, orange, white, and black. These were the common colors for other ponchos. I have a pattern of 5 blocks with 10 rows of double crochet. This project is inspired from the Spanish speaking countries because one clothing piece they had in common was a poncho.
Key words:
Crochet
Poncho
Double crochet
Single crochet
Red
Blue
Green
Orange
Black
Bloc
“Like Pieces in a Puzzle”: Online Sacred Harp Singing During the COVID-19 Pandemic
No full textSacred Harp singers the world over gather weekly to sing out of The Sacred Harp, a collection of shape-note songs first published in 1844. Their tradition is highly ritualized, and it plays an important role in the lives of many participants. Following the implementation of lockdown protocols to combat the COVID-19 pandemic, groups of Sacred Harp singers quickly and independently devised a variety of means by which to sing together online using Zoom (“zinging”), Jamulus (“jamzinging”), and Facebook Live (“stringing”). The rapidity and creativity with which Sacred Harp singers developed ways to sustain their activities attests to the strength and significance of this community of practice, and in this article I describe each modality and provide an account of how it came to be developed and widely used. As a participant-observer, I completed extensive fieldwork across these digital sites and conducted semi-structured interviews with 22 other singers. I found that online singing practices have reshaped the Sacred Harp community. Many singers who did not previously have the opportunity to participate now have access, while others have lost access due to technological barriers or lack of interest in online activities. At the same time, geographical barriers have disintegrated, and singing organizers must make an effort to maintain local identity. A stable community of singers has emerged in the digital realm, but it is by no means identical to the community that predated the pandemic. I also identify the ways in which online singing has proven meaningful to participants by providing continuity in their personal and communal practice. Specifically, online singing allows participants to access and celebrate their collective memories of the Sacred Harp community, carry out significant rituals, and continue to grow as singers. While no single modality replicates the complete Sacred Harp singing experience, together they function “like pieces in a puzzle” (as one singer put it), allowing individual participants to access many of the elements of Sacred Harp singing that are most meaningful to them
[4] Death
No full textRevelation 6:1-7
“I watched as the Lamb opened the first of the seven seals. Then I heard one of the four living creatures say in a voice like thunder, “Come!” I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.
When the Lamb opened the second seal, I heard the second living creature say, “Come!” Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make people kill each other. To him was given a large sword.”
When the Lamb opened the third seal, I heard the third living creature say, “Come!” I looked, and there before me was a black horse! Its rider was holding a pair of scales in his hand…
When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come!” I looked, and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.”
The Four Horsemen of the apocalypse are the first of the seven seals in the Book of Revelations. These seven seals are a series of end time judgements from God. Being raised in a Christian upbringing I have always been fascinated with the book of Revelations and the subject matter of the Four Horsemen. Growing up I was riding horses before I could walk, so anything that had depictions of horses I engulfed. I was obsessed with the concept of the Four Horsemen growing up. They fascinated me, and even though I was too little to get the whole concept of the apocalypse part, I could still apricate the artworks done by some.
From seeing artwork and being entranced when I was little, to now being able to create my own unique and individual pieces is why I became an artist. Seeing motion picture art on screen is the reason I went for my Digital Arts degree. I want to create magic and masterpieces that others get to enjoy. My obsession with horses and the Four Horsemen led me to create my own individual pieces of each of the Horsemen. I hope to convey the ominous atmosphere that the Bible depicts while still creating a unique and enticing work of art that people want to interact with and enjoy.https://digitalcommons.northgeorgia.edu/seniorexhibitfall2021/1010/thumbnail.jp
