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Description
Farmers' markets are a growing trend both in Arizona and the broader U.S., as many recognize them as desirable alternatives to the conventional food system. As icons of sustainability, farmers' markets are touted as providing many environmental, social, and economic benefits, but evidence is mounting that local food systems primarily serve the urban elite, with relatively few low-income or minority customers. However, the economic needs of the market and its vendors often conflict with those of consumers. While consumers require affordable food, farmers need to make a profit. How farmers' markets are designed and governed can significantly influence the extent to which they can meet these needs. However, very little research explores farmers' market design and governance, much less its capacity to influence financial success and participation for underprivileged consumers. The present study examined this research gap by addressing the following research question: How can farmers' markets be institutionally designed to increase the participation of underprivileged consumers while maintaining a financially viable market for local farmers? Through a comparative case study of six markets, this research explored the extent to which farmers' markets in Central Arizona currently serve the needs of farmer-vendors and underprivileged consumers. The findings suggest that while the markets serve as a substantial source of income for some vendors, participation by low-income and minority consumers remains low, and that much of this appears to be due to cultural barriers to access. Management structures, site characteristics, market layout, community programs, and staffing policies are key institutional design features, and the study explores how these can be leveraged to better meet the needs of the diverse participants while improving the markets' financial success.
ContributorsTaylor, Carissa (Author) / Aggarwal, Rimjhim (Thesis advisor) / York, Abigail (Committee member) / Wharton, Christopher (Christopher Mack), 1977- (Committee member) / Arizona State University (Publisher)
Created2013
Description
As schools across Arizona worked to meet NCLB's AYP requirement in 2010-2011, they were also labeled and sanctioned by AZ Learns. This phenomenological study focused on six effective high school principals in two Arizona school districts to ascertain how accountability policies impacted the principals' job responsibilities, autonomy, and ability to pursue social justice on their campuses. Interviews were conducted in three phases: superintendents, three principals from the superintendents' recommendations of effective school leaders, and three teachers from each school. In addition to analysis of individual principal leadership patterns, comparisons were made across districts, and from school to school within the same district. The goal of the study was to determine if and how principals were able to accomplish their goals for their school. The principals' leadership styles were examined through a Vortex Leadership Framework that posited principals at the center of a vortex of varying leadership roles, interests, and external forces, including accountability, autonomy, and limited resources. Key findings included (a) high school principals' responsibilities now include selling change to their staff, (b) principals' accountability is limited more by district constraints than by state or federal accountability, (c) principals must contend with rigid one-size fits all accountability standards that do not always meet the needs of their students, and (d) principals' autonomy is tied to their resources, including funding for staffing and programs.
ContributorsBatsell, Holly (Author) / Powers, Jeanne M. (Thesis advisor) / Mccarty, Teresa (Committee member) / Davey, Lynn (Committee member) / Arizona State University (Publisher)
Created2013
Description
Oral history methodologies are used to conduct fifteen interviews with Martha Akesi Ndaarko Sennie-Tumi over the course of three months. Research responded to the following questions: How do African women defy master narratives? When do African women defy master narratives and move from the margins to the center? What roles do African women take on to defy master narratives and why? To what extent does the concept of malezile (women who stand firm) address human rights? Twelve stories of defiance (three of which are folktales) are analyzed for recurring themes, concepts and motifs. Research showed that African women defy master narratives when the system worked to their detriment through the Nana Esi archetype. The stories also showed that women adopt nontraditional roles during defiance by using whatever means available to them at the time of defiance.
ContributorsEssuman, Portia Nana (Author) / Anokye, Akua D (Thesis advisor) / Elenes, Alajandra C (Committee member) / Cuadraz, Gloria (Committee member) / Arizona State University (Publisher)
Created2012
ContributorsShi, Ge (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-25
Description
ABSTRACT As a response to the banning of Ethnic Studies in the Tucson Unified School district and other oppressing forces within the movement the students fighting HB 2281 created a Sacred Xicana Space. In this thesis I will examine the role that protest art has in the fight against HB2281. I will also analyze its role in cultural expression, identity and representation. The research question guiding this research is What role does protest art have in social justice? Specifically I will analyze the cultural production of protest art against HB 2281, the ethnic studies ban in Tucson Arizona, and its role in cultural expression, identity and representation.
ContributorsArmendariz, Martha (Author) / Elenes, Alejandara C (Thesis advisor) / Téllez, Michelle (Committee member) / Pope Duarte, Stella (Committee member) / Elenes, Alejandra C (Committee member) / Arizona State University (Publisher)
Created2014
Description
Through the disciplines of art education, anthropology and psychology the researcher examined research-based traits and characteristics of the creative process among a second year Title 1 urban high school art class. Within the theoretical framework of social justice, this micro-ethnographic study explored exactly what teaching and learning to be creative implies and proposes a potential resolution for art teachers learning how to enhance teaching children how to think creatively. The research proposition is that student creativity occurs as a function of a series of interrelated factors including a nurturing classroom context, strong teacher-student dialogue, strategic questioning, purposeful incorporation of visual culture, and manipulation of content in favor of student interests within the culturally situated context of the art classroom. Navigating teacher-student relationships at moments of creative origination produced results indicating that the art teacher alone is the single most influential factor for enhancing creative outcomes in a classroom. Through incorporation of a variety of collaborative activities and comparative analysis of dissimilar content-driven projects generated evidence that artistic skills and creativity do not necessarily go hand-in-hand. The study finds that the artworks produced evidence based nuances of the creative traits of originality, fluency, flexibility, and elaboration in which profoundly varied in character depending on the content and the context. The study concludes that creativity cannot be strictly taught or learned, but rather that it can be enhanced through teacher nurturing and manipulation of content to encompass a socially intelligent uptake in the culture of art-making. Broader implications are suggested focusing on the significance of creative education and the impact it can have for educational systems, schools and undergraduate programs in art education. The researcher proposes an art education curriculum model that fosters both creative thinking and the unique learning needs of Title 1 urban students. The curriculum suggests the art teacher begin initial instruction by teaching students about the traits, characteristics and obstructions of creativity prior to teaching artistic skills sets to serve as a foundation of creative awareness from the start.
ContributorsForeman, Angela (Author) / Young, Bernard (Thesis advisor) / Stokrocki, Mary (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2014
ContributorsShatuho, Kristina (Performer) / ASU Library. Music Library (Publisher)
Created2018-03-27
ContributorsCarlisi, Daniel (Performer) / ASU Library. Music Library (Publisher)
Created2018-04-07
Description
This study explores how grantmakers conceptualize their work with respect to issues of social justice. It seeks to answer two primary questions: What role, if any, does the philanthropic community ascribe to itself in not just ameliorating but helping solve our greatest social challenges? And if philanthropy does see itself as an agent of change, what are the barriers that limit its potential? After painting a portrait of contemporary American philanthropy, this paper applies Iris Marion Young's critique of distributive justice to philanthropy's dilemma between downstream charitable aid and upstream structural change. The thesis then turns to analysis of semi-structured interviews with eighteen of Arizona's foundation leaders to assess whether and how state-level philanthropic leaders see their work vis-á -vis social justice, and understand how external factors limit philanthropy's ability to effect maximum social change. Participants express a desire to engage in genuinely meaningful philanthropy which does more than just maintain the status quo, but identify multiple constraints, including legal barriers to fully utilizing advocacy as a tool, governmental infringement on philanthropic autonomy, the channeling of philanthropic resources toward basic needs as a result of the recession, and a grantmaking orientation that prioritizes short term programs that yield swift, measurable results as opposed to longer term efforts.
ContributorsLester, Eva Lorraine (Author) / Zatz, Marjorie S (Thesis advisor) / Haglund, LaDawn (Committee member) / Romero, Mary (Committee member) / Arizona State University (Publisher)
Created2011
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011