Public Style Sheet

 

Follow Merriam-Webster’s Collegiate Dictionary, 11th ed., or Merriam-Webster’s Online, for spelling.

 

Follow Chicago Manual of Style, especially for citation form.

 

 

Spell out centuries

twenty-first century

twenty-first-century democracy

 

 

Spell out numbers from one to nine, use numerals for 10 and up.

Inclusive numbers (including dates): use the entire number.

2009–2010

 

 

Space around em-dashes:

word#—#word

 

 

No hyphenated Americans (even when used as an adjective)

African Americans

Asian American activists

 

 

Titles of museum programs should be roman, exhibitions should be ital:

The Smithsonian Institution’s Museum on Main Street program’s exhibit Hometown Teams

 

 

Titles of art works, including projects, should be ital:

SUGAR

            Distant Mirrors

 

 

Title of academic programs, should be roman with initial caps:

Museum Studies Program

 

 

Title of an organization’s project, should be roman with initial caps of title, but “project” should be lowercase:

Archaeology in Annapolis project

 

 

Name of conference is roman initial caps (not ital, not quotes):

Imagining America’s 2013 conference, A Call to Action

 

 

References to Figures:

In text references s/b in parens and abbreviated

(Fig. 1); (see Fig. 1)

In caption, s/b spelled out

Figure 1: Followed by descriptive phrase or sentence, ending with period.

If the figure name, title, caption are within the figure itself, tell the author to delete it because that information will be in the caption.

Credit appears on a separate line, ending with period.

[CAPTION] Figure 1: Descriptive phrase or sentence.

[CREDIT]    Photo by So and So.

If Permission form gives caption and credit info, use that for copy (though we can format it in our style).

 

 

Numbered lists: “1.” [not “1)”]

If there is a bold subhead, ends with period not colon.

1. Project-based learning.

 

 

Heads style:

Title of article: center bold, extra hard return before and after

A-head: flush left bold, with extra hard return before and after it

B-head: ?

 

 

Author’s names (byline):  Flush left, lightface (not bold), extra hard return before and after

 

 

End Notes:

only substantive

arabic numbers (1, 2, 3,)

 

 

Works Cited list

Citation style:  author-date:

spell out author first names;

when citing website, “Accessed” date should include day, month, year:

“Accessed November 30, 2013.”

Citation style:  blog:

Author Last Name, First Name. date. “Title of Entry.” Blog Title. URL

There must be an in-text cite for every item in the list. If not, author must insert one, or delete the item from the list.

 

In-text citation: (Author last name  date); (Name  date, page ref)

i.e., (Pollan 2009); (Pollan 2009, 99–100)

 

Citation style for blog:

Author last name, First name. Date. “Title of Entry.” Blog Title. URL

 

 

alliance building

African Caribbean

affirmative action

Afro-Latin community

Anglo Canadian

art-making

audio clip

audio course

audio documentary

audio editing

audio interview

audio journalism

audio producer

audio production

audio recording

audio work

“backstage”  “front stage” – quotations for 1st mention, then no quotes

boundary-crossing

bridge-crossing

choice-making

civil rights movement

co-articulate

coauthor

cocreate

codevelop

cocurator

codirector

community building

community-engaged (adj.)

coproducers

cross-cultural

cross-disciplinary

Deep South

design-build pedagogy (adj.)

email

experiential learning

Franco American

French Canadian

full-time

Fundamental Pedagogies

in-between (noun; adj.)

in between (adv.; prep.)

internet

knowledge-making

longtime

mask-making

meaning-making

metacommentary

mill town

millworker

multilingual

multipronged

multiracial

multiyear

nonacademic

nonprofit

note-taking

PhD

place-making  [placemaking (for third issue)]

postmodernism

problem-solving (noun)

public-making

reconceive

service-learning

storyteller

storytelling (noun)

study abroad experience

study abroad program

talkbacks [theater term for the dialogue between audience and performers after a performance]

teaching librarian

tenure-track position

theater-maker

theater-making

third-space resident

transdisciplinary

United States (noun)

US (adj) [no periods]

work life

website; web

 

 

Order of materials within the main document:

Biographical statement

Abstract

[Introduction]

Main text

Endnotes

References

 

 

We are pleased to announce that the first issue of Public: A Journal of Imagining America is now open for submissions, now through February 15, 2013.

One of my favorite parts of IA conferences are the visits to sites where partnerships between faculty students and people in cultural and community-based organizations take place. I was part of the visit to Pregones Theatre in the Bronx this year. Artistic director Rosalba Rolon, along with Ping Chong of the company of the same name (celebrating its 40^th anniversary), and Kevin Bott of the Dream Freedom Revival, shared expansive conceptions of for whom and for what they make theatre, each in various relationships with colleges and universities. Rolon shared her vision of Circle of Scholars, Circle of Artists in rich and reciprocal exchange. Carol Brzozowski, arts presenter at Syracuse University (SU), described the joys and challenges of collaborating with the local Congolese community with Ping Chong in the creation of Cry for Peace, about that country’s troubled history and efforts toward reconciliation now, whose opening run at Syracuse Stage was seen by 3,000 students. Bott laid out his hybrid job as Imagining America’s associate director at SU, which includes 20% of his time earmarked to develop this theatre project.

All three directors profoundly identify with a larger than typical “theatre crowd” with whom they work. Pregones has a strong neighborhood base in the Bronx (Rosalba: “we don’t talk about communities because we know these people; we talk about them by their names!”) and equally strong relationships with other theatre companies around the world. Chong described his own experience as an outsider, from an immigrant family, drawing him to the Undesirable Elements series, a 20- year exploration of works created with and performed by people who experienced their own stories of outsiderness. Kevin Bott felt isolated in his new geographic community of Syracuse, NY, until he researched local history of the underground railroad and tent revivals to create a Dream Freedom revival, a tent show whose religion is democracy, with new friends and neighbors who also wanted to stand up and sing, dance, and speak out.

A poem floats into a room as introduction. We sit in a circle unsure who is presenter, who is audience.

 

“She’s dancing on beer cans and shingles…”

“Don’t tell nobody. Don’t tell a soul. Are we animals? Have we gone crazy.”

“Somebody. Anybody. Sing a black girl song.”

 

Five voices of doctoral students and professor weaving metaphors and dancing consonants and sharing images of Black girls and contradiction and hope and fear and language disrupting and challenging the expectation of a paper with a theory and stacks of evidence.  I suspect this session will be different.

 

Porshe Garner begins with a personal narrative about her work with SOLHOT, a space to celebrate Black girls in Champagne, Illinois. She speaks to us:

“SOLHOT requires that I love and forgive. That I know God. That I hear and not just what I want to hear…”

 

Durrell Callier recites a layered poem expressing the tensions, the joy, the theories embedded in his work:

“This work is dirty work…”

“I’m a person. Damn. Sometimes even I forget that…”

“1-800-call up your ancestors…”

“Perform research. Be personal. Dare to insert your narrative. That work is downright dirty…”

“This work is dirty work where many are called and few are chosen…”

 

Dominique Hill dances. She reaches long arms into the room and gives energy and breath and expresses with her body the narratives of struggle and hope and history and love and identity. Her body shares more than a 20 page, double spaced, white paper ever could. “I know what it feels like to give until empty. To begin again. To begin again…“

Following the five poetic presenters, we engage in a passionate, thought provoking conversation about the inspiring and challenging work of running afterschool spaces for girls that become research sites. Spaces where practice comes first and theory erupts from the stories girls tell about their days.  The researchers discuss the tension between writing research about the girls in the space without sharing the work with them. When offered the books written about them, the girls don’t take them, don’t read them. They are not expressing any interest in hearing about the theory or the scholarship built from their bodies and voices.

 

The presenters reflected upon the personal struggles this work demands of them. They bravely and honestly shared stories about being men and women of color taking risks to create “nontraditional” work that might impact their future job prospects or tenure.  They expressed the need to continue to do the work that is impacting girls’ lives as well as creating knowledge for the academy.

 

How do colleges and universities collaborate with cultural and community-based organizations in this period of crisis in both sectors? Marta Vega, conference co-chair, president of the Caribbean Cultural Center, noted how overdue is a shift in our thinking and language regarding campuses as parts of communities, rather than faculty/ students “going out to” communities. Conference co-chair Randy Martin of NYU trenchantly explained that the question is not if these sectors are linked but rather by what terms this linkage must be approached. Nonprofits were meant to be a third space, neither government nor business, where the public good could thrive. But tax exemptions have eviscerated the public sphere, providing the most perks for those who need them least (such as tax breaks for mortgages). The wealthy people that tax exemptions benefit don’t think of themselves as receiving government benefits. It’s the poorest who are marked as government dependent and the rich who have recouped what was public money and actually decide the agenda of nonprofits through what they fund. How does higher education respond to the crisis so many non profit organizations face, organizations that increasingly form a component of student learning and have always been a source of faculty research and knowledge production? And what about how and who is admitted to our colleges and universities, the conference theme curated by Susan Sturm of Columbia U, the third conference chair? How do we achieve full participation? Why are campus units that focus on diversity often siloed away from those who carry out “engagement?”

Welcome to our public announcement of Public! We encourage you to comment, leave questions (or answers!), or make suggestions on any of the material published on this site.