Location: Tempe History Museum, 809 E Southern Ave, Tempe, AZ 85282
The Providers follows three healthcare providers working at El Centro, a small group of safety-net clinics in northern New Mexico. Amidst personal struggles that at times reflect those of their patients, the journeys of the providers unfold as they work to reach rural Americans who would otherwise be left out of the healthcare system. In partnership with PBS Independent Lens.
Arizona State University Project Humanities released their Fall 2016 event calendar. Events include programs directly sponsored, supported, or created by Project Humanities as well as events that highlight the range and value of the humanities at Arizona State University.
Project Humanities invites you to their upcoming event, Hacks for Humanity 2015. Hacks for Humanity is a 36-hour hackathon for the social good, starting at 8am on Saturday, October 3rd, and ending at 8pm on Sunday, October 4th. They invite techies, programmers, developers, humanities, artists, students, educators, and creative visionaries to hack with one mission: to create technology solutions and initiatives that will contribute to the social good and address the needs of humanity using the seven principles of the Humanity 101 Movement: respect, kindness, integrity, forgiveness, empathy, compassion, and self-reflection.
Last year, the winning team went on to win the $10K grand prize from the ASU Changemaker Innovation Challenge last spring for their life-saving mobile application “ARKHumanity.” This team of five determined individuals not only showed their talents in technology, but also their love and dedication to the needs of humanity. Furthermore, they show their everlasting support of our Humanity 101 Movement. You can win Hackathon this year and move on to greater competitions, too! Join for another exciting 36-HOUR event!
Mark your calendars on September 18 for this exciting opportunity to attend “An Evening of Poetry and Conversation with Nikki Giovanni.” The event will be held at the Mesa Arts Center’s Ikeda Theater and run from 6:30 p.m. to 8:30 p.m. This event is free. Find out more at this link.
Nikki Giovanni is an American writer, commentator, activist, world renowned poet, powerful literary voice, and educator, currently at Virginia Tech. She is also one of the best known African American poets who reached prominence during the late 1960s and early 1970s. Her poetry reflects her own evolving awareness and experiences, starting from child to young women, seasoned civil rights activist to lecturer and educator, with all the steps between. Giovanni’s poetry expresses strong racial pride and respect for her family while her informal style makes her accessible to both children and adults. As the author of over 30 books and a Grammy nominee, her focus is on the individual and the power one can have on oneself as well as in the lives of others.
Also, check out this article and interview that ASU’s Project Humanities posted in february back before the event was rescheduled.
Project Humanities is a university-wide initiative at Arizona State University that strives to connect people through talking, listening, and connecting about the humanities. Every semester, Project Humanities chooses a theme that will guide their kick-off week and subsequent semester. Kick-off week for the Fall 2013 semester will run from September 16-21 with the focus of “Humor… Seriously.” Advertising intern April Hanks had the opportunity to conduct a phone interview with Neal Lester, Foundation Professor of English at Arizona State University and Director of Project Humanities.
April Hanks: How would you explain project humanities to someone?
Neal Lester: Project Humanities is a university-wide effort to demystify and to promote the relevance of humanities research and public programs across all campuses and into the surrounding communities. And we do that through a number of strategies that are research-specific as well as public programs that engage diverse communities. It’s all year round and it has been in place for about three years.
AH: How did Project Humanities begin?
NL: The germ of the idea began in fall 2010 and that’s when we assembled. I served as Dean of Humanities in the College of Liberal Arts and Sciences at the time and one of my charges was to make humanities more robust. It was at a time when a lot of humanities programs across the country were being cut because of budget and… around the country they seemed to be chopping at humanities courses first. So what I figured I needed to do in terms of making humanities more robust was to first sort of take humanities out of this notion that humanities happens within a classroom. [I needed to show] that humanities were bigger than discipline and that we could actually talk about humanities across all disciplines. And so that became sort of the focus. How do we talk across disciplines, how do we talk within disciplines so it’s not as if literary scholars are always talking with historians or historians are always talking to religious studies scholar? So there was an effort both to talk within disciplines, but also to talk beyond and across disciplines about those kinds of questions that humanities ask. And they’re not formulas. They’re not always black and white. But it’s to find meaning in those sort of grey spaces between, say, STEM disciplines and look at humanities as a way of basically helping us better understand what is going on in our lives and the world.
AH: You mentioned that Project Humanities reaches out to the community…
NL: Communities. I get a little bothered when we sort of make community monolithic, because I don’t know what that means when we talk about the community. Because what Project Humanities tries to do is reach out to multiple communities and my personal sense is that each individual is a member of multiple communities simultaneously. We can certainly talk about communities within ASU, we can also talk about communities outside and beyond ASU.
AH: How does Project Humanities engage with communities outside of ASU?
NL: First of all, we have about 100 programs a year that we either sponsor or cosponsor. We’ve done Project Humanities events at churches that were not necessarily faith-based programs, we’ve had film screenings at one of the churches downtown, we had another public program at one of the cafes, the Fair Trade Café, we did another at Sunnyside Diner in Ahwatukee, we do things at the library, we had a program that was actually at The Lot, which is downtown Phoenix outside, we had one of our first programs that engaged the community at the Phoenix Youth Hostel, in addition to having programs on campuses across all four campuses. So that’s one way.
Not only do we have programs at these other places, but we also invite people from these communities into ASU to sit on panels or into ASU to give a lecture or to participate in a conversation. For “Humor… Seriously” we actually have a representative from Tempe Improv as well as the National Comedy Theater, I believe, who are coming in to talk in the business school about the business of humor. So it’s not as much about being funny or talking about humor and how humor is done, we have other workshops about that, but this is how do you market humor. How do comedy clubs survive? How do improv groups survive? What is the entrepreneurial aspect of humor? So these are not people who are ASU people, they are coming from the outside. We also engage with national communities. So we don’t just deal with the local but we try to make sure that the local expertise interfaces with the national. So we have national speakers coming in, we have people leading workshops who are national experts. We also talk about the international communities and we have a visiting scholar now from Norway. And our Hand campaign, which is the t-shirts: people wearing the t-shirts and then sending us pictures from all over the world. So there are multiple ways we engage with communities outside of ASU but also communities inside of ASU.
AH: You’ve mentioned several times that the focus for this semester is humor, so how did Project Humanities decide to focus on humor this semester?
NL: We have a signature event: biannual kick-offs. And rather than doing what some universities have done, which is to just sort of throw anything and everything that has to do with humanities into a segment of the semester, we decided, this was a steering committee and I three years ago, that we would try to have some kind of thematic focus. But a thematic focus that would allow anybody doing anything across disciplines, communities, and professions.
So the first one we did, which launched it in spring of 2011, was “Perspectives on Place.” And that theme is interesting because when we started Project Humanities, it was to address a number of things, not only about the place of humanities in higher education when parents and students are asking where you’ll get a job when you major in English or French or Spanish or even art history. So it was the place of humanities in that conversation. The other part had to do specifically with the southwest. At the time, Arizona was going through some really difficult political and social conversation about racial profiling, about immigration, about attacks on ethnic studies. SB 1070 was high on everybody’s list and there was this narrative circulating that Arizona was not very hospitable to difference, and cultural difference at that. So Project Humanities was a conscious effort to try to address some of those issues, to say “here’s a different narrative about what’s going on in the southwest, in Arizona, and at Arizona State University.” So in many ways the idea of the project was focused around a particular need to address a number of things that were specific…
So then we did one on American music, and we had a number of performances. We had Blues at the MU, we had conversations about blues and memory, we had performances. I remember one in particular where we had a sold out audience in Old Main, where we had performances of gospel, of barber shop, and of poetry and rock. But punctuating each of those performances, and they were actually diverse, were music historians’ views of how these different genres connected. So it wasn’t just a series of performances as if you’ve been to a concert.
Then we had another one on truth, and a lot of these come out of what’s happening in the world, so at the time it was about whether or not truth is overrated. People are always saying “tell the truth and nothing but the whole truth,” so we sort of explored that. What does it mean to do truth in art? The students had something about white lies: what does it mean when you’re just telling a little white lie? So there’s all these efforts to talk about truth.
Then we did one on “Are We Losing Our Humanity?” And that one has been the one that has resonated in more far-reaching ways. And I say that because we built a summer film series around it, which is a film per month at one of the public libraries in Phoenix, not always at the same place. And that led to a number of public lectures that I did and continue to do because people are actually trying to give meaning to some of the stuff that doesn’t make sense, whether it be a Tucson tragedy, or Aurora, Colorado shootings, or Newtown, Connecticut, or any number of things that are happening in our own neighborhoods.
So from “Are We Losing Our Humanity?” we moved into for the spring, “Heroes, Superheroes, and Superhumans.” And that seemed a natural fit because often times wherever there’s great tragedy we also hear these stories of great heroism. And we were also able to move not only into comic books, but also in terms of veterans as heroes, teachers as heroes, everyday heroism. And we created a number of activities around the theme.
From that, the humor felt like everybody could bring something to the table on humor. And it was not just comedy, so we deliberately didn’t name it comedy, but we tried to look at humor not only from a scholarly perspective, but also from a performance perspective. So we’ve got a couple of open mics, we’ve got workshops, we’ve got film screenings, we’ve got lectures, we’ve got a funniest teacher contest that’s coming up. So the idea is to try to find something that everyone can potentially participate in so that it’s not something that excludes people.
AH: What is your future vision for Project Humanities?
NL: Well, I want Project Humanities to first of all be more nationally visible. I want it to be one of the leaders when people talk about humanities nationally. Somebody will say, “What is Project Humanities doing?” or “What would they say about this?” And I also want it to be a center for collaboration across disciplines and across professions and communities. We’re writing a number of grants now, so we can expand the reach of Project Humanities. We don’t have a very large staff, but we have a growing staff of students who are both volunteers and also student workers. And I think more people are knowing about Project Humanities. I mean, I’m so excited that three years ago we started with about 200 Facebook likes. This summer, we had about 600 and of right now we have 936 likes. And our announcement about Bill Nye went viral immediately because Bill Nye is going to be one of our guest speakers this semester, talking about humor science and science humor through the lens of humanities. So that’s one indication, I’d like for that to be more robust. I’d like for us to be more nationally visible and I’d like for people to know when they’re going to an event, “Wow. I get humanities. Humanities really is important.”
Laurie Notaro: “Cracking Up! Humor between the Lines in Literature & Writing”
(Mesa, AZ, September 6, 2013) –Superstition Review is continuing its popular reading series this fall with a talk, book-signing, and Q&A with Author Laurie Notaro.
Laurie Notaro was born in Brooklyn, New York, then spent the remainder of her formative years in Phoenix, AZ, where she created something of a checkered past. She is the New York Times Best-selling author of the humor memoirs The Idiot Girls Action Adventure Club, Autobiography of a Fat Bride, I Love Everybody and Other Atrocious Lies, We Thought You Would Be Prettier, Idiot Girls’ Christmas, There’s a Slight Chance I Might Be Going to Hell, and The Idiot Girls.
She is a terrible typist, doesn’t suffer Big Ikes very well, and lives under an assumed name in Eugene, Oregon where her neighbors believe she is writing about them, but she is not. She has a cute dog, a nice husband and misses Mexican food like a limb lost to diabetes.
While no one can exactly teach you how to be a comedian, this talk can demonstrate where to find the funny, how to get it off to a running start, establish timing, and then incorporate humor into your writing. Notaro will discuss the mechanics of humor, voice, the role of rhythm, subject matter and the value of relatability, as well as writing for your audience vs. writing for yourself while merging the two approaches.
This Superstition Review event is co-sponsored by the School of Letters and Sciences and Project Humanities as part of Project Humanities’ Fall 2013 Kickoff Week, with the theme of “Humor…Seriously!” The evening will include refreshments, a book sale and signing, and an author Q&A.
WHO: Laurie Notaro with Superstition Review and Project Humanities
WHAT: Talk, Booksigning, and Q&A
WHERE: ASU Polytechnic Campus, Cooley Ballroom
WHEN: Tuesday Sep 17, 6 pm
For further information: Visit https://www.facebook.com/events/1377315692498730/ or e-mail email@example.com
Professor Teague Bohlen recently visited ASU in partnership with Superstition Review and Project Humanities to discuss the evolution of the superhero in narrative. Along with providing a closer look at spandex tights and masks, Teague presented the history of comics as it relates to the rise, fall and comeback of the narrative. It was fascinating to learn how such seemingly small stories have affected the development of narrative structure over the last several decades.
Teague began his talk by explaining that comic superheroes were not always the same virtuous characters they are today. In fact, he pointed out several instances where the early Superman and Batman figures instigated violence and actually killed people out of rage. Hollywood’s version of Clark Kent would never commit such an offense, so how did this change in character come about?
At first, comics served a wide audience of children and adults with edgy story lines. In fact, comics were so popular in their early years that they became a strong force of advertising and propaganda during WWII. Who can resist the pressure when even “Captain Marvel joins the Navy”? However, after the war, comics returned to stories involving monsters, crime and homeland violence.
In the 1950’s there was a shift in the content of comics with the adoption of the CCA—Comic Code Authority. While some people viewed the reduced violence and “criminal content” in comics as a benefit to society, Teague discussed the devastating effect these restrictions had on the narrative plots within comic books. As he put it, “Imagine if everything on television had to be appropriate for a 5 year-old.” Suddenly comic storylines became surface-level and simplistic, and a few publishers replaced the dialogue almost entirely with comic art. Fortunately, over the last decade comics have made an impressive comeback as publishers have bypassed the CCA and returned to a more creative approach to storytelling.
Overall Teague’s talk left us with countless nerdy facts and a much greater appreciation for the role comics have played in the history of storytelling. I can speak for everyone present when I say it was a delight—and the superhero cookies weren’t half bad either. Thank you for a wonderful presentation, Teague. We do hope you come again.
Hosted by the ASU Project Humanities, bell hooks, well-known author and cultural critic, will be speaking on the Arizona State University Tempe and West Campuses.
Her February 13th presentation will touch on issues of race and gender and will be followed by a Q&A. The event will run from 7:00-8:30PM in the Katzin Music Hall on the Tempe campus. The event is free and open to the public, but seating is limited. Doors will open at 6:30PM.
The February 14th event will feature a conversation on the feature film and critically acclaimed novel, The Help. The presentation will begin at 3:30-5:00PM at will take place in the La Sala C Lecture Hall on the ASU West campus.
bell hooks is known for her transformational discussions on issues of feminism, politics, and popular culture. She has authored 33 books on a variety of topics, all of which have encompassed viewpoints on race, gender, and culture. Hooks’s work has been described as “transformative” and “soul-changing.”
A week from today at 7 p.m., Arizona State University’s Project Humanities will be hosting a reading from the Afghan Women’s Writing Program (AWWP). Readings will be a selection of poems, essays, and stories written by Afghan women who, for security reasons, use only their first names or remain anonymous. These selections will be read by Masters of Fine Arts in Creative Writing students.
The Afghan Women’s Writing Program is a volunteer based organization that works to allow Afghan women to write and let their stories be heard by the world. The AWWP was founded in 2009 by international journalist and novelist Masha Hamilton. These women are mentored by American women writers, and the Afghan women’s writings are posted regularly on AWWP’s website, which can be found here http://www.awwproject.org. Check out the site to read more about the AWWP and to read writings from these women. Also, take the time to leave a comment and let these women know their voices are being heard.
The reading will be held on Arizona State University’s Tempe campus, Tuesday May 3, in Neeb Hall (NEEB) room 105. Admission is free and open to the public and there will be a reception following the reading. Project Humanities and the Afghan Women’s Writing Project will be accepting donations for the AWWP in the hopes of being able to purchase laptops, internet and additional library materials for the women’s safe writing house that has been established in Kabul. So, stop by campus next Tuesday and listen to stories and poems from women writers half a world away.