The Conscious Cultural Worker: Counter-Narratives of Black Women Artivists as Radical Educators uses narrative inquiry and Black feminist and womanist pedagogy to look at the teaching identities and lived experiences of Black women artivist educators in the current neoliberal anti-woke moment. Their counter-narratives are presented as vignettes to look at a certain time in the lives of Black women artists who use rap, spoken word, or visual art to turn public places like bars, clubs, galleries, lounges, and alleys into unofficial educational spaces that the author calls "Communities of Reciprocity" (CoR). This book adds to what is known about situated learning, teacher identity, and the co-creation of communities of practice by focusing on the point of view of Black women as conscious culture workers. It does this by bringing attention to the fact that culture work is a kind of conversation between creatives as expert practitioners and audiences as spect-actors, who co-create liberatory educative texts. In this book, Black women "work" the culture by challenging hegemonic discourse and hidden curricula wherever people who want to learn come together.

A commonplace assumption about American workers is that they lack class consciousness. This perception has baffled social scientists, demoralized activists, and generated a significant literature on American exceptionalism. In this provocative book, a young sociologist takes the prevailing assumptions to task and sheds new light upon this very important issue. In three vivid case studies Fantasia explores the complicated, multi-faceted dynamics of American working-class consciousness and collective action.

Upon its original publication in Portuguese Teachers as Cultural Workers became an instant success. Translated and published in English and now reissued in paperback with new essays from leading education scholars

Music is a vital piece of life that not only allows individuals a chance to express themselves, but also an opportunity for people and communities to come together. Music has evolved in recent years as society turns toward a digital era where content can be shared across the world at a rapid pace. Music education and how it is spread has a number of possibilities and opportunities in this new era as it has never been easier for people to access music and learn. Further study on the best practices of utilizing the digital age for music education is required to ensure its success. The Research Anthology on Music Education in the Digital Era discusses best practices and challenges in music education and considers how music has evolved throughout the years as society increasingly turns its attention to online learning. This comprehensive reference source also explores the implementation of music for learning in traditional classrooms. Covering a range of topics such as music integration, personalized education, music teacher training, and music composition, this reference work is ideal for scholars, researchers, practitioners, academicians, administrators, instructors, and students.

Media is rapidly evolving, from social media to news channels, individuals are being bombarded with headlines, new technologies, and varying opinions. Teaching the next generation of communication professionals how to interact with varying forms of media is paramount as they will be the future distributors of news and information. The Handbook of Research on Media Literacy in Higher Education Environments provides emerging research on the role of journalism and mass communication education in the digital era. While highlighting topics such as community media labs, political cognition, and public engagement, this publication explores the impact of globalization and a changing and diversified world within the realm of higher education. This publication is an important resource for educators, academicians, professionals, and researchers seeking current research on applications and strategies in promoting media and digital studies in higher education.

The significance of Walk into Your Season is that it ponders whether a cultural worker can renew the role of free spaces of empowerment to address power differentials utilizing key contributors such as the traditions and language of a culture; the cultural workers potential to facilitate action and transformation; and the intentional effort to make the hidden transcript of resistance public. By illustrating how free spaces are effective in discursive communities affected by the aftermath of historical dominance and still vulnerable to the ploys of power, Walk into Your Season illustrates cultural work in two different settings, one with a history of free spaces (Thirty First Street Baptist Church) and one without a history of free spaces (older youth transitioning from foster care in the Richmond Department of Social Services). By uniting a groups words, narrative(s), images, visual art, music, film, and other cultural legacies of voice in an effort to inform and inspire individual and collective transformation, cultural work creates a repertoire that exposes empowering features of the groups free spaces. Tacit knowing, reflective practice, and creativity, that is, the artistic, tacit, intuitive processes that practitioners bring to situations of problem solving are explored. Cultural work as repertoire building and creating free space is central to democratic progress and important due to its work in (1) identifying, engaging, and illuminating, the empowering features of free space (2) discerning the gaps between reality and the democratic ideal, (3) facilitating a creative space in which recognized gaps can be explored, (4) building a repertoire that empowers individually and collectively through renewal and initiation, (5) making hidden transcripts public when appropriate, and (6) celebrating the emergent creative repertoire in the community. A set of principles for effective cultural work is revealed.

Captains of Consciousness offers a historical look at the origins of the advertising industry and consumer society at the turn of the twentieth century. For this new edition Stuart Ewen, one of our foremost interpreters of popular culture, has written a new preface that considers the continuing influence of advertising and commercialism in contemporary life. Not limiting his critique strictly to consumers and the advertising culture that serves them, he provides a fascinating history of the ways in which business has refined its search for new consumers by ingratiating itself into Americans' everyday lives. A timely and still-fascinating critique of life in a consumer culture.

Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa. In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior.

Situated at the intersection of the colonial and the postcolonial, the modern and the postmodern, the novelists Christina Stead, Doris Lessing, and Nadine Gordimer all bear witness to this century's global transformations. From the Margins of Empire looks at how the question of national identity is constructed in their writings. These authors—white women who were born or grew up in British colonies or former colonies—reflect the subject of national identity in vastly different ways in both their lives and their work. Stead, who resided outside of her native Australia, has an unsettled identity. Lessing, who grew up in southern Rhodesia and migrated to England, is or has become English. Gordimer, who was born in South Africa and remains there, considers herself South African. Louise Yelin shows how the three writers' different national identities are inscribed in their fiction. The invented, hybrid character of nationality is, she maintains, a constant throughout. Locating the writings of Stead, Lessing, and Gordimer in the national cultures that produced and read them, she considers the questions they raise about the roles that whites, especially white women, can play in the new political and cultural order.