“To Be American” — Teaching the Role of the Artist in Animating Democracy
Arizona State University theater faculty member's story about teaching a new course in collaborative documentary theater, using interviews collected from citizens in the Greater Phoenix area about what it means to be American. By Kate Collins (July 2004)

"Hallelujah" Diary
An essay on the problems of presenting performance within a community-based project, based on experience with the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Jane Hirshberg (January 2003)

[classified]: stories that catalyze dialogue about diversity
Four Virginia Tech students bridge the gap between university policy and individual experience. From Community Arts Perspectives, Vol. 1, No. 1. By Laura Agnich, Kimberly Baker, Megan Carney and Shannon Turner (June 2008)

A Bridge Conversation on Direct and Indirect Approaches to Community Change
Littleglobe and South West Organizing Project talk about finding a relationship between community-engaged arts and organizing. By Valerie Martinez, Robby Rodriguez, Molly Sturges and Rosina Roibal (June 2008)

A Brief Introduction to Augusto Boal
Augusto Boal and his Theatre of the Oppressed. First published in High Performance #72, Vol. XIX, No. 2, 1996. By Douglas L. Paterson (December 1999)

A Jar in Tennessee
CAN reviews "Local Acts: Community-Based Performance in the United States," a new book by Jan Cohen-Cruz. By Richard Owen Geer (May 2005)

A More Perfect Union
Review of 2002 performance in Union, S.C. By Linda Frye Burnham (February 2003)

A Place in the Sun: Report on the 2005 Ensemble Theater Festival
Ensemble theater is having a "moment," informed by some new voices. By Linda Frye Burnham (September 2005)

A Really Big Reason: An Interview with Marty Pottenger
Profile of the New York performance artist and carpenter. By Catherine Jo (April 2003)

Acting Like Women: Performance Art of the Woman's Building
History and teaching methods of the Los Angeles center for women's culture. Puvblished in High Performance #11/12, Vol. III, Nos. 3/4, 1980. By Cheri Gaulke (September 2002)

Acting on a Dream
A small N.C. town uses art to preserve culture and develop community. Published in High Performance #68, Vol. XVII, No. 4, 1994. (First published in the Independent Weekly of No. Carolina, 1994.) By Linda Frye Burnham (December 1999)

Activism with Heart: The Voices Against Violence Project
An educational psychology class at UT Austin uses Boal theater technique to examine sexual violence on campus. By Claire Canavan (January 2005)

Appalachia's Roadside Theater: Celebration of a Community's Culture
The beginnings of a nationally known company from Appalachia that has closely examined the art of celebrating the community from which it comes. Published in High Performance #64, Vol. XVI, No. 4, 1993. By Donna Porterfield (September 2002)

Art and Ceremony
The artists writes about using aspects of performance in healing practices and in "reconnecting humans with nature in a balanced way." published in High Performance #40, Vol. X, No. 4, 1987. By Barbara T. Smith (September 2002)

Arts, Activism and Humanity – The Prison Creative Arts Project
Investing in the voices of the incarcerated. By Geetha Iyer (August 2008)

As Vishnu Dreams
An L.A. actor/writer discusses the impetus for his play about Hinduism, for Cornerstone's Faith Cycle. By Shishir Kurup (March 2005)

Behind the Fence: Forum Theatre on Lupus, Lead Poisoning & Environmental Justice
A Buffalo, N.Y., community cleans up its SuperFund site. By John Sullivan (February 2008)

Between Me and the Giant: Imagination Workshop
About a group of actors at work in a neuropsychiatric institute., from Cleveland's book, "Art in Other Places: Artists at Work in America's Community and Social Institutions," published by Praeger, 1992. Published in High Performance #67, Vol. XVII, No. 3, 1994. By William Cleveland (September 2002)

Body of Faith
An L.A. playwright introduces his play for Cornerstone Theater's "Faith-based Theater Cycle," written with the queer community. By Luis Alfaro (March 2005)

Book Review: Art and Upheaval: Artists on the World Frontlines
What are the roles that artists can play in the midst of severe violence? By Craig Zelizer (July 2008)

Book Review: Community Performance: An Introduction
A new book speaks with many voices. By Richard Owen Geer (August 2008)

Building the Creative Class from the Grassroots: How community is built by the eight theaters in "Performing Communities"
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Linda Frye Burnham (November 2002)

Cómo un teatro en Bolivia enfrenta los problemas de la privatización del agua
How a community-based theater in Bolivia addresses the problem of water privatization. (Spanish Language translation) By Eve Tulbert (May 2004)

Caution - Heart of the Beast Near
Essay on Minneapolis' Heart of the Beast Puppet and Mask Theatre. By Debra Frasier (April 2000)

Changes: An Interview with Liz Lerman at the End of the "Hallelujah" Trail
Interview with the Dance Exchange director following the nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (March 2003)

Cheerleader for the Revolution: Thoughts on Carpetbag Theater Company
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Ann Kilkelly (November 2002)

Community Arts 2007: A Muscular Year
The field of community-based arts showed its muscle this year. By Linda Frye Burnham (December 2007)

Community Conversations through the Arts: Artistic Response After the Virginia Tech Tragedy
A disparate group of Blacksburg residents decides to seek community healing. By Shannon Turner (August 2008)

Community Spectacle: A Place of Magic
The artists, musicians, technicians, lanterneers and visual alchemists of Nana Projects are in it together, and so is their audience. Includes video. By Molly Ross (November 2008)

Comparative Arts Training in Richmond's Inner City
Nurturing excellent and engaged young performing artists in the Bay Area's Iron Triangle. By Jordan Simmons (September 2008)

Concentric Circles: Traditional Forms in Contemporary Performance
Collaborating with traditional Bon Odori dancers and modern dancers in the Liz Lerman Dance Exchange "Hallelujah" initiative, 1998-2002. By Celeste Miller (March 2003)

Conference Report: Engaging Through Place at Imagining America
The Imagining America 2006 conference explores the artist residency as a campus-community collaboration. By Nicole Garneau (March 2007)

Cornerstone's Faith-based Theater Cycle: How Does Faith Unite and Divide Us?
Got faith? 57 people, ten faith groups, 29 plays, five years. By Jan Freya (January 2006)

Creating a Model for Institutional and Personal Change with Music Theatre Workshop
Collaborative playwriting helps incarcerated girls in Chicago heal from abuse. From Community Arts Perspectives, Vol. 1, No. 1. By Meade Palidofsky (June 2008)

Creativity, Faith and a Stronger Community
A sermon at the Congregational Church, Gunnison, Colorado. By Maryo Gard Ewell (August 2006)

Cross Tides: Getting the picture
Review of Community Performance Inc. theater production in Newport News, Va. By Linda Frye Burnham (December 1999)

Cultura para Todos: Colombian Community Arts... and politics
Maybe political participation is what keeps the arts relevant and thriving in our communities. By Susan Appe (January 2007)

D.B.D. - the Mind/Body Spa: An Interview with Rachel Rosenthal
The performance artist talks about her personal transformation workshop. Published in High Performance #26, Vol. VII, No. 2, 1984. By Linda Frye Burnham (September 2002)

Damn Good Theater – What It Is And How To Get It in Blue Lake, California: Thoughts on The Dell'Arte Company
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Robert H. Leonard (November 2002)

Darn It, But Thank You
Review of "The Whole World Gets Well" by Scrap Mettle Soul, Chicago. By Linda Frye Burnham (June 2002)

Days and Nights with DAH
A journey to Yugoslavia, a visit with DAH Teatar, a reflection on art and war. By William Cleveland (February 2005)

Do It Yourself: Producing Performance Art on Election Day
Artists organize site-specific performance at polling places in Milwaukee, Nov. 4, 2008. By Pegi Taylor (January 2009)

Drum Sticks: A Story From Scrap Mettle SOUL, Chicago
A homeless performance artist finds a home in a community performance piece. By Eve Tulbert (June 2002)

El Teatro Campesino: An Interview with Luis Valdez
The noted director talks about the cultural wing of the United Farm Workers union, a popular theater that took its material directly from the lives of its audience in the bean fields of California's central valley. published in High Performance #32, Vol. VIII, No. 4, 1985. By Carl Heyward (September 2002)

El Teatro Lucha de Salud del Barrio: Theater and Environmental Health in Texas
How a U.S. government toxicology center uses Theatre of the Oppressed to infuse respect and mutual regard into the process of doing public health work. By John Sullivan (October 2005)

Everybody Say Hallelujah
Introduction to CAN's major project in critical writing about and documentation of the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (May 2001)

Everybody Say Hallelujah: the Burlington, Vermont, residency
"Eastside Story," coverage of the Burlington, Vermont, residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (May 2001)

Everybody Say Hallelujah: the Los Angeles, California, residency
"Westside Story," coverage of the Los Angeles, California, residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (May 2001)

Everybody Say Hallelujah: the Michigan residency
"On the Path to Paradise," coverage of the Michigan residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2002)

Everybody Say Hallelujah: the Minneapolis, Minnesota, residency
"Dancing to the Music of Time," coverage of the Minneapolis, Minnesota, residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (December 2001)

Everybody Say Hallelujah: the North Carolina residencies
"From the Piedmont to the Blue Ridge," introduction to coverage of the North Carolina residencies in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

Exploring Religious Tolerance through Community-Based Theater
At a small, liberal-arts college affiliated with the Presbyterian Church in North Carolina, students use the ideas of Paulo Freire and Augusto Boal to examine campus attitudes toward religious difference. By Sharon Green (June 2005)

Finding Multiple Truths in Challenging Times
Liz Lerman Dance Exchange partners with science in a trans-domain process with many outcomes. From Community Arts Perspectives, Vol. 1, No. 1. By Jane Hirshberg (June 2008)

Getting Outside the Bubble: Tisch School of the Arts' Campus-Community Connection
A tour of the community-arts learning opportunities at New York University's arts school. By Linda Frye Burnham (May 2005)

Giving “Birth” in Little Rock
"Birth: The Play" opens in Little Rock, Arkansas, a city where some say attitudes toward birthing are influenced by a “subculture of fear.” By April Gentry-Sutterfield (June 2009)

Glossary of Terms from Augusto Boal's Theatre of the Oppressed
Excerpted with permission from "Playing Boal" (Routledge, 1994). Published in High Performance #72, Vol. XIX, No. 2, 1996. By Jan Cohen-Cruz and Mady Shutzman (December 1999)

Going The Other Way with Scrap Mettle SOUL
Review of Chicago community performance ensemble's 10th anniversary show about their neighborhood. By Jennifer Roche (June 2004)

Grassroots, Community-based Theater: A View of the Field and Its Context
History, theory and examples of community-based theater from a CAN co-director and founding director of the Road Company. By Robert H. Leonard (December 2003)

Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Asheville residency
Coverage of the Asheville, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Boone residency
Coverage of the Boone, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Greensboro residency
Coverage of the Greensboro, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

Hallelujah North Carolina: From the Piedmont to the Blue Ridge - the Raleigh residency
Coverage of the Raleigh, N.C., residency in the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

Hallelujah/USA: Call and Response
A few questions about the connection between art and faith, asked during the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By John Borstel (March 2003)

Hands Across Skid Row: John Malpede's Performance Workshop for the homeless of L.A.
The birth of the Los Angeles Poverty Department (LAPD). By Linda Frye Burnham (December 1999)

High Mass in the Church of Art: The "Hallelujah" Finale
Coverage of the ten-day final gathering in College Park, Maryland, of the Liz Lerman Dance Exchange nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (March 2003)

Holding the Door Open: An Interview with Homer Jackson
Gill Ott interviews Philadelphia performance artist Homer Jackson about his performance work and work in prisons and schools. Published in High Performance #73, Vol. XIX, No. 3, 1996. By Gil Ott (December 1999)

I Was Singing You
A leading poet/organizer on what inspired her at INTERSECTION IV. Part 3 of "Re/Generations: Bridging the Centuries of Art & Activism." By Alice Lovelace (November 2006)

Imagination Workshop: Disciplining the imagination
A project at UCLA that brings theater to the clients at a psychiatric facility. Published in High Performance #67, Vol. XVII, No. 3, 1994. By William Cleveland (December 1999)

In His Own Words: An interview with Augusto Boal
Boal discusses his Theatre of the Oppressed and its critics in the U.S. and other places. First published in High Performance #72, Vol. XIX, No. 2, 1996. By Douglas L. Paterson and Mark Weinberg (December 1999)

In the Midst: Cultivating Citizens/Artists
A university course brings college and high-school students together to explore arts-based civic engagement. By Kate Collins (August 2008)

It's About Building Relationships: Duke Performance Students Engage Community in Durham
An artist and collaboration expert writes about teaching a 2003 course at Duke University, in Durham, N.C., "Community-Based Performance: Where Art and Activism Intersect." By Sheila Kerrigan (November 2004)

It's Hard to Watch Your Brother Die: A Story from the Dead Man Walking School Theatre Project
A rural Colorado town commits to examining the death penalty. By Shelly Johnson and Jared Williams (November 2006)

Just a Little Drop of Water: How a community based theater in Bolivia addresses the problem of water privatization
How a community-based theater in Bolivia addresses the problem of water privatization By Eve Tulbert (May 2004)

Knowing the Secrets Behind the Laughter: Findings of The Grassroots Ensemble Theater Research Project
Findings based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Ann Kilkelly and Robert H. Leonard (March 2003)

LAPD Inspects Raleigh
The Los Angeles Poverty Department, a performance company of homeless and formerly homeless people, creates a residency project with the homeless of Raleigh, N.C., based on their stories. By Linda Frye Burnham (December 1999)

LAPD, Skid Row & The Real Deal
Two founders talks about the Los Angeles Poverty Department, a performance group that grew out of a 1985 workshop for the homeless of Los Angeles. Published in High Performance #43, Vol. XI, No. 3, 1988. By Elia Arce and John Malpede (September 2002)

Latitude 32° – Navigating Home
On Lacy's performance/installation community arts work at 2003 Spoleto Festival USA. By Suzanne Lacy (October 2003)

Laughing and Crying in An Age of Anxiety: An Interview with Liz Lerman
A conversation about a Dance Exchange repertory piece responding to 9/11, "Anatomies and Epidemics," created during the company's nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

Laughing at the Edge: Thoughts on WagonBurner Theater Troop
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Ann Kilkelly (November 2002)

Letter from an Artist: Jules Corriere
Jules Corriere, playwright with Community Performance Inc., writes to us from a residency in progress in Union, S.C. By Jules Corriere (September 2001)

Listen Up: Sojourn Theatre's Lessons in Community Dialogue
Sojourn Theatre is brave enough to let everybody speak. By Linda Frye Burnham (September 2005)

Little Epiphanies: Thoughts on Roadside Theater
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Ann Kilkelly (November 2002)

Love and Respect at Work in the Creative Process: Thoughts on Cornerstone Theater Company
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Robert H. Leonard (November 2002)

Magic Glue: The Politics and Personality of Jump-Start
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Ann Kilkelly (November 2002)

Mother Africa Laughs: The Rwandan Folk Tale Project
A light-hearted look at best-laid plans gone awry. By Judd Hardy (December 2006)

Nayo Watkins: Creating Art, Transforming Lives, One Community at a Time
Profile of the theater artist and Civil Rights activist who strengthens communities through the creative process. By Andrea Hamilton (April 2003)

Neither That Nor That: Trading Stories at the Intersection of Arts and Penal Welfare
The Medea Project and Intersection for the Arts team up to explore the California prison system. By Nina Billone (May 2008)

Network of Ensemble Theatre Holds First Festival, Conference
Coverage of the 1999 Network of Ensemble Theatre Conference and Festival. By Robert H. Leonard (August 1999)

News from the Freire and Boal Conference
Coverage of the 1999 International Conference of the Pedagogy and Theater of the Oppressed Organization. By Robert H. Leonard (August 1999)

Nine Eleven, Fear and Hand Me Down Shoes
Review of "Hand Me Down Shoes" by Community Performance Inc. with the Mennonites in Newport News, Va. By Linda Frye Burnham (April 2002)

Notes on Prison Theater in Northern Uganda, Part 1
A prison collaboration in a country that has known no peace for 45 years. By Kevin M. Bott (September 2007)

Notes on Prison Theater in Northern Uganda, Part 2
The second installment of the artist's project journal. By Kevin M. Bott (October 2007)

Notes on Prison Theater in Northern Uganda, Part 3
The third and last installment of the artist's project journal. By Kevin M. Bott (November 2007)

Of the People, By the People, and For the People: The field of community performance
An essay on the essential attributes of community-based theater, and by extension, community-based arts. By Richard Owen Geer (October 1999)

Of the People, By the People, and For the People: The field of community performance
An essay on the essential attributes of community-based theater, and by extension, community-based arts. First published in High Performance #64, Vol. XVI, No. 4, 1993. By Richard Owen Geer (September 2002)

On the Side of the Deepest Soul on Earth: An Interview with Ja Kyung Rhee and Hye Sook of Theatre 1981
Two Korean artists talk about their shamanic theater of protest against the use of mass violence against peoples everywhere. Published by High Performance #45, Vol. XII, No. 1, 1989. By Steven Durland (September 2002)

Opus B
A profile of this youth theater project. Published in High Performance #61, Vol. XVI, No. 1, 1993. By Chris Westberg (December 1999)

Organizing and Theater: Bus Riders Union
Case study of an arts-and-organizing project using community story in Los Angeles, Calif.; part of "Connecting Californians: Finding the Art of Community Change" research project. By Erica Kohl (February 2001)

Pangea World Theater: Vibrant Voice of Immigrants and Exiles
This Minneapolis theater has an interest in communities who haven't had much of a place at the table. By John Townsend (May 2006)

Part of a Greater Whole – Reflections on Intersection IV: Re/Generations
A longtime arts activist puts INTERSECTION IV in context. Part 1 of "Re/Generations: Bridging the Centuries of Art & Activism." By Caron Atlas (November 2006)

Partnering for GOOD: Sojourn Theatre Cuts a Deal
A new partnership model for local arts and businesses. By Maureen Towey (November 2007)

Performances at the Festival of Ensemble Theatres
Review of performances at the 1999 Network of Ensemble Theatres Conference By Robert H. Leonard (August 1999)

Performing Communities: Introduction
Introduction to "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." (November 2002)

Promoting Self and Community Empowerment Through Critical Pedagogy in a Community Art Program
Learning about the consequences of social injustice in Austin's Greater Tomorrow Youth Art Program. By Christopher O. Adejumo (October 2008)

Putting Culture to Work: Three N.Y.C. Youth Theaters
Twelve weeks with Find Your Light, viBeStages and Ifetayo Youth Ensemble. By Heather Stickeler (December 2008)

Que No Se Vuelva a Repetir
El Salvador's Revolutionary Youth Theatre remembers the Scorched Earth massacre of 1981. By Aryeh Shell (May 2008)

Re/Generations: Bridging the Centuries of Art & Activism
Introducing essays by participants in a recent New WORLD Theater conference. By Linda Frye Burnham (November 2006)

Reclaiming Culture: ¡Que Viva La Posada!
Culture is alive in the Mayfair community of east San Jose, California. By Aryeh Shell (January 2008)

Reflections on Convergence: A Youth Perspective on Intersection IV
Thoughts on the INTERSECTION IV Youth Convergence. Includes a collective poem. Part 2 of "Re/Generations: Bridging the Centuries of Art & Activism." By Jacqueline Johnson and Raul Matta (November 2006)

Rehearsing for Dramatic Change in Afghanistan
A theater scholar uses Boal technique in a global hotspot. By Sonja Arsham Kuftinec (December 2004)

Ripples of the Fourth Wave: New York's viBePoetry
Preparing New York girls to lead the fourth wave of feminism. Includes audio! By Dana Edell (February 2006)

Running To Catch Up with the People: A Conversation with Robert Gard, Ralph Kohlhoff and Michael Warlum, 1969
Historic conversation among three community-arts pioneers at work in Wisconsin on The Arts in the Small Community, the first NEA-funded rural arts project. By Michael F. Warlum (September 2004)

Shock of the Real: An Interview with Karen Finley
The notorious performance artist, who received the wrath of the religious right during the Culture Wars as one of the NEA Four, talks about issues that drive her work. published in High Performance #41/2, Vol. XI, Nos. 1/2, 1988. By Margot Mifflin (September 2002)

Silk Road Theatre Project's Alternative Cultural Education
Starting a conversation with U.S. students about the cultures of the Silk Road, an ancient network of trade routes connecting China, Asia and the Mediterranean world. By Carol Ng-He (February 2009)

Solo Performing as Call To Arms
Essay on using solo performance to organize community action around gay issues. By Tim Miller (March 2002)

Steel Festival: Art of an Industry
Program for the 1999 Bethlehem, Pa., multi-arts Steel Festival produced by Touchstone Theatre By Linda Frye Burnham (October 1999)

Steelbound and Pouring the Sun: An artistic connection with a people's yearning
Review of the Bethlehem, Pa., Steel Festival. By Robert H. Leonard (October 1999)

Stepping In and Out: Performance Art in the Community College ESL Curriculum
An immigrant artist tries an art strategy with 27 students who speak ten different languages. By Carol Ng (October 2006)

Swamp Gravy: Northerners tell stories in private and call it therapy. Southerners tell stories in public and call it swapping lies.
First person account of developing community performance in a small town. Published in High Performance #63, Vol. XVI, No. 3, 1993. By Richard Owen Geer (December 1999)

Swappin' Lies in Miller County: The Story of Swamp Gravy
The making of the landmark community performance piece with, by and for the citizens of Miller County, Georgia, by the artists of Community Performance Inc. By Linda Frye Burnham (December 1999)

Tamejavi
A cultural festival that's part of a year-round exploration of new immigrant and refugee life in California's Central Valley. By Dudley Cocke (May 2005)

Tapping In: An interview with Bill Rauch, director of "Steelbound"
Interview from the Bethlehem, Pa., Steel Festival. By Linda Frye Burnham (October 1999)

TeenStreet
Profile of this Chicago-based youth theater project. Published in High Performance #63, Vol. XVI, No. 3, 1993. By David Krasnow (December 1999)

Telling the Truth in a Small Town: Ukiah Players Theater
Case study of a community story project in Ukiah, Calif.; part of "Connecting Californians: Finding the Art of Community Change" research project By Erica Kohl (February 2001)

The 1000 Kites Summit: A Community Arts Focus Group
An example of cross-sector thinking that's integrating the arts into real-world change. By Linda Frye Burnham (October 2007)

The Artmaker as Active Agent: Six Portraits
Artist Susan Monagan explores the work of six individual community artists for her Cornell Masters thesis. By Susan Monagan (February 2006)

The Benefits of Community Art on the Fringe
Four short stories by people who do diversity work in schools using the arts strategies of the California-based Fringe Benefits educational-theater company. By Maria Beach, Natalya Brusilovsky, Michael Mendoza and Cynthia Ruffin (January 2004)

The Challenge for the Network of Ensemble Theatre
Keynote address from the 1999 Network of Ensemble Theatre Conference. By Robert H. Leonard (August 1999)

The Circle Is Already Listening: Littleglobe's Collaborative Creative Process
A means to know one another, to witness one another and remove hierarchical and preconceived notions of the "other." By Molly Sturges (November 2008)

The Collaboration Among Youth, Organizers and Artists
Working together on gang violence in Baltimore. By Whitney Frazier (September 2008)

The Ecology of Theater-in-community: A Field Theory
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Jan Cohen-Cruz (November 2002)

The Flood of Possibilities: An Interview with Michelle Pearson
A conversation with the project leader for the four North Carolina residencies of the Liz Lerman Dance Exchange's nationwide "Hallelujah" initiative, 1998-2002. By Linda Frye Burnham (January 2003)

The Path of Stories: Artists and The Thousand Kites Project
A long, deep look into a multi-arts collaboration that's starting a national conversation about the U.S. prison industrial complex. Includes video. By Arlene Goldbard (May 2008)

The Pedagogy of Intangible Heritage: Los Cenzontles and Mexican Folk Music
Cenzontles is more than an "arts services provider." It's a hub for cultural critique. By Maribel Alvarez (May 2006)

The Story Revolution: How Telling Our Stories Transforms the World
A speech advocating a new center for local stories at Ukiah Players Theater in California. By Arlene Goldbard (January 2005)

The Streets: Where Do They Reach
The noted Mexican performance artist looks at the theater of the street in the biggest city in the world, in a time of severe economic crisis. Published in High Performance #28, Vol. VII, No. 4, 1984. By Guillermo G�mez-Pe�a (September 2002)

The Twin Rigors of Art and Community, or Not the People Who Said Green: Thoughts on Teatro Pregones
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Robert H. Leonard (November 2002)

The Walking Project: Desire Lines, Walking and Mapping Across Continents
Walk & Squawk Performance Project uses the paths people make across Detroit and South Africa to explore how our paths are formed through culture, geography, language, economics and love. By Erika Block (June 2005)

The Year of the Rope: An Interview with Linda Montano & Tehching Hsieh
The two performance artists talk about their one-year artwork: tied at the waist with an eight-foot rope. Published in High Performance #27, Vol. VII, No. 3, 1984. By Alex Grey and Allyson Grey (September 2002)

Theater As an Act of Citizenship: Thoughts on the Los Angeles Poverty Department
Critical writing based in the case studies of "Performing Communities: An inquiry into ensemble theater deeply rooted in eight U.S. communities." By Robert H. Leonard (November 2002)

Toward a New Folk Dance: Caregivers and other partners
Choreographer Pimsler writes about his work with healthcare professionals. Published in High Performance #74, Vol. XIX, No. 4, 1996. (December 1999)

Uma Faveleira Resistente (A Hardy Plant)
A community performance project blooms in the hillside slums of Rio de Janeiro. By Bill Grow (March 2004)

Walking the Talk: Artists connecting with community
Essay about the work of Dell'Arte Theater. By Joan Schirle (March 2000)

We All Are Theater: An Interview with Augusto Boal
Boal discusses his Theatre of the Oppressed and its critics in the U.S. and other places. Published in High Performance #72, Vol. XIX, No. 2, 1996. By Douglas L. Paterson and Mark Weinberg (September 2002)

When Kennedy Came to Kentucky
Preview of the September 2004 Robert Kennedy Project in eastern Kentucky. Republished from American Theatre magazine. By Linda Frye Burnham (August 2004)

When Stories Talk to Stories: The Dialogue of Dance
The associate artistic director of Liz Lerman Dance Exchange writes about the creation of civic dialogue during the company's nationwide "Hallelujah" initiative, 1998-2002. By Peter DiMuro (March 2003)

Where Has All the Grassroots Touring Gone?
A N.Y. symposium talks about radical reduction in touring of new American plays, and its effect on communities nationwide. By Dudley Cocke (June 2006)

Wide Awake in Lost Hills: Reflections from the Students of the Inaugural Cornerstone Institute
Summer in the tiny California town of Lost Hills with community arts' premier theater ensemble. By Kate Collins (February 2005)

Witness: The Guerrilla Theater of Greenpeace
Looking at the theatrical aspects of Greenpeace's public protests. First published in High Performance #40, Vol. X, No. 4, 1987. By Steven Durland (December 1999)

Witnessing a Drama of Soul: NYU's Tisch School of the Arts Takes Americorps to the Theater
Developing a theater program with inner-city youth. First published in High Performance #75, Vol. XX, No. 1, 1997. By Jan Cohen-Cruz (December 1999)

Young People's Art Works Toward Social Change: Performing Visions of Utopia
An analysis of art works created by young people in struggle. By Sharon Verner Chappell (October 2008)

[How] Does Activist Performance Work?
Might theater, and the relationships it produces, be the site of social change? By Sonja Arsham Kuftinec (February 2008)

zAmya Theater Project: Toward an Intimacy of Social Change
zAmya is a place where those who have experienced homelessness are placed front and center. By Rachel Chaves (February 2008)