Home Arts Research Articles

HIV Treatment and Care of Adolescents: Perspectives of Adolescents on Community-Based Models in Northern Uganda.

Differentiated service delivery models for people living with HIV continue to be scaled up to expand access to HIV services and treatment continuity. However, there is a gap in information on adolescents' perspectives on community-based models. We aimed to explore the perspectives of adolescents living with HIV on community-based models in northern Uganda. Between February and March 2022, we conducted a descriptive qualitative study at two health centres IV in Northern Uganda. Data was collected using an interview guide. The study had 25 purposively selected adolescents enrolled in community-based models for HIV care and treatment. The interviews were audio-recorded, transcribed verbatim, and translated. We analyzed data using a thematic approach. A total of 25 in-depth interviews with HIV-positive adolescents were conducted. More than half (52.0%) of the participants were females, 84.0% were not married, and 44.0% had no formal education. The mean age of the respondents was 15.6 (±1.9) years. The major themes were: community-based models currently accessed by adolescents, benefits, and challenges of the models. Although there are other community-based models (community pharmacies, home ART deliveries) our exploration only discovered two models used by these adolescents to access care, namely, Community Drug Distribution Point (CDDP) and Community Client-Led ART Delivery Groups (CCLADs). The benefits included reduced transportation costs, convenient service access, ART adherence, peer support, a comfortable environment and less stress. However, our results indicate that these models had some challenges, including lack of confidentiality and privacy, perceived stigma, and a lack of face-to-face interaction. Our findings show that CDDP and CCLADs are the two CBMs used by adolescents in Lira District to access treatment and care. Adolescents benefited from these models through reduced transport costs, the convenience of accessing HIV care and treatment, and social support. The challenges associated with these models are lack of confidentiality and privacy, perceived stigma, and a lack of face-to-face interaction. The Ministry of Health should work with other implementing partners to strengthen the implementation of these models to improve HIV/AIDS service delivery for adolescents.

Blended online and face-to-face art therapy

This article focuses on a blended art-based practice that uses a combination of face-to-face, online, mobile and e-mail text-based methods. Blended art therapy alternates between digital and face-to-face formats complementing each other allowing clients to become autonomous and adapt to changing life circumstances. The approach encourages clients to take an active role in the distant treatment while undertaking continuous home art engagement tasks in between sessions. Switching between different digital, virtual and terrestrial formats will be described in this article. The outcomes discussed indicate certain client groups may benefit from a blended method approach. Attention will be given to the experiences of sensory perception, intimacy and relational proximity, during the virtual phases of the work. This article will also highlight observations in relation to the ways in which attachment dynamics have been identified and worked with in the face-to-face phase of therapy.

Development of a Citywide Rapid Antiretroviral Therapy Initiative in San Francisco

Ending the HIV epidemic in the U.S. holds rapid antiretroviral therapy as a key strategy to improve the health of those with HIV and to decrease transmission. In 2015, Getting to Zero San Francisco, a multisector consortium, expanded rapid antiretroviral therapy citywide. A Getting to Zero San Francisco Rapid ART Program Initiative for HIV Diagnoses Committee (academic, community, service delivery, health department partners) designed the program, protocol, dissemination plan, and monitoring strategy. Newly diagnosed patients were linked to an HIV medical home or Rapid ART Program Initiative for HIV Diagnoses initiation hub to best deliver rapid antiretroviral therapy across a diverse patient mix, with a goal of ≤5 working days from diagnosis to care and ≤1 day from care to antiretroviral therapy. Stakeholders were trained on rapid antiretroviral therapy via Getting to Zero San Francisco meetings, in-services, public health detailing, and peer-to-peer recruiting, prioritizing HIV clinics serving patients of color, Latinx ethnicity, youth, and the uninsured or publicly insured. Rapid ART Program Initiative for HIV Diagnoses-specific metrics were derived from surveillance data; stratified by sex/gender, age, race/ethnicity, and housing status; and presented at public meetings. Data were analyzed between January and April 2021. From 2014 to 2018, median time from diagnosis to care decreased 71% (7 to 2 days), care to antiretroviral therapy decreased from 19 to 0 days, and diagnosis to virologic suppression decreased 51% (94 to 46 days). Improvements occurred regardless of age, race/ethnicity, sex/gender, exposure, or housing status. During a citywide initiative to optimize antiretroviral therapy initiation, time from HIV diagnosis to care, antiretroviral therapy, and virologic suppression decreased across all affected groups to varying degrees. The Rapid ART Program Initiative for HIV Diagnoses Committee continues to address challenges to retention and expand implementation.

The Midwest: Cradle of Vocational Education

The MidwestCradle of Vocational Education Steve Grineski (bio) Many important educational reforms were rooted in the Midwest, which, according to Susan Clark Studer, “played a defining role in the development of American educational institutions and ideas.” Reform movements “that furthered the development of industry, home arts, and the science of farming in elementary, secondary, and higher education” prospered, Studer asserts, due to the agrarian and egalitarian nature of midwestern states.1 These reforms were central to a promise for more prosperous living and greatly contributed to the rise of what would become vocational education in the twentieth and twenty-first centuries.2 The Manual Labor Movement was the precursor to occupation-directed education. Philipp Emanuel von Fellenberg created the first such school in Hofwyl, Switzerland, in 1805. Educational institutions influenced by Fellenberg offered students programs comprised of broad liberal arts courses that were balanced with manual labor in the school’s fields and shops. These programs were framed by a vision of holistic education: useful physical work that supported and complemented academic learning and provided students with means to offset schooling costs.3 Maine’s Gardiner Lyceum Manual Training School, founded in 1823, was the first institution in the United States to follow Fellenberg’s ideas. Two years later, the New Harmony, Indiana, Manual Training School became the first midwestern school of this type. Presbyterian minister John J. Shipherd founded two private liberal arts colleges in the Midwest offering academic work paired with physical labor: Ohio’s Oberlin College (which Shipherd cofounded with Philo P. Stewart in 1833) and Michigan’s Olivet College (1844). Both schools featured an inclusive admissions policy that welcomed women and students of color. Shipherd held that manual labor was a necessary element [End Page 45] for a comprehensive education and essential to forming proper habits of the mind.4 The Manual Labor Movement slowed in the mid-1850s, giving rise to the Manual Training Movement. This next generation of occupationally directed schooling promoted the importance of hands-on learning within the general education program. Its intent was to broaden and enhance liberal arts learning through training in practical arts, rather than industrial skill specialization. By 1894, 15 manual training schools were offering instruction to 3,362 students; twenty years later, 16,770 manual training schools and their 183,571 students were involved with manual training. However, there were critics advocating for these schools to be framed by purely economic purposes. The Vocational Education Movement emerged, demanding that greater emphasis be given to employment-driven education designed to meet the needs of industry. The state of Minnesota provides excellent illustrations for many of these developments.5 Minnesota played an active role in moving manual training and vocational education into the nation’s public schools. Two outstanding examples are St. Paul’s Mechanics Arts High School (1896) and Minneapolis’s Girls Vocational School (1914).6 Dr. Charles Prosser (1879–1952), appointed director of Dunwoody Institute in Minneapolis in 1915, guided the private institute to national prominence in vocational education over a thirty-one-year period.7 As noted by curriculum historian Herbert M. Kleibard, vocational education would prove to have more impact on public schooling than any other curriculum development in the twentieth century.8 The Dunwoody model, with Prosser’s brand placed squarely on it, later provided the outline for vocational education throughout the nation via the National Vocational Education Act, commonly known as the Smith-Hughes Act of 1917.9 Its passage was the watershed event for vocational education in the U.S. and became known as the Magna Carta of Vocational Education. As vocational education gained acceptance as a necessary part of schooling, many vocationally directed programs, extracurricular organizations and clubs (such as 4-H and Future Farmers and Future Homemakers of America) emerged.10 Diverse motivations pushed various groups to advocate for this jobtraining legislation, such as satisfying work demands of the new industrial age, enhancing productivity, improving the lives of the poor, and encouraging students to remain in school. It is hard to ignore the self-interest demonstrated by some industrialists who demanded a well-trained workforce—at no personal cost to them—that would increase their profit margins. Leading [End...

Organismos financieros internacionales y la educación rural en Argentina

En este trabajo nos proponemos analizar el Programa de Expansión y Mejoramiento de la Educación Rural (EMER) en la provincia de Entre Ríos entre 1978 y 1992. Se trata de un Programa que plantea una vinculación entre la educación formal y las competencias laborales en las escuelas primarias rurales a partir de la incorporación de talleres de trabajo manual, artes del hogar y agricultura, viabilizada a través de la nuclearización de escuelas y la regionalización de los contenidos. El mismo ha sido financiado por el Banco Interamericano de Desarrollo, con una contrapartida equivalente proveniente del Tesoro Nacional y se llevó a cabo en todo el país, con diferentes ritmos y niveles de aplicación. Nos enmarcamos en el debate acerca de las influencias externas de los organismos financieros internacionales en las políticas educativas a nivel nacional y regional. Partimos de la hipótesis de que este programa tuvo en sus orígenes un correlato con las políticas de descentralización que se concretaron durante la última dictadura y que continuaron durante la década del ‘80. Concluimos que el Programa EMER fue un elemento legitimador de la política de transferencia de las escuelas primarias nacionales a las provincias y el principal ámbito de aplicación de las políticas de regionalización de los contenidos. El trabajo se sustenta en el análisis de documentos oficiales -estudios de factibilidad, normativas, convenios, proyectos, informes, evaluaciones, diseños curriculares- obrantes en diferentes archivos de la provincia y en la Biblioteca Nacional del Maestro y en entrevistas a los responsables del Programa en Entre Ríos.

Model Home Industri Seni : Studi Hasil Pelatihan Pembuatan Busana Tari Dalam Membantu Kemandirian Ekonomi Keluarga

The development of the creative home industry in the art sector in Indonesia shows promising growth for those who do it. In its development, many art home industries have grown and developed in the community that have been able to show their independence in supporting the nation's economy. Home Art industries that are currently developing in society include: traditional crafts, traditional musical instrument craftsmen, fashion and dance accessories craftsmen, and so on. The purpose of this study was to determine the model of the art home industry through training programs for making clothes and traditional dance accessories in an effort to empower the potential of housewives as the main actors to help support the family's economic independence. The concept of the art home industry is one of the approaches to the creative industry program in the arts developed by the government. The creative industry is an economic concept in the new era that intensifies information and creativity by relying on ideas and stock of knowledge from human resources (HR) as the main production factors. This training program is carried out in three stages of activity, namely the preparation stage, implementation stage and evaluation stage. Training activity data were obtained from unstructured interviews, observation and activity evaluation questionnaires to measure the accuracy of the training program. The data were analyzed based on a qualitative approach. The results showed that there is a strategic role of dance clothing training activities in an effort to develop the art home industry to empower the potential of housewives in strengthening the resilience of family economic independence.

TÉCNICAS DE ARTETERAPIA EN CASA COMO CUIDADO DE ENFERMERÍA PARA ADULTOS MAYORES EN CONTINGENCIA POR COVID-19

Objetivo: apresentar uma breve descrição das técnicas de terapia com arte no domicílio como cuidados de enfermagem para idosos em contingência devido ao COVID-19.Desenvolvimento: diante do pronunciamento de medidas de saúde para o COVID-19, como grupo de maior risco, os idosos requerem estrita adesão às recomendações de isolamento, para as quais são propostas algumas técnicas de terapia com arte como cuidados de enfermagem, entre as quais se destacam desenhos, mandalas, pintura, colagens e técnica de máscaras; que podem favorecer a saúde mental do idoso no domicílio, além de favorecer a estimulação cognitiva, a mobilidade e a expressão de emoções; assim, seus benefícios envolvem o bem-estar físico, social, emocional e espiritual do idoso.Considerações finais: As artes plásticas como estratégias terapêuticas podem ser incorporadas pelo enfermeiro nas atividades domiciliares para os idosos, favorecendo funções cognitivas, prevenindo deteriorações cognitivas, mantendo a mobilidade e melhorando o estado emocional.

THE INITIAL STAGE IN G.O. AVENARIUS’ RESEARCH AND ACADEMIC CAREER IN THE FIELD OF CINEMATOGRAPHY

The purpose of work is to study thoroughly the initial stage of research and academic career in the field of cinematography of a prominent Ukrainian film expert of genius and one of the first national screen arts educators G.O. Avenarius. The research methodology consists in application of methods of personology, theory of personality and historical-biographic method. The marked methodological approaches allow to collect and investigate unknown and not popular facts from life, research and academic career in the field on cinematography of G.O. Avenarius. The scientific novelty of work is predefined by the necessity to study not popular pages of history of Ukrainian cinema and his figures that on those or other reasons remained out of eyeshot of home art critics. Conclusions. To summarize the above, one shall state, that the objectives to guide the research have been achieved, i.e. the initial stage of research and academic career in the field on cinematography of G.O. Avenarius, an outstanding Ukrainian film expert, one of the pioneering Ukrainian tutors in screen arts, PhD in Arts and founder of «Bili Stovpy» principal Film Fund in the entire Soviet Union, has been thoroughly scrutinized and investigated; his principal research works on history and theory of cinematography within the established timeline have been listed; his track record with pedagogical activities in the field of cinematography at the Odesa State College of Cinematography of the All-Ukrainian Photo and Cinema Management Department, Kyiv State Institute of Cinematography and Actor School under the Kyiv Film Factory has been restored.

Self-Esteem and Psychological Well-being among Working and Non-working Women

In modern India, the role of woman can be called as phenomenon. The transition of woman from the previous to present is worth mentioning. Woman who rest considered being the masters in the art of home making but now considered to be forces that shapes a country and culture. Both working and non working women play a very significant role in house hold activities of their families. Their life is more family centered than that of man. Working women are often tossed between home and job. The present study aims to compare the Self-esteem and psychological well-being among working and non- working women. The respondent in the present study were 70, which were further divided in 35 working and 35 non-working women of the age range of 20-55 years. For assessment and measuring self esteem, the Rosenberg self-esteem scale (1965) and for psychological well-being, a scale measured and developed by Bhogle and Prakash (1995) were used. For the statistical analysis t- test is applied to check the significance of self esteem and psychological well-being among working and non working women. The result shows, there is a significant difference among working and non working women in self esteem and psychological well-being.

ROLE OF INDIAN WOMEN IN SOCIO-ECONOMIC DEVELOPMENT

After globalization the role of Indian woman has been phenomenal. Our Indian sub-continent is gradually emerging as a powerful land since empowered women have started playing significant role for the socio-economic development of the nation. The transition of woman from the past to present is worth mentioning. Woman who once considered being the masters in the art of home making are now considered to be the forces that shape a country. The modern Indian women have honed their skills and have come to front line to fight against social restrictions, emotional ties, religious boundaries, gender biasedness and cultural clutches. She can now be seen working on par with men in every walk of life. As compared with past, Indian women in modern times have achieved a lot but in reality they have to still travel a long way. Women have always been contributing to enable the economy achieve tremendous progress. But it is the gender bias that still exists at every social stratum, even in the most educated and developed society, is unable to account for the visible contribution of women in every field. The Indian women have come out of the image of ornamental value. Keeping the Indian values intact, the Indian women have surpassed all the limitation to find a place in the growing socio-economic scenario.

Images >> Efraim Racker (1913–1991)

Images >> Efraim Racker (1913–1991) Efraim Racker The art that accompanies this special issue on the intersections of scientific language and humanistic thought features the paintings, drawings, and computer-generated art of a biochemist who never stopped making art, even if his original plan to study painting at the Academy of Fine Arts Vienna soon shifted to the study of medicine. Efraim Racker spent the last twenty-five years of his life at Cornell University, as the Albert Einstein professor of biochemistry. The path that led him to the United States, and ultimately to Cornell, like that of many of his generation, was in large measure taken in response to political events in Europe during the first half of the twentieth century. Born in Poland to Jewish parents in 1913, he soon moved with his family to Vienna, where he played soccer and chess and came to love music and painting. After high school, he passed the admission examination to study painting at the Akademie der bildenden Künste Wien. After a short time, he left the Akademie to study medicine at the University of Vienna. His final medical school exams in 1938 were disrupted by Hitler’s Anschluß, which led to Jews being banned from the university. He managed to take his exams later that year, received his medical degree, and fled to Great Britain where he took a position at the Cardiff City Mental Hospital. It was there that he conducted his first biochemical research working to identify defects that might indicate the biochemical causes of mental diseases. When Great Britain entered the war, Racker, a refugee from occupied Europe, was interned on the Isle of Man, where he practiced medicine for the first time since receiving his medical degree. He emigrated to the United States in 1941 and in time—by way of the University of Minnesota and the Harlem Hospital in New York—he received an appointment in microbiology at New York University College of Medicine, which is where his career as a biochemist began in earnest. There were other appointments at other institutions until in the fall of 1966 he moved with his wife Dr. Franziska Racker and daughter Ann to Ithaca, New York. His appointment at Cornell allowed the university to recruit other top researchers in biochemistry and molecular biology. His research in protein chemistry and molecular biology included the study of a range of proteins that catalyze biochemical reactions. He was considered a leading researcher on energy metabolism in cancer cells. He was named a recipient of the National Medal of Science in 1976, awarded by Jimmy Carter. [End Page 1] Click for larger view View full resolution IMAGE: Efraim Racker, QUESTIONING (Variations on EFONE), 1979 Photo: Jon Reis Photography(Page 2) Click for larger view View full resolution IMAGE: Efraim Racker, MISCHIEVOUS (Variations on EFONE), 1979 Photo: Jon Reis Photography(Page 3) When he wasn’t working tirelessly in his lab, he was often found in his home art studio overlooking Cayuga Lake. He worked in a range of media: oil, charcoal, ink, acrylics, watercolors, Magic Markers, and an early Macintosh computer with a dot matrix printer. Over the years, he gave paintings to colleagues and friends and also sold his paintings to donate to the Edsall Fund, which he established to support students with financial need. He assembled his smaller works in handmade albums. At the time of his death in 1991, a few days after suffering a stroke, he was planning a leave of absence from his lab at Cornell to do an artist’s residency at the Djerassi Resident Artists Program in Woodside, California (a residency founded by a fellow scientist, the chemist Carl Djerassi). Digital images of his work in eighty albums—made between 1932–1991—can be viewed online: https://efraimracker.library.cornell.edu/. The names of the individual works in this issue are followed by the name of the album in which they appear. The editors of diacritics express their gratitude to Efraim Racker’s daughter, Dr. Ann Costello, for enthusiastically supporting the publication of his images, and to Jon Reis, who photographed the artwork and provided the digital images. Click for larger view View full...

PACE MAKERS OF DEVELOPMENT WOMEN IN INDIAN HISTORY: PAST-PRESENT— A CRITICAL REVIEW

No matter how the world changes, no matter what country and social system people are in, no one can deny women’s importance in history. But it does not mean that women are always treated well and fairly, and the women’s role in history has undergone numerous changes. In the past few decades women were considered to be a part of wealth and property. She used to be sold and purchased like any property or cattle. Till recently women were treated on different footing/pedestal, ‘depriving’ them of their rights but ‘reminding’ them of their duties. But with the changing times, the role of women in India has changed from child bearing to rearing to bread earner. Thus the new cultural milieu is making it inevitable for them to face the emerging reality in contemporary Indian society. This article is an attempt to throw light on the status of women in India from past to the present. It also tries to explain the position of women on the basis of socio-economic- political empowerment. Throughout the Indian history the double standard regarding the status of women is evident. In Literature and Religion of India, women are highly placed. But in the domestic, political and economic scenario, women occupy a lower status and are subjected to discrimination and exploitation. Women’s role in India has been changing over the years and women are now emerging from the past traditional set-up to a new era of freedom and rights. Role of women in modern India can be called as ‘phenomenal’. The fortunes of Indian women from the past to the present, is worth following. Indian women who were once considered to be the masters in the art of home making are now considered to be the ‘forces that shape the country’, which is the size of a continent.

“Good Work and Clever Design”: Early Exhibitions of the Home Arts and Industries Association

This article examines the organization and early exhibitions of the Home Arts and Industries Association (HAIA), with the objective of expanding the narrative of historical home arts and crafts. It revolves around the troubled relationship between philanthropy and its lower-class subjects, the complicated nature of beneficence, and commonly held opinions about the differences between the Arts and Crafts Movement and home arts. The large number of predominantly female amateurs connected with home arts, combined with the fraught relationship between art object and philanthropy, conjure up familiar debates about gender and work. Thus, problems associated with constructed hierarchies remain located in the preservation of both objects and archives as well as within the institutionalized memory of museums and the more contested realm of philanthropy. Might an examination of the early exhibitions open up alternative ways of discussing the objects, the spaces of display, and the viewing and consuming audiences? Was the movement as much about professional training and the development of transferable skills as the revival of peasant or lost arts? And might a democratization of the interior have followed, as craft workers expanded their skills into their own spaces and communities?

Self‐Initiated Art Work and School Art

AbstractThis article deals with the forms and contents of self‐initiated art works: the kind of learning that takes place in the production of self‐initiated art works as well as the relationships with school art. We interviewed 52 Dutch students (aged between 10 and 14) from different schools of primary and secondary education, and their art teachers. The students showed examples of their home art as well as their school art. Based on interviews and the works presented, four main categories of self‐initiated art works can be distinguished: applied art, popular culture, personal experience and traditional art. Learning outside school is partly incidental and informal (learning by doing, copying), but involves intentional learning as well. Students are aware of the differences in style, materials and themes between their spontaneous, self‐initiated art work and the work they are required to make in school. Moving the domain of self‐initiated art into schools may jeopardise it, but art teachers should neither ignore nor dismiss it. They should be aware of children's self‐initiated visual culture and relate to it in their lessons.

British and Irish Home Arts and Industries 1880–1914: Marketing Craft, Making Fashion (review)

British and Irish Home Arts and Industries 1880–1914: Marketing Craft, Making Fashion (review)

British and Irish Home Arts and Industries 1880-1914: Marketing Craft, Making Fashion

A review of Janice Helland's British and Irish Home Arts and Industries 1800 - 1914: Marketing Craft, Making Fashion

Home Economics Science and Arts: Managing Sustainable Everyday Life

Home Economics Science and Arts: Managing Sustainable Everyday Life

Vital Creativity: Exhibiting Beauty and Heritage in Material Culture

Museum exhibits are an important but often overlooked source of anthropological, folklore and decorative art analyses. Some exhibits are cross-cultural and focus on object types; others deal with the cultures of particular peoples. This review assesses two exhibit catalogues that deal with each of these two types: Gavin, Pierce, and Pleguezuelo's Cerámica y Cultura: The Story of Spanish and Mexican Mayólica deals with one art form and its development, and Griffith's Hecho a Mano: The Traditional Arts of Tucson's Mexican American Community documents the home arts of Mexican Americans in Tucson, Arizona during the 1990s.

Working Bodies, Celtic Textiles, and the Donegal Industrial Fund 1883–1890

This article seeks to discuss the promotion of Irish textile art made by the Donegal Industrial Fund as part of the late-nineteenth-century Celtic revival, to examine the display and consumption of this art in Britain by focusing upon the Fund's contributions to the Health Exhibition (1884), the International Inventions Exhibition (1885), the International Exhibition of Industry, Science, and Art (Edinburgh 1886), and the Irish Exhibition (1888), and to elaborate upon the replacement (or displacement) of Irish “girls” put on view as working/living textiles. The display of Irish textiles in London attracted unparalleled attention during the 1880s that both coincided with the increased interest in cottage crafts as promoted by advocates of home arts and industries movements and paralleled the intensified political activity associated with Home Rule activists. The Donegal Industrial Fund under the auspices of Londoner Alice Rowland Hart characterized the intensity of the relationship between textiles and cultural identity while, at the same time, it signaled the multifarious albeit layered tensions between English patronage and Celtic revival.

The Home Arts

The Home Arts