The Hispanic Outlook on Education Magazine by Hispanic Outlook on Education Magazine

VOLUME 27 • NUMBER 9 JUNE/JULY 2017

NYC Students’ Books Honored

by the New York City Department of Education and the Ezra Jack Keats Foundation

Immigrant Daughter Wins

International Art Honor Representing the U.S.

UNC-CHAPEL HILL ART MUSEUM Receives $25 Million Gift

Arts Education and Hispanics by Gustavo A. Mellander

WWW.HISPANICOUTLOOK.COM

Building a Bright Future. Together. As a top public research university, we believe it’s part of our fundamental mission to foster a community of equity, diversity and inclusion to build a bright future for all. So we’re proud of our recent federal designation as a Hispanic-serving institution. This milestone reflects UCI’s aspiration to be a national leader and global model of inclusive excellence.

University of California, Irvine Shine brighter.

.edu uci17_HispanicOutlook_4C_FP.indd 1

6/6/17 7:55 AM

THE HISPANIC OUTLOOK ON EDUCATION MAGAZINE VOLUME 27 • NUMBER 9

FEATUREDARTICLE The United States has never had a governmental commitment to the arts as is so common in virtually every country in Europe.

PUBLISHER JOSÉ LÓPEZ-ISA EDITOR IN CHIEF MEREDITH COOPER WASHINGTON DC BUREAU CHIEF PEGGY SANDS ORCHOWSKI CONTRIBUTING EDITORS MICHELLE ADAM, CARLOS D. CONDE, GUSTAVO A. MELLANDER EDITORS EMERITUS MARY ANN COOPER, MARILYN GILROY CHIEF OF HUMAN RESOURCES & ADMINISTRATION TOMÁS CASTELLANOS NÚÑEZ MARKETING AND SUBSCRIPTIONS MANAGER ASHLEY BARANELLO ART & PRODUCTION DIRECTOR RICARDO CASTILLO DIRECTOR OF ACCOUNTING & FINANCE JAVIER SALAZAR CARRIÓN ARTICLE CONTRIBUTORS GARY STERN, RJ WOLCOTT

PUBLISHED BY “HISPANIC OUTLOOK PUBLISHING” Editorial Policy The Hispanic Outlook on Education Magazine® (ISSN 1054-2337) is a national magazine. Dedicated to exploring issues related to Hispanics on education, The Hispanic Outlook on Education Magazine®is published for the members of the education community. Editorial decisions are based on the editor’s judgment of the quality of the writing, the timeliness of the article and the potential interest to the readers of The Hispanic Outlook Magazine®. From time to time, The Hispanic Outlook on Education Magazine® will publish articles dealing with controversial issues. The views expressed herein are those of the authors and/or those interviewed and might not reflect the official policy of the magazine. The Hispanic Outlook on Education Magazine® neither agrees nor disagrees with those ideas expressed, and no endorsement of those views should be inferred unless specifically identified as officially endorsed by The Hispanic Outlook on Education Magazine®. Letters to the Editor The Hispanic Outlook on Education Magazine ® email: info@hispanicoutlook.com Editorial Office 299 Market St, Ste. 145, Saddle Brook, N.J. 07663 TEL (201) 587-8800 or (800) 549-8280 “‘The Hispanic Outlook on Education’ and ‘Hispanic Outlook’ are registered trademarks.”

4 • June/July 2017

on the cover Courtesy of Ingram Images

THE HISPANIC OUTLOOK ON EDUCATION MAGAZINE JUNE/JULY 2017

Table of

CONTENTS 8 12

8 20

33 6 • June/July 2017

Arts and Humanities Latino Slam Poets: Voices from the Shadows by Michelle Adam Arts Education and Hispanics by Gustavo A. Mellander

Honors and Ovations NYC Students’ Books Honored by the New York City Department of Education and the Ezra Jack Keats Foundation Mexican Immigrant Daughter Wins International Art Honor Representing the U.S. for Her Vision of Peace, the “Liberty to Move Freely”

Innovations in Education The USC Center for Urban Education: Using Data and Scorecards to Achieve Equity and Improve Graduation Rates by Gary Stern Spotlight On: Orlando Youth Programs TM New Universal Orlando Youth Program Turns Theme Parks into Interactive Learning Experiences by Meredith Cooper

Orlando Area Art Programs

Disney Says YES to Education with Youth Education Series by Meredith Cooper

School Newspaper Michigan State Museum Shows Culture, History by RJ Wolcott, Lansing State Journal

UNC-Chapel Hill Art Museum Receives $25 Million Gift

School Library This month, Hispanic Outlook features the works of Alma Flor Ada

We also take a look at titles exploring higher education and Hispanic culture

pageuppeople.com/education

A NEW DEGREE OF TALENT MANAGEMENT IN HIGHER EDUCATION

info@pageuppeople.com

ED C ER H

100

Tufts University is a campus that is enriched by the many experiences and perspectives each individual brings to our community. We offer a wide range of career opportunities and resources that support our mission of diversity and inclusion. If you embrace our values, we want to hear from you. For our career opportunities, please visit jobs.hr.tufts.edu

Hispanic Outlook 1/2 page

TION RA EN

• Hire staff, faculty, and student workers in one unified solution. • Streamline your search committee process. • Manage learning and career development.

ENT RET LI

IN HIG TE

Strategic HR – it’s not rocket science. But it can seem like it without the right solutions to help you align your talent strategy with your institution’s organizational goals.

www.tufts.edu

ARTS AND HUMANITIES

Latino Slam Poets Voices from the Shadows

hen professor and poet Levi Romero grew up in New Mexico in the 70s, middle and high school curriculum was void of poetry. And, as he put it, “it wasn’t safe for young Chicano males to write poems.” When Jessica Helen Lopez was a high school student in New Mexico in the 90s, poetry had made its way into the curriculum. But studying poets like Edgar Allen Poe and Robert Frost “didn’t connect with me,” she said. Both Chicano poets of different generations had to find their own voices inside mainstream culture devoid of Chicano and Latino poetry. It’s not that Chicano and Latino poetry didn’t exist; it merely wasn’t shared as an art form fully embraced by the dominant culture. Chicano and Latino Poets Sharing Their Voices Today, this has changed. Not only are Chicano and Latino poets sharing their voices in mainstream markets and venues, but through the modern Slam Poetry movement (spoken poetry in a competitive format), they’re now heard loud and clear for their unique contributions to our society’s cultural, political and social fabric. Latino poets and their recognized published work are enter8 • June/July 2017

Written by Michelle Adam ing classrooms and are doing so at all levels of education, including higher education. “I think Chicano poetry has become so good that when it’s studied by students at the university, it’s going to hold. It is also appreciated by the common person,” Romero said. “Slam poets were not accepted as easily at the university level before. They used to only have slam venues in coffee shops and the like,” he added. “But I’ve seen that change after Chicano slam poet students came through creative writing programs at the university, and their work was good enough to hold its own.” Levi Romero: Poet and Teacher Romero’s words come from having seen these changes for himself at the University of New Mexico (UNM)—a university today rich in Chicano writers who celebrate poetry and slam poetry and have served as teachers and role models for future poets. Some of these poets and teachers include Jessica Helen Lopez (mentioned in the beginning of this article), in addition to Damien Flores and Carlos Contreras. This group of 30-something slam poets and teachers may not have become as successful in academia and beyond if it weren’t for earlier-gen-

eration poets like Romero, UNM professor and New Mexico Centennial Poet in 2012. Award-winning author of three collections of poetry, including his most recent, “Sagrado: A Photopoetics Across the Chicano Homeland” (co-authored), Romero has been teaching writing since the mid-1990s, and specifically at UNM for more than a dozen years. As the only full-time faculty member within the Chicano and Chicana Studies Department, he’s brought his

“Slam poets were not accepted as easily at the university level before. They used to only have slam venues in coffee shops and the like. But I’ve seen that change after Chicano slam poet students came through creative writing programs at the university, and their work was good enough to hold its own.” — Levi Romero, professor and slam poet

P HOTO CO URTESY O F JESSICA HELEN LO P EZ

Jessica Helen Lopez

“Most students don’t know the histories of poets who had been writing in New Mexico eighty years before Plymouth Rock had ever been discovered,” Romero said. “I was surprised when I first saw ‘Alabados’ and ‘Corridos’ (song poems of New Mexico) as words on paper. I realized that years ago, Hispanic writers understood these things and had the rudiments of poetry in their work.”

love for his homeland—New Mexico’s old world community—to his art and teaching. “I think I capture the experience of those I grew up with. I capture the ancestral voice of the people I grew up with in New Mexico,” said Romero who explained that other academics and writers tend to surround themselves with others in their fields. “I hope my poetry validates the poetics in a natural state…the voices around me…the people I listen to at a bus stop. For me, the people who don’t read or have books tend to be the most poetic of all.” As a “poet of the people,” Romero first discovered poetry in his cousin’s folk music about cultural identity and civil rights; in the “Alabado” and “Corrido” songs of New Mexico; in the oral storytelling traditions of his people and Native Americans; and in his encounters with the everyday people of this ancient land. As a teacher, he took this rich experience of his homeland and wove it into Chicano and Chicana Studies courses. He invited university writers to reach out into their community, to look at New Mexico’s literary landscape and beyond, and to unearth oral histories of the spoken word honoring the Chicano and Native American roots of New Mexico.

Slam Poet Jessica Helen Lopez Romero provided the groundwork and cultural foundation that has helped poets like Jessica Helen Lopez discover their own voices and cultural cadence as slam poets in modern America. Although Lopez spent her earlier years in California, she migrated as a teenager to New Mexico, her current home. Lopez’s first exposure to poetry—outside of the classroom where only Anglo poets were taught—was through rap. She was the 12-year-old rapping with the boys on the streets, learning to insult them with the best rhythm scheme she could come up with. Beyond the streets, it took dropping out of college and returning as a single mom to finally learn about Latino poets and crafting poetry. Since that, and participating in a poetry slam as required course work, she’s never looked back. “I fell in love with slam poetry because it is democratic in nature, and you didn’t have to have an MFA to do it,” Lopez said who grew up loving books and escaping into stories from a troubled family life. “I now use poetry to tell my experience as a Chicana and mother and a queer woman, and I am defining who I am through the lens of poetry.”

“I fell in love with slam poetry because it is democratic in nature, and you didn’t have to have an MFA to do it. I now use poetry to tell my experience as a Chicana and mother and a queer woman, and I am defining who I am through the lens of poetry.” — Jessica Helen Lopez, slam poet Since Lopez discovered poetry, and more specifically slam poetry, she’s made a name for herself in academia and beyond. She is a nationally recognized award-winning slam poet who held the title of 2012 and 2014 Women of the World (WOW) City of ABQ Champion, and was named City of Albuquerque Poet Laureate from 2012 to 2014. She was also a speaker with Ted Talks and is currently an adjunct faculty member at UNM with a Borderlands Poetics class. For Lopez, the word “borderlands” represents different borders that exist between countries, races, sexes and so much more. Through her course, students explore how mestizos came to be—and the different Latino Chicano identities along la Frontera— and she explores Chicano literary renaissance. With writing prompts that include sharing personal fronteras, students have a chance to discover the healing journey of poetry that so attracted Lopez to this art form. www.HispanicOutlook.com • 9

Slam Poet Damien Flores For Damien Flores, another 30-something teacher and poet, poetry also started as a healing process. He began writing poems and slamming at 16 years old after his mother died of a sudden stroke in his hometown of Albuquerque. Writing poems was a way of coping, and family often became the subject of much of Flores’ writing. “I wanted to pay homage to the working people, to families like mine,” Flores said whose grandfather was a leader of the workers party of America and a man proud of his Mexican American heritage. “Many Mexican American families were able to provide for their families despite hardships.” Today, Flores teaches a course within UNM’s Chicano Studies Department on the history of poetry slam with a focus on Chicanos and an understanding of how the genre grew out of the Beat Poets of the 1950s. They were interested in changing the conventions of writing that lead to the spoken word. Flores describes his current work as a photograph of what his home city of Albuquerque used to be like before 10 • June/July 2017

Poet Carlos Contreras The third 30-something UNM teacher and poet, Carlos Contreras, has also noticed an increase of po-

litical activism among Chicano and Latino poets. “When you are young, brown and aware, avenues like slam poetry are avenues for speaking out. So across the board, Latinos of all different colors and genders have been loud and successful in the slam poetry scene,” he said. “Slam poetry is also going to find people of color in areas like New Mexico and the Southwest where we are highly populated by Latinos. It’s the voice of folks who feel like they don’t have a lot of say anywhere else.” As a former teacher at UNM for the Writers in Community Class (where students are asked to create community workshops) and an assistant to Intro to Chicano Studies, Contreras has seen “kids drawn to slam poetry because it becomes a voice for them.” Hearing the voices of “live brown poets” in his hometown of Albuquerque when he was taking an elective course in high school also opened the door to poetry for Contreras as a teenager. At 17 years

Carlos Contreras

PHOTO COURT ES Y OF C ARLOS CONTRERA S

PHOTO CO URTESY O F DAM IEN FLO R ES

Damien Flores

the cultural landscape changed with the influx of outsiders moving in. His work earned him the title of Poet of the Year in 2007 and 2008 by New Mexico Hispano Entertainer’s Association, and he became a four-time ABQSlams City Champion. While his poems focus on “making a political statement against gentrification and racism” by showcasing the story of his city, Flores said many slam poets today are more self-obsessed and personalize the political. But, he said, “right now we are at a crossroads with poetry slam because of the political climate.” Some involved in this art form—including Latinos who have been there from the beginning—are getting death threats and harassed for their outspoken words. But, as Flores said, “The poetry community has outlasted all governments. We are in it together.”

old, he joined the older poets (there weren’t any his age at that time) in slam poetry. “I didn’t realize you could go to a coffee shop, and people could hear you perform,” he said. Today, Contreras describes himself as a confessional artist and poet. “I write very much about myself, about who I am and where I’m from,” he said. “Writing is a way of processing. It’s the only thing that makes sense to me.” It wasn’t so easy becoming such a poet, though, as the youngest of two brothers of a Marine dad in a Chicano household. “The culture I know doesn’t do what I do…that is, air their dirty laundry. We don’t see

vulnerability as a strength.” Although Contreras has been slamming less these days and is currently pursuing a Masters Program in American Studies to study gangster rap and the systematic silencing of people of color at UNM, he continues to facilitate poetry and writing workshops for schools as he’s done for more than a decade. “Slam poetry showed me that if you hustle, there’s a community you can thrive in,” he said. A Community with a Strong Voice This community that Contreras speaks of is one that didn’t grow overnight, though. It began with Beat Poets of the 1950s interested

“I think Chicano poetry has become so good that when it’s studied by students at the university, it’s going to hold. It is also appreciated by the common person.” — Levi Romero, professor and slam poet in changing the conventions of writing, and Chicano poets like Romero who brought alive the spoken word and insisted on telling the stories of a Chicano community that represented the fringes of society. It’s also poets like Romero who supported a younger generation of slam poets in the university setting and beyond that made possible a platform for Latino and Chicano voices to be heard. “What I have seen is that it has given students a sense of belonging and a place for validating who they are and what they do. It is good to see how amazing they have grown with their own careers and how they are empowering others now,” Romero said. “Even though things aren’t stable, they can always feel like they have a solid rock to stand on…because that solid rock is their shadow.” • Photo in table of contents courtesy of Jessica Helen Lopez

www.HispanicOutlook.com • 11

ARTS AND HUMANITIES

ARTS EDUCATION AND HISPANICS Written by Gustavo A. Mellander

he United States has never had a governmental commitment to the arts as is so common in virtually every country in Europe. Operas, concerts, art and sculpture shows all heavily subsidized by the government have been widely available, many times free, to the general public for centuries. Even small towns proudly hosted theatres for dramatic readings, musicales and concerts. On the personal end of the spectrum, one was not really considered part of the upper class unless one was, at the very least, conversant in the arts. That commitment was never part and parcel of the American experience. Oh, attempts were made to emulate Europe in our largest cities. But even there, a formal commitment to incorporate the arts in our public lives was never a high priority and poorly funded. Support for arts education has been meager and frequently the first to be cut in times of budgetary reductions. That has been true in the grades, as well as in higher education. If that is the case for the elite population, what about Hispanics? 12 • June/July 2017

Arts Education and Hispanics Many Hispanic students especially those from lower income households have less access to arts instruction than others. That is particularly disappointing since research exists now that students are affected in school and in their careers predicated on whether they participated in vigorous arts programs or not. To the point, students in arts-rich schools achieve at higher levels. More graduate high school, attend college and graduate than students from artspoor schools. An arts education is more than a cultural, liberating experience. It has a pragmatic element, which hones skills such as creativity, inquisitiveness and innovation—qualities, which are critical for college success and career readiness. Seventy-two percent of businesses report they look for creativity skills when hiring. Yet, 85 percent of employers cannot find the creative applicants they seek. An Opportunity Gap A National Center for Education Statistics (NCES) study, “Arts Education in Public Elementary and

Secondary Schools” reports Hispanic students are disproportionally found lodged among the arts opportunity gap. That is because there is a definite arts opportunity gap between the highest-poverty and lowest-poverty schools. For instance, while nearly all, 97 percent, of the lowest-poverty elementary schools offered music instruction in 2010, that percentage of schools fell to just 89 percent of the highest-poverty schools surveyed. The gap increased to 12 percent for visual arts instruction in the highest and lowest-poverty elementary schools. Hispanic students are currently the largest minority group in the public school system, and NCES notes, 33 percent of those students are living in poverty. Thus, as a cohort young Hispanics are less likely to receive an enriched arts-rich education. According to the National Endowment for the Arts (NEA), only 26 percent of Hispanics ages 18-24 surveyed in 2008 reported receiving any arts education. Contrast that to 28 percent for African-Americans and 59 percent for Caucasians.

A National Center for Education Statistics (NCES) study, “Arts Education in Public Elementary and Secondary Schools” reports Hispanic students are disproportionally found lodged among the arts opportunity gap.

PHOTO LICENS ED BY IN GRA M I MAGE

Further, 3.9 million public elementary school students do not have access to visual arts classes, and 1.3 million public elementary school students have no access to music classes. Hispanic students’ arts achievement fall in the lower category. The 2008 National Assessment of Educational Progress (NAEP) Arts Report Card shows that in “both music and visual arts, average responding scores—analyzing and describing music and visual art works—were higher for Caucasian and Asian/Pacific Islander students than for Black and Hispanic students.” When tasked to create works of visual art, Hispanic and Black students’ scores were significantly lower than those of Caucasian and Asian students. Arts-rich Schools: Hispanic Academic Achievements A relevant 2012 NEA study, “The Arts and Achievement in At-Risk Youth,” reported the findings of a www.HispanicOutlook.com • 13

long-term study of students who experienced intensive arts involvement in school—arts-rich—and those with less or no arts involvement. The study examined the outcomes, both in and out-of-school, for low-income students who attended arts-rich and arts-poor schools. There was an 18 percent difference in the dropout rates for low-income students with high participation in the arts (four percent) and those with less arts involvement (22 percent). Besides attending school more than their low-arts-involvement peers, low-income students with high levels of arts involvement had higher GPAs, were more likely to go to college and were more than three times as likely to earn a bachelor’s degree as low-income students without the benefit of those arts-rich school experiences. Finally, “Preparing Students for the Next America: The Benefits of Arts Education” provides a wealth of research findings on the arts’ role 14 • June/July 2017

PHOTO LICENSED BY ING RAM IM AG E

According to the National Endowment for the Arts (NEA), only 26 percent of Hispanics ages 1824 surveyed in 2008 reported receiving any arts education. Contrast that to 28 percent for African-Americans and 59 percent for Caucasians. in preparing students for success in school, in the workplace and life in general, including studies specific to English language learners. Existing Multiple Programs A study “Reinvesting in Arts Education: Winning America’s Future Through Creative Schools” led to a partnership, Turnaround Arts, with the Department of Education and private sector entities. In 2014, Turnaround Arts expanded from eight pilot schools to 35 high-poverty, low-performing K-8 schools in 11 states to seek greater insights about the power of arts-rich schools to help students succeed. The Department supports projects to improve student achievement in the arts, especially in high-need schools, through grants. Also the Arts Education Partnership, a national consortium of organizations, is dedicated to advancing the arts in education through research, policy and practice.

Bottom Line Studying the arts is no longer just a pleasant pastime for the moneyed elite. It is also more than a component of a Liberal Arts education, more than a cultural achievement. Recent research reveals its pragmatic short-term and long-term benefits. It is an avenue to provide students with the tools and insights for a more successful and productive life. And as noted above many programs already exist to foster the study of the arts early on. What can be done? Given this new data, public and private widespread support is needed so that Hispanic children are afforded the opportunities arts education provides. A worthy goal for those who care about Hispanics to support. • Dr. Mellander was a university dean for 15 years and a college president for 20.

At Pepperdine, we view our community as a mosaic of people united by a deep and abiding respect for our Christian heritage. Our commitment to diversity is informed by this heritage and inspires us to treat every individual with dignity and respect. The people of Pepperdine live, work, and study amidst many diverse cultures â&#x20AC;&#x201C; represented by over 90 countries from around the world. Students are prepared for lives of service, purpose, and leadership within this context. For the Pepperdine community, diversity encompasses a multitude of dimensions from race, ethnicity, and gender, to religion, cultural background, socioeconomic status, and more. We believe that diverse points of view are essential to the academic endeavor, and that each individual is an integral part of the magnificent mosaic that is Pepperdine. Please visit our website for more information about purpose-filled careers at Pepperdine https://jobs.pepperdine.edu

A Magnificent Mosaic

Hispanic Outlook Size: Full Page (7.5 x 5)

HONORS AND OVATIONS

NYC STUDENTS’ BOOKS HONORED by the New York City Department of Education and the Ezra Jack Keats Foundation

YOUNG AUTHORS WIN 31ST ANNUAL BOOKMAKING COMPETITION

PHOTO COURT ES Y OF T HE EZRA JACK KEATS FOUNDAT ION

EW YORK—The Ezra Jack Keats Foundation, in partnership with the New York City Department of Education, announced the winners of the 31st annual Ezra Jack Keats Bookmaking Competition for grades 3-12. In addition to the city-wide and borough winners and honorable mention recipients being given medals at an awards ceremony, the city-

wide winners received $500, and the borough winners, $100. Each team of educators who assisted the winners also received an award—a gift certificate for their choice of 15 children’s books contributed by Keats’ publisher, Penguin Random House. “Some of the city’s most talented young writers and illustrators have worked hard to bring their creative ideas to life through the making of

The city-wide winners of the 2017 Ezra Jack Keats Bookmaking Competition are: (Clockwise from left) “The Story of the Mirabal Sisters,” by Amber Siurano; “Life of a Brighton Beach Sparrow,” by Elizabeth Abramowitz; and “He Abandoned Us,” by Jennifer Huang.

16 • June/July 2017

a book,” said Deborah Pope, executive director of the Ezra Jack Keats Foundation. “It was at public school that Ezra first received recognition for his talent, inspiring him to pursue his dreams. Our hope is that this award will inspire these young people as well.” The Ezra Jack Keats Bookmaking Competition is divided into three categories: elementary (grades 3-5), middle school (grades 6-8) and high school (grades 9-12). CITY-WIDE WINNERS Grades 3-5: “The Story of the Mirabal Sisters,” by Amber Siurano (Grade 4) P.S. 63, Old South School, Ozone Park, Queens Maria Panotopoulou, Teacher; Kathleen Fleischmann-Cavanaugh, Librarian; Diane Marino, Principal The winner says: “History is my passion, and I decided to write about the inspiring Mirabal sisters. Like my great-grandfather, the three sisters stood up and fought against the Trujillo dictatorship in the Dominican Republic. I chose not to add

facial features to the sisters; I felt they could represent anyone who acted as they did. I did not draw mouths on the people’s faces, only eyes, because at the time people could only observe and not speak against the cruelty of Trujillo.”

n addition to the city-wide winners, the 31st annual Ezra Jack Keats Foundation’s Bookmaking Competition also had quite a few borough winners, including:

“Reptiles vs. Dinosaurs” by Tyler Rivera (Grade 3) “If the World Was Black and White” by Delia Lima (Grade 7) “Different” by Jason Nazario (Grade 10) Jason’s work was also featured on the cover of the program for this year's Ezra Jack Keats Bookmaking Awards Ceremony. “Digging for Prehistoric Creatures” by Kevin Jiang and Brittany Ortiz (Grade 12)

Source: Ezra Jack Keats Foundation Photo in Table of Contents Courtesy of the Ezra Jack Keats Foundation

PHOTO COURTESY OF THE EZRA JACK KEATS FOUNDATION

Grades 9-12: “He Abandoned Us,” by Jennifer Huang (Grade 12) Stuyvesant High School, Manhattan Leslie Bernstein, Teacher; Eric Contreras, Principal The winner says: “The seven sins and God have always been topics of interest to me. I wanted to prove that our favorite characters—heroes and heroines, along with villains—were not without faults, that they had their own flaws. The hardest part after deciding what I wanted to do was choosing which character would depict which sin.” •

For a complete list of borough winners and honorable mentions, visit http://www.ezra-jack-keats. org/h/2017-ejk-bookmaking-competition-winners/

City-wide winner Amber Siurano (center), author-illustrator of “The Story of the Mirabal Sisters,” with Deborah Pope (left), executive director of the Ezra Jack Keats Foundation, and Paul King (right), executive director, Office of the Arts and Special Projects, New York City Department of Education.

PHOTO COURT ESY OF THE EZ RA JACK KEATS FOUNDAT ION

Grades 6-8: “Life of a Brighton Beach Sparrow,” by Elizabeth Abramowitz (Grade 6) I.S. 98 Bay Academy, Sheepshead Bay, Brooklyn Meredith Samuelson, Teacher; Maria Timo, Principal The winner says: “My inspiration came from watching the sparrows in my neighborhood, Brighton Beach. I’ve always been fond of these cheerful birds and enjoyed making sketches of them, so I decided to write about Brighton Beach as seen through the eyes of a sparrow named Wings.”

Winners of the 2017 EJK Bookmaking Competition and honorable mentions gathered for a group shot with Deborah Pope (right, by podium), executive director of the Ezra Jack Keats Foundation.

www.HispanicOutlook.com • 17

HONORS AND OVATIONS

Mexican Immigrant Daughter Wins International Art Honor Representing the U.S. for Her Vision of Peace, the

EW YORK -- While international relations remains a top agenda item for political leaders, and threats to our global stability continue to trouble the minds of people worldwide, children from around the globe are teaching us about world peace through the Lions International art contest. Fourteen-year-old Hispanic American Karen Mendoza, whose parents and sister immigrated from Mexico to Reading, Pa., is one of the top winners for her painting depicting hot air balloons wrapped with international monuments, flags, music, people and other symbols of global harmony. She was inspired by her parents who described world peace as the ability to “move freely.” “Like all people, each balloon is unique, but they remain together in harmony,” said Mendoza, an eighth grader at Wilson West Middle School who was sponsored for the contest by the Spring Township Lions Club. “The balloon of flags represents nations uniting to rise. I was hoping to promote the liberty to move freely and the celebration of peace.” A total of 600,000 children ages 1113 from 60 countries shared their vision of world peace through the Lions International Peace Poster contest. Mendoza is one of 24 top-rated artists being featured and given the opportunity to have her artwork exhibited in a pop-up art 18 • June/July 2017

show at the World Trade Center Oculus Plaza and to present her painting to UN diplomats and pass out black and white coloring pages of the artwork in NYC to encourage others to color and share their own vision of peace. “As adults we try to teach children, but in today’s world children can teach adults and our global leaders,” said Lions Clubs International President Chancellor Bob Corlew. “In a world where we are constantly reminded of what divides us, this is a way to look with fresh eyes at something that unites us,” continued Corlew who spent the past year traveling the globe talking with Lions volunteers about the future of volunteerism as the organization marks its 100th anniversary. “Art cuts across all languages and cultures. It’s a powerful tool to help kids teach us valuable lessons and promote global understanding.” As the world’s largest service organization, Lions International has facilitated the International Peace Poster contest for 29 years through its 45,000 clubs in 210 countries. “Not only does the Peace Poster contest encourage kids to demonstrate their art skills, it is also a great way for kids to get a better understanding of world peace,” Mendoza continued. “I did a lot of research and thinking about the concept of peace during the creation of my poster. It feels motivating to be honored and recognized for this work

and to help educate others about the importance of peace, which is important for kids at this age.” For more info, visit www.lionsclubs.org. • Source Lions Clubs International

PH OTO COURT ESY OF LIONS CLUBS INTERNATIONAL

“Liberty to Move Freely” ~

Kids across the globe share their vision of world peace through the Lions International Peace Poster Contest. Mexican immigrant Karen Mendoza representing the U.S. from Reading, Pa., is one of 24 artists chosen from 600,000 entries worldwide for her hot air balloons piece, inspired by her parents who taught her that peace is the “liberty to move freely.”

SPARTANS FIND STRENGTH IN THEIR DIFFERENCES At MSU, differenceS Are ASSetS. They make us better students and scholars, athletes and artists, scientists and leaders. Each Spartan’s voice enriches campus conversation and adds value to our vibrant community. MSU’s roots as a land-grant university have created an environment that encourages us to step outside comfort zones, to cross disciplines and cultures, and to work side by side as we achieve our potential and empower others to reach theirs. Embracing differences helps us make a difference— on campus and beyond.

RETENTION RATE FIRST-YEAR AFRICAN AMERICAN STUDENTS IN BACCALAUREATE PROGRAMS

27% (2015 INCOMING CLASS)

Numbers are only part of the story. University of Cincinnati embraces diversity and inclusion as core values—from our nationally recognized TAP program for students with intellectual disabilities to a $40M investment in faculty diversity. Learn more at uc.edu/inclusion.

INNOVATIONS IN EDUCATION

The USC Center for Urban Education: Using Data and Scorecards to Achieve Equity and

Improve Graduation Rates PHOTO COURTESY OF THE CENTER FOR URBAN EDUCATION AT THE UNIVERSITY OF SOUTHERN CALIFORNIA

Written by Gary Stern

magine if some students had to run 100 yards to reach the end zone in football, but minority students had to race 200 yards to get there. Overcoming this uneven playing field in education drives the purpose of the Center for Urban Education (CUE) at the University of Southern California. Estela Mara Bensimon, a professor of higher education at USC, secured $900,000 from the USC Provost’s Office in 1999 to launch CUE and get the ball rolling. For the last 18 years, it has consulted with over 100 community col20 • June/July 2017

leges and four-year colleges to produce equity in student outcomes and help minority students achieve undergraduate degrees and overcome a variety of obstacles. It employs its proprietary Equity Scorecard to “identify problems, develop intervention and implement equity goals to increase retention, transfer and graduation rates for under-represented racial and ethnic groups,” declares its mission statement. Lindsey Malcom-Piqueux, its associate director for research and policy, said it “encourages institutions and

practitioners to use inquiry to remediate their own practices to create equity for all students.” She noted that, “We’ve worked specifically around remedial and basic skills education as this is one of the areas in which students of color experience the largest inequities.” Moreover, she described English and math skills as “the large gatekeepers to baccalaureate degree attainment.” Malcom-Piquex explained that overcoming these inequities, which are embedded into the American educational system, is complicated and

PHOTO COURTESY OF THE CENTER FOR URBAN EDUCATION AT THE UNIVERSITY OF SOUTHERN CALIFORNIA

often based on overcoming systemic practices. Students who hail from underprivileged areas, who are often minority, tend to attend schools that are “under resourced, whose teachers tend to have less experience in the classroom, and that sets the stage for inequities that we see once students complete high school and are ready to enter college,” she said. But most colleges are structured to appeal to what works for reaching middle class and affluent students more so than targeting most minority students whose needs are different. For most minority students, attending a lecture isn’t the most effective learning technique. “Students of color are more likely to engage with material when they see its relevance to their community and lives,” she said. Minority students thrive educationally when they “feel validated by faculty members and are engaged in experiential learning,” she added. The more minority students feel accepted on campus and welcomed,

the more likely they are to succeed. At most colleges, students of color only encounter minority adults on campus when they see “janitors, food service staff and landscapers, not faculty,” Malcom-Piquex noted. And for every 300 students on most campuses, 250 of them are white. Once CUE consults with a college, its first step is to “view inequities as a problem of educational practice,” Malcom-Piquex noted. It collaborates with faculty, staff and administrators and “asks them to use data to see where inequities occur in the college environment. Are the inequities stemming from degree completion or course completion or transfer credits?” Once the inequity is identified, CUE collaborates with faculty to determine what’s going on in the classroom and what can be done to ameliorate the situation. “We ask them to focus on remediating practice, rather than remediating students,” Malcolm-Piquex stated. What Center for Urban Education emphasizes is that most college remediation programs “places the causes of inequities on the deficits of the students. It’s their lack of skills.” Hence, students are blamed because “They don’t know how to study, or they’re not prepared,” the list goes on and on, she insinuated. What’s ignored is that most minority students have been educated in an unequal environment. CUE provides the tools that encourage faculty to examine their own polices and improve them. “It’s a series of prompts and questions that walk a faculty member through their own syllabus from the perspective of a student and look beyond the words to see what’s communicated,” noted Malcom-Piquex, a Columbia, Md.

“Students of color are more likely to engage with material when they see its relevance to their community and lives.” — Lindsey Malcom-Piqueux, associate director for research and policy for the Center for Urban Education at the University of Southern California native who has a doctorate in higher education from USC and graduated from MIT. She stresses that the faculty is driving the self-examination; it’s not being done for them. “That’s much more effective than us doing it. They’re the experts of local content,” she noted. In June 2013, the Community College of Aurora, located eight miles east of Denver, received a grant to participate in an equity excellence program run by CUE. The college is extremely diverse, and its 7,439 students in fall 2016 consisted of 37 percent White students, 27 percent Latino, 20 percent African-American, eight percent Asian and two percent American Indian. James Gray, its math chairman, said the college’s goal was to “increase the success of students who have the largest achievement gaps.” He described CUE’s approach as a “process of action, research and inquiry.” Ultimately, the project contributed to “change the culture of our college. We wanted it to be more inclusive and responsive in our student areas,” he observed. www.HispanicOutlook.com • 21

CUE’s focus became part of every faculty member’s overall approach and game plan. Increasing the equity gap became woven into their work plans, departmental goals and everyday life. For example, the math department uses data on race, ethnicity and gender to track each student’s progress. “We could see how people were doing in relation to the overall average,” he said. Mentoring was launched, peerto-peer observations were stepped up and the syllabus was scrutinized to see where it could be improved to reach more students. Gray examined his own teaching approach, scrutinized what was working and what wasn’t and realized he too had a problem holding minority students accountable if they were late. Confronting them made him anxious, but watching other faculty who handled it well led to strengthening his skills. He realized that holding students accountable raised his expectations of them, and the more he did that, the more they often intensified their efforts. The college’s goal was a five-year plan to raise equity achievement from 29 percent of students to 40 percent, and that plan is still ongoing. Another major change, Gray suggested, was the math department altered its hiring practices. It interviewed 27 candidates for a full-time job rather than 10 to 12 as in the past. It brought in 11 candidates to interview with a more diverse slate than three or four in the past. It asked, for example, “If a student doesn’t do well, to what do you attribute that?” It eventually hired a Hispanic male, and Gray admitted that he might not have earned a chance previously. Moreover, it has gotten more 22 • June/July 2017

Lasell College offers a challenging environment that promotes diversity, selfexpression, and academic exploration, so our employees can achieve professional success. We offer a competitive benefits package which includes: medical, dental, and vision insurance options; FSAs; generous timeoff benefits; a 403B with a matching contribution; free tuition; and more. For more information visit www.lasell.edu/employment.

polished at identifying candidates who understand their students and offer access to all students. “Shining the light” on equity achievement helped transform the culture, Gray suggested. “So much of what we do comes down to belief, realizing what students need, what

they can do and cannot do,” he said. The more faculties expect of students, the more students respond, he said. Though the effects of CUE are still a work in progress, Gray admitted, “having all faculty set equity goals is a major accomplishment.” •

SPOTLIGHT ON: ORLANDO YOUTH PROGRAMS

New Universal Orlando Youth Program Turns Theme Parks Into TM

Interactive Learning Experiences

Written by Meredith Cooper

PHOTO COURT ES Y OF UNIVERSAL

niversal Orlando Youth Programs has launched the all-new Your Classroom in Motion: A STEAM App Series. This inventive collection of educational programs uses world-renowned theme park attractions to shape experiential learning experiences focused on Science, Technology, Engineering, the Arts and Mathematics. Recently, I sat down with Teresa Crews, Universal Orlando’s educational program developer, about their five newest youth program offerings and about Universal’s youth program in general (see sidebar for additional programs). “It’s exposing kids to opportunities and careers that they may not have thought about but they would really enjoy doing that make what they’re doing in school make sense,” Crews explained. “It gives them a reason to really want to try.” To this point, Crews said that the program actually begins before the students even set foot in any of Universal Orlando’s theme parks. First, the app series provides teachers with tool kits, which include lesson plans that can be used to introduce topics and concepts to students in the classroom. These tool kits also include PowerPoint slides, activities, guided notes, videos through NBCLearn.com and assessments to further enforce information and gauge students’ progress. The concepts within Your Classroom in Motion: A STEAM www.HispanicOutlook.com • 23

App Series all adhere to middle school and high school national and state education standards. With this foundation in the classroom established, students then take part in hands-on lessons within Universal Studios Florida and Universal’s Islands of Adventure using tablets with software exclusive for groups participating in the program at Universal Orlando. Students work in pairs or groups of three, and the tablet activities are connected to an attraction or area of the theme parks. TM

Transformers ROLL Out The popular series of live action/CGI movies based on the 80s cartoon franchise is now a motion simulator/3D and 4D effects ride. While fans of the famed “robots in disguise” will get caught up in TRANSFORMERS: The Ride-3D for its story and special effects, the program’s participants have the opportunity to analyze it from an engineering perspective. Crews explained that students learn about the six degrees of movement, an engineering principle that shows how ridged bodies move in space, by watching the ride vehicle in the app program go through different scenes. Program participants also use the app to create a storyboard and then put those movements in sequence with the ride vehicle digitally reconstructing the ride’s motion sequences. “I like to say STEM puts the arts in motion, but it’s the arts that give STEM emotion,” Crews said. “You can talk about engineering and math, but if you put the artistry of the Transformers around it, it’s suddenly a very different experience.” TM

Hollywood Rip Ride Rockit Science Like Transformers ROLL Out, this program uses a Universal Studios Florida ride, the Hollywood Rip Ride Rockit rollercoaster, to demonstrate engineering concepts including Newton’s laws of motion and kinetic and potential energy. TM

24 • June/July 2017

Crews who was a middle school and high school teacher explained that students typically learn a “big long formula” for kinetic energy and a second equally long formula for potential energy but do not visually see what each formula means. The app takes the formulas and the data collected by the students during the program to solve those formulas and shows them visually the transfer of energy. Although the students do not gather data while on the ride (both Crews and I agreed that bringing a tablet on a rollercoaster could be potentially disastrous), they are tasked with observing eight specific points of the ride and using the timer in the app to determine how long it takes for the ride car to get from one point to the next. These speeds are then automatically put into the formulas for kinetic and potential that they learned about in class. Kongtrol Panel One of Universal’s most iconic characters, King Kong, is now starring in an all-new Universal Islands of Adventure ride that combines animatronics, motion simulation and 3D effects. Students, however, will be seeing a different side of Skull Island: Reign of Kong as they use geometry to better understand the inner workings of the attraction’s coordinate systems. While the ride may give the illusion that a person is driving park guests around Skull Island, the ride’s driverless vehicle is actually on a well mapped out pathway. For the program, students use a digital protractor to estimate degrees and distance and build a ride sequence through the app. Their objective is to successfully maneuver their digital vehicle along the ride’s path without crashing into any walls. Like Transformers ROLL Out and Hollywood Rip Ride Rockit Science, students do not use the app while riding Skull Island: Reign of Kong. However, Crews pointed out, all students who take part in the youth program are given VIP TM

access to all the rides in the parks and also get to go on Skull Island: Reign of Kong at the end of their lesson. Mummy Dig-Site Detective The classic movie monster the mummy was rebooted by Universal in 1999 and has starred in both “The Mummy” and “The Mummy Returns.” Now, he returns again for the Universal Studios Florida’s thrill ride Revenge of the Mummy , and students must face him twice as they test their powers of observation. The storyline presented by the app parallels that of the ride’s: something has gone wrong at a dig site, so a private investigator has been hired to figure out what is going on and has compiled a list of “facts.” However, not everything on the list is true. For example, Crews explained, an item on the list could be that a sarcophagus in a certain room is open, and there is a mummy inside. In order to verify that information, students need to ride the Revenge of the Mummy and see for themselves. Crews said that students are usually very confident that they will remember everything but soon find the excitement and stimulation of the ride can affect their memories. From this, they discuss and learn about topics like bias, perception versus illusion and the scientific process (as well as some Egyptology), so by the second time they ride the ride, their powers of observation have improved. TM

Jurassic Paleobotany Although this program is not built around an attraction, it involves exploring the Jurassic Park section of Universal’s Islands of Adventure (and potentially encountering a dinosaur or two). Students meet at the Jurassic Park Discovery Center where they learn about topics like botany and taxonomy, as well as Pangaea and the Jurassic period. From there, students go on a digital scavenger hunt around Jurassic Park looking for five extant species of plant life—all of which TM

— Teresa Crews, Universal Orlando’s educational program developer have existed since prehistoric times—and photographing them using their tablets. Crews explained that the students are only given 30 minutes to find and photograph all five plants. Once their time is up, their tablets automatically stop functioning. However, to help the students with their scavenger hunt, the tablet also gives them images of the fossilized versions of the plants, so they have something visual to work with. “We want the kids to be challenged but successful,” Crews said, explaining that if students had difficulty with a particular part of the scavenger hunt (or any lesson from any of the youth programs), Universal would address that immediately. In addition, Crews said that the app’s data from activities like the scavenger hunt are sent to the students’ teacher, so they have the option of building a lesson plan around subject areas that might need reinforcing. To learn more about these and other interactive learning experiences available through Universal Orlando Youth Programs, visit www.UniversalOrlandoYouth.com or call 1-800-YOUTH15. •

P HOTO CO URTESY O F UNIVERSAL

“It’s exposing kids to opportunities and careers that they may not have thought about but they would really enjoy doing that make what they’re doing in school make sense. It gives them a reason to really want to try.”

eyond adding five new in-park

SAL! A Workshop with the Profes-

learning experiences to their

sionals not only instructs students in

youth program, Universal Orlando

ballet, musical theatre and jazz cho-

has also added new music workshops.

reography but also on careers in the dance industry. Areas covered include

In Sound Design: Music and the Art of

resumes, headshots and audition eti-

Foley, students are given a three-min-

quette, as well as understanding the

ute piece of a background music score

reasons for not getting cast (it might

to learn at school and then record at

have to do with something as simple

Universal against a clip of “The Lorax,”

as a height requirement and not skill

“Despicable Me” or a classic Franken-

level). At the end of the program, the

stein movie. Students also create sound

students get to perform a blend of the

effects, do dialogue replacement and

three genres.

learn more about careers in the film industry. At the end of the program,

Besides these workshops, Universal

they are given their movie clip (com-

Orlando has new education lessons

plete with credits with their names),

planned for their latest theme park,

which can be used (for example) by a

Universal’s Volcano Bay . While it

band director to promote their school’s

is too early for specific details, Tere-

band program. This program is also

sa Crews, Universal Orlando’s educa-

available to choirs who would perform

tional program developer, confirmed

to a prerecorded professional orchestra.

that the new lessons would be STEM/

In addition, the Dance is UNIVER-

STEAM related.

www.HispanicOutlook.com • 25

SPOTLIGHT ON: ORLANDO YOUTH PROGRAMS

ORLANDO AREA

ART PROGRAMS The Dr. Phillips Center Florida Hospital School of the Arts offers innovative educational programs including The Broadway League Education Programs— ATPAM Diversity Initiative where theatre professionals offer training, guidance, support and opportunities to the next generation of performers. Also available through the Dr. Phillips Center is the Broadway Speakers Bureau, which educates students about non-performance careers in the performing arts, including directing, choreographing and stage management. For more information, visit https:// www.drphillipscenter.org

The Central Florida Arts Young Artists Orchestra (YAO) offers students from elementary school through high school the opportunity to learn about both classical and popular/modern music in a safe environment. In addition, the YAO String Ensemble is available for students five years old and older who are a string book 2 or higher. Registration is open all year round, and YAO is also offering a oneweek summer camp. For more information, visit www. cfcarts.com 26 • June/July 2017

The Florida Film Academy is offering several classes for budding filmmakers including: Make a Movie (ages seven - 12), Filmmaker (ages 13-18), Stop Motion (ages 7-13), Film Media Master Class (ages 7-12 and 13-18) and iLAB Makers Master Class (ages 7-13). In addition, the Film Media Master Class can be taken as a standalone or as a compliment to the Make a Movie and Filmmaker classes. For more information, visit http:// flfilmacademy.com/

Voice lessons (Pre-K – 5th), Tap Dance lessons (ages 10 and over), Combo Dance lessons (ages 4-7), Creative Drama Class (ages 3-5) and Acting Class (ages 7-12). For more information, visit http:// magiccurtainproductions.com

The Central Florida Vocal Arts works with young performers to develop their skills and encourage a love of opera. Their educational programs include their Summer Institute Program, as well as their Spring and Winter Vocal Intensives where for three days artists develop their auditioning skills, improvisational abilities and performance in general. They also have the opportunity to take part in a public performance for loved ones.

Magic Curtain Productions, Inc. has a variety of educational programs for students up to age 12. The MCP Performance Senior, Junior and Mini Troupes offer young performers guidance and opportunities to perform throughout the community. It also offers Group

For more information, visit http:// CFLVocalArts.com

Logos Courtesy of Their Respective Organizations

SPOTLIGHT ON: ORLANDO YOUTH PROGRAMS

DISNEY SAYS YES to Education with Youth Education Series

Just as Walt Disney World has existed for several generations, Disney’s education programs have been around since 1979 when they debuted with four programs in the areas of art, energy, entertainment and nature. Today, there are more than 20 different programs that take place year round at the Disneyland Resort in Anaheim, Calif., and Walt Disney World in Lake Buena Vista, Fla. that cover several disciplines including Applied Sciences (see sidebar for information about Disney Youth Education Series classes in other disciplines). Amongst the class offerings in this area include the Energy and Waves Phys-

ics Lab, a learning experience that combines activities at select attractions at the Magic Kingdom with classroom-style interactive lessons to teach students about light and sound. Designed for groups of 10 or more, this class is available for elementary through high school students and has special sessions available for Girl Scout troops. Standing in the Florida sun near Cinderella’s Castle, I watched as a group of students sat in a shaded eating area listening as their Disney teacher explained to them about sound waves. To demonstrate the point, she used a pair of different-sized tuning forks and went to each

PHOTO COURT ES Y OF DIS NEY

alt Disney believed that “if you can dream it, you can do it,” a conviction that, to this day, shapes the Walt Disney Company’s commitment to education. The Disney Youth Education Series (YES) continue this legacy by offering seminars, presentations, field studies, workshops and learning tours that use the fun and excitement of the world-class Disney theme parks and facilities to immerse and engage participants. Recently, I had the opportunity to visit Walt Disney World Resort® and experience a little of what students can learn about science in the Magic Kingdom.

Written by Meredith Cooper

www.HispanicOutlook.com • 27

PHOTO CO URTESY O F D ISNEY

student, holding the vibrating fork by their ears. Next, she took out a plastic slinky and had two students do a demonstration for the group also connected to the lesson. Aaron Joyner, Sr. Disney Youth Education Series facilitator, explained that using simple teaching tools like the tuning forks and the slinky can be very effective not only to teach students within the Disney theme parks, but also in the classroom. All groups have chaperones who have the option of taking these lessons and doing their own version of them when the students are back in school. In addition, students also use laminated exercise sheets to reinforce concepts such as in this case sound waves’ length and frequency. After watching a lesson, it was time for me to become the student and learn about physics related to light. However, my lesson would take place in another part of the Magic Kingdom, Liberty Square, and would involve one of the theme park’s original attractions: The Haunted Mansion. Created in 1971, The Haunted Mansion is one of Disney’s most famous rides. An upgrade to the classic haunted house, park guests ride around inside an estate where they encounter 999 ghosts—some animatronic and some created through special effects and the28 • June/July 2017

atrical tricks. A few of the more iconic spirits from this attraction include the transparent dancing ballroom ghosts, the singing graveyard busts and the mischievous Hitchhiking Ghosts. With Joyner taking on the role of the instructor, I stood outside The Haunted Mansion curious how it would tie into a lesson on light. After all, the mansion utilizes low light and even darkness sometimes to create a spooky atmosphere. Just as the class I watched had teaching aids like tuning forks to demonstrate sound waves, Joyner had objects to explain concepts related to light wavelengths and effects. He first used a prism to discuss colors and refraction. Next, he held up a square of coarse fabric called scrim to his name tag and demonstrated that the scrim could making it impossible to read his name depending on how far or close he held it from his tag. Finally, he had me look in a window with a curtain to illustrate how I could see my reflection more clearly in the part of the glass with the dark curtain behind it. It was now time for the second part of my lesson: going on The Haunted Mansion ride and watching for when special effects were done with UV lights, scrim and reflections. Although I’m no stranger to this Disney attraction having ridden it in both the Florida and Califor-

nia theme parks, as well as in Disneyland Resort Paris, I found I wasn’t catching all the lighting tricks being used. Ghostly footprints walking up the underside of stairs and the glowing ghouls in the graveyard were clearly done with UV lighting. The appearing and disappearing dancing ghosts in the Grand Ballroom seemed to be from reflections on glass. However, catching when scrim was being used was a bit more challenging. For example, one room has what appears to be a candelabra floating in a long hallway. While I guessed the “hallway” was actually a mirror, Joyner explained that the reason I didn’t see my own reflection in it is because a piece of scrim is over the mirror. Joyner also explained that scrim is used in the mansion before even boarding the ride when park guests enter the infamous Portrait Chamber (sometimes called the stretching room because of the illusion that the room is being stretched longer by supernatural forces). The Ghost Host, a creepy voice that acts as a guide through the mansion, taunts guests before suddenly turning off the lights in the room, revealing a dead body hanging overhead illuminated by lightning. The reason why the body isn’t visible before that moment, Joyner explained, is that the room’s seemingly solid ceiling is scrim, which hides the body until the lighting in the room changes. After exiting the ride, my lesson wasn’t over yet. It was now time to get a behind the scenes look at The Haunted Mansion and learn more about those dancing ghosts I’d seen a moment ago. Making my way through the back of the attraction, I could hear the ride’s cars (the same ones I was just in) rolling above me. With Joyner guiding me, I came to a room where the dancing ghosts’ very solid animatronics were spinning around while lights went on and off in timed intervals above their heads. What I thought might be the case was true: what the riders are seeing in

P HOTO CO URTESY O F D ISNEY

Walt Disney believed that “if you can dream it, you can do it,” a conviction that, to this day, shapes the Walt Disney Company’s commitment to education.

eyond Applied Sciences, Disney Youth Education Series also offers educational experiences related to Environmental Studies, Liberal Arts

and Leadership Development. The following are examples of currently

the Grand Ballroom are the dancing ghosts animatronics’ reflections on glass, and their appearing and disappearing is created by the lights going on and off above them. This theatrical trick, Joyner explained, is called the Pepper’s Ghost effect and on a smaller scale can be applied to things like school plays. In addition to learning about the Energy and Waves Physics Lab, Joyner also told me about another Applied Sciences’ class called Properties of Motion Physics Lab. With learning materials available in both English and Spanish, this class goes into what Joyner called “rollercoaster physics” and uses attractions like Space Mountain and Big Thunder Mountain to demonstrate concepts like velocity, acceleration and Newton’s first law of motion. Other subject areas covered in the Applied Sciences classes include chemistry, the evolution of technology and the importance of synergy. In the case of these and all the Youth Education Series classes, Disney collaborates with educators, curriculum specialists and other skilled and passionate experts to create compelling content based on national curriculum standards, and each program can stand alone as a learning experience or be used as a complement to a more comprehensive lesson plan or curriculum. For more information visit www.disneyyes.com and www.disneyyouth.com

available classes in each of these areas. Environmental Studies In Sustainable Practices in Wildlife Conservation students learn at Disney’s Animal Kingdom theme park about how people from cultures around the world approach conservation and about protecting and preserving the environment. Areas covered include fossil fuels and renewable energy, the cause and effect of human decisions on the environment, and the value of collaboration and teamwork to solve problems. Liberal Arts In Introduction to Global Citizenship students visit the international pavilions of Epcot’s World Showcase to learn more about other countries and what connects and separates societies on a cultural level. Areas covered include comparisons and contrasts of cultures, cross-cultural communication, technology, commerce, human behavior, assimilation, displacement, diaspora and cultural diffusion. Leadership Development In Disney Leadership Strategies students learn about the real strategies used by The Walt Disney Company and how being a good leader is an intrical part to being successful in business. Areas covered include the strengths of the different styles of leadership, the responsibility of a leader to their team, the value of recognition, communication in the business world and the importance of employee training.

www.HispanicOutlook.com • 29

SCHOOL NEWSPAPER

MICHIGAN STATE MUSEUM Shows Culture, History Written by RJ Wolcott, Lansing State Journal

animal pelts and bones are stored on the third floor of the museum, while archaeological pieces are kept inside McDonel Hall. Prior to the 1990s, much of the collection was stored beneath the stadium’s stands, subjected to cold temperatures and moist conditions. Mary Worrall, curator of cultural heritage at the museum, unfurled one of the more than 1,000 quilts in MSU’s collection. Prior to obtaining the right to vote, women used quilts as political expression. The quilt Worrall laid out dates back to the temperance movement of the late 19th century and early 20th century. Many of MSU’s quilts are currently on display at the MSU Museum as part of the Quilted Conversations Exhibit, which runs until July 9. The distinction between what visitors see in displays and all of what MSU has is important, Worrall said.

PHOTO LICENS ED BY IN GRA M I MAGE

AST LANSING, Mich. (AP) — What they see is barely a glimpse of the collection of historical artifacts and relics maintained by museum staff and students. A Civil War soldier’s uniform, a chair made from animal horns and a multitude of other items may never see the exhibit floor because they are too fragile or don’t fit with other items on display. The Lansing State Journal (http:// on.lsj.com/2n5Sbc2 ) reports that the collections, dating back to the museum’s founding in 1857, span multiple buildings scattered across campus. More than 100,000 items in MSU’s cultural collection — housing everything from wreaths of human hair to what was once the world’s largest hairball — is preserved within temperature-controlled rooms inside an unassuming building next to Spartan Stadium. Drawers filled with

“Exhibits have storylines; collections are for preservation and research,” she said. More than a dozen staff and students work with items in the collection. Everything from digitizing photos and artwork to researching information on a piece of the first computer is done by staff, said Shirley Wajda, curator of history at the museum. Digitized collections can be found at museum.msu. edu/?q=database. Limited space and resources challenge researchers to evaluate each piece offered up by the public. More than 11,000 people have donated items that are now part of the collection. “I try to look at items and think, does this fit in further, does it lend complexity, can I teach it, can I exhibit it and do we have room for it?” The museum isn’t aiming to collect every odd object it can. It’s about trying to understand the lives of previous generations and preserving as much of their story as possible, Wajda said, whether that’s through clothing, vacuum cleaners or bejeweled musical instruments. Information from: Lansing State Journal, http://www.lansingstatejournal.com •

30 • June/July 2017

SCHOOL NEWSPAPER

UNC-CHAPEL HILL ART MUSEUM Receives $25 Million Gift

HAPEL HILL, N.C. (AP) — Officials at the University of North Carolina at Chapel Hill say its Ackland Art Museum has received its largest gift ever, including seven Rembrandt works. A statement from the school said that alumnus Sheldon Peck and his wife Leena, both orthodontists in Boston, made a donation valued at $25 million. The commitment includes an $8 million endowment to support a new curator and future acquisitions and an art gift of 134 primarily 17th-century European masterworks, valued at $17 million, including the seven works by Rembrandt van Rijn. With the gift, the Ackland becomes the first public university art museum in the U.S. to own a collection of drawings by Rembrandt and only the second university art museum in the nation to do so. The gift is “a giant step forward” for the university’s museum, said UNC Chancellor Carol Folt. “It’s a wonderful expression of the importance of the arts here,” she said. Museum director Katie Ziglar said in a statement the works will fascinate and delight visitors for decades to come.

The collection also includes drawings by such notables as Peter Paul Rubens, Aelbert Cuyp, Jan van Goyen and Jacob van Ruisdael. Peck graduated from the UNC School of Dentistry in 1966 and did his residency in orthodontics. He was a clinical professor of develop-

mental biology at Harvard University’s dental school for 20 years and also served as an adjunct professor of orthodontics at UNC’s dental school. He is a member of Ackland’s national advisory board. •

www.HispanicOutlook.com • 31

SCHOOL LIBRARY Professor Emerita at the University of San Francisco, Alma Flor Ada, is an award-winning children’s book author who is dedicated to education and social justice. Her accolades include the Pura Belpré Medal, the Parents’ Choice Honor, the Marta Salotti Gold Medal, the Virginia Hamilton Award, the Christopher Medal, the International Latino Book Award, the NCSS and CBC Notable Book, and the Once Upon a World award. In addition, she was honored by the government of Mexico in 2014 when she was presented the OHTLI Award for her services to the Mexican communities located in the U.S. And so, it is our pleasure to feature the works of Alma Flor Ada for this month’s School Library.

K-12 “FRIENDS” Publisher: Santillana USA ISBN-13: 978-1581052343 Grade Level: 1 – 3 Classroom Handout: http://almaflorada.com/ doc/Creative-Reading.pdf

“THE GOLD COIN” Publisher: Atheneum Books for Young Readers ISBN-13: 978-0689717932 Grade Level: Kindergarten – 3 Classroom Handout: http://almaflorada.com/ doc/Creative-Reading.pdf

The characters of this powerful story in celebration of diversity are all geometrical figures— squares, rectangles, circles and triangles—who stick to their own kind and teach their young not to mix with others. However, when two little circles take a roll into town, they discover for themselves the joy of making new friends. This anti-bias book explores symbolically issues of discrimination at a level accessible even to younger children and promotes appreciation of others. Teachers of young children appreciate that through this story children learn or practice the names of colors, the concept of sizes and the different geometrical shapes.

This Christopher Medal winner has already become a classic. While it reads as a folktale, it is an original story. When Juan, a sickly and unhappy thief, decides to steal gold from Doña Josefa, a generous healer or curandera, he follows her through the countryside. In the process, he is affected by the beauty of the natural world around him, the goodwill of the people who work the fields and the spirit of the healer he is pursuing. Neil Waldman’s watercolors sensitively convey the beauty and diversity of the Central American landscape, as well as the inner transformation that Juan undergoes.

“THE LIZARD AND THE SUN/LA LAGARTIJA Y EL SOL” Publisher: Dragonfly Books ISBN-13: 978-0440415312 Grade Level: Preschool - 2 Classroom Handout: http://almaflorada.com/ doc/Creative-Reading.pdf

“DANCING HOME (NACER BAILANDO)” Grade Level: 3 - 7 Publisher: Atheneum Books for Young Readers ISBN-13: 978-1442481756 Reading Group Guide: http://www. simonandschuster.net/books/DancingHome/Alma-Flor-Ada/9781416900887/ reading_group_guide

Once a long, long time ago, the sun disappeared from the sky. All the animals went to search for the sun in the rivers and lakes, through the fields and forests, but the sun was nowhere to be found. Little by little, all the animals gave up except for the faithful lizard. Finally, one day she found a strange glowing rock and discovered the sun fast asleep. But no one could persuade the sun to wake up. Then the emperor organized a great feast with the finest dancers and musicians, so the sun would wake up and never fall asleep again.

32 • June/July 2017

Mexico may be her parents’ home, but it’s not Margie’s. She finally convinces the kids at school that she’s 100 percent American—just like them—only to have her Mexican cousin Lupe visit, undoing her efforts. Things aren’t easy for Lupe, either. Mexico hadn’t felt like home since her father went north to find work. Lupe’s hope of seeing him comforts her, but learning a new language in a new school is tough. Lupe and Margie need a friend, and little by little, the girls’ individual steps find the rhythm of one shared dance, and they learn what “home” really means.

SCHOOL LIBRARY

HIGHER EDUCATION

“THE DIARY OF FRIDA KAHLO: AN INTIMATE SELF-PORTRAIT” Introduction by Carlos Fuentes Publisher: Abrams ISBN-13: 978-0810959545 Published in its entirety, Frida Kahlo’s illustrated journal documents the last ten years of her turbulent life. These passionate, often surprising, intimate records reveal many new dimensions in the complex personal life of this remarkable Mexican artist. The 170-page journal contains her thoughts, poems and dreams—many reflecting her stormy relationship with her husband, fellow artist Diego Rivera—along with 70 mesmerizing watercolor illustrations. Her writing reveals her political sensibilities, recollections of her childhood and her enormous courage in the face of more than 35 operations to correct injuries she had sustained in an accident at the age of 18.

“A GLORIOUS DEFEAT: MEXICO AND ITS WAR WITH THE UNITED STATES 1ST EDITION” by Timothy J. Henderson Publisher: Hill and Wang ISBN-13: 978-0809049677 The war that was fought between the United States and Mexico from 1846 to 1848 was a major event in the history of both countries. In contrast to many books on the topic, which treat the war as a fundamentally American experience, “A Glorious Defeat” presents a far more balanced history of the inception of the delicate and tumultuous relationship between Mexico and the United States. Touching on a range of topics from culture and ethnicity to religion and geography, this comprehensive yet concise narrative humanizes the conflict and serves as a strong introduction for new readers of Mexican history.

“A HISTORY OF HISPANIC THEATRE IN THE UNITED STATES: ORIGINS TO 1940” by Nicolás Kanellos Publisher: University of Texas Press ISBN-13: 978-0292730502 Hispanic theatre flourished in the U.S. from the mid-nineteenth century until the beginning of World War II. This very first study of this rich tradition is filled with details about plays, authors, artists, companies, houses, directors and theatrical circuits. Organized around the cities where Hispanic theatre was particularly active, as well as cities on the touring circuit, it charts the major achievements of Hispanic theatre in each city—playwriting in Los Angeles, vaudeville and tent theatre in San Antonio, Cuban/Spanish theatre in Tampa, and pan-Hispanism in New York—as well as the careers of several actors, writers and directors.

“THE ART OF POLITICAL MURDER: WHO KILLED THE BISHOP?” by Francisco Goldman Publisher: Grove Press ISBN-13: 978-0802143853 “The Art of the Political Murder” is a riveting narrative reconstruction and investigation into one of present day Latin America’s most controversial, bizarre and historic criminal cases—the murder of Bishop Juan Gerardi who is known as one of Guatemala’s great human rights leaders. Goldman’s book exposed a cover-up of the crime and helped change a small country’s destiny as it emerged from decades of civil war. It is an unforgettable story of the heroism of young people who risked all to see justice triumph. “The Art of the Political Murder” won the Index on Censorship’s TR Fyvel Freedom of Expression Book Award.

www.HispanicOutlook.com • 33

Hispanic Outlook Size: 1/2 Pg Vert. (3.625 x 9.75) Issue: 6/19 Due: 6/12 by 2pm Cost: free (with color)

VICE CHANCELLOR FOR AGRICULTURE AND LIFE SCIENCES DEAN, COLLEGE OF AGRICULTURE AND LIFE SCIENCES

Founded in 1927, the University of Bridgeport is well known for the diversity of its faculty and students. In a typical year, the student body consists of 5,400 learners from 45 states and 80 countries. This unique group of people is drawn together by shared commitments: an emphasis on professional development, career readiness for the twentyfirst century, a supportive and a challenging learning environment. The University is a private, nonsectarian, doctoral intensive, comprehensive university, offering more than 125 career-oriented, innovative undergraduate and graduate degree programs, many of which benefit from industry connections unique to the region.

To learn more, please visit our website at www.bridgeport.edu Current employment opportunities may be viewed at http://www.bridgeport.edu/about/e mployment-and-job-opportunities/

34 â&#x20AC;˘ June/July 2017

The Texas A&M University System and Texas A&M University invite nominations and applications for the position of Vice Chancellor for Agriculture and Life Sciences and Dean of the College of Agriculture and Life Sciences. The Search Advisory Committee will review applications immediately and select candidates for interviews in October, 2017. The search will continue until a suitable candidate is identified. Additional information about this position is available online at http://agrilife.org/ vcdeansearch/ Applicants should submit 1) a letter of interest, 2) a oneto two-page narrative summary of experience, 3) a statement of vision for the College and the Agencies, and 4) a curriculum vitae. Submit all application materials electronically no later than August 28, 2017 to: Laurie Wilder, President Porsha Williams, Vice President 770-804-1996 ext: 109 pwilliams@parkersearch.com || mbonds@parkersearch.com Texas A&M University is an Equal Opportunity/Affirmative Action employer. Five Concourse Parkway | Suite 2900 | Atlanta, GA 30328 770.804.1996 | parkersearch.com

Hispanic Outlook 1/4 page Issue 6-19-17 Deadline 6-12-17

Clinical Assistant/Associate/Professor of Entrepreneurship: The Booth School of Business at the University of Chicago is seeking candidates for a three to five year clinical faculty position in entrepreneurship beginning January 2018. Clinical faculty members are expected to be exceptional teachers and to participate in and contribute to the school’s academic environment. Qualified applicants will have a master’s degree or, a PhD in a business field and have demonstrated successful experience teaching MBA classes on entrepreneurial selling at a research institution. Applications will be accepted online at http://apply.interfolio.com/42594. The deadline for applications is September 30, 2017. Each candidate will be required to submit curriculum vitae, teaching statement, and a course outline. We will consider appointments at any level – Clinical Assistant Professor, Clinical Associate Professor, or Clinical Professor. The University of Chicago is an Affirmative Action/Equal Opportunity/ Disabled/Veterans Employer and does not discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity, national or ethnic origin, age, status as an individual with a disability, protected veteran status, genetic information, or other protected classes under the law. For additional information please see the University’s Notice of Nondiscrimination at http://www.uchicago.edu/about/non_discrimination_ statement/. Job seekers in need of a reasonable accommodation to complete the application process 773-834-5286 or email hr@lists.chicagobooth.edu with their request.

The Booth School of Business at the University of Chicago is seeking candidates for a three to five year clinical faculty position in operations management and entrepreneurship beginning January 2018. Clinical faculty members are expected to be exceptional teachers and to participate in and contribute to the school’s academic environment. Successful candidates will have demonstrated excellence in teaching application development and managing the software development process at the MBA level at a research institution. A master’s degree is preferred or substantial related experience as a successful business entrepreneur in technology related areas in addition to related specific teaching experience. Applications will be accepted online at http://apply.interfolio.com/42591. The deadline for applications is September 30, 2017. Each candidate will be required to submit a curriculum vitae, teaching statement, and a course outline. We will consider appointments at any level – Clinical Assistant Professor, Clinical Associate Professor, or Clinical Professor. The University of Chicago is an Affirmative Action/Equal Opportunity/ Disabled/Veterans Employer and does not discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity, national or ethnic origin, age, status as an individual with a disability, protected veteran status, genetic information, or other protected classes under the law. For additional information please see the University’s Notice of Nondiscrimination at http://www.uchicago.edu/about/non_discrimination_ statement/. Job seekers in need of a reasonable accommodation to complete the application process should call 773-834-5286 or email hr@lists.chicagobooth.edu with their request.

TENURE-TRACK POSITIONS IN MARKETING The University of Chicago Booth School of Business is seeking to appoint outstanding scholars to tenure-track positions in Marketing beginning in the 2018-19 academic year. We are seeking the best possible candidates without regard to subfield of specialization. Applications are invited from individuals who have earned a PhD (or equivalent) or expect to receive a doctorate in the near future. Members of our faculty are expected to conduct original research of exceptionally high quality, to teach effectively, and to participate in and contribute to the academic environment. Junior candidates will be judged on potential, and we will rely heavily on the advice of established scholars. Each candidate should submit a curriculum vitae, job market paper, and at least two letters of reference from scholars qualified and willing to evaluate the candidate’s ability, training, and potential for research and teaching. Applications will be accepted online at: http://www.chicagobooth.edu/faculty/openings. We will begin formally reviewing applications on July 1, 2017 and strongly encourage you to complete your application by then. We will continue to accept applications until February 28, 2018. The University of Chicago is an Affirmative Action/Equal Opportunity/Disabled/Veterans Employer and does not discriminate on the basis of race, color, religion, sex, sexual orientation, gender identity, national or ethnic origin, age, status as an individual with a disability, protected veteran status, genetic information, or other protected classes under the law. For additional information please see the University’s Notice of Nondiscrimination at http://www.uchicago.edu/about/non_discrimination_statement/ Job seekers in need of a reasonable accommodation to complete the application process should call 773-8345286 or email hr@lists.chicagobooth.edu with their request.

TENURE-TRACK PROFESSOR IN VISUAL COGNITIVE NEUROSCIENCE COGNITIVE SCIENCE DEPARTMENT, JOHNS HOPKINS UNIVERSITY The Department of Cognitive Science at Johns Hopkins University seeks a faculty candidate with an exceptionally strong record of conducting and directing cognitive research in the area of vision. The ideal candidate should address mid- to high- level vision, conduct research that makes substantive contact with theories of vision, and integrate multiple approaches (e.g., behavioral, neuroimaging and computational, neuropsychology and development). The rank is open, although preference may be given to mid-career appointments. Candidates should carry out integrative work in the target areas, and have the ability to conduct effective teaching, student supervision, and collaboration in a formally-oriented, highly interdisciplinary cognitive science department that has extensive interactions with related departments, including: Computer Science, Psychological and Brain Science, Neuroscience and Neurology. Applications will be reviewed starting October 15, 2017 and will be considered until the position is filled. Johns Hopkins University is committed to active recruitment of a diverse faculty and student body. The University is an Affirmative Action/Equal Opportunity Employer of women, minorities, protected veterans and individuals with disabilities and encourages applications from these and other protected group members. Consistent with the University’s goals of achieving excellence in all areas, we will assess the comprehensive qualifications of each applicant. Please send cover letter, CV, research statement, and three letters of recommendation. Please send electronic submissions only. Submit to: https://apply.interfolio.com/41523

www.HispanicOutlook.com • 35

TEST SPECIALIST, GENERAL Law School Admission Council (LSAC) is a nonprofit educational service organization. LSAC develops and administers the LSAT, a high-stakes entrance examination for law schools that assesses reasoning and reading skills. LSAC is seeking highly motivated individuals who are eager to participate in the development of the LSAT, a gateway to legal education and a career in the law. Primary Responsibilities: The successful candidate will join a team of Test Specialists who develop high-quality questions for the LSAT. The position requires the writing, review, and revision of questions that are designed to assess high level reading, critical thinking, and deductive reasoning skills. Test Specialists also ensure that LSAT questions are fair to all members of the diverse LSAT test taking population. Other duties may include participating in the review and development of informational and test preparation materials and in research related to the LSAT. Qualifications: Some training in logic, a broad background in liberal arts, and precise and fluent use of Standard Written English are necessary. Experience in college teaching is desirable. Demonstrated organizational skills, the ability to work independently and collaboratively, and the ability to meet deadlines are required. Proficiency in Spanish is a plus. Educational qualifications include an MA and doctoral-level work in philosophy, classics, history, theoretical linguistics, literature, or some related discipline requiring strong reading, reasoning, and analytical skills. A PhD is a plus. LSAC is committed to building a culturally diverse staff and strongly encourages applications from female and minority candidates. Salary: $68,000 per year or more depending on qualifications and experience. Benefits are highly competitive. How to Apply: Please forward vitae, a letter of application including the following Job Code, and a list of references to: C. Rommel, HR Section Law School Admission Council Job Code: TS - HO P.O. Box 40, Newtown, PA 18940 FAX: 215.504.3808 E-mail: employment@LSAC.org Only resumes with salary requirements will be considered. Application deadline is July 31, 2017 LSAC takes great pride in its dedication to being an EOE/AA Employer. All qualified individuals, including minorities, women and people who are differently abled, are encouraged to apply.

36 • June/July 2017

TEST SPECIALIST, READING COMPREHENSION FOCUS Law School Admission Council (LSAC) is a nonprofit educational service organization. LSAC develops and administers the LSAT, a high-stakes entrance examination for law schools that assesses reading and reasoning skills. LSAC is seeking highly motivated individuals who are eager to participate in the development of the LSAT, a gateway to legal education and a career in the law.

Get Connected

Primary Responsibilities: The successful candidate will join a team of Test Specialists who develop high-quality questions for the LSAT. The position requires the writing, review, and revision of questions that are designed to assess high level reading and critical thinking skills, with a particular focus on Reading Comprehension questions. Test Specialists also ensure that LSAT questions are fair to all members of the diverse LSAT test taking population. Other duties may include participating in the review and development of informational and test preparation materials and in research related to the LSAT. Qualifications: Strong critical thinking skills, a broad background in liberal arts, and precise and fluent use of Standard Written English are necessary. Experience in college teaching is desirable. Demonstrated organizational skills, the ability to work independently and collaboratively, and the ability to meet deadlines are required. Proficiency in Spanish is a plus. Educational qualifications include an MA in literature, rhetoric and composition, philosophy, classics, history, or some related discipline requiring strong reading, reasoning, and analytical skills. A PhD is a plus. Alternatively, candidates with an MFA in non-fiction writing who can demonstrate the required skills will also be considered. LSAC is committed to building a culturally diverse staff and strongly encourages applications from female and minority candidates. Salary: $68,000 per year or more depending on qualifications and experience. Benefits are highly competitive. How to Apply: Please forward vitae, a letter of application including the following Job Code, and a list of references to: C. Rommel, HR Section Law School Admission Council Job Code: TS – HO P.O. Box 40, Newtown, PA 18940 FAX: 215.504.3808 E-mail: employment@LSAC.org Only resumes with salary requirements will be considered. Application deadline is July 31, 2017 LSAC takes great pride in its dedication to being an EOE/AA Employer. All qualified individuals, including minorities, women and people who are differently abled, are encouraged to apply.

THE HISPANIC OUTLOOK IN HIGHER EDUCATION MAGAZINE

VISIT WWW.HISPANICOUTLOOK.COM OR CONTACT US AT INFO@HISPANICOUTLOOK.COM (201) 587-8800

"STAND OUT IN THE HIGHLY COMPETITIVE WORLD OF HIGHER EDUCATION"

www.HispanicOutlook.com â&#x20AC;¢ 37

THE HISPANIC OUTLOOK MAGAZINE DON’T WAIT UNTIL YOUR SUBSCRIPTION EXPIRES

RENEW TODAY! CONTACT US AT (201) 587-8800 OR ASHLEY.BARANELLO@HISPANICOUTLOOK.COM OR VISIST WWW.HISPANICOUTLOOK.COM/PRINT-SUBSCRIPTION/

MAIL THIS COUPON TO HISPANIC OUTLOOK PUBLISHING 299 MARKET ST, SUITE 145, SADDLE BROOK, NEW JERSEY 07663

Exclusive Special Name

Address

City

State

E-mail

Phone

Zip

Please e-mail me the Hispanic Outlook Newsletter filled with the latest news, innovations, networking and resources

PAYMENT METHOD CREDIT CARD NUMBER EXPIRATION DATE send me an invoice!

$50.00

12 MONTHS

45% OFF HO’S REGULAR 12-MONTH SUBSCRIPTION