Rapids Theatre Restoration Project: A Case Study
Following is a notated slideshow explaining the restoration of the Rapids Theatre building in a small Iowa town. Next to the slideshow is a narrative case study report further explaining the research, stakeholders, and process of this outstanding restoration project. To see the slideshow in is original online publication site click on the "UF COURSE WORK" tab at the top of this page and then select the button, "RAPIDS THEATRE RESTORATION PROJECT: A CASE STUDY" or just click HERE to see the ISSUU edition of the work.
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Rapids Theatre Restoration Project slide show, 2014, Taho
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Rapids Theatre Restoration Project: A Case Study
by Tammy Hoppe I chose to do my fieldwork at the Rapids Theatre, which is now in the process of being restored to the beautiful historic piece of architecture it once was. The façade of the Rapids Theatre appears finished to passers-by, but the cold, naked skeletal structure exposed in the building’s interior is far, far from finished. (See Figure 1.)
Jackie Telford and Matt Dengler had the foresight three years ago to conceive of and then coordinate the renovation of Rapids Theater, a small town relic of a building with quite a history (J. Telford, personal communication, November 1, 2014). I still remember going to movies in this very theatre when I was a child. Over the years I have seen this building serve several different functions. Now I have been doing my fieldwork assignment here, giving myself the opportunity to leave my own mark on this historic piece of architecture. The progress of this building’s restoration can be followed on Facebook, where, upon project completion, a calendar of dinner theatre performances and pictures of theatre events will be posted for the dedicated friends and patrons of the Rapids Theatre to follow. |
Supporting Literature
The inspiration for my work on this field study began with information from Villeneuve and Sheppard’s (2009) article, “Close to Home: Studying Art and Your Community.” This article explains that art education with a community-based approach gives art educators a local emphasis to use when introducing and expanding curriculum. The benefit of this approach is that students as well as teachers get a new opportunity to notice the treasures that lie close to home but may be taken for granted or misunderstood (Villeneuve, 2009). Rapids Theatre is one of our little hometown treasures that had been forgotten but is now being brought back to life through extensive renovation. Villeneuve’s (2009) article reminds readers that the study of community-based art education (CBAE), such as this local architectural restoration project, can teach that (a) different cultures can coexist peacefully; (b) community-based art projects promote better understanding of personal culture and heritage; (c) collective contributions and collaborative work strengthen community relationships; (d) many outstanding learning experiences can be found in your home community. All four of these points hold value to me in my educational philosophy and thus affect my choice of curriculum and teaching methodology.
Stake’s (1994) work, “Case Studies,” is another inspiration in my field research. First, his content gave me a foundation for understanding what a case study is and does. My own case study is the study of an architectural treasure and its renovations that hold both the potential to quality for the National Register of Historic Places as well as the ability to be used as a beautiful, fully functioning event center, theatre, and cinema. According to Stake’s (1994) list of three types of case studies, the Rapids Theatre project is an intrinsic case study “because, in all its particularity and ordinariness, this case itself is of interest” (p.237). It is not intended to be an instrumental case study that has a place in understanding some other case study, nor is it a collective case study that is intended to help with understanding the meaning of a whole group of case studies (Stake, 1994). Second, Stake’s content also guided me in the nature of information I should be looking for. Stake (1994) offers a well-rounded list of especially helpful research content topics:
· the nature of the case;
· its historical background;
· the physical setting;
· other contexts, including economic, political, legal, and aesthetic;
· other cases through which this case is reorganized;
· those informants through whom the case can be known (p. 238).
Finally, Stake’s (1994) content truly enlightened me to the value of triangulation as a method of seeking multiple perceptions in order to verify consistency in data. Because of this new learning I purposefully and consistently interviewed four different stakeholders in the Rapids Theatre restoration project.
Additional inspiration in my qualitative method of interview data collection comes from Ribbins (2007) and his thoughts on what makes quality interview questions as well as on the different forms an interview can take. Ribbins’ (1994) most beneficial suggestions for my own research project include, first, asking questions that encourage interviewees to reveal what is on their minds without suggesting desired answers and, second, knowing that there are different ways of interviewing such as chats, discussions, interviews, and verbal questionnaires. This new knowledge enabled me to explore three different interview data collection strategies: chat, discussion, and verbal questionnaire. The data collected through these methods was very interesting and consistent among participants.
My final inspiration in my own field study project is King-Ratcliffe’s (2014) capstone project. King-Ratcliffe interviewed three teaching artists in the CBAE sector and shared her findings in such an eloquent and comfortably readable manner. Her data gathering process was the interview, which yielded an entertaining narrative report format. I intend to use King-Ratcliffe’s writing style as inspiration for my own reporting of interview data in my case study research project.
The inspiration for my work on this field study began with information from Villeneuve and Sheppard’s (2009) article, “Close to Home: Studying Art and Your Community.” This article explains that art education with a community-based approach gives art educators a local emphasis to use when introducing and expanding curriculum. The benefit of this approach is that students as well as teachers get a new opportunity to notice the treasures that lie close to home but may be taken for granted or misunderstood (Villeneuve, 2009). Rapids Theatre is one of our little hometown treasures that had been forgotten but is now being brought back to life through extensive renovation. Villeneuve’s (2009) article reminds readers that the study of community-based art education (CBAE), such as this local architectural restoration project, can teach that (a) different cultures can coexist peacefully; (b) community-based art projects promote better understanding of personal culture and heritage; (c) collective contributions and collaborative work strengthen community relationships; (d) many outstanding learning experiences can be found in your home community. All four of these points hold value to me in my educational philosophy and thus affect my choice of curriculum and teaching methodology.
Stake’s (1994) work, “Case Studies,” is another inspiration in my field research. First, his content gave me a foundation for understanding what a case study is and does. My own case study is the study of an architectural treasure and its renovations that hold both the potential to quality for the National Register of Historic Places as well as the ability to be used as a beautiful, fully functioning event center, theatre, and cinema. According to Stake’s (1994) list of three types of case studies, the Rapids Theatre project is an intrinsic case study “because, in all its particularity and ordinariness, this case itself is of interest” (p.237). It is not intended to be an instrumental case study that has a place in understanding some other case study, nor is it a collective case study that is intended to help with understanding the meaning of a whole group of case studies (Stake, 1994). Second, Stake’s content also guided me in the nature of information I should be looking for. Stake (1994) offers a well-rounded list of especially helpful research content topics:
· the nature of the case;
· its historical background;
· the physical setting;
· other contexts, including economic, political, legal, and aesthetic;
· other cases through which this case is reorganized;
· those informants through whom the case can be known (p. 238).
Finally, Stake’s (1994) content truly enlightened me to the value of triangulation as a method of seeking multiple perceptions in order to verify consistency in data. Because of this new learning I purposefully and consistently interviewed four different stakeholders in the Rapids Theatre restoration project.
Additional inspiration in my qualitative method of interview data collection comes from Ribbins (2007) and his thoughts on what makes quality interview questions as well as on the different forms an interview can take. Ribbins’ (1994) most beneficial suggestions for my own research project include, first, asking questions that encourage interviewees to reveal what is on their minds without suggesting desired answers and, second, knowing that there are different ways of interviewing such as chats, discussions, interviews, and verbal questionnaires. This new knowledge enabled me to explore three different interview data collection strategies: chat, discussion, and verbal questionnaire. The data collected through these methods was very interesting and consistent among participants.
My final inspiration in my own field study project is King-Ratcliffe’s (2014) capstone project. King-Ratcliffe interviewed three teaching artists in the CBAE sector and shared her findings in such an eloquent and comfortably readable manner. Her data gathering process was the interview, which yielded an entertaining narrative report format. I intend to use King-Ratcliffe’s writing style as inspiration for my own reporting of interview data in my case study research project.
Overview
The mission of the Rapids Theatre project is to restore this historic relic of architecture to the beautiful theatre, cinema, and ballroom it once used to be. The goal of the project’s board of directors is for this building to be used as an event center, with the first floor seating and stage as well as the second level balcony to be completed first so the building can be opened for event rental, generating more income to help supplement the third floor renovations budget. (See Figure 2.) Jackie Telford and Matt Dengler are the founders of the project and started their advocacy and then construction work in 2011. The current Rapids Theater board of directors includes Jackie Telford (co-founder and president), Matt Dengler (co-founder and vice-president), Norma Jansma (treasurer), Dorothy McCormack, Julie Tolvstad, Shane Meyer, and Pete Pettingill. The board has largely been coordinating legal business with an architecture firm in Des Moines that is in charge of designing period-accurate architectural detail and also getting the legal paperwork completed for the National Register of Historic Places. They then organize the hands-on work of local volunteers based on their information from the architecture firm. On the third Thursday of each month they hold meetings to coordinate communication and keep progress moving along.
Once the Rapids Theatre restoration project is completed, the building will be available to rent for events such as receptions, dinner theatre plays, reunions, etc. There will be no kitchen but there will be a food preparation area for caterers or renters to use. The first floor is the stage level and the second floor is the theatre balcony, projector room, and small apartment with balcony. These two levels will be restored first, probably by the end of summer 2015. The final level to be restored is the third floor, or the ballroom, which will also be available to rent either separately or in conjunction with the theatre and balcony levels. The long-term plan is that the bottom two floors of the building can soon be rented out, generating an income to supplement a portion of the third floor restoration budget.
To date, all of the project funding has come from donations, Forster Charitable Trust funds, and Lyon County Riverboat Foundation (LCRF) grants (J. Telford, personal communication, November 8, 2014). Donations have come from several local residents as well as friends and family of locals or at least fans and patrons of theatre arts in general. The Forster Charitable Trust funds are a local private granting and funding entity in the name of a prominent family of this community’s history. The Grand Falls Casino in the same county sponsors the generous LCRF granting and donations program. Future restoration budget money will come from these same resources but they provide timely and somewhat limited funds compared to the overall budgetary needs of the restoration project. With the projected sum budget being two to three million dollars, a rigorous fundraising plan is of dire need. Therefore, to attain the goal of completing the entire restoration by 2017, the Rapids Theatre board of directors is collaborating on other more notable income ideas, one being a matching funds challenge in which the local banks and other businesses are challenged to match donation amounts with those of the general public. I will be helping with this endeavor by putting together more research and documentation as well as presenting preliminary ideas for educational materials such as fliers and pamphlets.
The mission of the Rapids Theatre project is to restore this historic relic of architecture to the beautiful theatre, cinema, and ballroom it once used to be. The goal of the project’s board of directors is for this building to be used as an event center, with the first floor seating and stage as well as the second level balcony to be completed first so the building can be opened for event rental, generating more income to help supplement the third floor renovations budget. (See Figure 2.) Jackie Telford and Matt Dengler are the founders of the project and started their advocacy and then construction work in 2011. The current Rapids Theater board of directors includes Jackie Telford (co-founder and president), Matt Dengler (co-founder and vice-president), Norma Jansma (treasurer), Dorothy McCormack, Julie Tolvstad, Shane Meyer, and Pete Pettingill. The board has largely been coordinating legal business with an architecture firm in Des Moines that is in charge of designing period-accurate architectural detail and also getting the legal paperwork completed for the National Register of Historic Places. They then organize the hands-on work of local volunteers based on their information from the architecture firm. On the third Thursday of each month they hold meetings to coordinate communication and keep progress moving along.
Once the Rapids Theatre restoration project is completed, the building will be available to rent for events such as receptions, dinner theatre plays, reunions, etc. There will be no kitchen but there will be a food preparation area for caterers or renters to use. The first floor is the stage level and the second floor is the theatre balcony, projector room, and small apartment with balcony. These two levels will be restored first, probably by the end of summer 2015. The final level to be restored is the third floor, or the ballroom, which will also be available to rent either separately or in conjunction with the theatre and balcony levels. The long-term plan is that the bottom two floors of the building can soon be rented out, generating an income to supplement a portion of the third floor restoration budget.
To date, all of the project funding has come from donations, Forster Charitable Trust funds, and Lyon County Riverboat Foundation (LCRF) grants (J. Telford, personal communication, November 8, 2014). Donations have come from several local residents as well as friends and family of locals or at least fans and patrons of theatre arts in general. The Forster Charitable Trust funds are a local private granting and funding entity in the name of a prominent family of this community’s history. The Grand Falls Casino in the same county sponsors the generous LCRF granting and donations program. Future restoration budget money will come from these same resources but they provide timely and somewhat limited funds compared to the overall budgetary needs of the restoration project. With the projected sum budget being two to three million dollars, a rigorous fundraising plan is of dire need. Therefore, to attain the goal of completing the entire restoration by 2017, the Rapids Theatre board of directors is collaborating on other more notable income ideas, one being a matching funds challenge in which the local banks and other businesses are challenged to match donation amounts with those of the general public. I will be helping with this endeavor by putting together more research and documentation as well as presenting preliminary ideas for educational materials such as fliers and pamphlets.
Description and Discussion
I still remember going to movies in this very theatre when I was a child. I especially remember three different movie-going adventures: one with my whole family waiting in the freezing cold to get tickets to see a Christmas movie, another with my group of best friends all cuddling closely during the saddest parts of Windwalker (1981), and a third one with my little sister and brand new foster sister when I saw a boy and girl kissing for the first time.
The project participants I interviewed shared stories similar to these about their own memories of the theatre. They appeared equally as passionate about their vivid recollections of Rapids Theatre as they did about their commitment to achieving the restoration goals. Signs of these high levels of commitment can easily been seen in the volunteers’ presence and hands-on work many Saturday mornings throughout the summer and fall months. Some Saturdays are workdays on which they clean, move, deconstruct, touch up, mark, observe, or discuss some of the necessary tasks. Completed tasks to date (November, 2014) include removing all doors from doorways and moving them to the basement to be stored until it is their turn to be repaired and restored, removing walls and other construction additions that are not historically accurate, pulling all plaster and lath from remaining walls, and getting outdated insulation out of the rafters all the way up to the roof (R. Oliver, personal communication, November 15, 2014). Also completed is the roof, renovation of the balcony level and marquee, replacement of the south windows, and restoration of the original front theatre doors and exterior façade. Telford clarifies that the cost of getting the work this far along is $201,000 and that the big expenses are coming next (personal communication, November 8, 2014).
Projected project tasks include an elevator that will go all the way to the third floor, redoing or replacing all interior surfaces, new electrical and other specialty work inside the walls, and huge double hung windows for the west wall. “We need an elevator and that’s going to cost big money: big money” (R. Oliver, personal communication, November 22, 2014). “An elevator has to be put in somewhere but we can’t put it where we wanted to because of all the city’s wires in the ground, and it would cost way too much to move all those wires. We just need to think of another way” (N. Jansma, personal communication, November 22, 2014). The elevator discussion has already revealed one of the larger project expenses, and troubleshooting possible solutions is ongoing.
In addition to preparing the stage for dinner theatre performances and the floors for dining tables and chairs, the project board of directors is planning to make showing movies a possibility once again. The necessary equipment to show movies in the theatre will cost $70,000 (R. Oliver, personal communication, November 22, 2014). The original film projector still sits in the projector booth at the back of the second floor balcony level appearing anxious to run its next reel of film. (See Figure 3.) Although this machine is historically valuable, it is no longer necessary and will not be restored as part of this overall project.
Over the years I have seen this building take on several different functions. After first remembering it as a theatre, I recall when it was used as an interior design and window treatment store. Next, it was a fabric, quilting, notions, and sewing machines store. After that it was converted into a ritzy restaurant and lounge (The Intermission) that opened and closed three different times over the years. Today the building is in the process of returning to its original appeal. The project continues to move along slowly although consistently. As funding becomes available and proper architectural information gets approved and passed on to contractors, stages of restoration take place with the help of numerous volunteers. New windows will be installed this winter on the west wall and then first floor and balcony restorations will take place during the summer of 2015. By the fall of 2015 Rapids Theatre may be ready for event rental, generating its own income to assist with the budget for top floor renovations that will be taking place last. With consistency in volunteer help and improvements in funding income, this entire restoration project could be completed as early as 2017. Although it would be wonderful to have the building ready sooner, everything in the process appears strong and effective because of its consistency in progress, support, and leadership. The board of directors is doing all it can do to keep each step of the restoration process moving along in an acceptable legal and affordable manner. To add my own element of support, I will design potential printed, digital, and online educational materials and I will continue my research and documentation of the Rapids Theatre restoration project.
I still remember going to movies in this very theatre when I was a child. I especially remember three different movie-going adventures: one with my whole family waiting in the freezing cold to get tickets to see a Christmas movie, another with my group of best friends all cuddling closely during the saddest parts of Windwalker (1981), and a third one with my little sister and brand new foster sister when I saw a boy and girl kissing for the first time.
The project participants I interviewed shared stories similar to these about their own memories of the theatre. They appeared equally as passionate about their vivid recollections of Rapids Theatre as they did about their commitment to achieving the restoration goals. Signs of these high levels of commitment can easily been seen in the volunteers’ presence and hands-on work many Saturday mornings throughout the summer and fall months. Some Saturdays are workdays on which they clean, move, deconstruct, touch up, mark, observe, or discuss some of the necessary tasks. Completed tasks to date (November, 2014) include removing all doors from doorways and moving them to the basement to be stored until it is their turn to be repaired and restored, removing walls and other construction additions that are not historically accurate, pulling all plaster and lath from remaining walls, and getting outdated insulation out of the rafters all the way up to the roof (R. Oliver, personal communication, November 15, 2014). Also completed is the roof, renovation of the balcony level and marquee, replacement of the south windows, and restoration of the original front theatre doors and exterior façade. Telford clarifies that the cost of getting the work this far along is $201,000 and that the big expenses are coming next (personal communication, November 8, 2014).
Projected project tasks include an elevator that will go all the way to the third floor, redoing or replacing all interior surfaces, new electrical and other specialty work inside the walls, and huge double hung windows for the west wall. “We need an elevator and that’s going to cost big money: big money” (R. Oliver, personal communication, November 22, 2014). “An elevator has to be put in somewhere but we can’t put it where we wanted to because of all the city’s wires in the ground, and it would cost way too much to move all those wires. We just need to think of another way” (N. Jansma, personal communication, November 22, 2014). The elevator discussion has already revealed one of the larger project expenses, and troubleshooting possible solutions is ongoing.
In addition to preparing the stage for dinner theatre performances and the floors for dining tables and chairs, the project board of directors is planning to make showing movies a possibility once again. The necessary equipment to show movies in the theatre will cost $70,000 (R. Oliver, personal communication, November 22, 2014). The original film projector still sits in the projector booth at the back of the second floor balcony level appearing anxious to run its next reel of film. (See Figure 3.) Although this machine is historically valuable, it is no longer necessary and will not be restored as part of this overall project.
Over the years I have seen this building take on several different functions. After first remembering it as a theatre, I recall when it was used as an interior design and window treatment store. Next, it was a fabric, quilting, notions, and sewing machines store. After that it was converted into a ritzy restaurant and lounge (The Intermission) that opened and closed three different times over the years. Today the building is in the process of returning to its original appeal. The project continues to move along slowly although consistently. As funding becomes available and proper architectural information gets approved and passed on to contractors, stages of restoration take place with the help of numerous volunteers. New windows will be installed this winter on the west wall and then first floor and balcony restorations will take place during the summer of 2015. By the fall of 2015 Rapids Theatre may be ready for event rental, generating its own income to assist with the budget for top floor renovations that will be taking place last. With consistency in volunteer help and improvements in funding income, this entire restoration project could be completed as early as 2017. Although it would be wonderful to have the building ready sooner, everything in the process appears strong and effective because of its consistency in progress, support, and leadership. The board of directors is doing all it can do to keep each step of the restoration process moving along in an acceptable legal and affordable manner. To add my own element of support, I will design potential printed, digital, and online educational materials and I will continue my research and documentation of the Rapids Theatre restoration project.
Implications for the Field of Art Education
As an art educator with a growing involvement in and commitment to the restoration of Rapids Theatre, I see tremendous benefits in the field of art education with studying and helping out in a project such as this. As Villeneuve (2009) stated, stronger community connections and awareness of local culture and heritage are greatly heightened in this type of work. Additionally, the intrinsic rewards that accompany the collaborative work of collective assistance are extremely gratifying. These are learning experiences visual arts teachers can provide children in a school arts education program simply by including a study of an architecturally interesting or historically relevant building right in the school’s home community. Otherwise, a community-based art education program can either work on or in such an interesting alternative site for art education. Even if students do not take up a hands-on role, they can still develop a personal interest in or commitment to local history and culture through the study of community architecture.
My personal connection to the Rapids Theatre restoration project at the beginning of my study definitely influenced my potential for a greater level of growth and high quality learning. Students might now be able to begin a similar study with the heartfelt relevance I had because they likely would not have the fond memories upon which to build new learning. To overcome the learning advantage I had with my already developed personal connection to the structure, an art educator should begin the study of a local architectural celebrity with careful consideration of how to get students to draw personal connections to the project. The art educator would have to design alternative methods for generating student interest and commitment through avenues such as historical and cultural connections, mathematical challenges, scientific mysteries, architectural and design elements, or storytelling possibilities.
Further studies of this theory could be done right in the art classroom or even at locations within walking distance of the art classroom. Studies could also be conducted in conjunction with homeroom teachers’ learning activities such as fieldtrips or explorative excursions. The key questions in such research might be “what elements of a site-based learning activity draw the greatest levels of student interest in and commitment to new learning?” and “how can new site-based learning activities be designed so that these same draws of interest and commitment are present each time?” I feel these are questions teachers are already asking themselves regularly, but a conscious study of such information would greatly inform and strengthen an art educators’ curriculum planning and teaching methods.
As an art educator with a growing involvement in and commitment to the restoration of Rapids Theatre, I see tremendous benefits in the field of art education with studying and helping out in a project such as this. As Villeneuve (2009) stated, stronger community connections and awareness of local culture and heritage are greatly heightened in this type of work. Additionally, the intrinsic rewards that accompany the collaborative work of collective assistance are extremely gratifying. These are learning experiences visual arts teachers can provide children in a school arts education program simply by including a study of an architecturally interesting or historically relevant building right in the school’s home community. Otherwise, a community-based art education program can either work on or in such an interesting alternative site for art education. Even if students do not take up a hands-on role, they can still develop a personal interest in or commitment to local history and culture through the study of community architecture.
My personal connection to the Rapids Theatre restoration project at the beginning of my study definitely influenced my potential for a greater level of growth and high quality learning. Students might now be able to begin a similar study with the heartfelt relevance I had because they likely would not have the fond memories upon which to build new learning. To overcome the learning advantage I had with my already developed personal connection to the structure, an art educator should begin the study of a local architectural celebrity with careful consideration of how to get students to draw personal connections to the project. The art educator would have to design alternative methods for generating student interest and commitment through avenues such as historical and cultural connections, mathematical challenges, scientific mysteries, architectural and design elements, or storytelling possibilities.
Further studies of this theory could be done right in the art classroom or even at locations within walking distance of the art classroom. Studies could also be conducted in conjunction with homeroom teachers’ learning activities such as fieldtrips or explorative excursions. The key questions in such research might be “what elements of a site-based learning activity draw the greatest levels of student interest in and commitment to new learning?” and “how can new site-based learning activities be designed so that these same draws of interest and commitment are present each time?” I feel these are questions teachers are already asking themselves regularly, but a conscious study of such information would greatly inform and strengthen an art educators’ curriculum planning and teaching methods.
References
King-Ratcliffe, M. (2014), A study of three teaching artists working within a community-based arts education setting.
Rapids Theatre. (2011). Facebook page. Retrieved from https://www.facebook.com/pages/Rapids-Theatre/205426966201220
Ribbins, P. (2007). Interviews in education research: Conversations with purpose. In A. Briggs & M. Coleman (Eds.), Research methods in educational leadership and management (pp. 207-223). Thousand Oaks, CA: Sage Publications, Inc.
Stake, R. (1994). Case studies. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (pp. 236-247). Thousand Oaks, CA: Sage Publications, Inc.
Thomas, E. B. (Producer), & Merrill, K. (Director). (1980). Windwalker [Motion picture]. United States: Santa Fe International.
Villeneuve, P. & Sheppard, D. (2009). Close to home: Studying art and your community. Art Education, 62(1), 6-13.
King-Ratcliffe, M. (2014), A study of three teaching artists working within a community-based arts education setting.
Rapids Theatre. (2011). Facebook page. Retrieved from https://www.facebook.com/pages/Rapids-Theatre/205426966201220
Ribbins, P. (2007). Interviews in education research: Conversations with purpose. In A. Briggs & M. Coleman (Eds.), Research methods in educational leadership and management (pp. 207-223). Thousand Oaks, CA: Sage Publications, Inc.
Stake, R. (1994). Case studies. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (pp. 236-247). Thousand Oaks, CA: Sage Publications, Inc.
Thomas, E. B. (Producer), & Merrill, K. (Director). (1980). Windwalker [Motion picture]. United States: Santa Fe International.
Villeneuve, P. & Sheppard, D. (2009). Close to home: Studying art and your community. Art Education, 62(1), 6-13.
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Rapids Theatre Restoration Project Case Study, 2014, Taho
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