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A team of Performing Members of the Jonesborough Storytellers Guild (JSG) will be telling stories in communities all along the way to Kansas City in July. They will be on their way to the National Storytelling Network (NSN) Conference. The effort will be to promote the art of storytelling, JSG, NSN and Jonesborough, the Storytelling Capital of the World.

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ETSU/Umoja Storytelling performances will begin at 4 p.m. both days on the Majestic Park Storytelling Stage, located at the gazebo between Main and Market streets on the site of the old Majestic Theater. Included will be stories and songs from Dr. Joseph Sobol, Dr. Delanna Reed and their friends, colleagues and graduates from the ETSU Storytelling Program.

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Until several years ago, organizations mainly focused on optimizing business processes within organizational boundary. Enterprise Resource Planning (ERP) software had been a hot issue for companies to improve their operations. Towards the end of last century however, organizations increasingly included supply chain management, customer relationship management, and supplier relationship management in their roadmap for implementing information technology. Business-to-business (B2B) transactions and collaboration between organizations have received increasing attention. E-Procurement is an important issue of B2B transaction and collaboration. Stiff competition, fast changing customer preferences, shortening product life cycle, and product variety proliferation have pushed modern manufacturing industries to be more flexible to cope with their environments. Along with dynamic capacity allocation, efficient material procurement forms a pillar to support flexible manufacturing. Therefore, the implementation of e-procurement system in enterprise is an inevitable trend. Then the next issue comes to what benefit occur from e-procurement system? Most past research have addressed the benefit issue based on the case study of single enterprise. Little investigation has conducted quantitative research to assess the performance with respect to supplier and buyer. How to estimate the impact on performance for both of buyer and supplier as a result of implementing e-procurement system is the research issue addressed in this project. Given the web-based e-procurement system as the enterprise procurement platform, this research attempts to address the direct impact on business processes for buyers and suppliers simultaneously, and subsequently to evaluate the impact on performance for them. In addition, this research also intends to investigate the impact on relationship between buyers and suppliers. In fact, the motivation of supplier in implementing e-procurement system might be different from that of buyer, leading to different results which might occur. The questionnaire survey conducted in this research can help to evaluate the performance for buyers and suppliers.

This thesis explores theatrical intimacy choreography and coordination during current significant social shifts. Covid restrictions, keen awareness of "correctness", and a desire to "do better" have allowed protective practices like theatrical intimacy to become not only generally accepted but expected in rehearsal spaces. Using techniques such as consent-based spaces, actor disclosures, and common language acquired through training with Chelsea Pace and Laura Rikard, the founders of Theatrical Intimacy Education (TIE), I explore choreographing close relationship moments through high school productions of Jane Eyre and Footloose presented in 2021-22 at Lake Highland Preparatory in Orlando and with older BFA/MFA student actors in Indecent, Welcome to the Moon, and First Date at the University of Central Florida (UCF). Within these different spaces, questions arose that guided my investigations and process. When is the practice an appropriate tool for establishing personal boundaries and preferences? Moving across the age groups, how does or how should the process change? How can prescribed techniques be modified to assist student actors in storytelling when the technique appears to fall short? How can the practice of theatrical intimacy be adapted to the social distancing and masking requirements caused by Covid? And finally, how does one maneuver within the boundaries established by those creating new standards and popular practices such as "Theatrical Intimacy"? During my process, I rely on training sessions with TIE and on Chelsea Pace's Staging Sex. To assist in storytelling and establish actor process, I adapt methods from Actioning and How to Do It by Nick Moseley. As I reflect upon the spaces we create and the work we do in them, I investigate various publications that include the thoughts of Elise Ahenkorah, Holly Derr, Beth Strano, Keith Morant, Michael Roth, and Nina Power. In searching how we might live in those spaces peaceably and productively, I explore adrienne maree brown's We Will Not Cancel Us, And Other Dreams of Transformative Justice."

What does it look like to have youth embody activism through theatre, and how do they take what they learned through theatre and implement it in their everyday lives? Many enter the field of Theatre for Young Audiences because they believe young people (that is, youth that are 18 and younger) have the power to change the world. While the Theatre for Young Audiences field often produces plays that teach young people about the power of change, it is also important to consider how we center and amplify youth voices in the conversations about societal change. As a teaching artist and director of youth theatre, I have led two projects meant to teach young people about how they can create social change and to give them the tools to hone their own activist voices. In the first project, I directed Guns in Dragonland, a ten-minute play written by a youth playwright, with youth actors, that addressed gun violence; in the second project, I taught playwriting in school residencies to high school drama students with the intention of the students producing ten-minute plays about social change. This thesis explores these two projects compared to similar programs that explore gender and racial injustice through theatre with young people. I then ask the following questions: How much focus should be given to the process and the product? What is the role of the adult in a space of theatre for social change? What is the scope of theatre for social change that I am teaching, and how do I navigate student wellness throughout the process? This thesis will gather the best practices for teaching artist pedagogy as it applies to creating theatre for social change with young people.

¿Dónde están los Latinos? As a Latina theatre practitioner born and raised in Venezuela now studying Theatre for Young Audiences (TYA) in the United States, I perceive a generalization and oversimplification of Latin American culture or culturally specific pieces across available TYA dramatic literature and other forms of children's entertainment, with Mexican culture as a monolith for all Hispanics and Latin Americans. My thesis asks: What tropes exist within the representation of Latin American cultures? What might those tropes offer about authentic representation, and opportunities for broadened representation, within the field of TYA? My research pulls from two formative experiences in my development as a TYA practitioner: serving as a co-playwright and the director of the new musical Sombra del Sol, and the release and success of Disney's animated film Encanto. I couple my analysis of these new works with the investigation of twenty plays within the United States' TYA canon by Hispanic authors such as Karen Zacarías, José Cruz González, José Casas, as well as non-Hispanic playwrights including Roxanne Schroeder-Arce, Lisa Loomer, and Gabriel Jason Dean. By examining these works, I identify five tropes present in media about/for Latin Americans: Location Tropes, Celebrations, Ethereality, Spontaneous Bilingualism, and Character Tropes. These trope help to articulate the need for richer cultural specificity and diversity of content in Latino/a TYA literature, while guiding my self-reflection as an artist and audience member in response to Sombra del Sol and Encanto.

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