Latina community college students face significant barriers in achieving their educational goals, particularly transferring to 4-year institutions. Despite comprising a large and growing demographic within community colleges, their unique needs and experiences often remain unaddressed. This qualitative study explored the lived experiences of Latina community college students in Los Angeles County aiming to transfer to 4-year universities I sought to understand their challenges, needs, and supports as community college students. Employing a counter- storytelling approach, the study utilizes Platicas methodology and method, informed by Latina/o Critical Race Theory (LatCrit) (Huber, 2010) and Community Cultural Wealth (CCW) frameworks (Yosso, 2005). Data collection involved in-depth Platicas with Latina students to capture their experiences navigating community college. Two research questions guided this research: How do Latina students reflect and describe their experiences navigating community college, particularly in relation to transferring to a 4-year institution? What do Latina students identify as their needs, challenges, and supports within their respective community colleges to facilitate successful transfer? Understanding the lived experiences of Latina students is crucial for developing student-centered policies and practices that promote their success in transferring to 4-year institutions. This research aimed to contribute to a more equitable and inclusive educational journey for Latina students pursuing higher education.

"Living Within and Outside the Margins and Borders…" depicts the lived experiences of eight Latinx high school seniors transitioning from an urban high school categorized by the State as a high poverty, high achieving, Latino majority-minority school in a large, southern Arizona city on the cusp of the U.S. Mexico border. This qualitative study spans the course of an academic school year, and includes an examination of narratives from three educational leaders within the target school. As longtime educators contained and often constrained inside a sizable metropolitan district, educational leaders were challenged to serve these Latinx youth within the limits set by state and national policies related to immigration, achievement testing, and education of emergent bilinguals. A major goal of the study was to understand how educational leaders negotiate educational policy margins to resist deficit-framed approaches and to incorporate socially just action within their schools. As demonstrated by the participants in the present study, many Latinx youth are searching for ways to navigate linguistic, cultural, racial, and class-based borders. Furthermore, many seek to breakthrough prescribed margins characterized by educational policies and practices that seek to track, label, and often marginalize them. These margins can be "more than a site of deprivation…[but] also a site of radical possibility, a space of resistance" (hooks, 1990, p.149). Thus, these Latinx students' narratives, which include descriptions of the capital employed to overcome these barriers, were analyzed via a Community Cultural Wealth lens (Yosso, 2005).

Cultural wealth, correlation and intercommunication during educational process are the live and widely examined problems. But musical activity as the method of correction of intercommunication system and its development is still undiscovered area, because it has been mainly examined as the direct way of cultural education of person. Based on the results of research, the system of methods of musical activity was created and the indicators of its significance were highlighted. They compose the theoretic content of research and show its novelty. The object of research is the intercommunication of educated subjects during the fortepiano lessons. Aiming to disclose the correlation of educated subjects, influenced by musical factors during the fortepiano lessons, the hypothesis about functioning of general intercommunication system of educated subjects, if the musical factors stimulate its formation, was raised. Tasks of research: description of conception of intercommunication system during the lesson, analysis of musical factors, influencing the intercommunication of educated subjects, examining of influence of musical factors to correlation system of educated subjects during the fortepiano lessons. Methods of research: Analysis and summation of scientific and methodic literature, written inquiry, evaluation of experience in accordance with the scale of emotional empathy, the pupils’ essays; qualitative and quantitative analysis and summation of the research data.

abstract: This study investigates degree perseverance among African Americans who transitioned from an undergraduate music program at a Historically Black College and University (HBCU) to a Predominantly White Institution (PWI). A framework based on Bourdieu’s cultural capital theory and Yosso’s community cultural wealth theory was employed to examine how academic, cultural, and social aspects of participants’ undergraduate and graduate school experiences influenced their perseverance. Because those aspects are intricately intertwined with race, I also employed critical race theory and double consciousness theory, and used Angela Duckworth’s Grit Scale to measure degree perseverance. Eight African American male instrumental music educators participated in this study. Research questions included: What are the experiences of African Americans who have transitioned from undergraduate music programs at HBCUs to graduate music programs at PWIs?; How do these individuals compare academic, social, and cultural aspects of their experiences within two institutional environments?; What are their self-perceptions of their own degree perseverance?; and, What social, cultural, and academic aspects of their experiences influenced their perseverance? After developing a portrait of each participant’s pre-college and college experiences, analysis reveled that participants were very persistent; however, academic, cultural, social, and racial experiences influenced their perseverance. Participants employed dominant cultural capital and community cultural wealth as well as their “Grittiness” to successfully transition from an HBCU to a PWI. Recommendations for HBCUs, PWIs, and the profession are offered toward improving the experiences of African American music students in higher education. HBCUs must hold their faculty and students accountable for developing a broader musical experience beyond marching band, and address colorism on their campuses. PWIs should recognize and accept the capital that African Americans bring, acknowledge that African Americans need access to social support networks, and assess how their environments, actions, and decisions may devalue or discount African Americans. While more research is needed regarding the experiences of African Americans in music programs, African American students must also take active roles in shaping their own educational experiences by seeking assistance that will improve their experiences. / Dissertation/Thesis / Doctoral Dissertation Music Education 2015

Less than 5% of former foster youth in America graduate with a bachelor's degree. The goal of this phenomenological research was to use student voices to identify or better understand promising practices that support the success of former foster youth. Two California State University (CSU) campuses were chosen as research sites because the California Education Code has language indicating CSUs responsibility to recruit, serve, and graduate former foster youth. Through purposeful sampling, eight students who were successfully approaching graduation were selected. The data collected through two interviews, a biographical questionnaire, and a photo review were subject to thematic identification and analysis of the use or lack of use of the types of capital outlined in the community cultural wealth theory. Five themes and the abundant and lacking types of capital were identified. Identified themes were student services and programs, mentorship, financial challenges, family dynamics, and self-determination. The participants were found to have abundant aspirational, navigational, resistance, and certain aspects of familial capital. They were found to be largely lacking in cultural, social, spiritual, linguistic, and other aspects of familial capital. Through the identification of the themes and the evaluation of capital, promising practices and next steps were identified and additional research needs brought to light.

No description available.

Upward Bound (UB) projects provide educational support services to high school students in order to address inequalities in college access for low-income (LI) and first-generation students (FGS). However, access alone does not eradicate systemic barriers to positive collegiate experiences and degree attainment. As a federally funded program, UB regularly collects mandated outcome data; however, little is known about the specific academic, social, and emotional supports these programs provide. Especially lacking are in-depth qualitative studies that follow students into college and focus on students’ own stories. To address this gap in research, this study used in-depth interviews to capture the stories of LI, FGS first-year college experiences. Thematic analysis was used to identify challenges, successes, and commonalities in how participants described impacts of their UB participation. The research questions included: 1) What are the academic and social experiences of Upward Bound alumni in their first year at a four-year postsecondary institution, and 2) What is the perceived relationship between Upward Bound participation and the first-year college experience of Program alumni? This research leveraged Yosso’s (2005) Community Cultural Wealth framework to elevate diverse forms of capital involved in students’ UB participation and college experiences. Analysis revealed significant themes related to expectations, belonging, the pressure to succeed, mental health, the impact of the UB experience, and the power of voice, concluding that, through UB participation, students’ existing capital/cultural wealth is honored, leveraged, and ultimately multiplied. Recommendations for addressing pervasive obstacles to success in college are provided for Upward Bound projects and higher education.

Gifted programs, designed to enhance engagement and rigor for students exhibiting talent or potential beyond their peers in the general education classroom, are not equitably identifying and serving Hispanic/Latino students. This qualitative study explored gifted programming at a Title I elementary school located in a largely Hispanic/Latino community. Very few students received gifted services at the school, despite equity measures in place. Using a framework of educational capital, this study highlighted the cultural capital and community cultural wealth of gifted Hispanic/Latino students and provided suggestions for enhancing programming for this historically underidentified population of learners. Data were collected through semistructured interviews of parents and teachers of students receiving gifted services. Questions were aligned with concepts of capital, and a priori codes were used to analyze participant perspectives. Findings identified embodied cultural capital as the dominant gifted paradigm, but inequitable opportunities to learn hinder students’ ability to embody giftedness. Also, the linguistic capital of other cultures has been unrecognized by gifted testing, impacting access for gifted emergent bilingual students. Finally, barriers to success (e.g., low levels of rigor and engagement at the school, lack of opportunity to test for the gifted program, and lack of navigational capital for parents and teachers) threaten the vibrant hopes and dreams parents and teachers have for these students. Findings support the need for increased gifted programming in Title I schools and updated gifted policy to reflect culturally inclusive values.

This phenomenological case study explores the college and career readiness (CCR) and postsecondary trajectories of six African American youth, 18 to 20 years of age, who attended or graduated from a northeastern urban school district during 2021 to 2022. Drawing on social reproduction theory and critical race theory, interviews, school, district and demographic data were examined to understand how participants made meaning of their CCR experiences and the family, school, work, and community influences on their postsecondary trajectories. Findings demonstrated that the youth used community cultural wealth to support their education and career goals and to navigate structures and systems. However, as participants pursued their aspirations, dominant White capital (social, financial, and temporal) in education and employment structures increasingly created barriers to their goals. Participants continued to aspire toward their dreams; however, the obstacles they confronted and their ability to navigate those obstacles varied by parental educational and occupational background. In order to ready African American youth for postsecondary success, participants recommended that CCR school implementation (a) engage with students one on one and not rely on computers; (b) ready students for good-paying jobs as well as college; (c) employ caring, culturally responsive educators and staff with high expectations; (d) offer more creative and critical thinking learning experiences and a less regimented curriculum; and (e) provide support for postgraduation transition. This research has implications for social reproduction, Black habitus, caste, and intergenerational mobility. / Urban Education

Un Museo de Arte Contemporáneo es aquel que ofrece colecciones de pintura, escultura, dibujos, grabados; conocidos como bellas artes; y también nuevas técnicas como la instalación, el performance, el video art, la fotografía o el arte sonoro; que en conjunto se llaman artes visuales. En el Perú existen 6 museos que difunden el arte contemporáneo, siendo todos de administración privada y el principal representante en Lima el MAC, ubicado en el distrito de Barranco. Sin embargo, dicha institución no tiene un alcance metropolitano debido a su ubicación foránea. A esto se le añade que está en un terreno concedido por 30 años por parte de la municipalidad distrital a cambio de su futura administración y que su colección se basa en donaciones privadas o préstamos por parte del Ministerio de Cultura. Esto nos refleja la ausencia que tiene el estado peruano con respecto al arte contemporáneo siendo el Perú uno de los países con mayor riqueza cultural en el mundo. El proyecto se desarrolla en el Centro Histórico de Lima, donde se encuentra el 50% de todos los museos de la capital convirtiendo a la zona en un gran foco cultural. El museo se sitúa en un entorno urbano importante donde convergen edificios de diferentes estilos arquitectónicos correspondientes a distintas épocas y busca sumarse a ellos a través de una arquitectura contemporánea que responda a las características del lugar integrando alineamientos, alturas, formas, ritmos y materiales; ya que a pesar de la peculiaridad de cada edificio logran entenderse en conjunto. / A Museum of Contemporary Art is one that offers collections of painting, sculpture, drawings, and engravings; known as fine arts; and also new techniques such as installation, performance, video art, photography or sound art; which together are called visual arts. In Peru, there are six museums that spread contemporary art, all of which are private managed and the main representative in Lima is the MAC, located in the district of Barranco. However, this institution does not have a metropolitan scope due to its remote location. To this is added that the district municipality in exchange for its future administration on land grants it for 30 years and that its collection is based on private donations or loans from the Ministry of Culture. This reflects the absence of the Peruvian state with respect to contemporary art, Peru being one of the countries with the greatest cultural wealth in the world. The project takes place in the Historic Center of Lima, where 50% of all the museums in the capital are located, making the area a great cultural focus. The museum is located in an important urban environment where buildings of different architectural styles corresponding to different periods converge and seeks to join them through contemporary architecture that responds to the characteristics of the place by integrating alignments, heights, shapes, rhythms and materials; since despite the peculiarity of each building they manage to understand each other together. / Tesis