YOUTH VOICE IN THE MEDIA CLASSROOM 1
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CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNING2
YOUTH VOICE IN THE MEDIA CLASSROOM3TABLE OF CONTENTSAcknowledgements04Creative Occupations in Seattle05Executive Summary06Introduction08A Framework for CTE Media Arts Centers0921st Century Skills10Methodology & Case Selection17Recruitment Strategies17Youth Responses to Curriculum20Frequently Mentioned Assignments, Tools, and Skills20Emergent Themes24Q&A with Wyn Pottinger-Levy28Q&A with Dr. Lauren Berliner32Aspirations34Media Arts, Career Aspirations and 21st Century Skills35Conclusion40Appendix A42Bibliography48Key Terms50About the Authors56
CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNINGAcknowledgementsThe authors are grateful to the youth and instructors who contributed to the Media Arts CreativeYouth Survey administered in Winter/Spring 2018. We are also indebted to the individuals whogenerously shared their time and expertise through in-depth interviews featured in this report –their stories help give meaning and context to the statistical data and were critical to articulatingan intentional alignment between coursework and knowledge of pathways and barriers to mediaarts occupations.Mytoan Nguyen-Akbar would like to give appreciation for feedback from our colleagues, whogenerously took the time to co-design and support the research, including Tina LaPadula, LaraDavis, and Erika Lindsay at the Office of Arts & Culture, Kate Baker and Gail Sehlhorst at SeattlePublic Schools, and those who attended a workshop and provided verbal input at an earlier stageof the data analysis including colleagues at the Office of Economic Development and Office ofFilm Music. Her co-author Rick Reyes provided invaluable research assistance in conductinginterviews for this project.Rick Reyes would like to acknowledge our community members for helping to recruit interviewparticipants, including Ashraf Hasham from the VERA Project, Susan James, Sharlese Metcalf,JeeYoung Dobbs, Alina Santillan from KEXP, David Harris from the Office of EconomicDevelopment, and Jillian Fields from Southwest Youth and Family Services.This work could not have happened without the financial support of The CreativeUSTAdvantage partnership between the City of Seattle Office of Arts & Cultures,TSENDSeattle Public Schools and the Seattle Foundation, the Mellon/AmericanRIUTOCouncil of Learned Societies Public Fellows Program (which funded Dr.GNNguyen-Akbar’s position), and Paul G. Allen Philanthropies.AFILMThank you to Reed Forrester for their layout of this reportTSEand to Otts Bolisay for contributing layoutsupport and expertise.4
YOUTH VOICE IN THE MEDIA CLASSROOM5Creative Occupations in SeattleAccording to the most recent report from Cityof Seattle’s Office of Economic Development(2018), most creative jobs are in two job families: arts and computers. Additionally, theirstudy based on proprietary Emsi economicmodeling and labor market data found that: At35,161 jobs in 2017, the arts job family accountsfor more than half (52.2%) of Seattle’s 67,350creative jobs.The largest occupations in the family includePhotographers (5,664 jobs), Graphic Designers(3,688), Writers and Authors (3,683), Musiciansand Singers (3,265), and Producers and Directors (1,577).Our expanding recognition of the increasinginterconnectedness of technology and creativity should lead us to build on our strengths incomputer-related creative occupations. Theseoccupations, with their high wages (more onthat in subsequent sections) and steady growth,may be avenues for job seekers who wish to usetheir creative skillswhile enjoying thehigh earnings that technology jobs offer.Arts and design occupations bringtremendous value to the Seattlearea, from music, sculptures and muralsthat lift our spirits and enrich our shared experience of living in Seattle, to the graphic designers and photographers who advertise ourbusinesses. And, if we value the contributions ofthese occupations to our community, we needto ensure that people in those occupations canlive and work here.What do people in these jobs do?Scattered through this report are career profilesthat are based upon interviews conducted inSummer 2018. We conducted more interviewsthan could be included in this report, but all insights went into this report and analysis.Career ProfilesGraphic Design: Stacy Nguyen13Design and Photography: Sunny Martini15Web Content in Music Industry: Mikayla Ketner19User Experience (UX): David Harris23Visual Communication and Digital Media: Otts Bolisay25Audio Engineer: Julian Martlew27Human-Centered Designer: Jordan Green31Virtual Reality: Nikki Melo33Social Media and Branding Strategist: Michael Huang37Digital/Multimedia: Aaron Jacob41
CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNINGExecutive Summary & RecommendationsThe following recommendations emerged from survey responses which included directquotes from youth, collected anonymously, about what youth enjoy in their media arts Career and Technical Education (CTE) courses and their career aspirations as they relate to thearts. They are supplemented by insights generated by in depth interviews conducted withcreatives in media arts occupations in Seattle.Media arts foster a well-rounded education: Many students see the arts as an area theywant to foster as a part of their whole selves and pursue media art CTE courses as part of ameans of finding other more lucrative paid livelihoods (such as law, engineering, business,science, and medicine). Access to the arts is an equity issue that intersects with neighborhood, institutional racism in education, and class/income disparities. We must close the opportunity gap as it pertains to arts courses, and media arts as a strategy for creative youthand workforce development.The arts and 21st century skills: Though students are in the media arts CTE courses as a chosen elective, most students can articulate a direct connection between what they are learning and 21st century skills, which include creativity, critical thinking, communication, collaboration, a growth mindset, and perseverance. This report affirms that the media arts skillscenters are enhancing youth cultivation of 21st century skills through the arts, even whenthey state overall that their career paths are in non-arts fields.Media arts skills to build opportunities for self-expression: Most students, if they identifieda career aspiration beyond high school, identified stronger interests in the health and medical sciences, engineering/STEM fields, business, and other non-arts pathways. This patternis even more pronounced given the economic push by family members to pursue these fieldsin immigrant and refugee communities and implicit bias of steerage away from arts and cultures fields.1 Nevertheless, these same student respondents recognize the benefits of havingmedia arts skills, which gives them a voice and allows them room for creative self-expressionand identity work. Making this awareness an explicit part of the course design could be moreinclusive of the career aspirations of youth pursuing non-arts career pathways.1. Julia Lee, “When People of Color Are Discouraged From Going Into the Arts,” The Atlantic, 28 Feb stereotypes/471291/6
YOUTH VOICE IN THE MEDIA CLASSROOMCreate a more explicit pathway for career connected learning in media arts: Industry specific knowledge in the media arts sectors should be integrated as part of media arts coursecurriculum with the goal of exposing students to more career connected learning opportunities and to enhance business/administrative, technological, and operational aspects ofthe arts and cultures sectors. Employers and post-secondary feeder schools all want talentand a creative workforce that is also inclusive of diversity; creation of that explicit pathwaythrough CTE courses could help uplift POC artists and the arts talent pipeline, where historically there hasn’t been access.Allow for semi-structured assignments and flexibility for creativity in media arts courseassignments to boost intrinsic motivations: Most students indicated they liked assignmentsthat allowed room for creativity and interpretation, as opposed to having too many rulesand guidelines in production. That intrinsic motivation can be drawn out through culturallyresponsive teaching and learning as well as use of contemporary arts and cultures themesand race and social justice topics.Make more space for diversity, inclusion, and culturally-responsive learning in the media arts: Demographic diversity and the power of images over text to reach youth of color and immigrant and refugee students who are enrolled should inform course design. Alarge number of survey respondents live in family households that speak languages otherthan English. Those languages are primarily Spanish, East African languages (Somali, Amharic, Tigrinya, and Oromo), Vietnamese, and Chinese. Hence, there is opportunity to use artsand cultures-based learning as a means of expression that makes room for immigrants, refugees, and their children to articulate both their local and globalized sense of belonging andidentity. If it is not already, cultural difference should be seen and messaged by teachers asan asset, and schools need to engage in more culturally-responsive pedagogy and inclusionwork for the benefit of all students. It also has been demonstrated that student exposure toinstructors of color is beneficial for all students.22. Hua-Yu Sebastian Chergn and Peter F. Halpin (2016), “The Importance of Minority Teachers: Student Perceptionsof Minority Versus White Teachers.” Educational Researcher, 45(7): 2016.7
CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNINGPart One - IntroductionThe Creative Advantage1 is a citywide initiative to ensure equitable access toarts education for each and every student in Seattle Public Schools (SPS). In2016, a grant from Paul G. Allen Family Foundation in the amount of 395,0002was awarded to the initiative supporting new SPS media arts courses supplemented by 100,000 in year 1 from the City of Seattle, and 50,000 ongoingly.Statewide, new media arts course standards are being developed and adoptedstatewide in Washington, a recognition of the importance of these skills andtools. The ARTS office asked their Mellon/ACLS Public Fellow to do an assessment of the media arts Career and Technical Education (CTE) courses as theyrelate to skills development and career connected learning. The Creative Advantage team determined that a pilot and survey at five comprehensive high schoolswould provide a window into understanding student perception around thecourses, career connectedness, and future directions of the program. The data,based upon a survey to young people enrolled in media arts CTE courses andprofiles of creative media arts occupations featured in this report re-enforce theimportance of creative strategies in career connected learning. At the forefrontof our recommendations are that media arts skills centers are a way for highschool youth to build resilience, collaborations, enhance their career horizons,forge community connections, and to achieve non-arts career goals with a morewell-rounded education.Within the umbrella of CTE courses, Seattle Skills Center provides a 2-year sequence of advanced learning with hands-on application of both industry and college preparation programs. Creative industries are growth industries in Seattle,such as computer gaming, music production, film production, graphic design, andfashion. Select media arts courses at SPS include graphic arts/graphic design,yearbook/publishing, video production, photo foundations/advanced photography, and animation/gaming. In focus groups with SPS students conducted in2012, students said they wanted more opportunities to connect the arts and careers, specifically in these growth industries.3SPS is considering proposals to transform and deepen pedagogical opportunities1. The Creative Advantage Progress Report, /uploads/2018/05/2016-17 ProgressReport.pdf. “The Creative Advantage is a city-wideinitiative to establish equitable access to arts education for each and every student in Seattle PublicSchools. The Creative Advantage is made possible through a public-private partnership with SeattlePublic Schools, the City of Seattle Office of Arts & Culture, the Seattle Foundation, and communityarts organizations.”2. Although most of the funds are earmarked for the Seattle Public Schools, some money supportsresearch and other items via ARTS.3. School Board Briefing/Proposed Action Report: “Accepting The Seattle Foundation/VulcanFoundation grant to fund Creative Advantage/CTE Media Arts Skills Center Programs and CreativeAdvantage Regional Arts Showcase.” 26 Oct 2016.8
YOUTH VOICE IN THE MEDIA CLASSROOMin high school by implementing RCW 28A.230.090, a 24-credit graduation requirement as an opportunity to increase successful outcomes for our high schoolstudents. This has implications for equity in course retrieval as well as a deepening of media arts coursework and pedagogy, which this report highlights.The stories and descriptive data presented in this report address both the youthexperiences in the media arts courses and the career profiles and articulates:1.How media arts courses help cultivate 21st century skills and creative habits/social skills;2.What aspects of curriculum and pedagogy were youth most receptive to;3.What opportunities exist for boosting career connected learning in themedia arts.The national framework known as creative youth development takes a holistic,asset-based and artistically rigorous approach to helping young people thriveand actualize their whole selves.4 Informed by these practices and its vision, thisreport takes as a starting point that arts and culture matters in the lives of youthfor developing other skills and traits. Taking this a step further, according to Dr.Lauren Berliner, UW Bothell, “digital media and storytelling allows for differentmodes of self-representation than traditional literacies. There is more room (orat least appears to be) for non-linear narratives and abstract thinking, whichopens up more space for what Diana Taylor would refer to as ‘the repertoire’ asopposed to Western, archival, text-based systems of knowing and reproducingknowledge.”A Framework for CTE Media Arts Skills CentersThe following theoretical frameworks informed our analytic process, which hadto do with the intersection between 21st century skills (defined below), socialemotional learning, culturally responsive teaching and learning, media arts skills,and technical skills. These frameworks are the lens through which pedagogy andassessment can occur, to move beyond a “one size fits all” approach to the mediaarts CTE coursework.4. Creative Youth Development Blueprint: nblueprint/what-is-cyd-and-its-impact/. Accessed July 5, 2018.9
CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNING21st Century SkillsAccording to the Seattle K-12 Arts Plan, “students will engage in 21st centuryarts learning in arts classes taught by classroom teachers and teaching artists,and through learning experiences presented by community arts organizationsin and outside of the school day.”5 Among the skills obtained from an arts education are artistic skills and knowledge taught as a means of communication andexpression of culture and 21st century skills of habit of mind such as creativityand critical thinking, communication and collaboration, and perseverance andgrowth mind-set.21st century skills refer to those skills needed by students in order to thrive inschool, career, and life. These skills are a core component of high quality artsteaching and learning. The six intertwined 21st century skills to be cultivatedthrough Seattle Public School arts learning are: Creative and Critical Thinking: To create new and useful ideas, innovations,and products; and to elaborate, refine, analyze, and evaluate one’s own andothers’ ideas. Communication: To articulate thoughts and emotions effectively using oral,written, and non-verbal skills; to listen effectively; to inform, instruct, motivate, and persuade; to negotiate; and to give and receive feedback. Collaboration: To work effectively and respectfully with diverse teams,which involves flexibility, sharing, responsibility, and being open and responsive to new and diverse perspectives. Perseverance and Growth Mind-set: A belief that intelligence and abilitycan be increased with effort; a belief in one’s own capabilities and capacityto learn. A growth mind-set is foundational to perseverance: persisting in atask through to completion.Habits of MindAcosta and Kallick refer to 16 habits of mind for effective problem solving. Thereis significant overlap between these habits and 21st century skills.1.Persisting2.Thinking and communicating with clarity and precision3.Managing impulsivity4.Gathering data through all senses5. “Seattle K-12 Arts Plan,” 2013. Seattle Public Schools and Seattle Office of Arts & Cultural Affairs.10
EMBEDDING YOUTH VOICES IN THE MEDIA ARTS CLASSROOM5.Listening with understanding and empathy6.Creating, imagining, innovating7.Thinking flexibly8.Responding with wonderment and awe9.Thinking about thinking (metacognition)10. Taking responsible risks11. Striving for accuracy12. Finding humor13. Questioning and posing problems14. Thinking interdependently15. Applying past knowledge to new situations16. Remaining open to continuous learningThe overlap between 21st century skills and 16 habits of mind are in creativity,critical thinking, communication, perseverance/persisting, however, the distinctions are not as clear cut. In this paper, we will mainly be referring to 21st centuryskills, in alignment with Seattle Public Schools.Social Emotional LearningTeachers also point to social and emotional learning as the process through whichindividuals learn and apply a set of social, emotional, behavioral, and characterskills required to succeed in schooling, the workplace, relationships, and citizenship. The framework used by Jones, Brush, Bailey et al (Mar 2017) “divides coreSEL skills into three domains: cognitive regulation (including attention control,inhibitory control, working memory/planning, cognitive flexibility), emotionalprocesses (including emotion knowledge/expression, emotion/behavior regulation, empathy/perspective-taking), and social/interpersonal skills (includingunderstanding social cues, conflict resolution, prosocial behavior). These threedomains and their associated skills are related to both short- and long-term outcomes related to academic achievement (e.g., grades, standardized tests), behavioral adjustment (e.g., getting along with others, solving conflicts, and exhibitingless aggression/fewer conduct problems), and emotional health and wellbeing(e.g., lower levels of depression and social isolation).”6 We want to recognizethe importance of intentionally working towards social and emotional learning6. Stephanie Jones, Katharine Brush, Rebecca Bailey, Gretchen Brion-Meisels, Joseph McIntyre,Jennifer Kahn, Bryan Nelson, and Laura Stickle, “Navigating SEL from the Inside Out: Looking Insideand Across 25 Leading SEL Programs: A Practice Resource for Schools and OST Providers.” Mar2017. -from-the-Inside-Out.pdf. There is also a list of key resources and knowledgebank at the Youth Development Executives of King County webpage: https://ydekc.org/news/selsym2018/.11
CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNINGstrategies in media arts courses, as many communities who could benefit fromtrauma informed teaching may also benefit from individual and collective storytelling which can foster a sense of belonging and recognition.Culturally Relevant and Responsive TeachingCulturally relevant and responsive teaching (Trumbull, 2005; Ladson-Billings,2001; Gay, 2000; Weinstein, Curran, & Tomlinson-Clarke, 2003; Kirkland, 2003)is validating, comprehensive, multidimensional, empowering, transformative,and emancipatory. Culture has been defined as “The system of values, beliefs, andways of knowing that guide communities of people in their daily lives.” Effectiveteacher preparation addresses the need for teachers to acknowledge students’diversity and incorporate their pluralistic backgrounds and experiences into thelearning experiences and classroom environment. In culturally relevant pedagogy, culturally responsive teaching (and other similar terms) teachers developthe knowledge, skills, and predispositions to teach children from diverse racial,ethnic, language, and social class backgrounds. Good multicultural teaching honors our diverse cultural and ethnic experiences, contributions and identities andteachers need to understand the experiences and perspectives [students] bringto educational settings and be responsive to the cultures of different groups indesigning curriculum, learning activities, classroom climate, instructional materials and techniques, and assessment procedures. Culturally relevant pedagogyaims to ensure that educators acknowledge and honor the diverse viewpointsof their student population and refrain from promoting homogeneous perspectives as universal beliefs.Teaching for Racial and Social JusticeHow can we better integrate race and social justice, for the times that we andour students are living through? Watson, Hagopian, and Au, the editors of Teaching for Black Lives (2018) recommend that educators “provide a social justice, anti-racist curriculum that gives students the historical grounding, literacy skills,and space to explore [for instance] the emotional intensity of feelings around themurder of Black youth by police that is the slow, steady work of meaningfulclassroom conversation, purposeful group work, reading and writing about critical social and personal issues, shared writing, and more.” (21).12
YOUTH VOICE IN THE MEDIA CLASSROOM13Design and Marketing/WebStacy Nguyen, freelanceand 40% productionwork. Branding is howa company looks, feels,and communicates whileproduction is the physical andelectronic product such as websites,reports, and collateral. Using AdobeAttaining an English and creative writing major Photoshop, Illustrator, and InDesign, Stacyin college gave Stacy the opportunity to work has been able to have conversations withclients about how to create effectiveTECHNICAL SKILLS & TOOLSbranding and production strategies.Adobe Creative Suite (Indesign, Photoshop, Illustrator)Her clients and partners have includedand business/client management softwarethe Northwest Asian Weekly, VoltInformation Sciences, Rainier ValleyCorps, and various musicians and venues forin writing and journalism. It was through that concert poster work.world that she developed her love for design,working on projects such as newspaper layout, When it came to the future of the designweb layout, and web editing. After being laid industry, Stacy had a lot of insight. “There isoff from her salaried position in 2015, Stacy so much growth here. This is a skillset that willwas unsure of next steps. Knowing that she always be needed. The ability to communicatedidn’t want to return to a full-time position, complex ideas and distill it into infographics andshe began freelancing part-time, contacting images,” are important Stacy states. She explainsfurther how designers are now expected moreand more to know how toGRAPHIC DESIGNcode, build websites from theDid you know that graphic designers have growingground up, and know all of theemployment demand in the Seattle MSA region in thetechnical skills continuing tooccupational family of arts, deign, entertainment, sports, andemphasize how you must alsomedia? Between January 2015 and December 2017 there were work to keep and maintain yourcritical thinking skills if you wantover 12,000 unique job postings asking for graphic designers.to continue to grow in the field.Stacy Nguyen is a self-taught graphic designerand business owner who was raised inLynnwood. As a kid she could be found codingneopets (a virtual pet community site), learningcreative suites for design and, more recently,teaching herself stop-motion design.clients from previous work and developing herentrepreneurial skills. “There’s a lot of greatdesigners who miss the business component,”Stacy explains. “I pay myself a salary. I have anaccountant. I live way below my means. If youdon’t know it, you have to learn it.”Stacy has been a freelance designer withclients across the US for the past ten years.Day-to-day, Stacy’s workload is 60% branding“I’m Vietnamese, my culturalidentity factors into my work all the time whetherit’s for profit or corporate. Being female is alsoreally important. I also filter stuff through a socialjustice lens, it’s not perfect but representationfactors a lot for me, [such as how and] who isincluded in imagery.”
CREATIVE STRATEGIES FOR CAREER CONNECTED LEARNINGMedia Art SkillsThe media arts CTE courses, as a platform for learning social skills, media skills,and technical sills, are a repository for so many of the aforementioned valuesand processes. According to the Washington State Arts Learning Standards, “Astudent’s media arts-education experience may include, but is not limited to,photography, film, animation, broadcast technology (radio, T.V., and Internet),audio/video technology (T.V., radio, and audio projects, social media, and Internet projects), video game design, digital art and design, emerging technologies,visual communications, Advanced Placement Studio (AP) courses, and International Baccalaureate (IB) visual arts.”7 Media arts includes screen-based projectspresented via film, television, radio, audio, video, the Internet, interactive andmobile technologies, video games, transmedia storytelling, and satellite as wellas media-related printed books, catalogues, and journals. A report by PolicyLink(2017) recognizes that “technology and digital media create tremendous opportunity for diversity and inclusion of expression, ideas, and cultures and haveunprecedented potential to give voice and power to communities fighting economic inequity, bias and discrimination, and cultural misrepresentation.” CitingUC Berkeley Professor Kris D. Gutiérrez, their report notes that “equity is notjust about access. It involves a new social and pedagogical imagination abouthow youth and people from non-dominant communities can become designersof their own futures.”8 There is a case to be made for enhancing the access to media arts skills as a way for English language learners (ELL) to sharpen and reflecttheir critical thinking and communication skills in Seattle Public Schools becauseof the fluidity of non-text expression and opportunities to use imagery, sound,and alternate modes of expression. Media arts skills include editing and layout,website building, logo design, interviewing, and so on.Technical SkillsTechnical skills are the abilities and knowledge needed to perform specific tasks.Technical skills and tools that further a media arts skillset include the Adobesuite software, website coding and web design work, camera and lighting operat7. Washington State Learning Standards adopted in April 2017, “The Arts Learning Standards: MediaArts by Grade Level,” page iv. Standards.pdf . National Endowment for the Arts, “Media Arts” definition is available at https://www.arts.gov/artistic-fields/media-arts. Media Arts Fact Sheet is at https://www.arts.gov/sites/default/files/Media Arts fact sheet nov2016.pdf. National Endowment for the Arts (NEA) defines media arts asall genres and forms that use electronic media, film and technology (analog and digital; old and new)as an artistic medium or a medium to broadcast arts appreciation and awareness of any discipline.8. Creating Change through Arts, Culture, and Equitable Development: A Policy and Practice Primerby PolicyLink (2017) rt arts culture equitabledevelopment.pdf14
YOUTH VOICE IN THE MEDIA CLASSROOM15Design and PhotographySunny Martini, freelanceSunny Martini is a Seattle designer, graphicdesigner, and photographer. Growing up inFlorida provided Sunny the opportunity tostudy design and photography. Since moving toSeattle, she has created an impressive portfoliodesigning for clients such as KEXP, AEG,Showbox Presents, Bumbershoot, KOMO, andNeumos.Compared to other music photographers,Sunny started late getting serious about musicphotography in college which she states provesyou approach people”Sunny emphasized. Themost common questionphotographers get askedis “who do you shoot for?” Thisquestion shows that whoever isasking is only interested in sizing upthe photographer for the outlet rather thangetting to know her.Figure Out Your Rate: Not knowing where to startwhen she was first getting paid from photography,SunnyaskedphotographersoverInstagram what they charged for certainPHOTOGRAPHERSsessions and used the average of herThere are approximately 5,664 working photographers inresponses as her rate. She found that whenSeattle.she was kind and courteous, people wereusually willing to respond to inquiries.how anyone can start photography at any time ifthey put the work in. Her research and interests Sunny lives on Capitol Hill and has a full-time graphicstemmed from seeing her favorite music design job. “I use my full time graphic design job so that Iphotographer doing a live shoot and wondering could sustain myself and so I didn’t have to live paycheckhow she could do that. “From there I researched to paycheck month to month. For a while, I used
quotes from youth, collected anonymously, about what youth enjoy in their media arts Ca-reer and Technical Education (CTE) courses and their career aspirations as they relate to the . film production, graphic design, and fashion. Select media arts courses at SPS include graphic arts/graphic design, yearbook/publishing, video production, photo .
May 02, 2018 · D. Program Evaluation ͟The organization has provided a description of the framework for how each program will be evaluated. The framework should include all the elements below: ͟The evaluation methods are cost-effective for the organization ͟Quantitative and qualitative data is being collected (at Basics tier, data collection must have begun)
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
