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Celebrate the Public Domain

The beginning of the new calendar year always gives us a moment to reflect on the importance of the public domain. January 1 is “Public Domain Day.” The public domain in the United States includes texts and materials that are “out of copyright”; that is, they have no copyright protection. The joy of the public domain is that unlike “fair use” or permissions-based or licensed-based use like that detailed on the Creative Commons website, public domain texts can be used in any way we wish: teaching, writing, remixing, reporting, designing, transforming – even for commercial purposes.

A number of international websites remind us of the public domain each year by listing works that are newly out of copyright. For example, publicdomainday.org reminds us work from authors such as Walter Benjamin, John Buchan, Mikhail Bulgakov, F. Scott Fitzgerald, Emma Goldman, Paul Klee, Selma Lagerlof, Leon Trotsky, Vito Volterra, and Nathanael West  entered the public domain on January 1, 2011, if you live in Europe (See http://publicdomainday.org/node/37/). 

Duke University’s Center for the Study of the Public Domain importantly points out that for those of us in the US, “Not a single published work is entering the public domain this year. Or next year. Or the year after. Or the year after that. In fact, in the United States, no publication will enter the public domain until 2019.” That’s because copyright protection for published works in the US now extends in most cases to the life of the author plus 70 years (For works created in 1978 or later, the term is life plus 70 years unless the work is for hire or anonymous/pseudonymous. In the later case, the term is “95 years from the date of publication or 120 years from the date of creation whichever ends first” [Fishman, p. 336]). There is currently no requirement for a work to contain a notice or to be renewed in order for the work to be fully protected for the full length permitted by law.

As a general rule, texts published before 1923 are now in the US public domain. Works published first between 1923 and 1963 whose copyrights have not been renewed, as the old law required, are also in the US public domain. Unpublished works whose authors have been dead more than 70 years are in the US public domain, and “any work published outside the United States before January 1, 1923 had its U.S. copyright expire if it contained a copyright notice when it was published” (Fishman, 2010, p. 335). While seemingly simple, these rules can be very complex – and an added complexity is the research often required to learn when a work was actually “published,” when the author died, and if relevant, whether it contained a copyright notice. So while legal experts theorize as much as 85% of all work first published in the US between 1922 and 1963 is now in the public domain (Fishman, p. 5), researching and finding any certainty in that with respect to a particular work may be impossible. Much research though can be done on the US Copyright Office’s website.

An excellent resource outlining basics of the public domain is The Public Domain: How to Find & Use Copyright-Free Writing, Music, Art & More by Stephen Fishman (2010). The book is kind of a “how-to” book on the public domain for general audiences, but is a great resource for teachers as well. The book lists an “infinitesimal fraction” (pp. 40-41) of all written works currently in the public domain – works such as those by Jane Austen, Louisa May Alcott, Lewis Carroll, Joseph Conrad, Mary Shelley, Edith Wharton, and many more. Any of the listed works can be used in any way we wish – to create derivative works such as a screen play or other adaptation. As Fishman points out, “getting permission to create a screenplay from a novel by Stephen King, Michael Crichton . . . may cost millions of dollars” (p. 40), but to use works already in the public domain costs nothing.

A number of resources also provide information on music that is in the public domain – this is becoming more important as we increasingly teach remix writing which often involves the use of audio as well as text and visual. Some sources where public domain music can be found are:

Free Sheet Music Directory
http://www.free-scores.com/index_uk.php3

Public Domain Information Project
http://www.pdinfo.com/

The Lester S. Levy Collection of Sheet Music
http://levysheetmusic.mse.jhu.edu/

While the public domain holds many possibilities for creation and invention, there are of course some important caveats to remember:

  1. Public Domain works do not automatically guarantee you access. The owner of the work can limit or restrict how you can use the work – museums for example sometimes prohibit picture taking of paintings that are nonetheless in the public domain. As owner of the work the museum can condition your right to view the work on your agreement not to take pictures.
  2. Only the original public domain work is actually freely available for use. Derivations, adaptations, and annotated versions already in existence may be copyrighted as to any new materials.
  3. Rules for the public domain are dependent on the country. Different countries have different lengths of protection and other rules regarding when works go into the public domain.
  4. Other laws might create liabilities when using public domain materials: laws such as trademark, patent, or right to publicity.

The public domain is an important tool we can use as writing teachers in order to help our students create without worrying about copyright law, and it’s also a place where we ourselves can find useful resources. So, in all of our focus on using under fair use or using licensed work like that provided through Creative Commons, it’s also important to remember, use, and celebrate the public domain!

Respectfully Submitted 21 Jan. 2011,

Martine Courant Rife, JD, PhD
Junior Chair, CCCC IP Caucus
Lansing Community College
Lansing, Michigan
martinerife@gmail.com

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A Ruling in the Georgia State University e-Reserve Case

A federal court decision handed down on May 11, 2012, may have an impact on what instructors can provide their students in the form of electronic reserves. The case is formally known as Cambridge University Press et al v. Patton et al. The plaintiffs, in addition to Cambridge University Press, were Oxford University Press and Sage Publications, and they were supported by the three-hundred member Association of American Publishers and the Copyright Clearance Center, which describes itself as “rights licensing experts” and “global rights broker for the world’s most sought after materials.” The respondents to the suit were representatives of Georgia State University, and the complaint was that faculty at Georgia State had—in number, length, and frequency—systematically exceeded the bounds of fair use in depositing readings in the e-reserves maintained by GSU’s library system. The judge in the case, however, found infringement of fair use in only five of the ninety-nine instances of misuse alleged by the plaintiffs. The 350-page decision not only cleared Georgia State of most of the charges of infringement but also outlined criteria for determining fair use that seem, on balance, favorable toward depositing copyrighted material in e-reserves for educational purposes. For example, it may be allowable to place on reserve up to ten percent of a text, or, alternately, up to one chapter of a book. It may also be permissible to place material on electronic reserve for more than one semester in a row.

The ninety-nine charges of infringement were whittled down to five in a three-stage process. First, the judge ruled that in some instances the publishers had failed to demonstrate that they owned the copyrights to the material in question. Second, in the legal equivalent to the no-harm, no-foul rule, the judge determined that the publishers were not injured if no students had in fact accessed material that had been placed on reserve. The judge then applied the four-pronged fair use test to the remaining instances of alleged infringement. The fact that the reserves were being used for an educational (1) purpose and that the (2) nature of the material was informative led the judge to conclude that the e-reserves were not infringing in those regards. In terms of (3) amount and substantiality of the resource posted, the judge favored the ten percent or one chapter approach mentioned above (ten percent for books consisting of nine or fewer chapters; one chapter for resources of ten or more chapters). For the fourth factor, whether placing a resource on e-reserve would have a negative (4) impact on sales, the decision went in favor of Georgia State whenever a digital version of the resource was not available for licensing. As one commenter observed, “no digital license meant an instant win for Georgia State.”

The full text of the Georgia State University e-reserve decision is available here:

Cambridge University Press et al v. Patton et al. Justia.com. Justia, 11 May 2012. Web. 15 May 2012.

Analyses of the decision and its implications, as well as a response from the Association of American Publishers (which includes links to statements from the three publishers who were parties to the suit) are available at the sites listed below:

Butler, Brandon C. “Issue Brief: GSU Fair Use Decision Recap and Implications.” Arl.org. Association of Research Libraries, 15 May 2012. Web. 15 May 2012.

Grimmelmann, James. “Inside the Georgia State Opinion.” Laboratorium.net. The Laboratorium, 13 May 2012. Web. 13 May 2012.

Howard, Jennifer. “Long-Awaited Ruling in Copyright Case Mostly Favors Georgia State U.” Chronicle.com. The Chronicle of Higher Education, 13 May 2012. Web. 13 May 2012.

Howard, Jennifer. “Publishers and Georgia State See Broad Implications in Copyright Ruling.” Chronicle.com. The Chronicle of Higher Education, 14 May 2012. Web. 14 May 2012.

Jaschik, Scott. “Some Leeway, Some Limits.” Insidehighered.com. Inside Higher Ed. 14 May 2012. Web. 14 May 2012.

Kolowich, Steve. “E-Reservations.” Insidehighereducation.com. Inside Higher Education. 15 May 2012. Web. 15 May 2012.

Smith, Kevin. “The GSU Decision—Not and Easy Road for Anyone.” Blogs.library.duke.edu. Scholarly Communications @ Duke, 12 May, 2012. Web. 12 May 2012.

Sporkin, Andi. “AAP Statement of on Georgia State University Lawsuit Ruling.” Publishers.org. Association of American Publishers, 14 May 2012. Web. 15 May 2012.

This column is sponsored by the Intellectual Property Committee of the CCCC and the by CCCC-Intellectual Property Caucus. The IP Caucus maintains a mailing list. If you would like to receive notices of programs sponsored by the Caucus or of opportunities to submit articles either to this column or to the annual report on intellectual property issues, please contact kgainer@radford.edu.

 

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Who Owns Your Digital Fingerprint?

Timothy R. Amidon, Graduate Assistant, University of Rhode Island

Increasingly, those with access to electronic tools use them to perform mundane tasks in both public and private spheres: searching for information, clicking within databases on websites, inputting numbers and words into networked computing devices. They also take breaks to use social networking sites to connect and catch up with friends and acquaintances. Never before in human history have we been so networked. Yet how often do people stop and reflect about these practices? How successful have attempts within the field of rhetoric/composition been at raising technology users’ awareness of the types of tacit arrangements upon which these types of technologies are founded? 

One such arrangement is the way in which people who use technologies—those who add value to these tools—often fail to be recognized for what they contribute. More specifically, as Bruce Sterling and Scott Klinker have argued ‘end users’ add value to technologies because they co-compose patterns (think massive data-sets) that tell designers how people use technology as well as what motivates those uses (e.g. business, political, and social goals). One benefit is that technology users often enjoy smarter, more efficient technologies. Yet there may be downsides to the tacit assumption that technology designers should be given all the credit for the creation of technologies. It is a matter of perspective—a difference between tool and tool in use.

It goes without saying that users of technologies must become more cognizant of economies of digital interface. Generally speaking, it is commonplace now to hear conversations about privacy in relation to these economies, but privacy is just a piece of the greater puzzle. For example, why haven’t we had more conversations about what levels of ownership of digital fingerprints technology users should have? Why are users unconcerned that the tacit arrangement currently assigns authorship, ownership, and access rights to information about how users do things with tools not to users themselves but to the designers of the tools? Again, it is a matter of perspective—a difference between tool and tool in use. When people use electronic tools they create information that is a byproduct of that use, as the following two examples illustrate.

The first example: A moment ago, I decided to update my Facebook status to inform my friends that I was writing a piece on copyright, spimes, and metatext for the NCTE Inbox (see Johndan Johnson-Eilola’s chapter in Stuart Selber’s Rhetorics and Technologies for a more thorough look at how spimes and metatext relate to composing in a digital age). I hit a couple of keys. I pushed the share button with my mouse, and subsequently the marketing algorithms suggested that I like “copyright” and “law.” I created value: Facebook now knows a little bit more about me as an individual, and that information might be used for a wide variety of purposes.

The second example: While searching for Johndan Johnson-Eilola’s Datacloud in Amazon, the database suggested—based on the information I had input—that I may also wish to buy Henry Jenkins’ Convergence Culture. Again, I created value. I have created value (with others like me who use the site)—by supplying information (because I cannot opt out, even if I wanted to) about my purchasing habits to the database that is Amazon. Taken with the data collected from others, it essentially allows Amazon to make ntuitive suggestions; it is also (at least partially) a reason why Amazon is a technology we tend to rely on to satiate our needs and desires in a consumer culture.

These are two of literally hundreds of ways that information about how we do things with electronic tools is collected on a daily basis. Moreover, these are two uses that are relatively harmless—I think. The fact that I didn’t ‘like’ copyright or the law—after Facebook suggested I do so—may say a great deal about me as an individual. The bigger point, though, is that when we start making these clicks as large collections of people, as a society of technology users, we essentially allow the designers of technologies to construct and assemble vast data-sets. What we actually do is construct—with tool providers—a digital habitus (Bordieu). In other words, we allow these technologies to conduct research on us and we don’t even ask to see what that data says. What does this phenomenon suggest, then, about how informed consent functions with regards to technology use?

Beyond the issue of informed consent, what about the question of who has access to, and thus de-facto ownership and stewardship of, the vast sea of information, the giant data-sets that are created within the electronically networked, socially-constructed, environments? In short, why haven’t we conceived of meta-text and spimes as intellectual property?

Selected List of Works Cited

Bordieu, Pierre. Practical Reason: On the Theory of Action. Stanford: Stanford UP, 1998. Print.

Johnson-Eilola, Johndan. “Among Texts.” Rhetorics and Technologies: New Directions in  Writing and Communication. Ed. Stuart A. Selber. U of Southern Carolina P, 2011. 33-
55. Print.

This article will be continued in next month’s IP Report.

This column is sponsored by the Intellectual Property Committee of the CCCC and the CCCC-Intellectual Property Caucus. The IP Caucus maintains a mailing list. If you would like to receive notices of programs sponsored by the Caucus or of opportunities to submit articles to either this column or to an annual report on intellectual property issues, please contact kgainer@radford.edu.

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2012 Tri-Annual DMCA Rulemaking Creates Expanded Use Rights for Educators

Martine Courant Rife
Lansing Community College
rifem@email.lcc.edu

Use rights for educators have been expanded in the latest Tri-Annual Digital Millennium Copyright Act (DMCA) Rulemaking Hearings. Numerous educators participated in the last round of hearings, including members of NCTE and the CCCC IP Caucus.

Exemptions from the anti-circumvention prohibition of section 1201 of the DMCA now include (from page 65266, Federal Register, Vol. 77, No. 208, Friday, October 26, 2012):

Motion Picture Excerpts—Commentary, Criticism, and Educational Uses

Motion pictures, as defined in 17 U.S.C. 101, on DVDs that are lawfully made and acquired and that are protected by the Content Scrambling System, where the person engaging in circumvention believes and has reasonable grounds for believing that circumvention is necessary because reasonably available alternatives, such as non-circumventing methods or using screen capture software as provided for in alternative exemptions, are not able to produce the level of high-quality content required to achieve the desired criticism or comment on such motion pictures, and where circumvention is undertaken solely in order to make use of short portions of the motion pictures for the purpose of criticism or comment in the following instances:

(i) in noncommercial videos;
(ii) in documentary films;
(iii) in nonfiction multimedia ebooks offering film analysis; and
(iv) for educational purposes in film studies or other courses requiring close analysis of film and media excerpts, by college and university faculty, college and university students, and kindergarten through twelfth grade educators.

For purposes of this exemption, ‘‘noncommercial videos’’ includes videos created pursuant to a paid commission, provided that the commissioning entity’s use is noncommercial.

The new exemptions also provide exemption for “motion pictures” that are “lawfully made and acquired via online distribution services” (see http://www.copyright.gov/fedreg/2012/77fr65260.pdf).

As noted in the recommendation, “exemptions do not apply to the use of motion picture excerpts [for use] in fictional films, as the Register was unable to conclude on the record presented that such use is noninfringing” (http://www.copyright.gov/fedreg/2012/77fr65260.pdf).

A limitation in the exemptions is that if a less intrusive means of obtaining a movie clip can be used, such as using screen capture technology rather than circumventing encryption codes, then the less intrusive means should be used. If a lower quality clip is satisfactory for a given educational purpose (to illustrate a historical event for example), and that lower quality clip can be obtained through screen capture, then screen capture should be used. But if the purpose of the educational use requires a high quality image – to show emotions or issues with lighting for example, then it is acceptable to circumvent technological protections.

The prior exemptions from 2010 (see http://www.copyright.gov/1201/2006/index.html) were more limited for educators, as in that case only motion pictures on DVDs were covered, and only “educational uses by college and university professors and by college and university film and media studies students.” The 2012 exemptions are expanded to cover motion pictures in other forms than DVD and “acquired via online distribution services.” The 2012 exemptions further have been expanded to include “college and university students [generally], and kindergarten through twelfth grade educators.”

The tri-annual rulemaking hearings continue to be one bright light in the copyright horizon for educational use.

For information in general on the DMCA hearings, or to review the 2012 final recommendation, testimony, and responses, please visit http://www.copyright.gov/1201/.

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2007 Convention Program: "Representing Identities"

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2012 CCCC Convention Program

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Past and Future CCCC Annual Conventions

 

2023 Program

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Writing Assessment Principles

Writing assessment can be used for a variety of purposes, both inside the classroom and outside: supporting student learning, assigning a grade, placing students in appropriate courses, allowing them to exit a course or sequence of courses, certifying proficiency, and evaluating programs. Given the high-stakes nature of many of these assessment purposes, it is crucial that assessment practices be guided by sound principles that are fair and just and specific to the people for whom and the context and purposes for which they are designed. This position statement aims to provide that guidance for writing teachers and administrators across institutional types and missions. 

We encourage faculty, administrators, students, community members, and other stakeholders to reflect on the ways the principles, considerations, and practices articulated in this document are present in their current assessment methods and to consider revising and rethinking their practices to ensure that inclusion and language diversity, teaching and learning, and ethical labor practices inform every level of writing assessment.  

Read the full statement, Writing Assessment: A Position Statement (November 2006, revised March 2009, reaffirmed November 2014, revised April 2022)

CCCC Statement on Community-Engaged Scholarship and Pedagogy in Rhetoric and Composition

Conference on College Composition and Communication
November 2023 (replaces the CCCC Statement on Community-Engaged Projects in Rhetoric and Composition, April 2016)

Executive Summary

The Conference on College Composition and Communication (CCCC) recognizes the need to promote and support the broad range of community-engaged teaching, scholarship, and projects of its members. It does this while working to ensure the ethical and collaborative nature of the work from an antiracist, anticolonial, anti-ableist perspective. CCCC urges administrators, chairs and directors, and others involved in evaluating the work to understand the expertise, collaborative and reciprocal imperative, and additional time and intellectual labor involved. This statement reflects the flagship organization’s affirmation that community-engaged work should not be misunderstood or misclassified as service but rather as a central scholarly and pedagogical pursuit of the disciplines of rhetoric, composition, and communication.

Preamble

The Conference on College Composition and Communication (CCCC) represents teachers and scholars of writing and speaking whose work in and beyond colleges and universities regularly extends to sites for online learning, professional workplaces, and communities near and far-flung, large and small, in a range of spaces and time frames. CCCC continues to affirm the importance of community-engaged scholarship and pedagogy in rhetoric and composition. The revised iteration of this statement provides guidelines for ethical, justice-centered community engagement.[1]

Collaboratively written by community-engaged scholars and teachers, this revised Statement on Community-Engaged Scholarship and Pedagogy in Rhetoric and Composition provides guidelines for defining, assessing, and valuing ethical community-engaged work that colleagues may undertake across career stages, ranks, and roles. As such, it underscores the multiple benefits community-engaged work can have for community organizations and residents, research and teaching faculty, adjuncts, graduate students, university staff, campus workers, and undergraduates, as well as participating campuses and disciplines associated with CCCC. We offer this statement as a resource for instructors, researchers, students, staff, and administrators looking to engage in their communities more ethically, centering justice-oriented frameworks over university/institutional agendas.

At the same time, to gain support for community-engaged work that can be misunderstood as volunteerism, charity, or service, instructors, researchers, graduate students, and staff often must explain the value to colleagues and administrators who do not prioritize an engaged curriculum but will value enhanced student learning, enthusiasm, engagement (Deans; Ash and Clayton; House), and institutional benefit (Bringle et al.). The Coalition for Community Writing’s Tenure and Promotion Resources are useful, as well, in building a case for the many benefits of community-engaged scholarship and teaching that extend beyond service. As a resource for instructors, staff, students, and administrators, this statement, we hope, will serve to credit teachers, researchers, and programs appropriately for their contributions to university-community partnerships that are anchored in scholarship and designed to enhance community capacity and student learning.

[1] While we use “community-engaged,” we understand that people define this work in multiple ways—community-based, community-accountable, community writing, public writing. We suggest that people consider histories, affordances, and constraints of any term used.

Defining Community-Engaged Writing Scholarship, Projects, and Pedagogies

Community-engaged scholarly and pedagogical work often involves non-hierarchical, collaborative relationships between community partners and community-engaged university representatives. The community-engaged work that develops from these relationships and addresses community-identified conversations, needs, and ideas involves collaborations between one or more academic institutions and one or more local, regional, national, or international community group(s).

We want to iterate from the onset that people who work in universities and colleges are also community members, and that universities and colleges are parts of the communities that house them (Itchuaqiyaq; Monberg; Goldblatt). The distinctions between university/community and town/gown are often arbitrary and can reify false ideas of knowledge production as coming only from universities (Kannan et al.). Rather, as the Coalition for Community Writing attests, we understand that knowledge is not held solely in university settings, but flows between communities. Ethical community-engaged projects take an asset-based, reciprocal approach to knowledge production and cocreation. Recognizing, respecting, documenting, and citing community-generated knowledge production is a key component of community-engaged writing work.

Ethical community-university relationships promote reciprocity rather than extraction of resources (Bernardo and Monberg; Powell; Shah; Opel and Sackey)[1], cocreation of research or course-based projects rather than imposition (Itchuaquiyaq; Kannan et al., “Unmasking”), and an assets-based rather than deficits-based approach (Green). Working in collective and collaborative spaces with distributed labor and often non-hierarchical leadership structures requires a decentering of university conceptions of siloed knowledge and productiveness.

Created, primarily, at the behest of and in collaboration with community partners, community-engaged writing scholarship and teaching can take many forms, shaped by local resources and needs, including public writing and public rhetorics, community-based research, community literacy, ethnography, service-learning, community publishing, and advocacy and activist writing. To help guide ethical collaboration in this work, we appreciate community-generated philosophies of “nothing about us without us,” nuanced considerations of “access,” and “solidarity not charity” from disability justice activists and organizers (Hubrig 2020). This work can yield a variety of outcomes, including:

  • collaborative writing (e.g., Jackson and Whitehorse DeLaune;, Roossien and Riley Mukavetz; Rahe and Wuebben);
  • Archival collections/artifacts of public and intellectual value (e.g., Cushman; Rawson, “Rhetorical Power”; Pauszek);
  • theater and public performances (e.g., Heath; Jolliffe; Long et al.; Lariscy; Moon);
  • public events (e.g., Richardson; House);
  • or policy debates (e.g., Villaseñor et al.; Wan).

Community-engaged work may encompass the following shapes:

  • accounts of prison literacy work by incarcerated and formerly incarcerated writers (e.g., Barrett et al.; Cavallaro et al.; Rahe and Wuebben) as well as outside writers (e.g., Jacobi; Hinshaw; Middleton; Todora);
  • rhetorical histories of African American, Tribal Nations/Indigenous, trans and queer, Latinx, Jewish, disabled, and immigrant communities (e.g., Driskill; Riley Mukavetz; Grobman et al.; Lathan; Legg; Lyons; King; Gubele and Anderson; Kinloch et al.; Pritchard; Rawson, “Digital Transgender Archive”; VanHaitsma; Ruiz; Alvarez; Hsu, “Afterword”; Smilges);
  • oral histories, ethnographies, and digital storytelling projects with local, historically underrepresented groups (e.g., Richardson; Moss; Carter and Conrad; Kinloch et al.; Licona and Gonzales; Roossien and Riley Mukavetz);
  • community literacy research with youth, teens, and K–12 teachers (e.g., Baker-Bell; de los Ríos and Molina; Lewis Ellison; Richardson; Alvarez);
  • cultural literacies, disability literacies, queer literacies (e.g., King et al.; Haas, “Wampum as Hypertext”; Wieser; Hubrig, “We Move Together”; Cedillo, “What Does It Mean to Move?”; Hsu, Constellating Home; Pritchard);
  • or community-generated publications about local and global contemporary issues such as houselessness, policing, and international political and social movements (e.g., Mathieu; Kuebrich; Kannan et al.,“Unmasking”; Baniya; Parks and Popovic); as well as scholarly publications that articulate, theorize, and/or assess these efforts and their (potential) value to both the discipline and the communities.

Existing in relation to cocreated goals and aims of all of the partners involved, some community projects are long-standing and sustainable, while others are short-term, or open-ended (Cella and Restaino). Some community-engaged scholars work with social agencies to compose innovative curricula distributed through localized publications or popular websites for non-academic audiences. Still others—responding to the needs of a wider public that includes employers, citizen groups, legislators, and general readers—promote or advocate for research-based approaches to literacy development in blogs, videos, newspapers, newsletters, public interviews, public events, or testimony before government officials. Additionally, some community-engaged work in our field involves partnerships with organizations situated outside of the academy, such as community nonprofits, faith-based groups, museums, hospitals, prisons, tutoring centers, and multilingual learning programs.

Working in such contexts requires considerable time and disciplinary expertise. Likewise, the production of effective community interactions, events, and artifacts that differ from traditional scholarly modes of communication involves both deep disciplinary knowledge and extensive critical and collaborative intellectual labor. One of the most important aspects of effectively and fairly evaluating community-engaged work is to recognize the incredible scope and variety of activities that constitute quality, ethical, and successful examples of public disciplinary expertise.

As a result of the goals and plans made in collaboration with community partners, community-engaged writing courses may have students researching and producing written, spoken, digital, and/or multimedia projects about, as, with, or for university and community-based organizations that address systemic social issues and movements such as literacy, poverty, food and environmental justice, racial justice, disability justice, and more. Courses may be built around syllabi that combine academic and community-based research, assignments, and readings, developed in conversation with community partners. This work helps to enrich educational experiences and encourages students to understand real world applications of rhetorical situations and theories, affordances of a wide variety of genres,  how to write for a variety of audiences, considerations when writing for circulation, community listening, how to practice critical reflection, and other ways in which to use writing in public contexts.

[1] Here, and with all of the sources we cite, we recognize the tremendous number of scholars and subjects we have not included in citation simply because of lack of space. We encourage people to peruse back issues of journals such as Reflections, Community Literacy Journal, and Spark. A more substantive list of relevant resources and journals is included at the end of this statement.

Values, Critical Consideration, and Valuing of Community-Engaged Work

In the section below, we highlight some of the critical values of community-engaged work and detail ways in which these principles shape how these efforts can and should unfold across institutional contexts.

Community-engaged work must be antiracist. Here, we understand antiracist praxis as dismantling white supremacist institutions and the very epistemologies that prop up white supremacy itself (Davis et al.). In community-engaged settings, antiracism can take on many forms: divesting from the harms of white Mainstream English (Baker-Bell); centering Black dispositions as well as Black communicative and rhetorical practices (Mckoy et al.), and critically interrogating—and working to overturn—the roots of anti-Black violence (Baker-Bell et al.).

Regardless of context, however, such ongoing work must neither recenter nor reify structures of whiteness (Kynard, “Teaching While Black”; Maraj). Though we have conceptualized antiracism in community-engaged work through the lens of anti-Blackness, we recognize and uphold the antiracist work of scholars engaging in anti-oppressive praxes across other race and ethnicity markers as well (e.g., Monberg et al.; Browdy et al.; Gonzales et al.; Arellano et al.).

So too is it imperative for community-engaged work to be anticolonial in nature. We use the term “anticolonial” because we recognize that decoloniality and decolonization are complex processes that have been conceptualized differently across contexts. To that end, we not only defer to Indigenous scholars and activists in defining this term, we also call for those involved in community-engaged work to adopt anticolonial dispositions including, for example, value systems that prioritize communities over individuals. That means recognizing the ongoing violences of settler colonialism—the dismissal, erasure, and destruction of non-western ways of knowing and being (Haas, “Toward a Decolonial”; Driskill; Smith)—and actively divesting from and dismantling these structures (Simpson; Tuck and Yang). Anticolonial community-engaged work also necessitates that settlers continue to center Indigenous communities, knowledges, theories, and method/ologies—and continue to practice accountability toward Indigenous people and communities (Riley Mukavetz and Tekobbe).

At the same time we acknowledge that, as the world becomes increasingly global and interconnected, impacted by international capitalism and neoliberalism, we take a “glocal” stance that respects the global manifest in the local. We must work to center the non-US views, experiences, languages, and cultures of those in our midst—be they immigrants, refugees, and/or English language learners in our schools (Alvarez; Crandall; McDonald; Meier).

To these ends, we must recognize how settler colonialism, whiteness, and ableism collude to shape the temporalities that govern life and work in the academy, along with its historical relationship to nearby communities. We must also strive to decenter such ideas of settler time and white time in community-engaged work (e.g., Riley Mukavetz and Tekkobe; Mills; Ore et al.). In response, several scholars have proposed alternative ways to conceive of space and time. We can look to “crip time” and Indigenous understandings of time and presence, which acknowledge the ableism and settler colonialism of normative timeframes, to guide these efforts and, instead, understand time as multiple, shifting, and flexible—experienced differently by bodyminds (Samuels and Freeman; Kafer; Ore et al.; Hsu, Constellating Home).

Carefully-built and maintained relationships require time and cannot necessarily be bound by semesters and academic calendars. Pressures on faculty and graduate students to hit institutional benchmarks quickly and often can be at odds with relationship-focused timelines, and this dissonance needs to be considered in evaluation. Institutions might acknowledge the additional labor and the longer timelines frequently required in community work through extra course credits; as valid criteria for tenure, promotion, and hiring; and through course releases or sabbaticals for the time required to build relationships and partnerships.

We know that instructors and students on an individual basis cannot meaningfully shift conceptions of productivity and what counts as scholarship without significant changes to disciplinary and institutional frameworks and definitions for success. If an institution wishes to move beyond mission statements—that claim to value community-based scholarship and engagement—and to actually reward engaged work, significant changes must occur in terms of what counts as scholarship versus service, and what is valued. We need to consider the value (and time it takes) to establish relationships and cocreate meaningful collaborations with community partners. This may mean valuing the process as much as (or sometimes more than) the product, whatever the product might be. If we teach our students the value of process, so, too, should we value our colleagues’ processes in community-engaged research and teaching, and the relationships that ground them, which should “move at the speed of trust” (brown).

It means valuing coauthored scholarship in different ways because a key feature of community-engaged work is to foreground community voices. This collaborative approach to writing, sometimes involving multiple members of a project including community partners, undergraduates, graduate students, and faculty, is sometimes at odds with reward structures that encourage single authorship over coauthorship—which may entail writing for a non-academic audience, and publishing/disseminating work in less traditionally academic spaces, rather than just conferences and peer-reviewed scholarly journals.

In other words, because a central tenet in community-engaged work is reciprocity, we cannot simply consider “value” from the traditional, narrow point of view of universities and colleges. Writing and circulating scholarship to multiple audiences, perhaps at the request of a community partner, may result in public writing and projects not always recognized as “legitimate” scholarship by academic institutions. It may be counted as service. We suggest that universities and colleges expand what counts as scholarship beyond the traditional peer-reviewed article or book. In fact, we hope that this Statement suggests the need to interrogate “evaluation” as a practice to begin with: We need to be more critical in understanding that there is no “objective” evaluation, and that evaluation is always in service to some agenda/stakeholder. We may ask, then, why some universities do and others do not count engaged scholarship as scholarship. Community-engaged frameworks for evaluation might help us push back against racist, classist, and ableist evaluation practices that have been central to universities (e.g., Kynard, Vernacular Insurrections; Martinez; Cedillo, “Diversity, Technology, and Composition”).

At the same time, community engagement means challenging what counts as knowledge and upending typical university/college attitudes about who are the creators of knowledge (House; Rìos; Shah). We must be willing to listen and engage with community perspectives, especially where they challenge our own understandings of community issues (e.g., Kannan et al.; Flower; Parks and Popovic; Shah; Itchuaqiyaq). That means taking seriously the embodied and affective experience of minoritized and multiply minoritized people whose knowledge has been historically excluded from colleges and universities. As Hubrig notes in their introduction to Spark, vol. 4, we need to understand, as a starting point for community-engaged work, that the academic institutions that sign our paychecks often do very real harm—including to the very communities we are trying to engage. We can’t engage in and with these communities in good faith while not being willing to acknowledge that harm (Jackson and Cedillo; Hubrig, “Liberation”; Itchuaqiyaq; Hsu 2022).

Many community-based projects are intensely local, and many blend pedagogical and scholarly methods and methodologies, making it difficult to define community-engaged work or establish set evaluative criteria. The Carnegie Foundation’s Community Engagement Classification offers one resource; the Imagining America initiative (Ellison and Eatman) instigated by the White House Millennial Council offers another. There are several disciplinary models as well for acknowledging and rewarding community-based projects for the ways they build and reflect disciplinary knowledge, produce new, hybrid forms of theoretical and applied knowledge, and promote connections among colleges, universities, and different communities. Perhaps the best resource for making the case for community-engaged work in rhetoric and composition, for evaluating that work, and for changing institutional criteria for graduate training, hiring practices, and merit, reappointment, tenure, and promotion comes from the Coalition for Community Writing, including their Engaged Faculty Initiative and Engaged Graduate Student Initiative.

Recommendations

As community-engaged efforts in CCCCs and affiliated disciplines expand, we call for the following to be centered in community-engaged scholarship and pedagogy:

  • Deliberate, ethical, and intentional foregrounding of community voices and intellectual/ethical frameworks that are prioritized over university and scholarly research agendas in community-engaged work. Valuing community intellectual/ethical frameworks involves familiarizing ourselves with the history, perspectives, and intellectual frameworks of community partners and places.
  • Dedication to the principle that community partners must be partners by being able to consent and withdraw consent from the partnership, and by having opportunities to shape the work throughout the process of engagement.
  • Community-engaged pedagogy involves a sustained process of learning and development. Students and scholars involved in community-engaged work should familiarize themselves with ethical conversations and the intellectual history of community-engaged work before they begin the project, with ongoing critical reflection. These discussions need to happen before we enter community spaces, remembering that we are guests in someone’s home.
  • We must recognize that community-engaged scholarship may diverge from institutionally-sanctioned formats, and—in accountability and solidarity with those communities we form partnerships with—the scholarship/artifacts produced should take forms that are ultimately legible in those communities. Whereas academia typically draws hard lines between “scholarship,” “teaching,” and “service,” community-engaged scholarship and pedagogy requires we rethink this configuration, understanding how this work overlaps and intersects.
  • Meaningful, ethical community engaged scholarship and pedagogy (the only way this work should be done) requires a great deal of time and energy. To facilitate the required depth of engagement, universities/colleges need to adjust how this work is understood and evaluated at all levels across institutional contexts. We urge departments, programs, and administrators to shift expectations and policy as they apply to hiring practices and other assessments at all stages of professional development to better acknowledge the time and intellectual labor of community-engagement.
Resources

To support building community partnerships:

To support teachers (and institutions) who engage in this work:

To support work that centers community languages, cultures, and values:

Related Journals

Works Cited

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Acknowledgments

This statement was generously created by the CCCC Community-Engaged Scholarship and Pedagogy in Rhetoric and Composition Task Force. The members of this task force included:

Veronica House
Ada Hubrig
Joyce Meier
Logan Middleton
Beverly J. Moss

This position statement may be printed, copied, and disseminated without permission from NCTE.

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