Too often, the call for decolonization translates into a call for diversity and inclusion. Although the latter is important, LSE Wendy Willems argues that it is crucial to go further and ask how including different viewpoints disrupts dominant theoretical approaches and concepts, received histories, and canonical texts in the field of media and culture studies. communication.

Like Michel-Rolph Trouillot argued, “every historical narrative is a particular set of silences.” This also applies to how we tell the history of media institutions and technologies, as well as how we document the historical emergence of the field of media and communication studies. A key task for media historians should be to unearth the multiple silences of the field and reveal how these relate to the exercise of power because, in Trouillot’s words, “the ultimate mark of power may be its invisibility; the ultimate challenge, the exposure of its roots”.

In a 2014 Communication theory article titled “Provincializing the hegemonic histories of media and communication studies: towards a genealogy of epistemic resistance in AfricaI have criticized the way in which calls for the “internationalization” or “de-Westernization” of media and communication studies implicitly silence a much longer history of media and communication studies outside of the so-called West. I have argued that these calls suggest that non-Western scholars have not previously engaged in the production of critical knowledge about media and communication. My article reinscribes the epistemological and historical foundations of media and communication studies in Africa, which the hegemonic histories of the field had marginalized. He called for a recognition of the multiple genealogies of media and communication studies in different parts of the world.

Since the publication of my article, demands for internationalization and de-Westernization have increasingly been replaced by calls for “decolonization” following the 2015 #RhodesMustFall protests at the University of Cape Town and other universities. around the world, as well as following the events of 2015 and the #BlackLivesMatter protests of 2020. The protests highlighted the need for universities to transform in many ways, including teaching more diverse curricula, making the higher education more accessible to students from marginalized economic backgrounds, revising teaching methodologies and research ethics to make them more democratic and less hierarchical, hiring a diverse pool of faculty, and addressing how universities profited from slavery or fueled colonialism through eugenics and scientific racism, as well as the ne cessation of repairs. Again, it is important to recognize here the long genealogy of demands for decolonization and liberation in the African context, ranging from WEB Du Bois at Frantz Fanon at Ngũgĩ wa Thiong’o.

These calls for decolonization have provoked a response in our field, mainly from Americans, Africans and latin american scholars who, albeit somewhat separately, have drawn attention to a multitude of problem areas; the following marginalization of academics of color in publication rates, citation rates and editorial positions in journals; The need to systemic repair; the silence on the history of European and American imperialism in graduate programs in communication and canonical texts in media and communications; the characterization of research on media, communication and race as solve peripheral rather than central problems; the need to Central Africa in Media and Communication Studies and problematize claims to universality in much of the work focused on the United States and Europe; the marginalization of African media studies at the American Academy; and the relevance of decolonial approaches to make sense of media and communications in Africa and in the countries of the South.

This body of work has once again demonstrated that our estate has always been popular, as evidenced by the white (presumed universal) viewpoints espoused in canonical texts centered on the field, as well as by the longer history of institutionally racist practices in universities, journals, and professional associations. While old and new calls for decolonization may have different meanings in distinct geographic contexts, they are ultimately linked in their response to survivals of shared racialized histories of slavery and colonialism and their contestation of anti-blackness. and anti-indigenous in various parts of the world.

These studies offer much food for thought for historians of media and media studies. They underscore the need for more inclusive and complicated histories of our field that recognize both its multiple global origins and the racialized history of media and media studies. However, more and more, the notion of decolonization risks becoming a empty metaphor, used to tick boxes or attract new pools of student customers who can populate a diverse classroom that will enhance the competitiveness of the neoliberal university. Too often, the call for decolonization translates into a call for diversity and inclusion. While the latter is important, it is crucial to go deeper and ask how including different viewpoints challenges, disrupts, subverts, and problematizes mainstream theoretical approaches and concepts, received histories, and canonical texts. in our field.

Towns of Armond (2019) offers a good start here by critiquing both how media history has been written and how received stories have become canonized in the field. His work on Marshall McLuhan shows McLuhanfailure to recognize the crucial role of black bodies in the emergence of Western media technologies. Along the same lines, while media historians may have examined how the BBC promoted the idea of ​​Empire through its overseas service, they have less frequently asked how the stories of slavery and colonialism enabled the emergence of the institution, and what implications this question might have for debates on reparations.

In the same way, Gurminder K. Bhambra highlights the erasure of slavery and colonialism in the Frankfurt School’s theorization of modernity. As she argues, modernity “did not emerge from separation or rupture, but through the connected and intertwined histories of European colonization” (Bhambra 2021: 81). What would, for example, Jürgen Habermaswhat would the European public space of the 18th century look like if its emergence had been apprehended in the context of slavery and the slave trade? While the role of media and technology in perpetuating racism is relatively well documented, media and communication studies have yet to recognize the constitutive nature of race, recognizing how histories of slavery and colonialism made possible particular institutions and media technologies.

The intimate histories between Africa, Europe and the United States relate not only to the history of media institutions and technologies, but also to the history of media and communication studies as a field. . In his work on McLuhan, Towns points out how McLuhan appropriated John Carothers’ racist ideas about “the African spirit.”^” Carothers was a British psychiatrist who worked for the Kenyan colonial government. Other influential researchers in our field have built their careers based on fieldwork in Africa. For example, Leonard W. Doob, a psychologist at Yale University associated with the field of cognitive psychology and propaganda studies, has studied the link between the media and modernization. In his book Communication in Africa: a search for borders, one of the first scholarly monographs on communication in Africa, Doob discusses the socio-cultural, linguistic and psychological variables that affect communication patterns in Africa. In other work, Doob has sought to measure levels of “psychological modernization” in Africa and to assess the role of the media in the modernization process based on empirical research in Kenya, Tanzania, Uganda and Somalia.

A number of studies have located the work of modernization specialists such as Wilbur Schramm and Daniel Lener political context of the Cold War, but less often commentators have viewed the research of these scholars through the prism of race or have sufficiently considered how their fieldwork in Africa shaped both their individual careers and the first training in media and communications studies on the African continent. This would offer us a better understanding of the racialized and intertwined histories of media and communication studies on different continents.

This article was previously published in the first volume of the new journal, History of Media Studies and is republished with thanks. It gives the author’s point of view and does not represent the position of the Media@LSE blog, nor of the London School of Economics and Political Science.

The featured image: Desmond Bowles published under Creative Commons CC BY-SA 2.0 License

Many critics consider “Gone with the Wind”, released in December 1939, a masterpiece, one of the best films ever made. It won 10 Oscars, including Best Picture, and is still one of the highest-grossing films of the 20^and century and on many top film lists in the country.

But the film — an epic romance set in the American South during Civil War and Reconstruction — also reinforced and romanticized historical caricatures of black men and black women enslaved to white people.

It’s because of this aspect of its legacy that streaming service HBO Max, when it launched on May 27, decided to make “Gone with the Wind” temporarily unavailable in its library.

A spokesperson for HBO Max told media that when the film returns, it will do so with a discussion of its historical context and a disclaimer of depictions, and will be presented “as it was originally created, because to do otherwise would be the same thing”. as pretending that these prejudices never existed.

“If we want to create a more just, equitable and inclusive future, we must first recognize and understand our history,” the spokesperson said.

To deepen the discussion, UVA Today caught up with University of Virginia Assistant Dean and Adjunct Professor of Media Studies Shilpa Davé, author of the book “Indian Accents: Brown Voice and Racial Performance in American Television and Film.”

Q. For those who may not be familiar with “Gone with the Wind”, what are its biggest problems?

A. One of the main controversies is that the film reinforced and romanticized historical caricatures of black men and black women enslaved to white people. The black characters were mothers, plantation workers, butlers, servants. The pre-Civil War era, with large plantations of enslaved workers, was fictionalized in the first part of the film, and the second part of the film chronicled the displacement of the plantation owners and their struggle to restore their position. .

The film is also notable because actress Hattie McDaniel won the Academy Award for Best Supporting Actress for the character Mammy. She was the first African American to win an Oscar, yet she and the other black actors in the film were not invited to the premiere, and at the 1940 awards ceremony the actress had to sit at a separate table.

The film and story impacted all aspects of American and popular culture through the 21^st century, including depictions of slavery, race, gender, and class relations in the Civil War and Reconstruction South, to Hollywood production policies, parodies, and genres in books, comics , music, television and cinema. The names and characters have been entrenched in American popular culture for over 80 years.

There are very few visual representations in the 20^and or 21^st century that focus on or tell the stories of African Americans after the Civil War during Reconstruction (1865-1877) and chronicle black life where the federal government attempted to address the inequalities created by slavery on black people. African-American men were able to vote, hold political office, and both men and women were able to send their children to school and foster the development of an educated black middle class. Oscar Micheaux, a prominent African-American director and independent filmmaker, made several films with all-black actors that featured stories of African Americans after the Civil War in the 1940s, yet many of his films have been lost or were not kept.

Q. In your opinion, did HBO Max make the best decision? Do you think HBO Max would have made this decision had it not been for what is happening in our country right now?

A. Other companies, such as Disney Plus, already issued warnings about outdated historical depictions, so temporarily removing the film to include the historical context of the depictions was not a risky proposition. HBO Max was able to pull publicity from their move and show that they recognize the social and cultural conversations and events that are happening and that they wanted to take action. We’ll be able to see how they implement the changes, whether in the form of a documentary, a film intro, and/or increased funding for unrepresented voices in the future.

Additionally, we are seeing other companies respond by removing outdated or problematic visual racial representations – Quaker Oats is removing the Aunt Jemima brand from store shelves and Mars Inc. is changing the Uncle Ben’s Rice brand. There have been complaints about these images for years, but that hasn’t changed because they were profit driven and also considered a tradition. Sports team mascots bearing Indigenous and Aboriginal logos have been an issue for several years.

I think we need to think about how branding relates to the idea of ​​tradition and the need for us to question the origins of our traditions. Where do they come from? Have certain practices survived their time and do we have the will to make changes even if it is a difficult transition with economic consequences?

The other question is what do they do next? Will companies fund projects to highlight Black experiences and voices not only in their own industry, but also to address systemic inequalities? Netflix donated significant funds ($120 million) to support historically black colleges such as Spelman and Morehouse, and the United Negro College Fund. It is an action that recognizes that these institutions have encouraged and can educate and support current and future leaders to address racial issues in the United States. How will we see these initiatives in other institutions such as the AVU or in companies?

Q. Just a few months ago when it launched, Disney Plus made the decision to put some of its content on hold due to racially insensitive content and outdated cultural portrayals and put disclaimers. -responsibility for some of its other content. Are we going to continue to have these same types of discussions every time a new streaming service or channel comes out? Do you think there should be some sort of governing body dictating what the standards should be – or would that be too much censorship?

A. Streaming services are profit-driven, but in general what this moment can do (and we saw it in the 1960s, 1970s and 1990s) is allow governing bodies and corporations to center voice of black and other underrepresented minorities (and more than one person) within the mission and policy-making institutions, and not only have a seat at the table, but drive the agenda . There are many minority media watchdog groups that Hollywood studios consult when developing projects.

There have been governing bodies in the past that have been detrimental. Hollywood developed the Hays Production Code from 1930 to 1968, and the Board of Censors enforced the code which contributed to racial stereotyping and reinforced segregation, xenophobia, norms of sexism and sexuality, and white supremacy in the Film Industry. If the film was not approved, it would not be allowed to be shown in theaters and in some regional theaters black actors and actresses were censored from the film.

After the elimination of the Hays code, another governing body, the Motion Picture Code Association, was created; he determined film ratings based on moral guidelines and often deliberately screened out the voices of blacks and other racial groups. The current rating body is the Classification and Ratings Administration, or CARA, which is an independent group of parents.

Q. In a recent appearance on Bloomberg, you said you asked students in your film classes to compare and contrast “Gone with the Wind” and “Birth of a Nation” with films contemporaries like “12 Years a Slave” and “Django Unchained”. .” Why do you think it’s good exercise, and what were some of the cool takeaways?

A. The mission gives all of us in the class a chance to reflect on the historical and cultural context from the perspective of the film industry, and also from the perspective that we all bring as moviegoers and scholars. The exercise helps us to reflect on our own expectations and biases when watching film, and also to see how storytelling and techniques have evolved.

One of the earliest films we watch is 1967’s ‘In the Heat of the Night’, starring Sidney Poitier and Rod Steiger, as it examines then-contemporary race relations in 1967 and refers to plantation narratives as a story that affects everything the world in 1967. In order to better understand the problems of the 1967 film, you need to think about the contexts of plantation genre films and also ask, “Why don’t we see more films in other time periods that have these moments that allow us to reflect on the ramifications and constant repetition of older images that we carry in our heads? »

Q. Actress Whoopi Goldberg made the comment that if you start pulling all the insensitive movies, well, the list will get pretty long. Where and how to draw the line? Or do you just not draw a line and hope that the films, with the help of people like you, can be viewed in the right contexts?

A. I think people are always going to come up with “best” and “worst” lists, and it’s all driven by the people who apply the criteria. There are going to be individual opinions and there are going to be organized events. The Oscars have changed their voting structure to ensure that new and especially racially diverse voices can weigh in on the awards. Since 2015’s #OscarsSoWhite event, we’ve seen the number of racially diverse actors, actresses, writers, and directors being nominated for and winning Oscars.

Over the past five years, Spike Lee, Regina King, Mahershala Ali, Korean director Bong Joon-ho and Mexican director Alfonso Cuarón have joined Ang Lee, Guillermo del Toro, Sidney Poitier and Denzel Washington as key voting members of the Academy, but there is still a long way to go. We need to be mindful and start with the questions: “From what perspective are we telling this story, and what might we be missing?”

We are a visual culture and we love stories. What I hope to do is highlight that we need more people of color to tell, write and make these stories because so many voices have been left out or ignored or deemed unprofitable. We need more industries, corporations, universities and federal offices to provide funding and opportunities to promote the arts and humanities by supporting libraries, film festivals and workshops, schools and communities to showcase, value and produce these stories.

Visual storytelling such as art, theater, TV shows, and movies tell all kinds of stories, and there will always be stories that spark conversation. And isn’t that what art and stories are supposed to do? It is a medium that can inspire us to see beyond our experience and change the world.

The School of Communication at Western Michigan University invites applications for a full-time Assistant/Associate Professor of Communication position, beginning August 2022. The successful candidate will maintain a program of research and/or creative pursuits nationally recognized, will teach both audiovisual/digital media production and critical media/film studies courses in their area(s) of expertise, mentor undergraduate and graduate students, participate in curriculum development and participate in departmental and collegiate committees. The ability to teach basic courses is also expected. Other responsibilities include developing and maintaining industry relationships.

Qualifications

PhD in Journalism, Media/Film Studies, Mass Communication, Communications, or a related discipline (ABDs are eligible but must complete the requirements to graduate by August 5, 2022). Ideal candidates will provide evidence of strong potential to develop and sustain a nationally recognized program of critical/cultural media scholarship that addresses the intersections of race/class/gender, including, but not limited to, issues surrounding media/film representation, implicit biases, algorithmic biases, systemic inequalities, social movements and activism, and/or transnational and diasporic media. We welcome multiple theoretical and methodological approaches. Preferred candidate is an academic/director with the ability to teach media/film studies courses as good as practical dissemination and digital media production informed by critical and cultural theory. Applicants with a broadcasting or digital video production or teaching activity that demonstrates a commitment to social justice issues are particularly encouraged to apply. A first experience in industry is a plus. The successful candidate will demonstrate a history of contributions or a commitment to integrating inclusivity and equity into their scholarship, teaching, service, or student mentorship.

Responsibilities

The successful candidate will maintain a nationally recognized program of research and/or creative activities, teach both audiovisual/digital media production and media/film studies courses in their areas of expertise, mentor undergraduate and graduate students, participate in curriculum development, and participate in departmental committees and colleges. The ability to teach basic courses is also expected. Other responsibilities include developing and maintaining industry relationships. Tenure track and tenured faculty in the School of Communication historically and currently teach a 2/3 teaching load. If one of the courses is a large lecture, this teaching load can become a 2/2.

General summary

University

We would like to acknowledge that Western Michigan University is located on lands historically occupied by the Ojibwe, Odawa, and Bodewadmi Nations. Please take a moment to acknowledge and honor this ancestral land of the Three Fires Confederacy, the sacred lands of all Indigenous peoples and their continued presence.

Western Michigan University (WMU), located in southwest Michigan, is a vibrant, nationally recognized, student-centered research institution with a membership of more than 19,000. WMU provides high-quality undergraduate education, has a strong graduate division, and fosters significant research activity. The Carnegie Foundation for the Advancement of Teaching has placed WMU among 76 public institutions nationwide designated as research universities with high research activities. Western Michigan University is a globally engaged university that promotes learner success at all levels and stands out among more than 4,600 public and private degree-granting colleges and universities in the United States.

This hiring coincides with ongoing anti-racism efforts at the university focused on creating an inclusive environment and equitable structures for hiring, teaching, learning and research. These include the Racial Justice Advisory Committee, which is tasked with making recommendations to address systemic racism on campus, and the President’s Mountaintop Initiative, a $2 million fund to advance these recommendations, as well as other suggestions from the WMU community. Western Michigan University also recently received a $550 million multi-year Empowering Futures grant, which will fund numerous projects and initiatives aimed at breaking down the barriers created by historical inequality. The Empowering Futures Gift is the largest gift to a public institution of higher education in United States history.

OVERVIEW of diversity consistently honors WMU for its outstanding commitment to diversity and inclusion.

military times ranks WMU among the top institutions for veterans, and WMU is the only school in Michigan to make all nine years of its annual Best for Vets list.

US State Department data shows WMU was No. 6 among U.S. Fulbright Scholars producers in 2016-17.

UGF operates the nation’s largest and most comprehensive college support program for former youth in foster care and is an international model of teaching, research, learning, and public service related to foster care. hospitality and higher education.

Washington Monthly ranked WMU first in the state of Michigan for its impact on alumni earnings 10 years after graduation.

department

The School of Communication at Western Michigan University embraces the philosophy of engaged scholarship – a philosophy that grounds our theory and research in a practical effort to impact our personal relationships, organizations, communities, society, and society. global community. We have a nationally recognized master’s program and 16 tenured/tenure-track faculty who have national and international records of research and creative activity and who are actively engaged in student mentorship. Our graduate program engages students in public scholarship, providing transparent criteria for student success and utilizing best practices such as teamwork, interdisciplinary approaches, and mentorship. Our undergraduate program serves approximately 500 students in five majors, including communication studies; digital media and journalism; Film, Video and Media Studies; Interpersonal communication; and Strategic Communication – and 200 students in three minors: Communication, User Experience/Human-Computer Interaction (UX/HCI), and Journalism. This position coincides with a multi-million dollar refurbishment of Dunbar Hall, to include a highly visible broadcast production space, ideal for live news and sports broadcasts, interviews with visiting scholars, professionals or alumni, chroma key, photography sessions or other performances. based activities.

The School of Communication is committed to the University’s strategic direction of inclusive excellence and equity and actively works to promote a diverse, equitable, and inclusive university culture to ensure social sustainability and accessibility. We strongly encourage applications from candidates who are from underrepresented groups, disabled, multilingual and passionate about inclusion, accessibility and related themes.

In support of the School of Communication’s commitment to scholarly and creative pursuits, the successful candidate will benefit from numerous opportunities to develop their portfolio of research and/or production activities. Travel funding will be provided, along with support to present at conferences, publish in professional publications, and develop leadership experience.

University

The College of Arts and Sciences represents the foundation of learning and the academic heart of WMU. As outlined in the College of Arts and Sciences strategic plan, we are committed to fostering a community of diverse, inclusive, equitable and globally engaged scholars, learners and leaders.

With 23 departments and interdisciplinary schools and institutes, WMU’s largest college offers a wide range of learning opportunities and career paths for our students. CAS students are among the top students in the country, having received highly competitive awards including Goldwater Scholarships, Udall Scholarships, Boren Scholarships, and Fulbright Awards, among others.

Kalamazoo

Kalamazoo is located just two and a half hours by car from Chicago and Detroit and only 45 minutes from the beaches of Lake Michigan. It is located in one of Michigan’s designated research corridors, maintaining a strong presence in life sciences and biotechnology and supporting two leading medical centers. With 263,000 people in the greater Kalamazoo area, the community offers a range of cultural, entertainment and recreation events in all seasons. The city supports a nationally recognized symphony and has developed a reputation as a vibrant community theater and visual arts scene. Along the same lines, Kalamazoo is committed to social justice, community development, and eradicating generational poverty through its Shared Prosperity Kalamazoo initiative, with structural budget support provided by the program. City of Kalamazoo Foundation for Excellence. Kalamazoo is also home to the Kalamazoo Promise, a scholarship program available to all Kalamazoo Public School students that covers up to 100% of tuition and compulsory fees for all public institutions of higher education (and from many private) from Michigan.

Compensation

Competitive and commensurate with qualifications and experience, with an excellent benefits package, including participation in TIAA. It is possible to teach in the summer for an additional fee.

Start date

August 2022

Apps

Review of applications will begin on December 5, 2021 and will continue until the position is filled. Candidates must visit https://www.wmujobs.org/applicants/jsp/shared/position/JobDetails_css.jsp?postingId=209191
to apply. Online applications include:

1. Curriculum vitae
2. Application letter that addresses fulfillment of qualifications and demonstrates skills, knowledge and/or success in diversity, equity and inclusion work
3. Representative examples of research and/or production activity portfolio
4. 3 samples of teaching materials (e.g. syllabi, assignments, materials prepared for the class)
5. Unofficial copies of graduate transcripts

Please direct questions to Carolyn Seaver at [email protected] Where (269) 387-3160.

WMU is an Equal Opportunity/Affirmative Action Employer. Minorities, women, veterans, people with disabilities and all other qualified individuals are encouraged to apply.

The student life service on all campuses has been included in the budget cuts imposed by the USG this summer. What students call “student life” is being dissolved, but something new is happening.

Faculty and staff work to provide students with a fun yet valuable experience. The new student engagement department will not only engage students in university life, it will provide ways to connect student interests with what they are learning in the classroom.

“The goal is to have a fun activity, but incorporate more extracurricular activities,” said Jennifer Hicks, director of academic success.

It can help create educational value, but be relevant to what students are learning. The activities will focus more on individual routes.

Hicks said, “Where we are heading as an institution is towards a student success model.”

Former Cartersville Campus Director of Student Life, Clifton Puckett, was hired as the Extracurricular and Transitions Coordinator to lead this new venture.

Student Engagement sponsored Floyd’s 50th anniversary celebration on campus. Virtual workshops and other online resources are being made available to students and more to come when everyone is back on campus.

Physical changes are underway at the Floyd campus in what is formerly known as the Student Life Office suite. This area is currently being renovated to make way for a new Center for Creative Media Studies, a program that is expected to launch in spring 2021.

The Center for Creative Media Studies grew out of an idea that assistant professor of journalism and communications Allison Hattaway originally pitched to dean of humanities Jon Hershey earlier this fall. As part of an ongoing collaboration with Seth Ingram, Director of the Film Studies Department, Hattaway and Ingram proposed the Center for Creative Media Studies as a way to provide GHC students with access and exposure to collaborate in creative way in a learning environment that will better prepare them for careers. in a global media industry.

“We have received overwhelming support from the administration and are now working with our partners in Student Engagement and the School of Humanities to organize technology resources and media art training with a focus on film, television, theater, art and journalism,” Hattaway said.

“Fundamentally, we want CCMS to be a place where students can come together to be part of something bigger than themselves and have the opportunity to implement what they learn in the classroom – this will encourage a convenient work environment for film editing, production, writing, layout and design, podcast production and more.We plan to engage community partners in local areas so that students have networking opportunities, can participate in mock interviews and begin building a professional portfolio of work samples while at GHC,” said Hattaway.

Allen Dutch, president of the humanities division, has a background in media and mass communication.

“I’m really excited about getting students to do things like podcasts and filmmaking. The theory is good, but you have to get your hands on the programs. Being able to do and create media is the most important part,” Dutch said. “I hope this will provide us with a place where students interested in media production can gather and have an experience.

Dutch expects this center to help students after college.

Dutch said: “When they get a job, they have to have experience. You must be able to express yourself in different technologies and on several platforms.

This is called media convergence in the world of communications. Whether it’s podcasts, movies, or other communication mediums, this CCMS can be used to gain that media convergence experience.

The Six Mile Post and its sister production, “The Student Spin,” will relocate their offices to the lobby of what was once known as the Student Life office suite. Hattaway will move into John Spranza’s former office and Ingram will move into Hattaway’s former office while taking over the former Six Mile Post office for film studies classroom space.

“For a while it’s going to look a bit like an ‘apple cart turnover’ as we all move in and the space is modernized,” Hattaway said, “However, when it does, we hopefully it will be a campus highlight and an engaging program for current and future GHC students.

In times of budget cuts, campus renovations and new programs might raise some eyebrows.

“We’re trying to do as much as we can with the space and resources we already have,” Hattaway said, “Essentially, we’re going to see what a new coat of paint, carpet, and moveable furniture can do. first. Ultimately, we hope to seek grants and outside sources of funding to continue to grow the program.”