Community Action, Development and Social Capital: A Healthy Community Perspective: Development and Vision of the Puerto Rican Cultural Center

Declining social capital is one explanation for lower response to household surveys. By intentionally developing an awareness of social capital among its interviewers, the Por Ahí Dicen research study encouraged the use of interviewer social capital as a mechanism to achieve a response rate of 65.2 percent for baseline and post-intervention household studies of Puerto Rican mothers ( n = 413). These surveys were conducted in a “hard-to-count” urban environment designated by the U.S. Census Bureau. The interviewer trainings highlighted three domains of social capital: reciprocity and generalized trust, group or social cohesion, and cultural affirmation. By stressing the importance of social capital as an engagement tool, interviewers more easily made research participation salient and successfully leveraged Puerto Rican mothers’ participation in the community study.

Download Full-text

Community action for environmental restoration: a case study on collective social capital in India

Environment Development and Sustainability ◽

10.1007/s10668-006-9078-8 ◽

2006 ◽

Vol 10 (4) ◽

pp. 519-536 ◽

Cited By ~ 12

Author(s):

Wouter T. De Groot ◽

Haranath Tadepally

Keyword(s):

Social Capital ◽

Community Action ◽

Environmental Restoration

Download Full-text

Locating community social capital: a study of social networks and community action

10.31274/rtd-180813-8739 ◽

2003 ◽

Author(s):

Kerry Ann Agnitsch

Keyword(s):

Social Capital ◽

Social Networks ◽

Community Action

Download Full-text

The Flag and Three Rican Artists

10.5406/illinois/9780252036460.003.0002 ◽

2017 ◽

Author(s):

Marc Zimmerman

Keyword(s):

Puerto Rico ◽

Puerto Rican ◽

Puerto Ricans ◽

Cultural Center ◽

Art Exhibit

This chapter looks at Puerto Rico: 98, an art exhibit at Chicago's Puerto Rican Cultural Center and then at the Chicago Art Institute commemorating one hundred years of U.S. control over Puerto Rico and featuring visual meditations with respect to the Puerto Rican flag and the island's problematic nationhood. The exhibition was a manifesto in relation to the flag as well as flagism—banderismo. The three artists, Elizam Escobar, Ramón López, and Juan Sánchez, are independistas who have all led lives of political as well as artistic struggle. Their visions go far beyond any narrow nationalism or even the frustrated national aspirations of their colonized space of imagination and aspiration. From their barrio and prison worlds, these artists can see what amounts to a fascination of Puerto Ricans with their flag as a form of affirmation and resistance. However, they can also see this fascination as an obsession.

Download Full-text