World Class Musicians Teach & Learn at Acequia Madre House™

Since 2007, as the consequence of the close relationship between the Paloheimo family and the composer Jean Sibelius, superb musicians from the Sibelius Academy in Finland have conducted master-classes called Creative Dialogue at Acequia Madre House™. Their students are accomplished international musicians from Juilliard, Yale, Eastman and other distinguished conservatories nominated by their respective deans.

Most musicians conduct music classes for a second income. If you want to enter into this then this article source will guide you on how to start a music class. You can do it independently without joining with other music companies. However to start your classes can be tough work.

You have to put in some work and be dedicated about setting up your classes.

For this first you need to figure out what your teaching identity is. Your teaching studio is a business and you need to give it some identity. Many private tutors just go with their name which gives the classes its own identity. However you may also have a name for your music studio. If you like to teach and you really want to brand your business then this gives it some legitimacy. Most freelance musicians teach music to earn . To get into this business make your presence not only offline but also online. Have webpage which will let you get more clients.

Decide on a location where you would want to conduct your music classes. If your home space is clean and comfortable then you can operate your teaching studio from here. However if you have roommates or noisy neighbours then you need to look for a rented space. This adds to your expense but when you have a dedicated music class then this can make your business more legitimate. You can also charge a higher fee to compensate for the excess rent.

Make use of technology to market your business. Today many teachers are making use of the video chat and online services to attract students. You will have to invest into these if you are just starting out. Once you gain fame then the word will spread on its own.

Each Creative Dialogue session concludes with a free concert at St. Francis Auditorium. Many of the students describe the experience as transformative. From the inception, these master classes have had a strong female presence both among the master musicians and pupils.

More info:  Creative Dialogue

Susan Tweit (November 2016)

Susan Tweit (November 2016)Award-winning writer Susan J. Tweit is a plant biologist who began her career studying wildfires,

Most chidden do not know what career to choose. They do not have a clue about what they want to become when they grow up. This is why most of them end up in a career that they do not like. When these children start to attend college then it becomes even worse because they end up taking a degree that they may never ever use.

As parents you can help your child in choosing what career he should choose. Right here you can step in and assist your child in choosing the career that you think he will be passionate about. Unfortunately choosing the right career is not easy and it needs a lot of research and discussions to understand what the profession has in store for you.

First you need to uncover what the strengths of your child are. Your child has varied interests and he will be good in many areas. You need to uncover these strengths quickly. If you wait for this to happen on its own course then they may never even discover what they are good at until it gets very late.

As a parent you need to be focused on the strengths of your child. This will help him to choose the right care path. It will ensure that your child is not forced into a career that he does not like. grizzly bear habitat and sagebrush communities in the Greater Yellowstone Ecosystem before turning to writing when she discovered she loved telling the stories in the data. She has written twelve books about nature and life, including the memoir Walking Nature Home, and The Rocky Mountain Garden Survival Guide, hailed as “the instruction book that should have come with your yard.” Tweit’s work has appeared in magazines and newspapers from Audubon and Popular Mechanics to High Country News and the Los Angeles Times, and won the EDDIE for magazine writing, ForeWord Book of the Year Award, Outstanding Science Trade Book for Children, the Colorado Book Award, and the Colorado Authors League Award (three times). She is a columnist for Rocky Mountain Gardening magazine, and a co-founder of the Habitat Hero project. Her landscape designs and urban habitat restoration projects have won recognition from The Nature Conservancy, Audubon Rockies, and the North American Rock Garden Society. She has captivated audiences at venues ranging from TEDx events to women’s health conferences. Tweit lives on a restored former industrial property in Salida, Colorado.


10 Questions with Susan Tweit

 Stanlie James (October 2016)

Stanlie James was appointed Vice Provost for Inclusion and Community Engagement in September 2016 at Arizona State Universtiy. She is a professor who holds a joint appointment in the African and African American Studies, and the Women and Gender Studies programs in the School of Social Transformation at ASU.

Teaching is a sought after profession and there are many reasons why you may want to pursue a career as a teacher. Review here about the benefits of being a teacher.

Teachers earn a solid pay cheque. This is not a profession that can get you rich quickly but the starting salary is good as compared to many other professions. You have a lot of scope of advancement and opportunities in this profession which eventually increases your pay with time. The salary of a teacher is very high in most countries and there are couples both working as a teacher and running a house.

If you work in a government organisation or in a good private school then you receive additional benefits over and above your salary. The teacher professional covers you with insurance and pension plans. In most schools the premium is paid fully by the school. The teacher is covered under health, vision, and dental schemes which makes it much better than most other industries.

Her areas of teaching and research include Women’s International Human Rights and Black Feminisms. She has co-edited three anthologies including Still Brave: The Evolution of Black Women’s Studies with Frances Foster and Beverly Guy Sheftall (Feminist Press, 2009); Genital Cutting and Transnational Sisterhood: Disputing U.S. Polemics with Claire Robertson (University of Illinois Press, 2002): and with Abena Busia, Theorizing Black Feminisms: the Visionary Pragmatism of Black Women (Routledge, 1993). She is currently at work on a new book tentatively entitled “Goler’s Daughter’s: Black Women and International Human Rights.” She is published in journals such as Signs: Journal of Women in Culture and SocietySOULS: A Critical Journal of Black Politics, Culture, and SocietyWomen’s Studies International Forum, and has authored chapters in several edited volumes. With Aili Tripp she co-edits an award winning series “Women in Africa and the Diaspora” for the University of Wisconsin Press.

James was named an ASU Provost Teaching Fellow for 2015-2016. She has served as president of the ASU Faculty Women’s Association, and in 2009 she was the recipient of the ASU COmmission on the Status of Women’s annual “Outstanding Achievement and Contribution Award.” She is a professor emerita of the University of Wisconsin, Madison.


Autoduplicity Collaboration: Celeste Oram, Jennifer Bewerse, and Rachel Beetz (September 2016)

Celeste Oram (b. 1990) is a New Zealand composer who was born in Manhattan, learned to walk and talk in London, and grew up in Auckland. Her works have been performed, recorded, and broadcast by ensembles including the Callithumpian Consort (Boston), wasteLAnd (Los Angeles), the New Zealand Symphony Orchestra, Auckland Philharmonia Orchestra, the Song Company (Sydney), and the Melbourne Metropolitan Sinfonietta. She was the Auckland Philharmonia’s ‘Rising Star’ young composer-in-residence for 2013-14; her commissioned orchestral work was selected as a finalist in the 2014 SOUNZ Contemporary Award for excellence in New Zealand contemporary composition.

Video scores are a recent avenue of work, with premieres at the soundSCAPE Festival in Maccagno, Italy, and at the Melbourne Fringe Festival by Three Shades Black.

As a writer, Celeste has contributed feature music programmes to Radio New Zealand Concert, and articles to Tempo (Cambridge University Press), The Pantograph Punch, and Minarets Poetry Journal.

Visit this site right here if you want to start your career in music. You first need to cultivate this talent and need to discover who you are. Before you launch your career in music understand if you want to be a performer or a singer. Take voice lessons and this will let you bring out the best in your voice. You should also learn how to read the sheet music.

Celeste is currently pursuing a PhD in music composition at the University of California San Diego.

Jennifer Bewerse is a musician whose performance work approaches the concert framework as its own medium. By putting different composers, compositions, and performance techniques in “conversation” with the social structures of a concert, Jennifer hopes to create a discourse around questions of performance such as “is live music necessary?” and “how can our bodies be musical?” Through this discourse, the concert framework transforms from a convenient structure for listening to an opening for questioning broader experiences.


Jennifer is an award-winning cellist and devoted champion of the music of our time. As a result, she has premiered over 50 works including Caroline Miller’s Vessel (2014), Monte Weber’s Weather Music (2015) for solo cello, and Peter Ablinger’s WEISS / WEISSLICH 17k: Violoncello und Rauschen (2015). Other composers she has had the privilege to work with include Augusta Read Thomas, Christian Wolff, Anthony Davis, Chinary Ung, Lei Liang, Michael Sydney Timpson, Patricia Alessandrini, Stephen Goss, Chaya Czernowin, Kenji Bunch, Gunther Schuller, Jonathan Harvey, and David Del Tredici.


Jennifer has performed in concerts at the Isabella Stuart Gardner Museum, Equilibrium Concert Series, REDCAT, the Center for New Music, and SICPP, as a guest Teaching Artist for the Music from Salem: Cello Seminar and the Banff Centre Chamber Music Residency, as a guest soloist for the Robert Helps Festival and International Composition Competition, the Without Walls Festival, and the Carlsbad Music Festival, as a guest performer and presenter for the inaugural New Music Gathering and the Eureka! Musical Minds Conference, and was the 2010 Performance Prizewinner at the soundSCAPE festival in Italy.


Jennifer is an enthusiastic chamber musician and is currently the cellist of Southland Ensemble and of Diagenesis Duo with vocalist Heather Barnes. A recipient of the Myrna Loy Center Grants to Artists Award, Diagenesis Duo’s work has given them the opportunity to collaborate with prestigious performers and institutions such the University of Florida, University of Montana, Boston Conservatory, Joel Krosnick, Tony Arnold, Susan Narucki and Nan Hughes, and as the guest artists in residence at UC San Diego’s Springfest. Their NewSonics: A New Music Workshop for Kids has been the recipient of a University of California Institute for Research in the Arts Grant and a New Music USA Project Grant.


Jennifer is a sought after collaborator and has been a guest performer with now hear ensemble, Juventas, Calithumpian Consort, Palimpsest, Boston Public Quartet, Kallisti, Renga, Fireworks Ensemble, wild Up, and Ellen Fullman. Her current collaboration with Rachel Beetz, Autoduplicity, recenlty performed at Mengi in Reykjavik, Iceland with funding through a Project Grant from UC San Diego’s Dean of Humanities.


A native of Florida, Jennifer received her Bachelors of Music magna cum laude from the University of South Florida and her Masters of Music from The Boston Conservatory. Currently, she is pursuing her Doctorate in Contemporary Performance at the University of California in San Diego with a full scholarship. Her principal teachers include Joan Markstein, Scott Kluksdahl, Charles Curtis, and Rhonda Rider, founding member of the Lydian String Quartet.


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Flutist and sound artist Rachel Beetz performs music of the last century, creating a dialogue between avant-garde music and modern life. Rachel has been a featured artist in the XI Festival Internacional de Músiva Nueva in Monterrey, Mexico, the American Music Festival at the National Gallery of Art in Washington, DC, the Ojai Music Festival in California, Los Angeles’ Monday Evening Concert Series, New England Conservatory’s Summer Institute for Contemporary Performance Practice in Boston, MA, the SoundSCAPE Music Festival in Maccagno, Italy, and a guest artist/lecturer at Santa Clara University. She is also an affiliated artist of San Diego New Music.



In the winter of 2015/16, Rachel received the Skammdegi Air Award from Listhus Artspace in Ólafsfjörður, Iceland. For three months, she lived in the darkness while creating the sound and light installation, The Winter Stars based on the night sky of the darkest days of the year.

An active chamber music musician, Rachel has given definitive performances of Morton Feldman’s multi-hour works For Philip Guston and For Christian Wolff. She is also a long-term member of UCSD’s Palimpsest contemporary chamber music ensemble and frequently plays on the wasteLAnd concert series in Los Angeles. Currently, Rachel is half of Plus/Minus, a flute and percussion duo with Dustin Donahue. She is also a co-founder of the performance art project Autoduplicity with cellist Jennifer Bewerse.



Rachel also works directly with composers on new works as well as repeat performances. She has premiered works written for her by Nicholas Deyoe, Brian Griffeath-Loeb, Edward Hamel, Kurt Isaacson, Scott Worthington, and Yvonne Wu. She has also worked closely with composers Roger Reynolds and Stuart Saunders Smith. You can hear her on Neuma Records and Blue Griffin.



She graduated with a Bachelor in Music with distinction from Indiana University in 2009, in the studio of Kathryn Lukas. Rachel holds Master of Arts in Contemporary Music Performance from the University of California San Diego, where she is currently pursuing a Doctorate in the studio of John Fonville. You can find more information about her at and listen to her recent recording projects at

Mary Margaret Fonow (July 2016)

Mary Margaret Fonow, Norton and Ramsey Professor of Social Transformation, is a professor of Women and Gender Studies and the founding director of the School of Social Transofrmation at Arizona State University.

Redirected here about information on what you can do with a degree in women’s studies. You can take up course on women’s gender and sexuality studies. You can then apply for jobs as an administrator in the human services department. You can be an advocate for the victims of hate crimes and domestic violence.

Fonow is an international leader in the field of women’s studies and has been active in the field for the past 40 years. She provides leadership for the research and training of doctoral students and is a member of the UNESCO Women and Gender Research Network. In the past Fonow has conducted comparative resarch on workplace change and its impact on labor activism in the US, Canada, and Australia and has more recently been analyzing the role union feminists are playing to secure basic labor rights for women in the global economy. She is interested in how union women developed a sense of themselves as transnational actors and how they build alliances and coalitions across national boundaries and between the labor movement and the women’s movement. She has published three books on the topic including a co-edited collection, Making Globalization Work for Women: The Role of Social Rights and Trade Union Leadership that examines trade unions as sites for women’s leadership training in 12 countries. Fonow was the co-principle investigator for an USAID funded project on women’s leadership in Armenia that resulted in the establishment of the Yerevan State Universty for Gender and Leadership Studies.


Her current research focuses on embodied activism, somatic education and mindfulness, and she hopes to develop a new model fo transformational leadership for women that is culturally relevant. She currently teaches, whith Rich Goldsand, a course on the transformational leadership and embodied activism to graduate students in the School of Social Transformation which includes two cohorts of Native American doctoral students; one Pueblo and one Navaho.



Fonow is actively engaged with students in the classroom and in helping students produce new research that is informed by an understanding of the intersection of justice with gender, race, class, indigeneity, and sexuality. Fonow believes the School of Social Transformation is the ideal location to prepare students to make a different in the world.

Mi’Jan Celie Tho-BIaz (March 2016)

Mi’Jan Celie Tho-Biaz, Ed.D., is a Visiting Scholar with the Interdisciplinary Center for Innovative Theory and Empirics at Columbia University; inaugural leadership member with the Aspen Institute’s Franklin Project, as well as The Banff Centre’s New Fundamentals in the Creative Ecology; and the lead designer and co-facilitator for the public policy digital storytelling

Telling stories is beneficial for your child’s development. When you share stories and talk and sing to your child then this helps your child to develop in a number of ways.

When you read out to your child then this helps your child to hear to new sounds. He relates to the language and learns new words and this in turn helps to develop his early skills of literacy.

Your child will learn to value stories and books. This also sparks your child’s imagination and stimulates his curiosity. Stories help to develop your child’s brain and he develops social skills. It helps to develop his communication as well.

When you read stories your child starts to understand the difference between real and what is make believe. The child understands the new events and also relates to strong emotions that goes with the story. Browse around these guys for age appropriate books.

When you tell your child stories or read out stories to your child then it takes your child to another world. You can just pick up any book and start reading the book to him. You do not have to be a professional storyteller for this. When you flip the pages of the story book it will start to develop the child’s curiosity. He will be eager to know what happens next.

Reading stories is beneficial not only for children but for grownups too. The time that you spend reading together helps to promote a bonding and helps in building strong relations.

In today’s age of technology reading definitely has taken a backseat. Those who love to read have started reading books on the devices. It is time to give this a break and pick up a paperback storybook and start to read. The smell of the paper and holding the book in your hand is unbeatable.

and documentation training with women organizers who labor for social change, at the Steinem Initiative at Smith College.

Additionally, Mi’Jan Celie serves on the Board of Directors with the Northern New Mexico Radio Foundation; the South by Southwest (SxSWedu) and American Association of University Women advisory board review panels; and in partnership with the New Mexico Department of Cultural Affairs, is the founder of the inaugural 2016 Community Artist Year.

Julie Sasse (May 2016)

Dr. Julie Sasse is Chief Curator and Curator of Modern, Contemporary, and Latin American Art at the Tucson Museum of Art. Since joining TMA, she organized more than 90 solo and group exhibitions of regional, national, and international artists. Among her group exhibitions are Trouble in Paradise: Examining Discourse in Nature and Society; Paint on Metal: Modern and Contemporary Explorations and Discoveries; Into the Night: Modern and Contemporary Art and the Nocturne Tradition; and The Figure Examined: Masterworks from the Kasser Mochary Art Foundation. Her solo exhibitions include artists Andy Warhol, Ai Weiwei, Alan Sonfist, Jaune Quick-to-See Smith, Henri Matisse, Deborah Butterfield, Ansel Adams, and Rose Cabat.


Sasse received a Clark Art Institute fellowship in 2008 for her book, Trouble in Paradise, a Latino Museum Studies Fellowship in Washington, DC, in 2007, and a Louise Foucar Marshall Foundation Graduate Fellowship for her dissertation, Blurred Boundaries: A History of Hybrid Beings and the Works of Patricia Piccinini, in 2013. Sasse holds a B.A. from Southern Illinois University, a M.F.A. and a M.A. in Art History from Arizona State University, and a Ph.D. from the University of Arizona. She also attended the University of Wisconsin, Madison, and the Instituto Allende in San Miguel de Allende, Mexico.


The author of more than 35 catalogues, books, and published essays, Sasse wrote the monograph on James Havard (Hudson Hills Press, 2006); Trouble in Paradise:

Check this on tips on how to start writing a children’s book. First you need to have a genre in mind. Take a glance at your bookshelf and understand what you like to read the most. Start from the ending because that is the most difficult part of any story. The next step is to form characters of your book. Then make an outline and write your first draft.

Examining Discord Between Nature and Society (2008); and the feature essay for Contemporary Art of the Southwest (Schiffer, 2012) and The Figure Examined: Masterworks from the Kasser Mochary Art Foundation (2014).


Dr. Sasse was Gallery Director/Curator at the University of Arizona, 1995-2000. Managing five non-collecting spaces on the U of A campus, she organized more than 100 exhibitions, including solo shows of works by William T. Wiley, Harmony Hammond, Ruth Weisberg, and Kadir Lopez Nieves. Group exhibitions include: Hindsight: Art Historical References in Contemporary Art; Abject Lands/Personal Horizons; an exchange exhibition of watercolors with the Museo de Acuarela in Mexico, Intercambio; and Shanghai Ink: Contemporary Works in the Ink Tradition from China.


In the 1980s, Sasse directed the Elaine Horwitch Galleries in Scottsdale and Sedona, AZ; Santa Fe, NM; and Palm Springs, CA, focusing on international and regional artists. There she organized more than 300 exhibitions, including works by Larry Rivers, David Hockney, Louise Nevelson, Peter Voulkos, and Beatrice Wood. She also taught studio art at Arizona State University and Eastern Washington University from 1974 to 1977; and courses in gallery management at The University of Arizona from 1995 to 2002. Sasse has served on numerous panels and jury committees at such institutions as the Contemporary Art Center in Las Vegas; the Heard Museum in Phoenix, the University of Texas in El Paso; and the IV Annual Computer Art Biennial in Rzeszow, Poland. Sasse’s fellowship at the Women’s International Study Center will focus on her research and writing for her book, Art Gal: Elaine Horwitch and the Rise of Contemporary Art in the American Southwest.

Allison Goodwin (May 2015)

Allison Goodwin is a teacher and writer, whose scholarly work challenges traditional understandings of religions’ discriminatory teachings about women, other religions/sects, and other groups.

A teacher creates an effect on the next generation. This dedicated profession has some perks too. You never get bored when you are a teacher. This is because each day is different for you. Visit this page if you want to know what course you need to do to be a teacher. You may have a lesson plan ready with you but you need to be flexible because you need know what challenges may come up. You may have to hold on to the course because a child in your class is having problems.

While in residency at WISC, she will be working on an article that proposes that the hundreds of psychological and social studies on the effects of self/other concepts, discrimination, expectations, and stereotypes, provide a means of transforming religions’ negative and limiting beliefs and rules, because they offer concrete evidence that such views and treatment lead to harm.


In addition to her own scholarly work, Ms. Goodwin has helped to identify the best scholarly writings that provide evidence that the negative Buddhist teachings about women are not the true teachings of the Buddha.  Collaborating with scholars, activists, religious leaders, and non-profits, she has facilitated the translation of that research into Mandarin, Thai, and Korean, and helped to ensure its inclusion in the curricula of universities and religious institutions in Asia and the West.  She is currently raising money for Tibetan translations, and will continue to facilitate translations in other languages.  Her scholarship and activism have increased awareness about the implications of this important research—and used that awareness to transform discriminatory beliefs and practices.  Her WISC project will expand the scope of this endeavor, so that the research may serve as a catalyst for change in other religious traditions.


Ms. Goodwin has won fifteen fellowships, grants, and awards for her fiction and scholarly writing, and she has been invited to speak about her scholarly research at conferences, universities, and religious centers in Taiwan, India, Korea, and the U.S. She has an M.F.A. in Creative Writing, Fiction from Syracuse University, and a B.A. in English literature from Barnard College, Columbia University, and has taught literature, screenwriting, fiction writing, creative non-fiction, and rhetoric at the School of Visual Arts in New York City, National Taiwan University, and Syracuse University.  She has also worked in a variety of positions in feature film production and development, and as a Mandarin language translator.

Ramona Sakiestewa

Areas of Expertise:


Arts – The value of artmaking.


Cultural Preservation – As it relates to museums, cultural centers, cultural groups.


Other – Design in artchitecture, site design.


Ramona Sakiestewa grew up in the American Southwest, and lives and works in Santa Fe. For more than 30 years she has written and lectured about Native American weaving and contemporary art including a USIA lecture tour of Japan.

If you too want to be a good writer then see this website. You can learn how to be an effective writer.

Good writers read a lot. It is simple. You need to have a good vocabulary to be a good writer. And reading gives you this valuable input. So the more you read the more your build your vocabulary and you get better at writing.

Good writers also need good editors. Even if you think that you are the best writer you need help. You need someone who criticises your writing and the editor should be someone whom you can trust. A peer editor can be the best if you are a starter.

A good writer has to constantly capture new ideas. He should keep getting creative input. The artist or the writer can better only with creative ideas. You need to know how to collect these ideas.

A good writer writes every day. This is essential and should not be overlooked. You cannot get good at writing if you do not practice. Even if it is just for a few minutes, you should take out time to write daily if you want to be effective at writing. In addition to her own tapestry work, her studio has woven the works of other contemporary artists including Paul Brach, Frank Lloyd Wright, and Kenneth Noland. Her own weavings reside in numerous public, private, and corporate collections. She recently changed media, exploring constructed works-on-paper, print work, and painting, and has shown in numerous group and solo exhibitions across the continent. For the past twenty years, Ms. Sakiestewa has worked with a series of nationally known architects designing elements for buildings and theming interiors. She has worked in a variety of media including stone, metal, carpet, and glass. Some of her work can be seen at the National Museum of the American Indian, Washington, DC. Ms. Sakiestewa was a participating artist in the Friends of Art and Preservation in Embassies in 2001. Her honors include the New Mexico Governor’s Award for Excellence in the Arts, induction into the New Mexico Women’s Hall of Fame, and recognition by the New Mexico Committee of the National Museum of Women in the Arts.

Donna L. Doane


Areas of Expertise:


Business & the Labor Force – (1) Women in the informal economy, especially in developing country contexts in South, Southeast and East Asia. (2) Women’s organizations and networks.


Sciences, Technology & Engineering – (1) Combining “modern” and “traditional” knowledge/technologies (medicine, crafts, etc.). (2) Women in science in developing and industrialized country contexts.

Science, technology, engineering and mathematics are the key subjects in the STEM education. This is an education system that prepares the future generation to be successful in their career fields. The skills that a child gains from the STEM education goes way beyond those that are needed to be successful in this field. It lets the child develop many interests and allows them to be successful in whatever career path that they choose later in life.

The STEM based education teaches the child more than plain maths and science. The focus of the STEM education is on hands on learning and it lets the child to learn with real world applications. This lets the child to develop many skill sets. The child also starts to think creatively. Visit Your URL to learn more about STEM education.

Other – (1) Gender and other social hierarchies, especially prejudice and discrimination. (2) Identities based on gender, race, ethnicity, class, national origin, sexuality, religion, etc.


Donna L. Doane, PhD, is a Senior Researcher and Adjunct Faculty in Gender and Development Studies at the Asian Institute of Technology (AIT) in Thailand. She is also a Program Consultant for HomeNet South Asia, a network of organizations of homebased (predominantly women) workers in Bangladesh, India, Nepal, Pakistan, and Sri Lanka, with partners in several other South and Southeast Asian countries. Dr. Doane has a BA from Stanford University, and an MA in Anthropology and a PhD in Economics from Yale University. She was a postdoctoral fellow at the University of California, Berkeley, and was a tenured Associate Professor in Economics in the U.S. She has spent the majority of her life in Asia and in recent decades has been living and working in Thailand, India, Japan, and the Philippines, teaching in universities and research institutes and doing research in association with informal workers’ organizations and networks. Dr. Doane’s areas of interest include gender and economic development, the informal economy, women’s economic empowerment, and social protection (including both “traditional” and government-centered responses to health, conflict, livelihood, and related concerns). She continues to combine work in economics and political economy with anthropology and related fields.