Grand Canyon and the Colorado River are important places on the landscape for many Native American Tribes. The Glen Canyon Dam Adaptive Management Program (GCDAMP) is designed to employ science as a means for gathering, analyzing, and disseminating information on the condition of resources. A Western science perspective dominates this program with recognition of Native American traditional perspectives as a valued component. Analogous to a confluence of rivers, Native American traditional perspec-tives were initially envisioned as enhancing the Western science approach by creating a more holistic understanding of this valued ecosystem; however, this integration has not been realized. Identified barriers to effective participation by Native American stakeholders are vast cultural differences that express themselves in complex sociocultural scenarios such as conflict resolution discourse and a lack of insight on how to incorporate Native American values into the program. Also explored is the use of “science” as a sociopolitical tool to validate authoritative roles that have had the unintended effect of further disenfranchising Native Americans through the promotion of colonialist attitudes. Solutions to these barriers are offered to advance a more effective and inclusive participation of Native American stakeholders in this program. Finally, drawing from the social sciences, a reflexive approach to the entire GCDAMP is advocated.

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 1 Number 1 -- Table of Contents: 

“Artivate Volume 1, Number 1: Table of Contents” p. i. 

“Arts Entrepreneurship” by Gary D. Beckman and Linda Essig, p. 1-8.

“What’s in a Name?: Typifying Artist Entrepreneurship in Community Based Training” by Paul Bonin-Rodriguez, p. 9-24.

“The Case of the Pittsburgh New Music Ensemble: An Illustration of Entrepreneurial Theory in an Artistic Setting” by Jeffrey Nytch, p. 25-34.

“Shattering the Myth of the Passive Spectator: Entrepreneurial Efforts to Define and Enhance Participation in ‘Non-Participatory’ Arts” by Clayton Lord, p. 35-49.

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 1 Number 2 -- Table of Contents:

“Editor’s Introduction” by Gary D. Beckman, p. 1.

“Artivate Volume 1, Number 2: Table of Contents” p. 51. 

“Infusing Entrepreneurship Within Non-Business Disciplines: Preparing Artists and Others for Self-Employment and Entrepreneurship” by Joseph S. Roberts, p. 53-63.

“Frameworks for Educating the Artist of the Future: Teaching Habits of the Mind for Arts Entrepreneurship” by Linda Essig, p. 65-77.

“Dostoevsky’s ‘The Grand Inquisitor’: Adding an Ethical Component to the Teaching of Non-Market Entrepreneurship” by Gordon E. Shockley and Peter M. Frank, p. 79-91

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 2 Number 3 -- Table of Contents:

“Artivate Volume 2 Number 3: Table of Contents”

“Editors’ Introduction” Linda Essig and Gary D. Beckman, p. 1-2.

“Situated Cultural Entrepreneurship” by Johan Kolsteeg, p. 3-13.

“Culture Coin: A Commons-Based, Complementary Currency for the Arts and its Impact on Scarcity, Virtue, Ethics, and the Imagination” by Vijay Mathew and Polly Carl, p. 14-29.

“Barriers to Recognizing Arts Entrepreneurship Education as Essential to Professional Arts Training” by Jason C. White, p. 28-39.

Book Review: 

The Culture of Possibility: Art, Artists, & the Future by Arlene Goldbard” reviewed by Stephani Etheridge Woodson, p. 40-42

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 3 Number 1 -- Table of Contents:

“Artivate Volume 3 Number 1: Table of Contents” 

“Editors’ Introduction” by Gary Beckman and Linda Essig, p. 1-2.

“The ‘Entrepreneurial Mindset’ in Creative and Performing Arts Higher Education in Australia” by Vikki Pollard and Emily Wilson, p. 3-22.

“Social Bricolage in Arts Entrepreneurship: Building a Jazz Society from Scratch” by Stephen B. Preece, p. 23-34.

“Placemaking and Social Equity: Expanding the Framework of Creative Placemaking” by Debra Webb, p. 35-48.

Book Reviews:

“Creativity and Entrepreneurship: Changing Currents in Education and Public Life” edited by Lynn Book and David Peter Phillips, reviewed by Susan Badger Booth, p. 49-50. 

“Creative Communities: Art Works in Economic Development” edited by Michael Rushton with a foreword by Rocco Landesman, reviewed by Mark A. Hager, p. 51-53.

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 3 Number 2 -- Table of Contents:

“Editor's Introduction to Volume 3, Number 2” by Linda Essig and Joseph Roberts, p. 1-2. 

“How Is Damien Hirst a Cultural Entrepreneur?” by Marisa Enhuber, p. 3-20. 

“Responding to the Needs and Challenges of Arts Entrepreneurs: An Exploratory Study of Arts Entrepreneurship in North Carolina Higher Education” by Dianne H.B. Welsh, Tamaki Onishi, Ruth H. DeHoog, and Sumera Syed, p. 21-37.

“Daily Blogging for a Year: A "Lean" Pathway to Launching a Web-based Business” by Julia Griffey, p. 39-50.

Book Review:

“Social Intrapreneurism and All That Jazz: How Business Innovators are Helping to Build a More Sustainable World” by David Grayson, Melody McLaren, and Heiko Spitzeck, Foreword by John Elkington, p. 51-53

ARTIVATE: A Journal of Entrepreneurship in the Arts, Volume 4 Number 1 -- Table of Contents:

“Artivate Volume 4 Number 1: Table of Contents” 

“Editor’s Introduction” by Joseph Roberts, p.1.

“Perspectives on Arts Entrepreneurship Part 1” by Andrew Taylor, Paul Bonin-Rodriguez, and Linda Essig, p. 3-7.

“Creativities, Innovation, And Networks In Garage Punk Rock: A Case Study Of The Eruptörs” by Gareth Dylan Smith and Alex Gillett, p. 9-24.

“Creative Toronto: Harnessing The Economic Development Power Of Arts & Culture” by Shoshanah B.D. Goldberg-Miller, p. 25-48.

Book Review:

“Performing Policy: How Contemporary Politics and Cultural Programs Redefined U.S. Artists for the Twenty-First Century (Palgrave)” by Paul Bonin-Rodriguez, review by Neville Vakharia, p. 49-52.