The Field Experience Journal

National Field Experience Conference

Papers accepted for presentation at the National Field Experience Conference and other manuscripts may be submitted to Adam Akerson for review and consideration for publication in The Field Experience Journal.

Download the Spring 2024 Edition

Field Experience Journal Resources

Submission Requirements

Submission Guidelines:

  1. Manuscripts should be no more than 15 pages of narrative (excluding references, tables, and appendices), using the latest APA style (7), and double-spaced on one side of 8-1/2 by 11-inch document. Please do not add spaces prior to or following paragraphs.
  2. Manuscripts must be submitted electronically via email attachment containing name, position, place of employment, mailing address, phone number, e-mail address, and a two- to three-sentence description of background and experience for each author. The title of the article should also appear on page one of the manuscript, but do not include the author(s) name(s).
  3. Pages should be numbered consecutively including the references, but the author's name should not appear on the manuscript itself.
  4. Charts or illustrative material will be accepted as space permits.
  5. Authors are expected to take full responsibility for the accuracy of the content in their articles, including references, quotations, tables, and figures. The editor reserves the right to edit articles accepted for publication.
  6. Authors of manuscripts accepted for publication are expected to make a presentation pertaining to their article at the next National Field Experience Conference held each spring.
  7. There is no remuneration for articles accepted for publication. There is no fee for the review of the manuscript.

Reviewers

Editor

  • Kim L. Creasy - University of Northern Colorado

Reviewers

  • Adam Akerson, Stephen F. Austin State University
  • Michelle Stubbs, Mississippi State University
  • David Allen, Kansas State University
  • Ana Blaine, Daytona State College
  • Matthew K. Boggan, Georgia Gwinnett College
  • Bridget Bunten, Washington College
  • Richard Carriveau, Black Hills State University
  • Jeremiah Clabough, University of Alabama at Birmingham
  • Sean Colbert-Lewis, North Carolina Central University
  • Nicole Damico, University of Central Florida
  • Joshua DeSantis, York College
  • Karen Duncan, Bethune-Cookman University
  • Raymond W. Francis, Central Michigan University
  • Paula Griffin, Stephen F. Austin State University
  • Timothy Goodale, Elizabeth City State University
  • Jennifer Barce, Purdue University
  • DeAnna M. Laverick, Indiana University of Pennsylvania
  • Kirsten Limpert, Emporia State University
  • Amy Massey Vessel, Louisiana Tech University
  • Ronda McClain, Stephen F. Austin State University
  • Richard Mihans, Tulane University
  • Jennifer Meagher, St. John's University
  • Mark Montgomery, Stephen F. Austin State University
  • Rosemary Oliphant-Ingham, University of Mississippi
  • Maria Orozco, University of Arizona
  • Fred Trotter, University of Wisconsin-Whitewater
  • Crystal Voegele, University of Central Arkansas
  • Kathleen Wagner, Eastern New Mexico University
  • Rosalyn Washington, University of Delaware

Journal Archives

Man in the Maze

Man in the Maze symbol

The Man in the Maze is a type of unicursal labyrinth, represented in the basket making and silversmithing of the American Southwest, especially among the Tohono O’odham nation, characterized by seven concentric circles.

The twin themes of life and choice are commonly depicted in this type of labyrinth. The “Man in the Maze” was originally created as an illustration of the emergence story by the Tohono O’odham or Papago Indians of Southern Arizona.

The Man in the Maze has been adopted by many groups of people because of its symbolism of life’s cycles and eternal motion, and also of the choices we are confronted with. The right choices lead us to a point of harmony with all things, no matter how hard or long the road taken.

The O'odham began employing the man-in-the-maze pattern in their basketry in the early 1900s. The motif has come to serve as an icon for the O’odham people. The human-like figure is the O’odham Elder Brother, I’itoi.