Category: Ethnic Studies

After doing the readings and seeing the class lectures, reflect on all the material we went over and write a response to it – your reactions, new information you may have learned, were surprised by or felt was significant, critiques, revelations (did the video change your previously held views or perceptions?), etc. Do any of these ideas relate to your own life or beliefs? Be specific rather than general (e.g. use examples from videos/readings in your discussion). You will be graded on grammar/spelling as well, so please write them as professional and academic papers. These should be 400 words minimum (no maximum) and uploaded to Canvas as a word doc, pdf, or txt file.READ: Excerpts from Miller’s translation of The Bhagavad Gita – Intro (pgs. 1-10); Ch. 1-4 (pgs. 23-57); Ch. 9-12 (pgs 85-112)
For this week, you primary focus should be doing a deep reading of the selected chapters of the Bhagavad Gita. Take your time and read this primary scripture carefully. Answer the following questions:
1. Based upon our understanding of the Post-Vedic Brahmanical Synthesis from last week, how do you see the Bhagavad Gita dealing with the tension between the goals of Dharma vs. Moksha? What innovations does the Bhagavad Gita provide in regards to resolving this tension?
2, How does Krishna reconcile the paths of action (Karma Yoga), the path of devotion (Bhakti Yoga) and the path of knowledge (jnana yoga)? Ultimately what does Krishna say is the best path in this day and age?
3. The Bhagavad Gita was written over 2,000 years ago. What lessons from the text resonate most with you, and do you think any are relevant to modern life or can be applied to contemporary issues? Discuss any ideas/concepts from the text that you thought were significant or interesting to you.

GUIDELINES FOR THE DRAMA CRITIC:
Luis Valdez – Teatro Campesino & Las Dos Caras del Patroncito and Zoot Suit:
If you are unable to attend the live event, ARGONAUTIKA, at CSUN Experimental Theatre, you will analyze the Theatre artist, Luis Valdez, from the perspective of a drama critic (remember the distinction between drama critic and theatre reviewer). Why should Valdez be considered an important artist – director, playwright, filmmaker?
Write a 300 word (minimum) review of Luis Valdez: Aesthetics of El Teatro Campesino, a live speaking engagement that Valdez gave last year, March 15, 2023, at the Campus Theatre in Nordhoff Hall at CSUN. Additionally, you will be able to read the script for his acto, Las Dos Caras del Patroncito and Zoot Suit, and research his career. A video may be viewed of the acto as well, available on Canvas. I also want you to view the film Zoot Suit, written and directed by Valdez. It is available for rent on Amazon Prime and possibly You Tube as well.
CONTENT:
Discuss how Luis Valdez uses the art of Theatre and Film for social change and justice.
What makes the acto, LAS DOS CARAS DEL PATRONCITO, of Teatro Campesino, and the film ZOOT SUIT, humorous and entertaining, as well as educational, historical, and political?
In his talk at CSUN, Luis Valdez describes many cultural influences and traditions from the Mayas, Aztecs, and Mexico, that inform his aesthetic ideas in his new book, Theatre of the Sphere. What do you think Valdez means by the “vibrant being”?
How are we part of a “wave principle” in the movement of human history?
How is Luis Valdez hopeful in these violent times that we are living?
link to zoot suit movie part 1 you can watch all the parts
PreviousNext

https://www.zerotothree.org/
https://www.zerotothree.org/resource/tips-on-playing-with-babies-and-toddlers/
our assignment about critiquing a playground and designing your own is due on Thurs., Oct. 10 at 11:59 pm. You can give us some ideas about what is important to you regarding your own playground/play day. It is okay if you would rather not post what you will be writing in the assignment itself, but you can still give us ideas of what you would include in your own play day. Have fun sharing.
Post your discussions by Fri., 10/4 at 12:00 noon.
examples:
For my playground, I would want it to be located somewhere safe for preschoolers and their families. While safety would be my number one priority, I would also want it to be a place where children can express their creativity and imaginations. My playground would include the basics like a swing, slide, monkey bars, and rock climbing walls as well as an apparatus. I remember going to a variety of parks when I was little and the playgrounds always had different things to play with. Some playgrounds had these large puzzles on the sides. My favorite one was where you had to match 3 different characters to their parts. An example would be like a mermaid, a pirate, and sailor. You would spin the little blocks to match it to the characters. I would sometimes mess around and make a character with a pirate hat, sailor body, and mermaid tail. Although there was a clear right and wrong answer, you still could make whatever you wanted to make. I would definitely want one of those in my playground. Another thing I loved about the playground was they had little instruments built in to make sounds. It would have little keys and make different sounds. Children can use playground equipment like that to express themselves and experiment with music. Another thing I would like my playground to have is those speakers where if you speak from one end you can hear it from the other end. I remember how my friends and I would pretend to be spies on secret missions and used it as a radio. I want to include all these aspects because children will be able to experiment and play with the equipment however they see fit. The equipment will help them explore their imaginations and creativity and teach them how to express themselves. For safety, I would want the playground to have a soft rubber floor, so the children can’t hurt themselves. I would also want it to be in a gated area with benches around, so their parents can supervise from afar. I would also want there to be rails, so the children can’t fall off or have something to hold on to if they are scared of falling.
example:
What’s most important to me is safety but also having fun. The age range would be anywhere from preschoolers up to those in elementary school. When it comes to having my own playground, I would want the floors to be that bouncy/cushiony rubber floor instead of concrete just to ensure safety in case someone were to fall. I’d like this to be a huge playground with some fencing around the perimeter to make sure small children don’t wander off. I’d also like it to be inclusive to those who aren’t able to physically play, so I’d include sensory tables such as a water table with toys and a sandbox/table with buckets and shovels. Another way to be inclusive is to have playground equipment that are meant for those who are disabled. For example, I’ve seen different images of wheelchair accessible swings, where you can secure the base of the swing onto the wheelchair. I’ve also seen merry-go-rounds that are big enough to have those in wheelchairs to experience it. I’d also include more ramps in the playground rather than stairs because they’re more accessible to almost everyone. I’d like to add different elements other than sensory such as simulation/roleplay equipment such as the fake cars in playgrounds, or even the music equipment such as toy drums or the small metal piano keys that are always out of tune. I remember when I was little, I loved riding tricycles in my school playground. I would follow the track that was drawn onto the floor and would do multiple laps.

GUIDELINES FOR THE DRAMA CRITIC:
Luis Valdez – Teatro Campesino & Las Dos Caras del Patroncito and Zoot Suit:
If you are unable to attend the live event, ARGONAUTIKA, at CSUN Experimental Theatre, you will analyze the Theatre artist, Luis Valdez, from the perspective of a drama critic (remember the distinction between drama critic and theatre reviewer). Why should Valdez be considered an important artist – director, playwright, filmmaker?
Write a 300 word (minimum) review of Luis Valdez: Aesthetics of El Teatro Campesino, a live speaking engagement that Valdez gave last year, March 15, 2023, at the Campus Theatre in Nordhoff Hall at CSUN. Additionally, you will be able to read the script for his acto, Las Dos Caras del Patroncito and Zoot Suit, and research his career. A video may be viewed of the acto as well, available on Canvas. I also want you to view the film Zoot Suit, written and directed by Valdez. It is available for rent on Amazon Prime and possibly You Tube as well.
CONTENT:
Discuss how Luis Valdez uses the art of Theatre and Film for social change and justice.
What makes the acto, LAS DOS CARAS DEL PATRONCITO, of Teatro Campesino, and the film ZOOT SUIT, humorous and entertaining, as well as educational, historical, and political?
In his talk at CSUN, Luis Valdez describes many cultural influences and traditions from the Mayas, Aztecs, and Mexico, that inform his aesthetic ideas in his new book, Theatre of the Sphere. What do you think Valdez means by the “vibrant being”?
How are we part of a “wave principle” in the movement of human history?
How is Luis Valdez hopeful in these violent times that we are living?
link to zoot suit movie part 1 you can watch all the parts
PreviousNext

GUIDELINES FOR THE DRAMA CRITIC:
Luis Valdez – Teatro Campesino & Las Dos Caras del Patroncito and Zoot Suit:
If you are unable to attend the live event, ARGONAUTIKA, at CSUN Experimental Theatre, you will analyze the Theatre artist, Luis Valdez, from the perspective of a drama critic (remember the distinction between drama critic and theatre reviewer). Why should Valdez be considered an important artist – director, playwright, filmmaker?
Write a 300 word (minimum) review of Luis Valdez: Aesthetics of El Teatro Campesino, a live speaking engagement that Valdez gave last year, March 15, 2023, at the Campus Theatre in Nordhoff Hall at CSUN. Additionally, you will be able to read the script for his acto, Las Dos Caras del Patroncito and Zoot Suit, and research his career. A video may be viewed of the acto as well, available on Canvas. I also want you to view the film Zoot Suit, written and directed by Valdez. It is available for rent on Amazon Prime and possibly You Tube as well.
CONTENT:
Discuss how Luis Valdez uses the art of Theatre and Film for social change and justice.
What makes the acto, LAS DOS CARAS DEL PATRONCITO, of Teatro Campesino, and the film ZOOT SUIT, humorous and entertaining, as well as educational, historical, and political?
In his talk at CSUN, Luis Valdez describes many cultural influences and traditions from the Mayas, Aztecs, and Mexico, that inform his aesthetic ideas in his new book, Theatre of the Sphere. What do you think Valdez means by the “vibrant being”?
How are we part of a “wave principle” in the movement of human history?
How is Luis Valdez hopeful in these violent times that we are living?
link to zoot suit movie part 1 you can watch all the parts
PreviousNext

Our final paper asks you to write a paper about a protest movement that sought racial justice. You may choose a protest movement we have studied in class and take a closer look, or you may choose past or present movements we have not addressed. Write a few ideas about a protest movement you are considering writing about (a paragraph).
What do you find interesting about this topic? What do you hope to investigate about it? Make sure your protest movement addresses issues of race, ethnicity, racism; you may also consider issues of labor, class, gender, or intersectionality. If possible include a course concept/term from Course Concepts Handout (in Week 7 module).
Post your paragraph, then respond to a classmates post. Include a question in your response.
Post and Responses

For this short essay assignment, you’ll be graded on your ability to demonstrate comprehension and critically reflect on the film.
Most students who do their work on time don’t need extra credit. Having said this, it’s a lot easier to get an “A” in this class when you do the extra credit. I’ve seen hundreds of “B” students earn a higher grade because they did the extra credit early on. Just make sure to follow directions and submit on time. They get easier to do the sooner you finish your first one.
Only one attempt per student. I don’t allow for late work when it comes to extra credit – it’s in our Late Work Policy.
B. Literary Essay Guidelines (20 Points)
You are writing a literary/media analysis in the form of an essay. Your essay is worth up to 15 points. It should have all of the following, and up to how many max points you can lose if you don’t add it to your essay:
Up to -2 Points | short intro (2-3 sentences) with highlighted thesis statement.
Up to -2 Points | proper grammar and free of spelling errors,
Up to -4 Points | use proper citations with timestamps,
Up to -9 Points | based on the assigned media (e.g. film),
Up to -2 Points | apply and highlight a course concept to argue your theme/thesis,
Up to -9 Points | directly address all aspects of the prompt(s).
Up to -2 Points | concise conclusion (2-3 sentences)
C. Media Source in Context
The Western (Male) Gaze
The “gaze” is a term that describes how viewers engage with visual media. Originating in film theory and criticism in the 1970s, the gaze refers to how we look at visual representations. These include advertisements, television programs and cinema. In the male gaze, woman is visually positioned as an “object” of heterosexual male desire. When film critics talk about the gaze, they are often referring to the “male gaze”. But what does that really mean? The “male gaze” invokes the sexual politics of the gaze and suggests a sexualized way of looking that empowers men and objectifies women. In the male gaze, woman is visually positioned as an “object” of heterosexual male desire. A female’s feelings, thoughts and her own sexual drives are less important than her being “framed” by male desire. The use of “Western” refers to countries who colonized and divided most of the world into nation-states. Historically, the cultural logic of these Western countries assume the role of savior, expressed in an attitude, approach and framing to foreign relations, global chains of production, trade policy, international law, and sovereignty.
Orientalism
Western countries and cultures enact cultural imperialism through “Orientalism.” Coined by Edward Said in 1978, the concept of orientalismdescribes how western culture (literature, art, cinema, etc.) constructs images of the Orient or the East in such a way that validates the preference for Western civilization and culture. In other words, the word “Orient” does not describe a people or countries. Instead, the term is a construction of the Western gaze toward people east of the invention of Europe. In short, there is no such thing as an Oriental person but there is such a thing as an “Orientalist” (Western gaze).
Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient — dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a western style for dominating, restructuring, and having authority over the Orient (Said 1978: 3).
The image of Asians in U.S. society is constructed and generally utilized in three ways, according to Said. Orientalism can be found in academia and English literary tradition. It is also found in the worldview, representation, and “style of thought” of Western countries. Third, orientalism is a powerful political instrument of domination. The documentary highlights the role of racial ideas saturating American popular culture through the medium of cinema to influence the American Psyche in believing and reinforcing Asian stereotypes and “Yellow Threat.”
Reparations
There is long history surrounding reparations for slavery. If you’re unfamiliar, “reparations” simply means making amends by paying money to those wronged. Historically, the use of the term refers to countries who pay money for committing wrongs, and for the damage, injuries, etc. that it has caused. In the early days of 1865, Union General William T. Sherman and Secretary of War Edwin M. Stanton met with black leaders in Savannah, Georgia. Inspired by the ideas of abolitionist proposing land redistribution and prospects of limiting the power of southern states, an order was released four days later on January 16 with the Special Field Order No. 15 of self-governing communities and waterfront property along the eastern coastline spanning multiple states. The Order would stay a promise, unfulfilled. Many scholars explain the gap between White Americans and Black Americans as a failure by the government to do the right thing when given the chance to do so.
Sherman’s order is commonly referred to as the promise of “40 acres and a mule.” To date, the U.S. government or corporations have not made amends with the tremendous wealth made from supporting slavery. The 117th U.S. Congress approved H.R. 40 in 2021. This bill establishes the Commission to Study and Develop Reparation Proposals for African Americans. Officially, “The commission shall examine slavery and discrimination in the colonies and the United States from 1619 to the present and recommend appropriate remedies for decedents of U.S. slaves.
While the order to pay reparations to African Americans remains unseen after nearly 160 years, it only took fifty (50) years for the U.S. government to pay reparations for the interment (unlawful imprisonment) of Japanese Americans during World War II. By 1992, the U.S. government disbursed more than $1.6 billion (equivalent to $3.67 billion in 2021) in reparations to 82,219 Japanese Americans who had been interned. Reparations have improved the class status and wealth of future generations of hundreds of thousands of Japanese Americans, but cultural stereotypes and hate crimes against Asians persist.
Film: Hollywood and the Yellow Threat
If you have trouble watching the video here, click here to watch in a new window. If it doesn’t work, then you can watch an alternative documentary: Yellowface (2023).
In the late 1980s, Tomita acts in the film based on a true story. Experts discuss Asian American representation in Hollywood; film may be the only source of world education for some people. Asian stereotypes have been long-lasting and their perception as a “Yellow Threat” is still pertinent today.
D. Critical Reflection / Media Analysis
In an essay, provide your response to the question(s) or prompts below according to the film. You can also add what you’ve learned thus far in class about Asian American history as part of your critical analysis.
From whose point of view is the film “Hollywood and the Yellow Threat” speaking?
Who has racial power in the film and how do we know this to be true?
Discuss and apply the concept of “Yellow Threat” in relation to Asian Whitewashing and racism in Hollywood.
Discuss unlawful, domestic military action by the U.S. government, and the living conditions of Japanese Interment as a violation of human rights. Does the $3.67 billion in reparations received by Japanese Americans in the 1990s justify or make amends for interment camps?
Discuss and analyze the release of Japanese Americans and transfer of property during WWII as racism.
Discuss “Falling in Love” and the historical representation of Asian women in U.S. cinema.
*No external sources. Base your response on the author’s conversation in the assigned book and, as an add-on, you can tie in your own personal experiences, stories, and examples.

After reading the article behind the Japanese American Memorial Monument (on Venice and Lincoln Boulevards) and watching the short video about the Ralf Lazo story, answer the following questions (1 paragraph each minimum); use the texts and video to support your answers. Here is the link to the video video link and here is the link to the text text link. I have attached a photo of the questions below, please answer each one carefully and use the links i provided to support your answers. please make sure this is all written in your own words, no ai. Do not use any other sources other than the ones i have provided.

From A Different Shore
Closing Lecture Remarks
So far in this unit you have learned about key concepts and theories on race and ethnic relations to historical events and current events that affect society through the lens of Asian Americans and their incorporation into American history. We looked at how the categories of race, ethnicity, socio-economic status, gender, sexuality, and citizenship influenced the first period of migration across the Pacific, as well is its parasitical lingerings in the American imaginary.
Understanding the influence and contribution of Asian Americans is key to unlocking a part of U.S. history. The influence of Asian American cultures, largely interpreted through racism, effects our everyday lives and not just the historical past through ideologies of yellow peril, model minority, and Islamophobia. Even so, this does not limit the role and impact of Asian Americans as individuals and as a group who gives back to this nation.
So much of our own circumstances are engrained in social inequalities produced by capitalism. Mode of incorporation explains, for example, how people join new societies without improving their status vis-a-vis inequality. If someone from another country has a better class status due to inequality in their home society, they are likely as immigrants to the U.S. preserve their social status. In the same scenario, someone from another country who is at the bottom of social inequality is likely to be incorporated into the U.S. as an immigrant with low social status. This transfer of social status when someone immigrates is referred to by sociologists as the “mode of incorporation.” Your status in gender, race, class, and sexuality in your home society is likely to remain the same in U.S. society when you first immigrate.
Power and privilege operate in society individually and systemically, through the categories of race, ethnicity, socio-economic status, gender, sexuality, and citizenship. Depending on the nation of origin, social class, educational attainment, gender and sexuality, as well as phenotype (“skin color”), the Asian immigrant experience in the U.S. is diverse and broad; and not as intelligent, submissive or passive, successful, or otherwise perceived by the White Spatial Imagination. Perpetuating the myth of the “Model Minority” is not social science nor objective. Instead, it is a form of xenophobia by the dominant group powerful to enforce strong cultural views toward racialized groups and individuals who are irrationally distrusted or feared.
Now is your opportunity to demonstrate your ability to utilize course concepts and incorporate case studies in producing knowledge through cultural criticism in writing.
Most unit lectures close with this same class discussion format. If you read and closely follow all the instructions for this class discussion, you should be able to do well here on out. I will be leaving you feedback and a grade for this assignment. It is important you review my feedback so you can address any issues in the next assignment.
I look forward to reading each of your posts and comments. Contact me ahead of time if you need an extension. I accept late posts but not late comments or self-reflections. Feel free to contact me if you have any questions, doubts, or need additional assistance.
Saludos,
Professor Fuentes
Overview and Criteria
Post by Thursday, Reply by Saturday
The three (3) steps to complete this assignment are explained below in more detail, but here they are in a nutshell:
Answer at least 2 question(s) or prompts.
Incorporate at least 2 course concepts in your discussion.
Leave 2 substantive/expansive comments.
There are two (2) dimensions that add up to the total points possible from this assignment.
Possible 25 Points = Your Post (Due Thursday)
Possible 10 Points = 2+ Comments (Due Saturday)
You’ll be graded on your ability to utilize course concepts to critically reflect on the unit’s lecture material. You must closely follow guidelines to earn maximum points.
⚠️ Post Submissions
I only grade the first post left by each student. If you submit a second post, it will not be graded. I only grade the first attempt. All other attempts after the first post will be ignored and ungraded. Recommendation:Work on your post outside of Canvas and don’t submit it until it meets your standards for submission.
25 Points: Post Guidelines
Your post should be no less than 400 words in length.
Your post is worth up to 25 points. It should contain:
4 pt: proper grammar. free of spelling errors, meets min. word count,
4 pt: use proper in-text citations,
6 pt: apply course concepts,
6 pt: incorporate reading and/or lecture(s) material,
5 pt: directly address all aspects of the prompt(s).
10 Points: Peer Comments
Each comment you leave is worth up to 5 points (depending on quality of post). Being nice and respectful is important, but it doesn’t get you all the points. Your comments need to be substantive and expand on the conversation or original post in a meaningful way.
Comments should contain at least one of the following:
Comments should provide new information about the original post (“substantive”).
Elaborate on a point made by the Poster or someone else on the thread (“expand”).
In other words, compliments and salutations do not count as satisfactory comments.
Pro Tips
What mistake will cost you the most points?
Use of in-text citations for all prompts is required. Every student should develop the habit of attributing information to sources in college-level writing. You can use either APAor MLA style for in-text citations. An example of citing the book in your text is as follows: (Takaki 2008, p.33). An example of citing lectures in your text is as follows: (Fuentes, “Unit #: Name of Lecture.”). Both the green number and lecture title must be changed to the appropriate source for credit.
Don’t want to lose your work?
Copy and paste your posts on Canvas, but write them elsewhere (Word, Google, etc.). Canvas logs users out with inactivity. If this happens, you aren’t alerted and your work will be lost even if you try to “save” or hit “submit.”
Need assistance with Canvas?
Cuyamaca has the Online Student Help Teamwho are ready to provide you with any Canvas support in real-time. If you need help using Canvas Discussions, please review the following guide: Canvas Student Guide – Discussions.
Continuing the Conversation
You have a voice; what’s your say?
Guidance: Select course concepts (2+) introduced in this unit to answer two (2) or more of the below question(s) or prompts according Dr. Fuentes’ lecture materials or Dr. Takaki’s A Different Mirror (2008). You can also incorporate your own personal experiences or recent events, but there has to be a clear connection to concepts and case studies.*
What are ways that xenophobia and “yellow peril” affect our understanding of American History?
Discuss Chinese immigration during California’s Gold Rush (Ch. 8).
How is the “Model Minority” or “Islamophobia” normalized and accepted in society?
Discuss Japanese immigration to the U.S. (1880s to 1920s) (Ch. 10).
Analyze the ways the racialization of Asian hurts or aids Asian Americans.
Discuss the concept of the “Color Line” during WII (Ch. 14).
From your own lived experience, what is another example of xenophobia or racialization?
Discuss the American (ethnic) dilemma of WWII (Ch. 14).
Add your own link to an ig post, tweet, or tik tok and explain how it is an example of White Spatial Imaginary or ethnocentrism; OR Write your own question and incorporate course concepts to explain the importance behind your question (and the value of the potential answer).
*No external sources. Base your response on the lecture materials provided and, as an add-on, you can tie in your own personal experiences, stories, and examples.

We Will All Be Minorities?
Gender and sex are a social construct performed across all levels of Western or colonized societies, especially in mundane and subtle ways. As a concept as a tool, it operates as an instrument of social control describing a range of characteristics, attitudes, and behaviors associated with Western notions of femininity and masculinity. Ultimately, gender is the performance of power.
As a method of social control, gender can best be described as concepts used to justify and excuse initial division of labor in Western societies and homes. Gender, as well as sexuality, becomes a way to police people to behave, act, and think in binary terms. In said cases, “men” (males) continued their education and trade outside the home as breadwinners while “women” (females) stayed home to care to domestic affairs and possibly children. Those babies that did not meet either category at birth or thereafter were often subject to genital mutilation or socially obligated to perform a binary gender, with few exceptions, for the rest of their lives. The dominant framework for thinking about sex/gender in binary terms is reproduced by “discourse” and culture – the verbal or symbolic associations made about people, identity, and gendered roles – commonly framed through the Master Narrative.
Sexuality is one area where power and control are expressed in the most intimate of ways. Our infatuation with sex is an extension of power’s operations by keeping sexuality complicit in the functioning of power. “Sex” is, historically speaking, subordinate to the agency of sexuality. It is a mistake to view sexuality in the service of sex (Foucault 157). In contrast, to oppose power it is necessary “to counter the grips of power with the claims of bodies, pleasures, and knowledges, in their multiplicity and their possibility of resistance” (Foucault 157). In introducing sexualities into theory of power, Foucault shows how power is tied to desire and, even more important perhaps, how desire is reconfigured by power.
Minority is a term used to describe any group of people who does not get equal access to power, wealth, and resources compared to a dominant group (majority group) based on its cultural and physical differences. A minority group consists of characteristics such as race, ethnicity, religion, gender, sex, and disabilities. A related term is Minorities, used to describe more than one group of people who does not get equal access to power, wealth, and resources compared to a dominant group. It is usual for the dominant group to refer to African Americans, Native Americans, and Latinos as “minorities.”
Minoritized is to consider people as a minority (= any small group in society that is different from others because of their race, religion, political beliefs, etc.) or make them feel as though they are a minority, in a way that is harmful or unfair. In contrast to “minority,” this term places the emphasis on the power struggle, and on the systemic issues at play. It’s also an adjective, which requires you to add “group” or “people” so it’s people-first language. To treat a group as a lesser status is to minoritize the group, which marginalizes their place in society.
Begin to think and think again
You have a mind; what’s it thinking?
Instructions: Write 100+ words on one (1) course concept above.*
Define what the concept means in your own words (3 pts).
Think of a useful description or example of the concept (4 pts).
Create your own reason that explains why this concept is significant to Ethnic Studies (3 pts).
Guidance: Follow the three (3) requirements above to receive maximum points. No other rules apply (citations, format, etc.). Base your response on what you already know, not the unit lecture. In other words, use your own knowledge to create knowledge about a concept: you can tie in your own personal experiences, stories, and examples. You can also use other concepts from this course to explain any aspect of your response.