Week 8 Discussion Forum No unread replies.No replies. View this TED Talk. (Links

Week 8 Discussion Forum
No unread replies.No replies.
View this TED Talk. (Links to an external site.).

In our world, we commonly think of gender as just male and female, especially when we’re categorized by things like color and clothing. It seems like we can’t even look at anything without seeing it divided into boys and girls — this is heteronormativity. But the thing is, not everyone identifies as one or the other, or expresses themselves that way. Even if someone “looks” like a guy (also evidence of heteronormativity), they may prefer to use the pronouns “she/her” — and we need to respect that by not misgendering people. Some people identify as genderfluid, which means that your identify (like male or female), can move from one side of the spectrum to the other, and some people are genderless, or identify with neither of the genders that are imposed on people. The most important thing to remember is that everyone’s gender can be unique and everyone’s gender identity, gender orientation, and gender expression is important to respect.
Further, “female” and “male” even as solely biological designations still exclude some people, who are often classified as “intersex.” Intersex means that one’s anatomy or genetics does not line up with typical expectations for either male or female people. Heteronormativity would have society believe that to be intersex is to not be normal — which is simply untrue. For intersex people, doctors and parents have often decided their gender at birth and genital reconstructive surgery is performed to turn what is seen as atypical genitalia into something that is recognizably either male or female. Intersex identity also has its own spectrum, which means that anatomy for an intersex person can be entirely different for another intersex person.
Answer the prompts below (be sure to answer all parts of question.)
What is the difference between heterosexism and homophobia?
Can people change their sexual orientation if they want to? Or are people born with their orientation?
Why do researchers generally recommend using the term “sexual orientation” rather than “sexual preference”?
What are your thoughts about the June 2020 Supreme Court ruling involving employees’ discrimination based on sexual orientation? How does that compare to anti-discrimination laws involving gender, ethnicity/ race? Be sure to support your ideas with research from at least one reputable/ academic source.
Remember to respond to two of your classmates’ initial posts with your own opinions and ideas.

*APA FORMAT* In this module 2 main learning objectives were identified:<

*APA FORMAT* In this module 2 main learning objectives were identified:<
Recognize the role of cultural competence in addictions treatments<
Demonstrate a model of treatment for various special populations<
The purpose of this assignment is to provide you opportunity to demonstrate your competency in meeting both objectives. To complete the assignment you will develop 12 principles for Culturally Competent Practice (10 individual-level and 2 organizational-level) using Motivational Interviewing, Family Systems theories, or any Other Empirically Supported Practice Approaches. Include the following elements in your work:<
Each principle will be identified as a heading with the following contents:<
Identify of which of the 6 special populations your cultural competent practice principle pertains to<
Identify the practice method (motivational interviewing, family systems of other empirically supported approaches)<
A complete description of the principle that includes relevant citations from the literature and readings (a minimum of 2 citations for each principle) in your discussion of the role of cultural competence in your application of the principle<
Complete at least one principle for all 6 of the special populations listed in the overview page<
Identify the strengths and limitations of your approach<
Provide two principles of how organizational level cultural competence should be enacted for one of the special populations and cite literature and readings (minimum 2 principles per principle)<
Complete a table that provides the following summary of your work. The table should include all 10 principles individual level and 2 organizational level cultural competence principles:<
Cultural Competent Practice Principle (CCPP) Special Population Citations (minimum of 2 per principle)<
The final paper should be single-spaced, use times new roman 12 font and include:<
a cover page,<
a heading for each of your 10 individual level principles<
a heading for each of your 2 organizational level principles<
at least 2 paragraphs for each of your 12 principles,<
your table<
a reference page

Previous work on this included in uploaded documents. <
This includes a

Previous work on this included in uploaded documents. <
This includes a focused literature review for both the problem(s) and the intervention(s) selected. If there is a litter of literature available for either the problem(s) or intervention(s), state this in your report and use a broader coverage. Your literature review should include:<
The incidence/prevalence of the problem(s) (if this information is available)<
How problems are manifested by clients (e.g., symptoms, consequences, etc.)<
Any information about causes or factors related to the problem(s)<
Interventions used to remedy the problem(s)<
Information about the agreement/disagreement within the literature about referred or best-practice interventions<
An assessment of the relative effectiveness (from research) of intervention(s)<
Your literature should include at least five studies that evaluated an intervention. Please identify these with an asterisk (*) in your reference list.<
B. A detailed intervention plan that includes a full description of the intervention technique(s) selected for your SSD client-system and client-specific details on how you will conduct the intervention. There should be enough detail that your intervention could be replicated by someone after reading your description of it.<
C. Statement of the purpose(s) of the evaluation research, treatment goals and objectives, and hypotheses.

(1) Based on the week 7 content, how do you define “truth” and do you think it’s

(1) Based on the week 7 content, how do you define “truth” and do you think it’s achievable or even desirable in a memoir?
Use specific examples (cited quotations) from the memoir AND Slate content pages
Identify 1-3 differences/similarities in each member’s definition
(2) In the podcast “One Family, Three Memoirs, Many Competing Truths,” the interviewer quotes Lee Gutkind on truth and memoir: “It’s your story, that’s what a memoir is. [. . .] It’s your own personal truth, and it is not necessarily factually accurate, and it’s not necessarily the truth that other people have possessed.”
How does Burroughs conceptualize truth in the first 2 chapters of his novel? How does his version of “truth” line up with those around him?
Include 1-2 quotations from Burroughs
How do the memoirs by Burroughs’ mother and brother address their truths?
(3) In February of 2020, we discovered that Oprah Winfrey had (again) been tricked by a memoirist who wasn’t telling the whole story. In fact, one article by Rebecca Alter (2020) for the Vulture describes the controversy in these terms: “The book [American Dirt] has been called “stereotypical,” and “appropriative” for “opportunistically, selfishly, and parasitically” telling the fictional story of a Mexican mother and son’s journey to the border after a cartel murders the rest of their family. One of the more common knocks is that the book engages in “brownface,” incorporating a nominally Mexican perspective that was written by a woman who — as recently as 2016 — identified as “white.””
Share with your group another example of “false” Life Writing (memoir, video, documentary) that has been called out by their readers
Include 1-2 examples from course content
In your opinion, do Life Writers have an obligation to tell the truth?

Learning Goal: I’m working on a humanities multi-part question and need an expla

Learning Goal: I’m working on a humanities multi-part question and need an explanation and answer to help me learn.Watch “Sal Castro and the 1968 East L.A. Walkouts” . After watching the film answer the following questions in a paragraph format eachHow did the film make you feel?
What aspect of the film did you most engage with? What will you remember?
What does it make you think about?
Would you watch it again? Why/why not?
How would a second viewing be different? What would you focus on?
How would different people view this film differently (dependent on gender, age, ethnic background, worldview, etc)?
What are your final thoughts about the documentary?

Learning Goal: I’m working on a humanities and need to help me learn.Watch the f

Learning Goal: I’m working on a humanities and need to help me learn.Watch the following TED Talk and answer the following questions:The danger of a single story, by Novelist Chimamanda Adichie (July 2009).1- What does the novelist, Chimamanda Ngozi Adichie, say about: Power, Voice, (Identity) Labels?2- In what ways can “rejecting the single story” help break stereotypes? 3- How has her experience with the single story affected her understanding of her own biases and of the biases of oth4- Consider the following definition of ETHNOCENTRISM, which expands on the definition in our readings:”Ethnocentrism is the attitude whereby an individual views the world from the point of view of their own culture. There are two variations of ethnocentrism: (1) the assumption that what is true for your own culture is true for other cultures and (2) the belief in the superiority of your own culture in comparison with other cultures.” (Angelini, 2012, p. 112)How can this definition of ethnocentrism help shed light on the dominant groups acceptance of the single story?

Learning Goal: I’m working on a humanities writing question and need an explanat

Learning Goal: I’m working on a humanities writing question and need an explanation and answer to help me learn.This final essay should be approximately 2000 words, double spaced. You should provide at least six peer reviewed sources to help substantiate points made throughout you essays. Just as with the Mini Essays, you must use Chicago Style for references. At the beginning of your essay, please write out fully which prompt you will be writing about, as sometimes it is not always clear for me as a reader.You are required to choose one of the following prompts for your final essay. What role does karma play in Buddhism? Who does it affect, and how does it affect them in this life, the afterlife, and the next life?

Learning Goal: I’m working on a humanities writing question and need an explanat

Learning Goal: I’m working on a humanities writing question and need an explanation and answer to help me learn.(250 words)Instruction: The final project can be completed in any format but it must contain these three elements:It must describe the dynamics and scope of the social problem. This requires doing some research.
It must use the triangle model of social analysis by thinking through the role of ideology and institutions and their impact on individuals and communities.
It must contain a statement of approximately 250 words that explains how you incorporated the triangle model in your submission and how your submission can play a role in educating others about your social problem.
(300-350words)Questions to Consider:How do different ideologies frame the social problem? Specifically, what do people with different ideological beliefs claim is the cause of and solution to the particular problem?

Learning Goal: I’m working on a humanities writing question and need an explanat

Learning Goal: I’m working on a humanities writing question and need an explanation and answer to help me learn.Speech Critique (50 points / 12.5%)This assignment is designed for you to apply the theory and skills you have learned in this class. You should plan on observing and evaluating a filmed public speech ONLINE (i.e., via YouTube, Vimeo, or other technology mediated. This assignment will average 5-7 pages of text (do not exceed 10 pages of text), the assignment will be in Times New Roman style font, font size 12, double spaced, 1” margins (on top, bottom, right, and left sides. Grammar and syntax play an important role in your ability to convey arguments. I will deduct 20% from your total score for every five (5) grammatical errors. I will NOT accept late assignments. Please submit this assignment in the designated submission portal.Criterion 1: YOUR DESCRIPTION OF THE SPEECHPlease note the type of speech you are criticizing (informative, persuasive…?). Also, note the context of the speech. In other words, did you view a school seminar, a discourse held in a house of worship, a political rally…? Explain. Describe the demographics of the audience.Criterion 2: YOUR ASSESSMENT OF THE INTRODUCTION OF THE SPEECHDid the speaker provide a thesis statement? What was it? Did the speaker use attention-getting devices? What were they? How effective were they? Did the speaker provide the overview of the speech? In what form was it presented? Was it in narrative form? Outline form? Overall, did the speaker’s introduction allow you to anticipate topics within the speech? Explain.Criterion 3: YOUR ASSESSMENT OF THE BODY OF THE SPEECHHow did the speaker support his/her claims? What type of evidence was used? Were the sources of this evidence credible? Why or why not? How closely did the speech adhere to the overview, if any, provided at the beginning? Explain.Criterion 4: YOUR ASSESSMENT OF THE CONCLUSION OF THE SPEECHHow did the speaker finalize the claims? In other words, what links tied the speech? Were these links effective/ineffective? Why? Did the initial speech framework coincide with the concluding remarks? Did the speaker stray from the established logical frame? Explain.Criterion 5: YOUR ASSESSMENT OF THE SPEAKERHow did the speaker’s style affect your overall reaction to the speech? For example, did the speaker’s use of eye contact, pitch, vocal rate…distract you from the intended message? How? What types of proofs were used to gain credibility? What other stylistic devices were effective/ineffective? Explain.Criterion 6: YOUR RECOMMENDATIONSAfter assessing the various components of the speech, provide your recommendations for improvement. It is NOT acceptable to provide recommendations without elaboration. In other words, do not write, “…I didn’t like the speech…just because.” If you make a claim, then substantiate that claim. Use evidence from your text or lecture material. Always answer the WHY question.you can pick any ted talk video you like, it just has to be over 12 mins, here is some examples you can choose from,or choose one youd like, just tell me before hand please.

Kathleen O’Shea at Saturday, November 20, 2021 5:19:16 PM Please read the short

Kathleen O’Shea at Saturday, November 20, 2021 5:19:16 PM
Please read the short story “Everyday Use” by Alice Walker (in Week 12 folder), and write a response which begins with your raising a larger question raised through the play about the role of art and the creative process. Look back specifically to the scene where Mama gives Maggie the quilts and Maggie says she doesn’t need them. What is she trying to say here? Why does her art (and, therefore, her grandma’s) carry on? Why does Dee want the quilts? What do you think Walker wants us to come away with from this story? Who is really the person with wisdom here? Don’t forget to quote from the story to support your points.
Journal #8
Posted by
Kathleen O’Shea at Monday, November 8, 2021 11:45:49 AMPlease read and respond to the following article, using at least one other article you find about the subject of who owns African art. Consider the various perspectives under debate but also who should be able to experience the art and learn about the art and culture that created it. SHOW ME you have learned some of the problems/complexities about this subject through the work in this unit.
European Museums Keep Talking About Repatriating Colonial Objects. African Artists and Curators Have Ideas on How to Actually Make It Happen
A display of Benin Bronzes at the British Museum in London, Dec. 10, 2019.
Lauren Fleishman—The New York Times/Redux
OCTOBER 20, 2020 3:15 PM EDT
Grace Ndiritu has always thought of her work as both spiritual and political. The British-Kenyan artist uses video installations, paintings and performance practices with different communities, working with groups including refugees in Brussels and Indigenous activists in Argentina. Since 2012, she’s been working on a personal project called “Healing the Museum,” stemming from her feeling that museums were not connected with what was going on in the outside world, and were not welcoming to all communities. “I felt like the way to change or engage with museums is to use other methods like shamanism and meditation to open up the discussion about how we use objects and how we interact as people together in museum spaces,” she says.
As part of a two-year international project titled “Everything Passes Except the Past,” Ndiritu was invited by Germany’s Goethe Institute to hold a “Healing the Museum” performance and workshop last year in the Royal Museum for Central Africa in Brussels. The institution has a loaded history: it was initially built in 1898 to showcase the colonial spoils and violence led by King Leopold II in what was then the Congo Free State, even housing a “human zoo” in the museum’s gardens. After a long-awaited renovation promising to address and revamp the museum’s telling of its colonial history, it reopened in 2018 to mixed reactions. A year later, Ndiritu held a meditation workshop in one of the museum’s rooms showcasing objects, specifically mineral artifacts, that had been stolen from the Congo. For Congolese artist Freddy Mutombo, joining the workshop in this setting had a profound effect on him. “For me, this room symbolizes the current suffering of the Congolese people and the war for minerals. So it was all the more powerful.”
Debates over the restitution and repatriation of looted colonial-era objects from European museums back to their sites of origin have been happening for decades. But this year, amid the Black Lives Matter movement originating in the U.S., and broader protests against racial injustice across Europe, more people are connecting the scars of colonial violence to its modern-day legacies.
Read More: Why a Plan to Redefine the Meaning of ‘Museum’ Is Stirring Up Controversy
These considerations coincide with the culmination of “Everything Passes Except the Past,” which brought together artists like Ndiritu and Mutombo, as well as curators, art historians and educators from across Africa, Latin America and Europe to explore the colonial heritage of European museums. The Fondazione Sandretto Re Rebaudengo, an Italian arts gallery based in Turin, is hosting an exhibition featuring the work of Ndiritu and other artists in response to these themes.
The project comes at an interesting time for both Germany and Italy, which experienced waves of protests against racial injustice this year. As the pandemic and the eruption of the Black Lives Matter movement have prompted people to reflect on issues like restitution, institutions across Europe are grappling with how to respond to demands for the return of objects. These debates are particularly fraught in Germany and Italy. The German colonial empire occupied large parts of modern-day African countries in the late 19th and early 20th century, including Rwanda, Tanzania and Cameroon. It also committed the first genocide of the 20th century, against the Herero and Nama people of modern-day Namibia; earlier this year, the Namibian president turned down the German government’s offer for reparations saying that compensation and terminology used needed to be revised. Italy’s colonial empire included Eritrea, Ethiopia and Libya, and under Fascist leader Mussolini in the 1930s, expanded and consolidated its empire, merging these countries to become the Italian East Africa colony. Observers note today that the country’s colonial history is not taught in schools and is rarely acknowledged by politicians. The Black Lives Matter movement struggled to take off in Italy in the same way as other European countries this summer, although the brutal beating and killing of a young Black man near Rome sparked public outcry in September.
Kenyan-British artist Grace Ndiritu leads a workshop titled ‘Healing the Museum’ at the Royal Museum for Central Africa in Tervuren, near Brussels, as part of the Everything Passes Except The Past conference in 2019.
Caroline Lessire
How the restitution debate has changed in recent years
In 2017, French President Emmanuel Macron gave a speech in Ouagadougou, capital of Burkina Faso, in which he promised that the return of African artifacts would be a “top priority for his government.” Art historian Didier Houénoudé says that speech set a different tone for the debate on restitution. “We went from a categorical and polite refusal to an expression of a possibility of discussion, from a ‘No! Impossible!’ to a ‘Yes, maybe but…,’” says Houénoudé, who is a specialist in Beninese cultural heritage and contemporary art, and also participated in the “Everything Passes Except the Past” project.
Macron later commissioned Senegalese economist Felwine Sarr and French art historian Bénédicte Savoy to investigate the question of repatriation in France. Their groundbreaking 2018 report called for French museums to permanently return an estimated 90,000 sub-Saharan African artifacts, if the country of origin asks for them. The report also suggested a procedure for their return. “[The origins of these artifacts] is no longer a secret. Now more people are realizing this is a war-related and colonialism-related issue, and there’s more knowledge, awareness and transparency,” Savoy says.
For artist Mutombo too, there has been an evolution in attitudes towards restitution since Macron’s announcement. Mutombo’s artistic practice is multidisciplinary, and reflects on the history of the Congo. His recent project, titled “Explorations,” uses archive images from the Congo during the colonial era. “History has a central place in my work,” he says. “I think of it from a double point of view: that of the colonized and that of the colonizer.” Mutombo says that in recent years, it has become much easier for him to access the archives at the Royal Museum for Central Africa near Brussels. He says that his requests for archival material used to be refused, but the museum now supports his work.
Action has been slow
While some museums have shown themselves to be more willing to engage in these discussions, others have “shown their anguish at seeing themselves stripped of the collections they hold,” says Houénoudé. Although a recent bill passed through the French Senate that would guarantee the permanent return of 26 objects looted from Benin during a violent 19th century siege, as well as a Senegalese sword and scabbard, no items have been returned permanently from French museums since Sarr and Savoy made their recommendations two years ago. The British Museum too has been critiqued for announcing plans to loan the Benin Bronzes back to Nigeria, rather than permanently return them. “In a way, colonization continues, and Europe does not want to give back the thousands of objects it has badly acquired,” Mutombo says. “Paternalistic and unbalanced relationships have not disappeared with the wave of a magic wand.”
Freddy Mutombo’s ‘Explorations’ project series, 2014.
Courtesy of Freddy Mutombo
He is not alone in critiquing the slowness of museums to act, rather than only talk or debate about the issue of restitution. For art historian Houénoudé, the cooperation and dialogue between European countries and African states has mostly been one-sided, and often condescending on the part of European states. “Europe gives (lessons) and Africa receives (these lessons),” he writes in an email to TIME.
How African artists, activists and curators are taking matters into their own hands
Historically, arguments against restitution and repatriation have included the claim that “African institutions may lack capacity and resources to preserve, research, and display [objects] adequately,” according to a recent report by the African Foundation for Development. Some say this reflects an ongoing paternalistic attitude towards African countries, where curators and experts have for some time been planning how to best store and display these objects in ways more relevant to their specific cultural context. Yaa Addae, a Ghanaian writer and researcher who took part in a workshop in Lisbon as part of “Everything Passes Except the Past,” is planning a series of community workshops looking at the futures of restitution, and what it might look like when a community, rather than a state or government, takes stewardship of returned ancestral art and objects. She’s been inspired by the work of indigenous and Black American curators and activists, as well as institutions who have approached restitution in innovative ways, like Yale Union, a contemporary arts centre in Portland, Oregon, which repatriated its only building to a Native American group earlier this year.
“Even in Ghana, we still use colonial forms of display,” says Addae, who has been thinking of ways objects can connect with communities. “I’m looking at case studies for how to reintegrate loot back into communities, and how to work against that paternalistic idea of, ‘oh we can’t return the art because nobody knows how to look after it,’” she says.
Addae, along with artist Ndiritu and other participants of the project, wrote an essay about her practices for inclusion in a catalogue to accompany the project, scheduled to publish in December. In her contribution, Addae writes about the different forms museums could take, and how objects in Ghanaian culture are not just works of art, but works of craftsmanship with purpose and function, like ancestral masks for example. “It doesn’t seem helpful to have something that was made to be used in life and the community behind a glass wall with a label, and not honoring its true intention,” she says. Addae previously worked with the ANO Institute of Arts and Knowledge in Accra, Ghana, as a researcher on their mobile museums project, which reimagined a museum as dynamic rather than fixed in one location, moving around different regions of Ghana and interacting with different communities to tell their own histories through their words.
Across the continent, researchers and experts are preparing to safely receive and conserve their cultural heritage. Benin City, the capital of Edo State in Nigeria, will host a new Benin Royal Museum, intended to house the famous Benin Bronzes and scheduled to open in 2021. In Senegal, the Museum of Black Civilizations opened in 2018, and currently holds the sword and scabbard included in the list of objects that France could move to permanently return.
Some fear that despite African efforts, European institutions remain unwilling to reckon with the past. Mutombo points to the case of Belgium’s legacy in the Congo. While he would like to see restitution of at least 70% of the Royal Museum for Central Africa’s collections to the Congo, he doesn’t think Belgium is prepared to recognize “the dark side of its history” in the country.
Freddy Mutombo’s ‘Explorations’ project series, 2014.
Courtesy of Freddy Mutombo
And some are refusing to wait for European museums to stop talking about restitution and reparation and are starting actions in a literal sense. In June, Congolese activist Mwazulu Diyanbanza, along with four other activists, livestreamed themselves attempting to remove a Chadian funeral staff from display at Paris’ Musée du Quai Branly-Jacques Chirac. Four activists were charged in October of aggravated theft and received fines.
The lack of African cultural heritage in Africa will only lead to greater discontent among younger people, says Houénoudé, who is also a lecturer and teacher at University Abomey-Calavi in Benin. He says many of his students support Diyabanza’s actions as a legitimate way to reclaim their heritage. “It is painful that others always want to teach us about how we preserve our heritage, about our history that these others have themselves painstakingly destroyed.”
Journal #7
“European Museums Keep Talking About Repatriating Colonial Objects. African Artists and Curators Have Ideas on How to Actually Make It Happen”. Time Magazine
How Artists and Curators Think We Can Repatriate Colonial ArtifactsAfter global racial justice protests, looted colonial-era artifacts are in the spotlightTime
Be sure to cite from the article, itself in your response. This should not only be a personal response; it should also show me that you are thinking about the larger questions posed in the article. Show me what you have learned from this unit.
Journal #6
Posted by
Kathleen O’Shea at Tuesday, October 5, 2021 4:18:22 PM
Choose one of the six pieces of art you plan as your core work for your project. Since you have just discovered it, use the tools from the work in this chapter and folder on analysis to write a letter to a family member or friend to explain your new discovery. You are trying to convince him/her why this is such an important work. Use the tools of analysis. Don’t forget titles of visual pieces, short stories, or poems go in quotation marks.
Yes, write this as a letter.
Journal #5
Find a recent article related to the Arts in a respected journal/newspaper/periodical (check database: Read, annotate and respond to it. Provide a brief summary of its purpose and argument, and then provide a critical response to it.