DOCSLIB.ORG

I'm Not Sure How Much This Was About Music:” Networks, Locations and Rituals of Identity in Pittsburgh’S Grassroots Music and Arts Scene

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I'm Not Sure How Much This Was About Music:” Networks, Locations and Rituals of Identity in Pittsburgh’S Grassroots Music and Arts Scene "I'm not sure how much this was about music:” Networks, Locations and Rituals of Identity in Pittsburgh’s Grassroots Music and Arts Scene by Amy Denise McDowell B.A., Sociology, University of Colorado-Colorado Springs, 2006 MA, Sociology, University of Pittsburgh, 2008 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Arts University of Pittsburgh 2008 UNIVERSITY OF PITTSBURGH This thesis was presented by Amy Denise McDowell It was defended on November, 7th, 2008 and approved by Dr. Deborah B. Gould, Assistant Professor, Department of Sociology Dr. Akiko Hashimoto, Associate Professor, Department of Sociology Thesis Director: Dr. Kathleen M. Blee, Distinguished Professor, Department of Sociology ii Copyright © by Amy Denise McDowell 2008 iii "I'm not sure how much this was about music": Networks, Locations and Rituals of Identity in Pittsburgh’s Grassroots Music and Arts Scenes Amy McDowell, M.A. University of Pittsburgh, 2008 Scenes are dynamic social relationships and experiences that are comprised of networks, locations, and rituals. Scene networks form in recognizable meeting places around activities such as live music shows, bike collectives, drag performances and gambling rings. This paper explores how cultural producers (i.e. band members, DJs, event organizers) perceive and use networks, locations and rituals in Pittsburgh’s grassroots music and arts scenes. Whereas previous research examines the experience of a single scene, this study explores the many ways that cultural producers activate a variety of scenes under the same umbrella. This study examines how predominately white scene networks perceive and benefit from gentrification while also attending to how gender and sexual identity affect where scene events are held. Women and queer identified artists do not have the same options as their heterosexual male counterparts when it comes to creating scene events in places opened by urban revitalization projects. This study also demonstrates that the rituals cultural producers engage are particular to the identities they seek to enact. Cultural producers use rituals of identity to deconstruct hegemonic constructions of gender and sexuality. Through performance rituals, participants empower stigmatized social identities. iv TABLE OF CONTENTS PREFACE..................................................................................................................................... ix 1.0 INTRODUCTION........................................................................................................ 1 1.1 PURPOSE OF RESEARCH............................................................................... 7 2.0 LITERATURE REVIEW............................................................................................ 8 2.1 SCENES................................................................................................................ 8 2.1.1 Networks ........................................................................................................ 8 2.1.2 Locations...................................................................................................... 11 2.1.3 Rituals .......................................................................................................... 15 2.2 SCENES VS. SUBCULTURES ........................................................................ 16 2.3 MUSIC AND MUSIC SCENES ....................................................................... 18 2.3.1 Music Scenes and Solidarity ...................................................................... 20 2.4 IMPLICATIONS FOR RESEARCH .............................................................. 23 3.0 METHODOLOGY..................................................................................................... 25 3.1 DEFINING THE SAMPLE .............................................................................. 29 3.1.1 The Places .................................................................................................... 29 3.1.2 The Penn Avenue Arts Initiative: Running the “ghost out of town” ..... 31 3.1.3 The People.................................................................................................... 34 3.2 DATA COLLECTION TECHNIQUES AND INSTRUMENTS .................. 36 v 3.3 DATA ANALYSIS............................................................................................. 39 3.4 LIMITATIONS AND CHALLENGES ........................................................... 40 3.5 RESEARCH ETHICS....................................................................................... 41 4.0 SCENES: NETWORKS, LOCATIONS AND RITUALS...................................... 42 4.1 LOCATIONS ..................................................................................................... 43 4.1.1 Grassroots Music and Arts Scenes: Making a “small town” out of a big city ....................................................................................................................... 43 4.1.2 Neighborhood Changes: “It’s way more happening here now”............. 45 4.1.3 The Quiet Storm Coffeehouse: “A community gathering place”........... 58 4.2 NETWORKS...................................................................................................... 63 4.2.1 Overlapping Networks: “I don’t think I can just like lock myself into one” ....................................................................................................................... 63 4.2.2 Network Clusters: Political Punk and Rickety Scenes ............................ 67 4.2.3 Exclusionary Networks: “It’s kind of a social scene and social scene I just don’t feel comfortable in.” ................................................................................. 74 4.2.4 Girl Bands: “The theme is breast”............................................................ 80 4.2.5 Queer Networks: “It’s really isolating.” ................................................... 88 4.3 RITUALS............................................................................................................ 97 4.3.1 Situational Identity: “I don’t want to categorize anyone in a way”....... 99 4.3.2 Rituals of Identity: “A type of social workshop” ................................... 100 5.0 CONCLUSION......................................................................................................... 113 APPENDIX A............................................................................................................................ 118 APPENDIX B ............................................................................................................................ 120 vi BIBLIOGRAPHY..................................................................................................................... 121 vii LIST OF FIGURES Figure 1: Smells Like Gina "Peeling Back the Beef Curtains" debut album cover. ...................... 2 Figure 2: My Niece Denise "Don't Get Your Hopes Up" debut album cover................................. 4 Figure 3: Operation Sappho "Furry" dance party flyer. ................................................................. 6 Figure 4: Map of Scene Locations................................................................................................ 30 viii PREFACE I am incredibly grateful to the people who took time out of their day to talk with me for this project. I met some extraordinary people along the way and became inspired by people’s willingness and eagerness to “make things happen.” For their participation in this research, they received no material compensation. I do plan to share this research with interviewee participants in hopes that our collaborative efforts to make this thing happen will have some positive impact on scenes in Pittsburgh’s East End. Thanks to Lauren, Abby, and Katie of Smells Like Gina for allowing me to include their “Pulling Back the Beef Curtains” album cover; Beth, Heather, Sarah, and Tara of My Niece Denise for letting me include their “don’t get your hopes up” album cover; and lastly, DJ Mary Mack for providing her Operation Sappho dance party flyer art work for this paper. I am extraordinarily grateful to my advisor, Professor Kathleen Blee, for her generosity in time and critical feedback. I also thank my Thesis committee members, Professors Deborah Gould and Akiko Hashimoto for their feedback and support. Dr. Gould created a department wide Power, Resistance and Social Change workshop which allowed me to present my findings to students and professors both within and beyond the Sociology department. I express my gratitude for Dr. Blee’s advisee workshop group and my graduate cohort for their thoughtful criticism and encouragement. I also want to thank my friend Michelle Fried for giving me feedback on the several rough drafts she read. Thank You! ix 1.0 INTRODUCTION My study explores grassroots music and arts scenes in Pittsburgh, Pennsylvania’s East End. In this section, I describe three white grassroots music scenes enacted by women cultural producers to show the myriad ways women activate such scenes. Smells Like Gina: “Women work harder to get less far” “The show is starting. Come in now!” screams a young woman from the basement entryway. This woman wearing a suit jacket, bowtie and bleached mohawk is ecstatic about the Smells Like Gina “reunion” show. The show costs a $5 “donation” and features an all local female line-up that includes the acoustic singer/songwriter, She Feels
Load more

Recommended publications
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Slate.Com Table of Contents Explainer Can You Be a Gay Mormon?
    Slate.com Table of Contents explainer Can You Be a Gay Mormon? fighting words Advanced Search Fidel Gets Religion architecture foreigners For Sale: 200,000-Square-Foot Box Still Waiting for Chinese Democracy books foreigners How To Read the Quran War of Words books gabfest The Dark Matter of Our Cherished Document The Quaker Meeting Gabfest corrections gaming Corrections Wii Will Rock You! culture gabfest hey, wait a minute The Culture Gabfest, Identity Crisis Edition Only in America? culturebox hot document I Vant To Upend Your Expectations CBS's Dream Team culturebox human nature The J. Crew Catalog Destroyed My Spirit Children of the Clones dear prudence human nature The Devil, They Say Drone Ask, Drone Tell drink jurisprudence What To Drink on Thanksgiving I Beg Your Pardon dvd extras low concept Buster Keaton's The General Dear President Obama explainer moneybox Explainer's Wildfire Roundup Harvard's Investment Errors explainer moneybox The Globavore's Dilemma The Subprime Good Guys explainer movies Explainer's Same-Sex-Marriage Roundup Twilight explainer music box The Evergold State Welcome to the Jumble explainer other magazines Explainer's Pirate Roundup America's Checkup explainer other magazines Measuring the National Carbon Footprint The Redprint explainer poem Behold the Power of Michelle "Omaha Beach" explainer politics The Millionaire Arsonist Dingell Buried Copyright 2007 Washingtonpost.Newsweek Interactive Co. LLC 1/85 politics the undercover economist Obama's White House, Clinton's Team Only the Good Buy Young politics
    [Show full text]
  • Album Reviews
    Album Reviews I’ve written over 150 album reviews as a volunteer for CHIRPRadio.org. Here are some examples, in alphabetical order: Caetano Veloso Caetano Veloso (A Little More Blue) Polygram / 1971 Brazilian Caetano Veloso’s third self-titled album was recorded in England while in exile after being branded ‘subversive’ by the Brazilian government. Under colorful plumes of psychedelic folk, these songs are cryptic stories of an outsider and traveller, recalling both the wonder of new lands and the oppressiveness of the old. The whole album is recommended, but gems include the autobiographical “A Little More Blue” with it’s Brazilian jazz acoustic guitar, the airy flute and warm chorus of “London, London” and the somber Baroque folk of “In the Hot Sun of a Christmas Day” tells the story of tragedy told with jazzy baroque undertones of “God Rest Ye Merry Gentlemen.” The Clash London Calling Epic / 1979 London Calling, considered one of the greatest rock & roll albums ever recorded, is far from a straightforward: punk, reggae, ska, R&B and rockabilly all have tickets to this show of force that’s both pop and revolutionary. The title track opens with a blistering rallying cry of ska guitar and apocalypse. The post-disco “Clampdown” is a template for the next decade, a perfect mix of gloss and message. “The Guns of Brixton” is reggae-punk in that order, with rocksteady riffs and rock drums creating an intense portrait of defiance. “Train in Vain” is a harmonica puffing, Top 40 gem that stands at the crossroads of punk and rock n’ roll.
    [Show full text]
  • American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.
    [Show full text]
  • Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
    MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas
    [Show full text]
  • Life's Balancing
    A BAHÁ’Í COMPANION FOR YOUNG EXPLORERS SEPTEMBER /OCTOBER 2012 Life’s Balancing Act ‘ABDU’L-BAHÁ IN CANADA ARE YOU A SMART SPENDER? tt Bahá’í National Center 1233 Central Street Evanston, Illinois 60201 U.S. 847.853.2354 [email protected] WHAT’S INSIDE SUBSCRIPTIONS: 1.800.999.9019 WWW.BRILLIANTSTARMAGAZINE.ORG © 2012 NATIONAL SPIRITUAL ASSEMBLY OF THE BAHÁ’ÍS OF THE UNITED STATES FAVORITE F E ATURES Amethel Parel-Sewell EDITOR /CREATIVE DIRECTOR C. Aaron Kreader DESIGNER/ILLUSTRATOR Bahá’u’lláh’s Life: Mission of Peace Amy Renshaw SENIOR EDITOR 3 He was known as “Father of the Poor.” Susan Engle ASSOCIATE EDITOR Annie Reneau ASSISTANT EDITOR Foad Ghorbani PRODUCTION ASSISTANT Riley’s Rainforest CONTRIBUTORS 4 Can more money make you happier? Lisa Blecker • Hartley Bayan Carlson • Steven Courtney Keyvan Geula • Dan Jones • Gabrielle Kang-Auger Tayyab Asadullah Kermani • Dr. Philip Koomen • Tuesday Rain LeDuc Nur’s Nook • Doug Marshall • Leily Anastasia Moghaddam Vijay A. Mohandas • Novin Nekoui • Ng Li Li • Donna Price 6 Build a balanced bird with beads. Gail Radley • Hannah Reimer • Dr. Stephen Scotti • Tihut Tamrat Ranger Kait Thomas • Taylor Thurston • Dr. Ken Yeang Original illustrations by C. Aaron Kreader, unless noted. Maya’s Mysteries By Lisa Blecker: Photography for pp. 6 and 8 8 Amaze your friends with a cool balancing trick. By Foad Ghorbani: Art for pp. 5 and 17 Historical photos courtesy of National Bahá’í Archives, unless noted. Story and activity credits: We Are One By Amy Renshaw: 11, 14, 16, 24, 27 11 Explore and care for the place we all call home.
    [Show full text]
  • How Chelsee Learned to Love Budgeting
    How Chelsee learned to love budgeting [music] 0:00:01 Nicole Antoinette: I'm Nicole Antoinette, and this is Real Talk Radio, a podcast filled with honest conversations about... everything! Today's episode is part of our new series called: But How Though? Where I ask people that exact question, how? How do you get out of debt? How do you change career? How do you stop comparing yourself to people on the Internet? How do you have more fulfilling sex? Build stronger friendships, decide whether or not to have kids? Each episode of the series explores a different question like that with a different featured guest, someone who is so bravely joining me to share the ups and downs of how they've managed to close the gap between what they say they want and what they actually do. 0:00:42 NA: Speaking of the how, let's talk for a second about how this show gets made, because behind the scenes, our podcast does things pretty differently in a few ways, first, we are 100% listener funded with no ads or sponsors, and also all of our guests get paid and higher rates are always paid to our guests of color, as well as our queer and trans guests and others with traditionally marginalized identities. The funding to create this show and pay all the guests comes entirely from our Patreon community, which operates on a shame-free sliding scale that allows each community member to support from within their own means. Tons of fun stuff happens over in that community, I host live workshops, share exclusive bonus episodes and lots more, and no matter where on the sliding scale, your monthly pledge falls, you still get access to all of the same events and bonuses.
    [Show full text]
  • U.S. Army Board Study Guide Version 5.3 – 02 June, 2008
    U.S. Army Board Study Guide Version 5.3 – 02 June, 2008 Prepared by ArmyStudyGuide.com "Soldiers helping Soldiers since 1999" Check for updates at: http://www.ArmyStudyGuide.com Sponsored by: Your Future. Your Terms. You’ve served your country, now let DeVry University serve you. Whether you want to build off of the skills you honed in the military, or launch a new career completely, DeVry’s accelerated, year-round programs can help you make school a reality. Flexible, online programs plus more than 80 campus locations nationwide make studying more manageable, even while you serve. You may even be eligible for tuition assistance or other military benefits. Learn more today. Degree Programs Accounting, Business Administration Computer Information Systems Electronics Engineering Technology Plus Many More... Visit www.DeVry.edu today! Or call 877-496-9050 *DeVry University is accredited by The Higher Learning Commission of the North Central Association, www.ncahlc.org. Keller Graduate School of Management is included in this accreditation. Program availability varies by location Financial Assistance is available to those who qualify. In New York, DeVry University and its Keller Graduate School of Management operate as DeVry College of New York © 2008 DeVry University. All rights reserved U.S. Army Board Study Guide Table of Contents Army Programs ............................................................................................................................................. 5 ASAP - Army Substance Abuse Program...............................................................................................
    [Show full text]
  • Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
    Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
    [Show full text]
  • The Tour Manual 2019
    THE TOUR MANUAL Last Edited 5/27/2019 2019 Volume 2 Table of Contents General Information Mission, Vision, Values, Educational Goals, & Ethics ....................................... pg. 3 General Admission Tour Information: Floors 1, 2, & Basement ...................... pg. 5 Full Mansion Tour ............................................................................................... pg. 21 Nooks and Crannies ........................................................................................... pg. 29 Flashlight Tour .................................................................................................... pg. 43 Servants Tour ...................................................................................................... pg. 49 Limited Mobility Tour ......................................................................................... pg. 65 Summer Evening Tour ........................................................................................ pg. 66 Garden & Grounds Tour ..................................................................................... pg. 67 Reference Congdon Family Timeline ................................................................................. pg. 91 Duluth Timeline 1874 - 1915 ............................................................................ pg. 92 National Timeline ............................................................................................... pg. 94 Oliver Mining Company History ......................................................................
    [Show full text]
  • The Arabian Nights Entertainments
    The Arabian Nights Entertainments Sir Richard Burton The Arabian Nights Entertainments Table of Contents The Arabian Nights Entertainments.......................................................................................................................1 Sir Richard Burton.........................................................................................................................................1 i The Arabian Nights Entertainments Sir Richard Burton In the Name of Allah, the Compassionating, the Compassionate! PRAISE BE TO ALLAH − THE BENEFICENT KING − THE CREATOR OF THE UNIVERSE − LORD OF THE THREE WORLDS − WHO SET UP THE FIRMAMENT WITHOUT PILLARS IN ITS STEAD − AND WHO STRETCHED OUT THE EARTH EVEN AS A BED − AND GRACE, AND PRAYER−BLESSING BE UPON OUR LORD MOHAMMED − LORD OF APOSTOLIC MEN − AND UPON HIS FAMILY AND COMPANION TRAIN −PRAYER AND BLESSINGS ENDURING AND GRACE WHICH UNTO THE DAY OF DOOM SHALL REMAIN − AMEN! − O THOU OF THE THREE WORLDS SOVEREIGN! AND AFTERWARD. Verily the works and words of those gone before us have become instances and examples to men of our modern day, that folk may view what admonishing chances befell other folk and may therefrom take warning; and that they may peruse the annals of antique peoples and all that hath betided them, and be thereby ruled and restrained. Praise, therefore, be to Him who hath made the histories of the past an admonition unto the present! Now of such instances are the tales called "A Thousand Nights and a Night," together with their far−famed legends and wonders. Therein it is related (but Allah it is All−knowing of His hidden things and All−ruling and All−honored and All−giving and All−gracious and All−merciful!) that in tide of yore and in time long gone before, there was a King of the Kings of the Banu Sasan in the islands of India and China, a Lord of armies and guards and servants and dependents.
    [Show full text]
  • To Students As the “Formal” Curriculum
    CURRICULUM GUIDE Lessons & Activities to Address Name-Calling & Bullying Let’s Get Real is a production of GroundSpark, the national organization that creates visionary films and dynamic education campaigns that move individuals and communities to take action for a more just world. Let’s Get Real is part GroundSpark’s Respect for All Project. The goals of The Respect for All Project are: • To challenge stereotypes and to help children, youth and adults understand the connections between a variety of bias and identity issues; • To promote respect and equity at the earliest age possible and on an ongoing basis, before negative attitudes and prejudices become entrenched and harmful; • To reduce the number of acts of bullying and violence among youth; and • To help create inclusive, welcoming school and community environments where young people and families of all backgrounds and experiences can thrive. Through a series of groundbreaking documentary films, complementary curriculum guides and professional development workshops, The Respect for All Project has helped school districts, after-school programs, community organizations and religious groups open up important dialogue about differences of all kinds. For more information and updated resources, visit http://groundspark.org/respect-for-all “Let’s Get Real” CURRICULUM GUIDE Written by Bob Kim with Judy Logan Edited by Daniel Nevers Classroom activities drafted and piloted by Nancy Otto with Lauren Hesse, Mona Mendoza and Elizabeth Reis Research assistance provided by Jean Friedman-Rudovsky Special Thanks Ellen Hofheimer Bettmann Karn Koto Donna Blanchard, MA Cristina Mitra Gentle Blythe Mary Morten Patricia A. Boland, EdS, NCSP Annan Paterson, MS Alison Collins, MA Margo Okazawa-Rey, EdD, MSSS Jan Goodman, MS Nan Stein, EdD Michael Greene, PhD Frieda Takamura, MA Olivia Higgins Lorraine Tiven Irvin Howard, EdD Key Let’s Get Real Production Credits Director Debra Chasnoff Executive Producer Helen S.
    [Show full text]