The Global Manager's Guide to Cultural Literacy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cultural Literacy Ebook
LIBRARY STUDY SMART CULTURAL LITERACY PDF resources included in this section CONTENTS - CULTURAL LITERACY 1. What is cultural literacy 2. Why is cultural literacy important 3. Cultural literacy for Western Sydney 4. Aboriginal and Torres Strait Islander peoples and cultural literacy 5. Cultural literacy and you Cultural literacies Explore these pages to develop your STUDY SMART WEBSITE cultural awareness and cultural Find this section on the Study Smart literacy skills. website here: Cultural literacy Because you live in a diverse and global https://westernsydney.edu.au/ society with people of many different cultures, studysmart/home/cultural_literacy your cultural literacy will help you at university and in your career. What is cultural literacy? You have cultural literacy when you know what an average member of that culture would be expected to know, which is usually assumed and often unstated (Hirsch, 1983). Hirsch (1983) developed the term "cultural literacy" because people can't learn reading, writing, and other communication as skills separate from the culturally assumed knowledge that shapes what people communicate about. For example, the meaning of many words is culture-specific. Telling someone you wear thongs to the beach in Australia is common, but it would have a very different reaction in the USA! Cultural literacy is culture-specific. There are too many different cultures to be literate in all of them. Most people have a fluent cultural literacy in their culture of origin, as they will have been learning their culture's assumed knowledge from childhood. You will need to develop new cultural literacies when you enter a new culture, or interact with members of that culture. -
Cultural Literacy Laboratory
Herbert B. Wilson Cultural Literacy Laboratory The Cultural Literacy Laboratory (a systematic series of in dividualized tests, learning experiences, source materials, com munication methodologies and field tasks) is designed to combine the theoretical aspects of crosscultural communication and field work with practical application. The goal of the laboratory is to assist a person in a "helping profession" acquire skills and techniques for more effective crosscultural communication. The laboratory has been field tested and used with a variety of ethnie, national and racial groups in the United States southwest. However, it might also serve as a potential model for identifying cultural conflicts among French- and English-Canadians who may have difficulty rec ognizing their areas of cultural similarities and differences. cultural literacy Recognition of areas of continuity or discontinuity provides the base for cultural literacy. While total continuity between two cultures is not desirable, knowing the degree and range of discrepancies between cultural areas and belief system components will indicate potential communication problems that need to be ameliorated in order to develop more effective transcultural interaction. "Cultural literacy" is defined as insight into one's own culture and includes some understanding of one's own frustration and tolerance levels, the ability to work effectively with people who are culturally different and to demonstrate the skills this requires. Cultural Iiteracy is being aware of one's ethnicity and possessing the skills of transcultural communication. 86 Herbert B. Wilson The Cultural Literacy Laboratory was developed as part of the activities of the Multicultural Education Center in the College of Education at the University of Arizona. -
Cultural Literacy in a Global Information Society - Specific Language: an Exploratory Ontological Analysis Utilizing Comparative Taxonomy
55 Daniel J. O'Keefe Palmer School of Library and Information Science, Long Island University, New York, USA Cultural literacy in a global information society - specific language: an exploratory ontological analysis utilizing comparative taxonomy Abstract: Cultural literacy is defined as the social role of information within, between and across cultures. The term cultural literacy is both oral and chirographic, maintaining cultural identity within a discourse community. A discourse community must have a common vocabulary. One measure of an evolving discourse community is the gradual development of a common vocabulary. Taxonomy, the knowledge organization tool that can be used to demonstrate relationships among terms in a common vocahulary, is an appropriate approach at this time in the discourse community of cultural literacy. Ordering the taxonomy into an ontology can demonstrate another measure of uniformity or order (or lack of it) in the discourse community. The methodology involves discovering key documents that definc the discourse community. The research reported in this paper has three objectives: (I) to create a taxonomy using two documents written by noted authors within the field of cultural literacy; (2) to determine whether common vocabulary contains matching words or terms; and if possible, (3) to classify these terms. The importance of this exploratory study is two-fold. First, examination of the taxonomy crcated by two noted authors in the field might establish a measure of unifonnity within the discourse community. Second, the results will determine whether further research is warranted. 1. Introduction Cultural literacy is defined as the social role of information within, between and across cultures (O'Keefe, 2002). -
International Council for Traditional Music
PROMOTION. INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC Escola de Muska " SPONSORSHIP CAP ES 36,hWORLD·CONFERENCE, RIO DE JANEIRO, BRAZIL, JULY 4-11 2001 The International Council for Traditional Music is a Non-Governmental Organization (NGO) in Formal Consultative Relations with UNESCO Fundacao Universitaria 1r Jose Bonifacio IDATErrIME IJuly 4 July 5 July II ROOM Salao 16:00 - 8:00 9:0010:30 Dourado PM Opening Welcome Ceremony Reception 11:00 - 12:30 Plenary Session: Samba Salao 2:30 - 4:00 9:0010:30 2:30- 6:00 ,yO 9:00-10:30 9:00-10:30 Pedro Panel: The Panel: Confronting the Open Meeting 'hey Have a Word for Music in New Contexts Panel-The Caiman politics of Past, Shaping the to ".txu What is "Music'? 11:00 - 12:30 Relationships between Experience Future.. Discuss Forms 12:30 Panel: The Censorship of Music: Researchers and the and ]]:00 - 12:30 of oClHuenting Garifuna Forms and Effects Communities They Study Interpretation.. Plenary Session Organization : Collaborative Efforts 2:30 - 4:00 Panel 11:00-12:30 2:30 - 4:00 and n ~esearchers and the Recent Ethno musicological Research in Music of the 4:30- 6:00 Panel: Interchange niry Research in Indigerious Societies Middle East and Beyond Panel: Shifting Ethnomusicologists among :OO!'9neJ from South American Lowlands 12:30 - 1:00 Contexts, and Independent Brazilians P(}p~Iaf Mu.sic in Indonesia.. _ part I Closing Session Changing Record Production in Studying 4:3Q26:OO fanel 4:30 - 6:00 Panel Roles: The Brazil and Beyond Traditional [email protected] ta the Source: Hispanic Recent Ethno musicological Relationships 4:30- 6:00 Music Mu~CfrGrn tbe Americas in the Research in Indigenous .. -
Literacy As a Socio-Cultural Tool’ Cindy Bird
FOCUS ON PRACTICE When Cultures Meet When Cultures Meet, What’s a Teacher To Do? Highlighting the ‘Cultural’ in ‘Literacy as a Socio-cultural Tool’ Cindy Bird ABSTRACT Cultures determine identity in that they prescribe the “food, festivals, and fashion” of their members; for example, rap music, baggy pants and gestured dancing identify the hip hop culture (recognizable to both “members” and “non-members”). Cultural identities are created and maintained by “literacy” -- the ability to read and write the “texts” of a culture. Thus in this broad sense, literacy is a socio-cultural “tool,” and mastering it means “success” within a culture. The purpose of this article is to explore the socio-cultural nature of literacy as it relates to identity both for teacher and student, and to examine the use of literacy as a tool for “success” in the culture of school. The article concludes by delineating four pedagogical choices: the “uni-cultural,” the “uni- cultural plus,” the “multi-cultural as motivator,” and the “multi-cultural as curriculum.” These are available to all teachers who stand in their classroom doorways at the meeting place of multiple cultures -- their own, the school’s, the classroom’s, and their students’. AUTHOR BIOGRAPHY Cindy M. Bird is Assistant Professor of Education in the Graduate Literacy Program at the State University of New York at Fredonia, where she currently teaches the Sociological and Psychological Foundations of Literacy courses. Her areas of expertise include adolescent literacies and media literacy. She may be reached at [email protected] Not long ago I heard a commencement address wherein the speaker spent several minutes listing the multiple communities to which an individual belongs. -
Geografias Da Comunicação: Espaço De Observação De Mídias E De
3 Geografias da Comunicação: espaço de observação de mídia e de culturas Organização Sonia Virgínia Moreira Coleção GPs da INTERCOM Direção de Osvando J. de Morais Vol. 1 – Comunicação e Esporte: Reflexões – Anderson Gurgel, Ary José Rocco Jr., José Carlos Marques e Márcio de Oliveira Guerra, orgs. (2012) Vol. 2 – Políticas de Comunicação e Sociedade – Valério Cruz Brittos e Ruy Sardinha Lopes, orgs. (2012) Vol. 3 – Geografias da comunicação: espaço de observação de mídia e de culturas – Sonia Virgínia Moreira, org. (2012) DIRETORIA GERAL DA INTERCOM 2011 – 2014 Presidente - Antonio Carlos Hohlfeldt Vice-Presidente - Marialva Carlos Barbosa Diretor Editorial - Osvando J. de Morais Diretor Financeiro - Fernando Ferreira de Almeida Diretor Administrativo - José Carlos Marques Diretora de Relações Internacionais -Sonia Virginia Moreira Diretora Cultural - Rosa Maria Cardoso Dalla Costa Diretora de Documentação - Nélia Rodrigues Del Bianco Diretor de Projetos - Adolpho Carlos Françoso Queiroz Diretora Científica - Raquel Paiva de Araújo Soares Secretaria Maria do Carmo Silva Barbosa Genio Nascimento Mariana Beltramini Jovina Fonseca Direção Editorial: Osvando J. de Morais (UNISO) Presidência: Muniz Sodré ( UFRJ) Conselho Editorial - Intercom Alex Primo (UFRGS) Marcio Guerra (UFJF) Alexandre Barbalho (UFCE) Margarida M. Krohling Kunsch (USP) Ana Sílvia Davi Lopes Médola (UNESP) Maria Teresa Quiroz (Universidade de Christa Berger (UNISINOS) Lima/Felafacs) Cicília M. Krohling Peruzzo (UMESP) Marialva Barbosa (UFF) Erick Felinto (UERJ) Mohammed Elhajii (UFRJ) Etienne Samain (UNICAMP) Muniz Sodré (UFRJ) Giovandro Ferreira (UFBA) Nélia R. Del Bianco (UnB) José Manuel Rebelo (ISCTE, Portugal) Norval Baitelo (PUC-SP) Jeronimo C. S. Braga (PUC-RS) Olgária Chain Féres Matos (UNIFESP) José Marques de Melo (UMESP) Osvando J. -
Brazilian Recipes
Menu Feijoada Pao de Quejo Moqueqa de Peixe Rice Brigadeiros (dessert) Guarana (beverage) Glossary Brigadeiros: A simple Brazilian chocolate candy, created in the 1940s and named after Brigadier Eduardo Gomes, whose shape is reminiscent of that of some varieties of chocolate truffles. It is a popular candy in Brazil and it is usually served at birthday parties. Gomes was Brazilian Air Force Brigadier. Later he ran unsuccessfully for the presidency in 1946 and 1950. This was a time of shortage of traditional imports such as nuts and fruits because of the war. But, at the same time, Nestle was introducing its brand of chocolate powder and condensed milk into the country. Churrasco: In Brazil, churrasco is the term for a barbecue (similar to the Argentine, Uruguayan, Paraguayan and Chilean asado) which originated in southern Brazil. Brazilian churrasco contains a variety of meats which may be cooked on a purpose-built "churrasqueira", a grill or barbecue, often with supports for spits or skewers. Portable "churrasqueiras" are similar to those used to prepare the Argentine, Paraguayan and Uruguayan asado, with a grill support, but many Brazilian "churrasqueiras" do not have grills, only the skewers above the embers. The meat may alternatively be cooked on large metal or wood skewers resting on a support or stuck into the ground and roasted with the embers of charcoal (wood may also be used, especially in the State of Rio Grande do Sul. Dende oil : Used in Brazilian and West African cooking palm or dende oil is made from the kernel of the palm fruit. The oil is thick and red-orange in color with a nutty flavor and high in saturated fat. -
Cultural Literacy: What Every American Needs to Know Free Download
CULTURAL LITERACY: WHAT EVERY AMERICAN NEEDS TO KNOW FREE DOWNLOAD E. D Hirsch,Joseph F. Kett,James S. Trefil | 251 pages | 01 May 1988 | Random House USA Inc | 9780394758435 | English | New York, United States What Does Every American Need to Know Today? Nice thought, difficult to enforce. That is to say, while I may agree with Hirsch's general concept that we need more common cultural literacy, the details are where things get hung up. Others, like nativism, are both a specific historical reference and recurring motif in American politics. But in practice, recognizing the true and longstanding diversity of American identity is not an either-or. Because 5, or even items is too daunting a place to start, I ask here only for your top ten. This would be all well and good for a print book, but who thought they should Cultural Literacy: What Every American Needs to Know I should have read a description of this book before listening to the whole thing. Published May by Vintage first published I should have read a description of this book before listening to the whole thing. You can only study scientific methods in specific instances, and in order to understand Cultural Literacy: What Every American Needs to Know instances, you need to know the scientific facts and concepts represented in our list. Preview — Cultural Literacy by E. Hirsch was taken by some critics to be a political conservative because he argued that cultural literacy is inherently a culturally conservative enterprise. The culturally literate person is able to talk to and understand others of that culture with fluency. -
PORT 365 Course Syllabus
University of Washington Department of Spanish and Portuguese Studies Portuguese 365/ JSIS A 365 From Samba to Funk: A Portray of Brazilian Society through Music (Mapping Luso-Brazilian Cultures) Areas of Knowledge: Individual and Societies, Diversity, Visual Literary and Performing Arts Winter 2020 Instructors: Eduardo Viana da Silva [email protected] Class meets on T/Th – 1:30-3:20 pm Phone number: (206) 543-794 Denny Hall, room 259 Office: Padelford, room C-222 Office hours: Tue (3:30-4:30) Th (11:30-12:30) JSIS A 365/ PORT 365 - Catalogue Description Explores cultures of Brazil, Portuguese-speaking Africa, Asia, and Europe within the framework of cultural studies theory. Follows an interdisciplinary approach, drawing from readings, audio files (radio), films and documentaries in history, literature, arts and performances, anthropology, among others. Focuses on selected cultural aspects and countries. Taught in English. Course Description for Winter 2020 This course will look at several cultural representations of Brazil and other Portuguese-speaking countries through music, including genres as samba, choro, tropicália, maracatu, and funk, among others. Most of the course work will focus on Brazilian society and history through music. We will also study some of the musical genres from Portugal, Angola, Cape Verde, and Mozambique and its historical and cultural aspects as well. By the end of this course students will be able to: • Evaluate aspects of culture formation through several music genres in Brazil, Mozambique, Angola, Cape Verde, and Portugal; • Cultivate a critical appreciation and understanding of music genres and artists from the Luso-Brazilian world; • Develop an understanding of pertinent culture differences and global citizenship; • Consider the lasting ideas and values of similarities and differences between the self and the other, in light of each culture; • Learn to read and interpret critically; • Evaluate ideas from multiple perspectives. -
Catering Menu Options
TASTE OF BRAZIL CATERING MENU OPTIONS TRADITIONAL RICE SPECIALTY SANDWICH & BEANS PACKAGE BRAZILIAN DISHES PLATTERS CHOICE OF MEAT: Strogonoff De Frango Alcatra Da Cleuza Frango Doido Moqueca De Peixe Carne Louca Da Odete Frango com Bacon Feijoada Frango Doido Carne Louca Porcao Brazilian Pork Sausage Nature Picanha Steak SPECIALTY SPECIALTY CHOICE OF BEANS: BRAZILIAN APPETIZERS Black or Pinto BRAZILIAN DESSERTS CHOICE OF SALAD: Pao De Queijo Brigadeiros Caesar or Spring Mix Coxinha Churros Risole Passion Fruit Mousse *Gluten-free & vegetarian options available 25 E 3rd Street, Kansas City P. 816-739-9175 [email protected] www.tasteofbrazilkc.com TASTE OF BRAZIL FOOD DESCRIPTIONS TRADITIONAL RICE SPECIALTY SANDWICH & BEANS PACKAGE BRAZILIAN DISHES PLATTERS FRANGO DOIDO: Shredded chicken STROGONOFF DE FRANGO: Marinated ALCATRA DA CLEUZA: Sliced Sirloin breast with orange citrus marinade diced chicken breast, tomato sauce, Steak mushrooms, onions, & heavy cream FRANGO COM BACON: Marinated grilled accompanied by rice and potato sticks CARNE LOUCA DA ODETE: Shredded chicken breast wrapped in bacon beef pot roast with garlic, bell MOQUECA DE PEIXE: Brazilian seafood peppers, onions, & green olives BRAZILIAN PORK SAUSAGE: Mild stew with garlic, bell peppers, tomato, flavored pork sausage onion, & coconut milk accompanied by FRANGO DOIDO: Shredded chicken rice breast with orange citrus marinade PICANHA: Grilled primed cut of the top of sirloin FEIJOADA: Pork meat stew with black PORCOA: Mild Brazilian pork sausage beans & accompanied -
The Gradual Loss of African Indigenous Vegetables in Tropical America: a Review
The Gradual Loss of African Indigenous Vegetables in Tropical America: A Review 1 ,2 INA VANDEBROEK AND ROBERT VOEKS* 1The New York Botanical Garden, Institute of Economic Botany, 2900 Southern Boulevard, The Bronx, NY 10458, USA 2Department of Geography & the Environment, California State University—Fullerton, 800 N. State College Blvd., Fullerton, CA 92832, USA *Corresponding author; e-mail: [email protected] Leaf vegetables and other edible greens are a crucial component of traditional diets in sub-Saharan Africa, used popularly in soups, sauces, and stews. In this review, we trace the trajectories of 12 prominent African indigenous vegetables (AIVs) in tropical America, in order to better understand the diffusion of their culinary and ethnobotanical uses by the African diaspora. The 12 AIVs were selected from African reference works and preliminary reports of their presence in the Americas. Given the importance of each of these vegetables in African diets, our working hypothesis was that the culinary traditions associated with these species would be continued in tropical America by Afro-descendant communities. However, a review of the historical and contemporary literature, and consultation with scholars, shows that the culinary uses of most of these vegetables have been gradually lost. Two noteworthy exceptions include okra (Abelmoschus esculentus) and callaloo (Amaranthus viridis), although the latter is not the species used in Africa and callaloo has only risen to prominence in Jamaica since the 1960s. Nine of the 12 AIVs found refuge in the African- derived religions Candomblé and Santería, where they remain ritually important. In speculating why these AIVs did not survive in the diets of the New World African diaspora, one has to contemplate the sociocultural, economic, and environmental forces that have shaped—and continue to shape—these foodways and cuisines since the Atlantic slave trade. -
Domination and Resistance in Afro-Brazilian Music
Domination and Resistance In Afro-Brazilian Music Honors Thesis—2002-2003 Independent Major Oberlin College written by Paul A. Swanson advisor: Dr. Roderic Knight ii Table of Contents Abstract Introduction 1 Chapter 1 – Cultural Collisions Between the Old and New World 9 Mutual Influences 9 Portuguese Independence, Exploration, and Conquest 11 Portuguese in Brazil 16 Enslavement: Amerindians and Africans 20 Chapter 2 – Domination: The Impact of Enslavement 25 Chapter 3 – The ‘Arts of Resistance’ 30 Chapter 4 – Afro-Brazilian Resistance During Slavery 35 The Trickster: Anansi, Exú, malandro, and malandra 37 African and Afro-Brazilian Religion and Resistance 41 Attacks on Candomblé 43 Candomblé as Resistance 45 Afro-Brazilian Musical Spaces: the Batuque 47 Batuque Under Attack 50 Batuque as a Place of Resistance 53 Samba de Roda 55 Congadas: Reimagining Power Structures 56 Chapter 5 – Black and White in Brazil? 62 Carnival 63 Partner-dances 68 Chapter 6 – 1808-1917: Empire, Abolition and Republic 74 1808-1889: Kings in Brazil 74 1889-1917: A New Republic 76 Birth of the Morros 78 Chapter 7 – Samba 80 Oppression and Resistance of the Early Sambistas 85 Chapter 8 – the Appropriation and Nationalization of Samba 89 Where to find this national identity? 91 Circumventing the Censors 95 Contested Terrain 99 Chapter 9 – Appropriation, Authenticity, and Creativity 101 Bossa Nova: A New Sound (1958-1962) 104 Leftist Nationalism: the Oppression of Authenticity (1960-1968) 107 Coup of 1964 110 Protest Songs 112 Tropicália: the Destruction of Authenticity (1964-1968) 115 Chapter 10 – Transitions: the Birth of Black-Consciousness 126 Black Soul 129 Chapter 11 – Back to Bahia: the Rise of the Blocos Afro 132 Conclusions 140 Map 1: early Portugal 144 Map 2: the Portuguese Seaborne Empire 145 iii Map 3: Brazil 146 Map 4: Portuguese colonies in Africa 147 Appendix A: Song texts 148 Bibliography 155 End Notes 161 iv Abstract Domination and resistance form a dialectic relationship that is essential to understanding Afro-Brazilian music.