Unconscious Bias Towards African American Women in the Education Workforce

The number of African American women who become school principals is low per national and local statistics. An unconscious bias towards African American women may have contributed to these low statistics. The process of applying for a school principal's position has not been consistent for over a century. It seems that for job openings in which the dominant culture is not African American, the likelihood of being the school principal is doubtful. Unveiling and examining these biases may lead to determining how to include more African American women in educational administration. This chapter will describe 10 African American women who encountered unconscious bias as they sought and procured public-school principalship.

Ethnocentrism in Edward Zwick’s The Last Samurai Movie: Postcolonial Perspective

This research focuses on ethnocentrism in Edward Zwick’s The Last Samurai. It is intended to identify how ethnocentrism is depicted and reflected in the life of samurai in the movie The Last Samurai. The ethnocentrism theory by William G. Sumner will be used to analyze the movie. The data were obtained by watching the film, reading the movie script and cinematographic elements, identifying data based on the topic of study, and categorizing the data with respect to the theoretical framework. Based on the analysis, the findings show that there are three aspects of ethnocentrism; first, loyal to in-group norms; second, express in-group pride; third, judge and underestimate the out-group. These three features of ethnocentrism create a deep perception in their dominant culture to others.

Understanding sensitive cultural through daily conversation in urban society in Makassar

This paper aims to describe how sensitive cultural may be a pattern of words and actions that should be played according to social status. This sensitive culture is ideal for each ethnic group supporting the culture. If each does not play it according to its status, it can cause misunderstanding and even conflict. Therefore, the relationship between ethnicity, immigrants, and ethnic minorities needs to be sensitive to indigenous nationalities and dominant cultural understanding. The methodology used in obtaining the data uses a qualitative approach to data collection techniques: observation and interviews. The location of the research is Makassar City, South Sulawesi, Indonesia. The results show that the city of Makassar, which is still dominated by a single ethnic group of the Bugis-Makassar to be ideal in inter-ethnic relations, uses interaction patterns of the pattern of the dominant ethnic culture or ethnic original. Thus, it should be understood by all ethnic groups who live in the city, whether its status as indigenous or tribal settlers, so that the inter-ethnic relations be harmonious. Makassar, a multi-ethnic city, is still dominated by ethnic Bugis-Makassar. At the same time, the original ethnic and cultural patterns become ideal interaction patterns in the city. As for ethnic immigrants, for example, ethnic Toraja, Mandar, Java, Ambon, Papua New Guinea, NTT, NTB, Batak, Padang, Chinese, Arabic, Padoe, and others, must understand its status as an immigrant minority, must be adaptive and be accepted in its interaction with the ethnic dominant. Therefore, as ethnic immigrants in the exchange must follow the pattern of interaction patterns in one's ideals by the dominant ethnic group, whether it be words or actions, said eg Iye, iyo, ba, iya, tabe, kita, kau, daeng, katte. Besides that, there are also rude words, namely tai laso or tai baro, nassundala’, and suntili’. It is undoubtedly susceptible when there are ethnic immigrants who do not language and act as the dominant culture because it can be considered not adaptive or do not respect an indigenous culture as a manifestation of the ideal of the dominant ethnic groups.

Socially Transformative Resilience: A Conceptual Model and Research Agenda for a New Construct

Marginalised individuals face significant and consistent adversities and injustices that their dominant culture counterparts rarely or never face, such as discrimination, low resource access, and violence. These challenges have been linked to poor wellbeing, both empirically and in individuals’ lived experiences. An original approach to improving this situation is introduced here via a novel transtheoretical construct: socially transformative resilience. Socially transformative resilience is conceived as a type of resilience in which individuals not only improve their psychosocial wellbeing in the face of challenge, but also resist, transcend, and/or seek to change the status quo, increasing their liberation as well. The key components and mechanisms of this new construct are described in detail, drawing on theoretical and empirical evidence. Key propositions of the model include the dual importance of moral and emotional initial responses to stressors, the centrality of a multidimensional reflection process, and the utility of acceptability-control appraisals in choosing which actions and resources to activate in service of wellbeing and liberation. An agenda for future research is presented, including examining and refining the model, developing a measure, creating interventions, and investigating relationships with psychopathology.

The Desire to See and Be Seen

Chapter 1 interrogates Bruce LaBruce’s, Todd Haynes’s, and John Greyson’s respective approaches to community and belonging in the midst of the pandemic. By turning to the biopic genre, these filmmakers sought to challenge how dominant culture sees and represents pathologized bodies. Queer filmmakers’ use of the biopic draws on the genre’s history of creating an imagined community, national and otherwise, to represent alternative social relations constructed in the image of different (queer) individuals. Moreover, the chapter gives sustained consideration to films like Zero Patience (Greyson, 1993) to explore constructions of queer (or gay and lesbian) community—who they include, who they exclude, what they produce, and how they affect queer embodiment.

Culturally Informed Services in Tribal Communities

Indigenous populations have experienced hundreds of years of historical trauma, systemic racism, and oppression since colonization began in the Americas, Australia, and New Zealand. Settler colonialism has created and continues to perpetuate historical and ongoing trauma and systemic racism in Indigenous populations. Despite considerable diversity and resilience among Indigenous populations globally, there is a clear pattern of significant disparities and disproportionate burden of disease compared to other non-Indigenous populations, including higher rates of poverty, mortality, substance use, mental health and health issues, suicide, and lower life expectancy at birth. Substantial gaps related to access to healthcare and service utilization exist, particularly in low-income Indigenous communities. Implementation and sustainment of White dominant-culture frameworks of care in Indigenous communities perpetuate these systems of oppression. Development and implementation of culturally informed services that address historical trauma and oppression, and systematically integrate concepts of resiliency, empowerment, and self-determination into care, are issues of policy as well as practice in social work. The co-creation and subsequent implementation, monitoring, and sustainment of effective systems of care with Indigenous populations are essential in addressing health disparities and improving outcomes among Indigenous populations globally.

THE OTHER SIDES OF PESANTREN: MAGICAL PRACTICES AROUND PESANTREN IN BANTEN

This research discusses practices of the magical culture in pesantren in Banten. The research model used in this study is qualitative-descriptive. Historical studies are used to present a narrative and chronological presentation of the storyline of a discussion. Pesantren in Banten has distinct characteristics compared to other pesantren in Indonesia. Most people believe that Banten is a Province in Indonesia that is famous for its ulama, kyai, santri, and pesantren. Those stereotypes and beliefs arise because Islamic values have been rooted strongly in most Banten citizens traditionally, culturally, and ritually. One of the characteristics of pesantren in Banten is that every santri is taught magic, silat (martial art), and tasawuf knowledge. Those characteristics have always been a matter of discussion because people believe that there are practices of magic in every pesantren in Banten. Some sources mention Banten as a center for the occult sciences, as well as known as a religious region. Magical practice is still considered important for the people of Banten, especially those living in rural areas to solve practical problems in their social life. In addition, the existence of jawara (warrior) and pesantren has created its own culture that is different from the dominant culture of Banten society.

Japanese Immigrants In Sarawak Before World War Two: Assimilation Through Inter-Ethnic Marriages

The arrival of Japanese immigrants, especially karayuki-san, traders, and farmers in Sarawak between the 1880s and1940s, has rarely been given sufficient attention by scholars. For the most part, not only did the Japanese immigrants successfully integrate into the economic eco-system, but they also assimilated with the locals through inter-marriages. Archival records, primarily obtained from the Sarawak State Archives, suggests that families of inter-ethnic marriages went through a life of hardship, especially when Japanese spouses or relatives were imprisoned in the internment camps soon after World War Two ended. For the most part, the research mainly focuses on Seiji Kuno or otherwise known as Mohamed Towpik Kuno, who married a local Malay woman and embraced Islam. The life of Kuno depicts the extent to which a Japanese immigrant became absorbed into the dominant culture of the mainstream Sarawak society. Kuno’s general attitude towards the local society, his service to the community in various capacities, his attitude towards political matters and finally, his religious inclination showcased the extent to which assimilation had taken place voluntarily. Apart from Kuno, the research also examines other personalities’ lives, like Sunao Miyaji, who was married to Lamah Binti Bakar, and Maria Osaichi and Oasa, who were Japanese immigrants married to Chinese Sarawakians. It is against this background that this research argues that marriages between Japanese immigrants and locals in Sarawak before World War Two was indeed a cause for further assimilation into the host culture between spouses, family members and the broader community. At the same time, the research posits that cemeteries involving Japanese immigrants should be promoted as tourist destinations as they reflect Sarawak’s rich multicultural heritage and history of assimilation with foreigners.

Off the Wall with Shchedryk

This paper examines how music and juxtapositions can ground a story in a longer history where the potential of images and cutting points become a dialectics of point, counter-point, and fusion in a revisitation of archetypal images and as a co-authorship of reception. A visual dialogue evolves in the film Shchedryk (2014) through a remediation of scenes from Sergei Eisenstein’s Battleship Potemkin (1925), Alexander Dovzhenko‘s Earth (1930) and Norman McLaren’s experimental film Synchromy (1971). People who do not have recourse to the dominant culture are through recipient-co-authorship able to replay things in more sophisticated ways. Judith Butler’s idea of the performative and of subjects re-performing an injury (Butler 1993) can be introduced to the multi-screen experience. Foregrounding the wounding aspect as visual images is about ‘bad pleasure’ (O’Brien & Julien 2005). If realness is a standard by which we judge any performance, what makes it effective is its ability to compel beliefs and embody and reiterate norms (Butler, 387). Image Credit: Frame from Shechedryk, directed by Kalli Paakspuu

Extreme Audio Culture in the New Digital Underground

<p>This thesis examines the use of technology – particularly obsolete technologies and residual¹ media – within underground and experimental music, using extreme audio culture (the genres of noise music and power electronics) and its relationship with the new digital underground of music and art as a primary focus. It seeks to illuminate issues surrounding not only the survival of underground music culture into the internet age (zines², mail order and independent production and distribution networks) but also broader, philosophical and sociological notions concerning humanity’s relationship with technology within contemporary urban society, as well as examining how these notions have influenced alternative and extreme music cultures. This includes how these issues are addressed within underground and avant-garde scenes; specifically, the manner in which extreme audio culture (beginning with industrial music) voices critique upon the digital age and post-industrial environments by illustrating the negative and grotesque aspects of contemporary urban society through the employment of transgressive themes and subject matter, coupled with the use of materials, practices and ideas coded as residual or as ‘noise’ (reappropriating what dominant culture perceives as unwanted, unfashionable, ‘wrong’ or taboo). By addressing these issues, we may work further towards understanding the progression of musical thought and the influence of sound upon the human psyche, as well as the ways in which music aids the continual transformation of culture within the digital/post-industrial age. This research was undertaken from February 2012 until July 2013 with the primary methodological approach consisting of discourse analysis coupled with anthropological observations and historical contextualisation as we trace extreme audio culture back to its genesis within industrial music and the avant-garde. Drawing from the theories of Jacques Attali, Donna Haraway and Pierre Bourdieu, it will be argued that such music is prophetic of the way in which a society may develop over time, particularly in regards to our perceptions and attitudes towards technological advancement and urbanisation, not to mention our increasingly symbiotic relationship with machines as a prescriptive element of everyday urban existence. With these factors in mind, phenomena such as extreme audio culture and the new digital underground offer rich and striking considerations for the examination of digital age, post-industrial society from the perceptions of marginal creative scenes, extreme music, the avant-garde and contemporary underground music cultures. ¹ As discussed by Michelle Henning, Will Straw, et al., residual media are those media technologies and techniques which are no longer useful, fashionable or profitable within dominant culture and are thus seen as obsolete or ‘noise’ (residue). These technologies, laid to rest upon the ‘scrapheap of dominant culture’ (as we shall discuss in Chapter One) may be acquired, utilised and reappropriated by dominated, marginal – i.e. alternative and underground – cultures and, as examined here within the context of underground music culture, be given a new use-value within creative communities or fetishised by collectors. See Acland, Charles A., ed. Residual Media. Minneapolis: University of Minnesota Press. 2007. Print. ² A.k.a. Fanzines: Independently produced, often hand-made, magazines.</p>