Sentences with phrase «racial identity by»

Not exact matches

But what about contemporary distinctions created by national borders or racial and ethnic identity?

Eventually, some white supremacists tried to distinguish it further by using it to refer to a form of white supremacy that emphasizes defining a country or region by white racial identity and which seeks to promote the interests of whites exclusively, typically at the expense of people of other backgrounds.

But what makes Nixon even more purely populist than Sanders is that she combines these class - based positions with the outright appeals to ethnic, gender, and racial identity politics favored by grassroots Democratic Party activists.

Like many people identified as belonging to a racial group, Finns used to be defensive about their biological identity, which was disparaged by their domineering neighbors.

That's because job seekers are less likely to «whiten» their resumes by downplaying their racial identities when responding to pro-diversity job ads.

Another spoke of what he loved and what was sometimes tough about his racial identity, while others spoke of being pigeonholed by their gender.

Asian American Education — Identities, Racial Issues, and Languages Edited by Xue Lan Rong and Russell Endo

Mundy - Shephard says that LGBT youth of color generally choose not to participate in GSAs and her research will examine whether the students» reasons vary by racial group, and the extent to which these reasons are affected by internal and external perceptions of LGBT identity as being incompatible with racial minority status, i.e., whether they perceive non-heterosexuality as a form of «acting white.»

This course also helps them situate this particular work within the larger context of challenges and innovations in urban education by introducing participants to literature on the achievement gap, the impact of racial identity on school achievement, charter school policy and critiques, and the advent and development of charter schools serving low income students that are based on high support and high expectations.

Under the new law's language, the information must be broken down by various student subgroups, including racial and ethnic identity and disability status, as well as homeless and foster care students.

«We can not divorce ourselves from our racial or cultural identities, including those identities that have been projected onto us by others,» said Arronza LaBatt, executive director at Montgomery County Public Schools.

Increasing racial, ethnic, linguistic, socio - economic, and gender diversity in the teacher workforce can have a positive effect for all students, but the impact is even more pronounced when students have a teacher who shares characteristics of their identity.20 For example, teachers of color are often better able to engage students of color, 21 and students of color score higher on standardized tests when taught by teachers of color.22 By holding students of color to a set of high expectations, 23 providing culturally relevant teaching, confronting racism through teaching, and developing trusting relationships with their students, teachers of color can increase other educational outcomes for students of color, such as high school completion and college attendance.by teachers of color.22 By holding students of color to a set of high expectations, 23 providing culturally relevant teaching, confronting racism through teaching, and developing trusting relationships with their students, teachers of color can increase other educational outcomes for students of color, such as high school completion and college attendance.By holding students of color to a set of high expectations, 23 providing culturally relevant teaching, confronting racism through teaching, and developing trusting relationships with their students, teachers of color can increase other educational outcomes for students of color, such as high school completion and college attendance.24

Dr. Hanley shared her recent research commissioned by The Heinz Endowments that addressed the connections between racial identity and success through arts learning.

Many of these game - changers - broke out in the 1960s and»70s and were driven by feminist, racial, and gender - identity politics to alter every existing medium and invent a few new ones.

While low - slung pants are associated with urban black youth, Alekhuogie complicates our perception by not revealing the racial identity of the person wearing the clothes.»

By placing socially historical imagery in a contemporary context, Dunn is able to rigorously question a range of issues from racial identity to social justice through his artistic practice.

Biracial Americans are often told to choose one racial identity based how they are perceived physically by society.

Rashid Johnson's practice is defined by its critical evocations and entangling of racial and cultural identity, African American history, and mysticism.

Sculpture and video works by Abigail DeVille and Andrea Bowers highlight inequities based on racial, economic, gender, and immigrant identities that pervade society.

Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Hughie Lee - Smith, Norman Lewis, Horace Pippin, and Charles White, the exhibition and its related programs allow visitors to reflect upon a broad range of African American experiences, and examines the ways different African American artists have expressed personal, political, and racial identity over approximately 100 years.

It complicates its own most obvious readings of racial and sexual identity by cutting across love, sex, lust, and longing to illustrate and embody the excruciating surfeit of words — spoken and written, etched on porcelain in notational shorthand (in Valerie Piraino's wonderfully ruminative series «Simone,» from 2010), and silk - screened ever so faintly on canvas (in Pendleton's Concrete, from 2004, which ticks off evocative phrases such as «the smell of your neck in August» and «somewhere between forgiving too easily and not giving in at all»)-- that prop up and then ruin relationships, pure verbiage as a cruel mirage.

Some commentators seeking to unpack the role of the artist's racial identity have invoked the painting of Philando Castile, also on view, by Henry Taylor (a black artist).

Not all the artists are black, of course, and racial and cultural identity do not preside — but are instead replaced by — as Ligon writes, curatorial erudition, and the «formal, political, and metaphysical ways the colors have been used.»

In an effort to identify truth, reality, and meaning, each of the artists in the exhibition confronts these questions by inventing, criticizing, or retelling reality — simultaneously grappling with issues of racial identity, sexuality, violence, protest, globalism, and ethics.

'' (1993), considered how whiteness, initially constructed as a form of racial identity, came to become a form of property affirmed and protected by American law.

Cheryl I. Harris is a leading scholar in the field of critical race theory — her seminal text, «Whiteness as Property» (1993), considered how whiteness, initially constructed as a form of racial identity, came to become a form of property affirmed and protected by American law.

By casting African American women as the «heroines» of her works, she makes a profound statement regarding gender and racial identity.

The group show, titled after the song «To be Young, Gifted, and Black» by Nina Simone with lyrics from Weldon Irvine and written in the memory of Simone's late friend Lorraine Hansberry author of Raisin in the Sun, surrounded ideas and issues of racial, sexual, and historical identity in contemporary culture since 2010.

This sentiment is echoed by Tannenbaum, «The mechanisms by which advertising and the media define identity and manipulate viewers are universal throughout the industrialized world... [Thomas] employs it to address issues that impact us all, such as diversity and tolerance within, as well as between, racial and ethnic groups, and the freedom to determine one's own fate and to construct one's own identity [3]».

In the exhibition, abstract paintings and sculpture from the 1960s through the 1980s by Barbara Chase - Riboud, Martin Puryear, and others show a desire to balance cultural and artistic identities, challenging the idea that work by African Americans should be viewed in primarily racial terms.

Organized by the Arnika Dawkins Gallery, On Being Black explores issues of race, colorism and racial identity.

In 1950s Leukerbad (a place with no racial diversity) African identity is kept at a distance, evidenced not only by a bigotry for outsiders, but also paternalistic donations and missionary work in Africa's European colonies.

[1] How does the racial identity of an artist affect the way they create art and the perception of it by the masses?

Whether it be Sekhukuni and his use of the Internet as medium, Mooney and her fascination with ephemerality and the social notion of space or Adams and his interrogation of hybrid racial, sexual and religious identities, each are operating outside the stereotypical approaches canonized by South African art history, thanks to the possibilities / challenges presented to them by a new political and cultural climate.

Artists have drawn on their own racial identities to create ennobling depictions of historically marginalized individuals, such as the detailed portraits of African American individuals and families by Charles White.

Aguilar's now iconic triptych, Three Eagles Flying (1990), set the stage for her future work by using her nude body as an overt and courageous rebellion against the colonization of Latinx identities — racial, gendered, cultural and sexual.

Inspired by a diverse array of visual artists, actors, musicians, writers, activists, and philosophers, including W. E. B. Du Bois, Joseph Beuys, Joseph Cornell, Parliament Funkadelic and Sun Ra, Johnson engages with questions of personal, racial, and cultural identity through his work, producing an amalgamation of historical and material references grounded in art and African - American history.

Luscious colors, complex compositions, transcendental narratives and an ability to seamlessly work across media: Marshall is shifting expectations on racial identity and art historical discourse by declaring himself and his culture Invisible No More.

A show organized by the Rubell Family Collection of Miami, «30 Americans» is described as focusing «on issues of racial, sexual, and historical identity in contemporary culture.»

The ethics committee's review of Model Rule 8.4 was prompted by a letter it received in May 2014 from the ABA's Goal III commissions: the Commission on Women in the Profession; the Center for Racial and Ethnic Diversity; the Commission on Disability Rights; and the Commission on Sexual Orientation and Gender Identity.

Dean Nelson testified that the term has specific meanings for the Black community in Canada including (a) a race traitor; (b) pariah in the Black community (c) a person who by their actions has forfeited their social identity with the Black community and (d) someone who has severed their bond with the Black community and their racial and cultural heritage.

It can not be said, and the government has not demonstrated in either its submissions to the CERD Committee or its submissions to the present Committee, that the disparate impact of the four abovementioned sets of provisions can be justified by reference to the aims of CERD ie to overcome racial discrimination and to protect the cultural identity of Indigenous people.

In my view General Recommendation XIV makes it clear that where differential treatment on the basis of race addresses the disadvantage suffered by a particular racial group as a result of discriminatory practices or where the cultural identity of a particular racial group is recognised and protected by differential treatment, such beneficial measures will not constitute discrimination within the Convention.

Two categories of non-discriminatory differentiation protected within a human rights framework are the right to express one's cultural identity, referred to variously as minority rights or cultural rights [109], and the provision of measures by governments to facilitate the advancement of members of certain racial groups who historically have been disadvantaged by discriminatory policies.