Sentences with phrase «around cultural identity»

Probing these multiple meanings through a range of media, the works on view further resonate in New Orleans — both with the city's pageantry traditions and its contemporary negotiations around cultural identity.

The book also looks at debates around cultural identity today, which makes it a contemporary novel as well as an historical one.

Not exact matches

The religio - cultural traditions of the peoples all around the world are sources of life, giving identity, values, styles of life, perceptions and senses.

These statistics alarmed Jewish liberals and secularists who fear that an American Jewish identity revolving around secular philanthropy, liberal politics, and cultural modernization is about to be engulfed by an insular, antiquated, homophobic, and misogynistic religion.

While a strong Scottish identity has certainly helped maintain a global community which identifies with Scotland — and helped Scotland pack an impressive cultural punch around the world — it is just one of many factors that may affect its immigration or emigration flows.

The two also became acquainted with novelist Ruth Prawer Jhabvala around this time; Jhabvala would become irrevocably associated with the two, acting as the screenwriter for all but a handful of their films.The trio's first films were set in India, dramas concerned with questions of cultural interplay, personal identity, and physical and emotional isolation.

The games and matches often stand in for cultural struggles around race, class, gender, and national identity — but that struggle is the subtext, and the movie brings it to the fore.

QUEERY explores individual stories of identity, personality and the shifting cultural matrix around gender, sexuality and civil rights.

Embracing authentic text, providing context to the events that have shaped American history, and allowing a critical eye to fall on events that are regularly taken for granted supports students in growing their cultural identity and their place in the world around them.

During monthly professional development, we have sessions planned around self - identity, cultural relevancy and how our own bias and learned helplessness continues to impact our teaching.

«Their average ratings of each survey domain were around the scale's midpoint, meaning that tended to «somewhat agree» that the academic and instructional supports provided by their teachers were culturally responsive, that they were proud of and felt connected to their cultural identity, and that the school had good relationships with their families and communities.»

Help learners plan experiences that reflect and expand their personal identity, values, and family backgrounds Example: A teacher helps a student who is a recent immigrant volunteer at different cultural activities around the community.

Students engaged in three cultural and leadership development sessions allowing them to explore their Latino identity, develop understanding around the issues that face the Latino community, and develop an action plan around what they can do to create change in their own communities.

Within the hearts and minds of all students around the world right now — no matter what their economic, academic, social, cultural, religious, language, gender or racial identities — is an inherent desire to expand their abilities, capacities, wisdom and experiences, thereby creating the world they want to live in.

Chapter Two, Mom's Sex Book, dissects the challenges of writing about sex while raising kids, and Chapter Three, Shifting Identity, examines our changing cultural landscape around the LGBTQ community.

Jackson centers her tale around four women in the same family from four different generations and acutely sifts through the emotional landscapes of coming - of - age, claiming a cultural identity, grief and mental illness while including plenty of moments of brash humor and poetic insight.

Jackson centers her tale around four women in the same family, but from four different generations, and acutely sifts through the emotional landscapes of coming - of - age, claiming a cultural identity, grief and mental illness while including plenty of moments of brash humor and poetic insight.

My art practice generally revolves around issues of British cultural identity, memory and the circularity of life.

Joan Semmel (b. 1932) has centered her painting practice around issues of the body, from desire to aging, as well as those of identity and cultural imprinting.

Farah Khelil's current research revolves around tropes of cultural identity, which she subverts to produce new meaning and representations.

The messages that usually accompany these illustrations are often centered around the issues of cultural topics, such as, identity, society, and race.

Portraying a pair of gigantic figures with their heads lowered and with one arm around each other in a gentle embrace, the sculpture alludes to familiar childhood toys and cartoon characters while at the same time transforming their identities with a radical shift in scale, presenting them as monumental cultural presences...

A short piece of prose in the press release introduces the theme around identity - building, cultural construction and social interaction that forms new languages and defines «the crumbling away of old cultural and social model boundaries»:

His practice explores and prompts questions around our understandings of cultural identity, colonialism and post-colonialism within the context of globalization.

They are feminists, who have managed to find ways around (and to work with) traditional forms of dominant, patriarchal frameworks, so to express personal, creative and cultural identities, on their own terms.

This exhibition aims to convey the diversity of the Latin American experiences and identities within the UK through various cultural and artistic expressions and create a dialogue around different issues.

In this exhibition curated by Modou Dieng, these artists come into conversation with one another, providing a space in which to explore complex systems articulated around design and execution that have been employed in the cultural realization of identities as they continue to emerge in new transcultural and hybrid forms.

Her work demonstrates a keen interest in communicating complex ideas around Indigenous identity and bicultural living through the examination of cultural histories.

In her new book «Kimlikli Bedenler» (Bodies with Identity), Ahu Antmen investigates the cultural patterns of body around identity, through various works of art, made at separate periods Identity), Ahu Antmen investigates the cultural patterns of body around identity, through various works of art, made at separate periods identity, through various works of art, made at separate periods in time.

The theoretical discourse of the exhibition project revolves around five storylines: symbol, body, identity, the social side and the cultural side.

In addition to Internet art in the Aughts that simulated a series of imagined art installations, Ichikawa has created has a series of blogs on Facebook around food organized by color, touching upon issues of cultural identity, food sourcing, gentrification, environmental concerns, and greenwashing while sharing nutrition and cost - cutting tips: I ♥ Yellow Food, I ♥ Orange Food, I ♥ Red Food, I ♥ Green Food, and I ♥ Blue Food.

Yinka Shonibare MBE's works bring together disparate cultural references and material to explore issues around colonialism and post-colonialism within the contemporary context of globalisation, as well as issues of national and racial identity and class and cultural politics.

Her choices, arranged around selections of her own work, reveal her probing interest in slippages of identity and identification, cultural memory and forgetting and the ways in which artistic action and production engage these issues.

A visual artist, film maker and writer, currently producing work around perceptions of identity: a series of oil, organic and mixed media paintings critically questioning notions of the self and a short film about her Bangladeshi - Japanese - British cultural roots.

Joan Semmel (b. New York, 1932) is a painter who has centered her practice around issues of the body, from desire to aging, as well as those of identity and cultural imprinting.

Founded in 1994, Iniva has become highly respected for seeking out and championing artists from around the world whose work and ideas provide new perspectives on cultural identity and the diversity of society.

Rendered with the artist's precise touch, in acrylics and gouaches, her works coalesce to form powerful narratives around ancestry and cultural identity.

In the first weeks of this 10th anniversary year of the September 11th attacks and the subsequent invasions of Iraq and Afghanistan, with global economic and political policies fueling conflict and prompting revolt, there have been numerous programs, talks, and debates around the city about walls: metaphorical walls created by censorship, physical walls dividing Israeli and Palestinian territories or Mexican borders, but also boundaries that some artists insist are essential to maintaining the integrity of cultural expression and identity.

His practice revolves around the politics of formation and representation of identity and the conflict between Western European and African cultural references.

They appreciate that their cultural identity of the olive tree is being celebrated around the world.

She also has experience working with clients around sexuality, sexual health, relationship issues, and LGBTQ and cultural identity issues.