Sentences with phrase «cultural issues in race»

In one of his largest installations, REWIND, Rucker addresses social and cultural issues in race, class, and power by re-envisioning historical events and connecting them to current issues of power and injustice in America.

Not exact matches

Moreover, in the Church the threatening schisms are often related to identity politics: race, colonial history and cultural issues such as gay marriage and the role of women.

They are unhappy with developments in America, but rather than direct their anger against the corporate economic powers that are doing them dirt, they have instead been diverted to conservative cultural issues» race, crime, moral decay, homosexuality, guns, abortion, feminism, anti-Americanism, and on into infinity» that are largely irrelevant to their lives.

So if one didn't work in a mult - cultural environment, race and gender would be pressing issues?

Carson's comment comes as Republicans try to avoid the kinds of incendiary comments on cultural issues that cost the party two Senate races — when Missouri's Todd Akin and Indiana's Richard Mourdock drew national attention for their remarks on rape — and hurt Mitt Romney in 2012.

In addition, participation in organizations addressing race, gender, or cultural issues was not discouraged, provided that it did not take precedence over the main goal of obtaining our degreeIn addition, participation in organizations addressing race, gender, or cultural issues was not discouraged, provided that it did not take precedence over the main goal of obtaining our degreein organizations addressing race, gender, or cultural issues was not discouraged, provided that it did not take precedence over the main goal of obtaining our degrees.

Though interracial relationships are very common today, there is still a cultural divide in the United States and it can be difficult for a person of one race to view a certain issue in exactly the same way as a person from another race.

While the film touches upon its various political and cultural issues (In addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival papeIn addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival papein which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival paper.

The task group frames the danger this way: «How can we be sure that teaching supervisors are themselves developed and equipped in cultural competence outcomes in order to supervise beginning teachers around issues of race, class, culture, and gender?»

Proposals are evaluated on the basis of the following criteria, which are weighed equally: How well a project aligns with the MAP Fund's goal of supporting experimentation and innovation in all traditions and disciplines of live performance, especially work that brings insight to the issue of cultural difference, be that in class, gender, generation, race, religion, sexual orientation or other aspects of diversity The artistic strength of the proposed project The viability of the project, based on the applicant's professional capabilities as demonstrated in the project narrative, bio and artist statement, and work samples.

While Boyce's early work addressed issues of race and gender in Britain, her more recent practice uses improvisation, installation, sound and performance to draw attention to and celebrate cultural difference.

Instead of this staid technique, how can we look in nuanced, unprecedented ways at issues surrounding race, racism, cultural appropriation, white privilege, and multiple methods of identifying?

Punchbag added further complexities to questions of raced, gendered and cultural identities raised by Glenn Ligon's Skin Tight: Muhammed Ali Text (1995)[Figs.85 - 86], a punchbag and text piece which specifically sought to address «how black men have used boxing to confront issues of black American identity» and «the construction of masculinity in relation to questions of violence, the commodification of black subjects, sexuality and resistance.»

Controversial issues surrounding citizenship, cultural consumption, discrimination, race, and poverty build the narratives that Ward articulates in rubber, string, metal, and other detritus.

In these collaborations, public art, prints and installations are ways for Arai to use the cultural specificity of her experience as an Asian American as a personal space in which to locate broader issues of race, gender and cultural equity; a space in which she believes a glimpse of common ground can be made possiblIn these collaborations, public art, prints and installations are ways for Arai to use the cultural specificity of her experience as an Asian American as a personal space in which to locate broader issues of race, gender and cultural equity; a space in which she believes a glimpse of common ground can be made possiblin which to locate broader issues of race, gender and cultural equity; a space in which she believes a glimpse of common ground can be made possiblin which she believes a glimpse of common ground can be made possible.

The exhibition includes LaToya Ruby Frazier, Carrie Mae Weems, and Lorna Simpson, and demonstrates how African American women artists have consistently explored issues of gender, race, and class in a world of evolving cultural and artistic landscape.

Working together, Patrich and Sanchez brought this motive back to Vancouver in the hopes of maintaining their cultural identity, while addressing issues of gender, race and class for «third - world» people.

Specific attention to issues of gender, race, ethnicity, disability and other critical historic, socio - cultural contexts and influences in the problems of addiction are appreciatively considered and viewed as essential to any effective approach to treatment.