Sentences with phrase «different cultural identity»

Starting off we have a look at several towns, each showing a different cultural identity.

As a scientist with a different cultural identity, Bounceur also felt compelled to prove himself more in the laboratory.

There are fears that globalization is making different cultural identities homogeneous, yet it often enables a cosmopolitanism that enables different local practices to coexist although some differences...

Educators can support children better when they respect and understand that they come from diverse backgrounds and have different cultural identities (including specific expectations of behaviour and communication).

Not exact matches

[11] The inescapable reality that new patterns of social, economic, political, religious and cultural inter-relationships and identities emerged through the colonial encounter can not be simply brushed aside or dismissed with the comment that this was a terrible time and that it is good that things are different now.

[3] Pentecostalism assumes different forms, according to the social, cultural and religious background or the class identity of the practitioners.

And what we are looking towards is ultimately a community recognizing personhood of individuals as well as the unique self - identity of different ethnic groups, cultural groups, work groups.

Learn basic techniques such as shampooing, conditioning and hair styling for different types hair, consider the impact hair care has on self - esteem and cultural identity, understand the myths versus realities of caring for natural hair.

«There is a huge historical and cultural identity associated with wine - producing regions,» Jones remarks, but some areas might need to shift to a new type of grape that would flourish under the different conditions.

In her book Coloring in the White Spaces: Reclaiming Cultural Identity in Whitestream Schools, Ann Milne, former principal of a secondary school called Kia Aroha College, documents different ways Māori and Pasifika students have been able to succeed as themselves.

Educators need to develop cognizance of themselves as part of a culture, understand that others may hold different cultural perspectives, and attend to the ways cultural identity impacts teaching and learning.

Once they are aware of their own cultural identity, preservice teachers are better able to recognize how culture operates within their classrooms, empathize with students from different cultural backgrounds, and take steps to adapt their teaching accordingly (Leeman & Ledoux, 2003; Zeichner et al., 1998).

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.

At the same time, she reveals how complicated it is when cultural, national, and religious identities intersect; even before adding the culture shock that comes with immigration to a new country with completely different social rules.

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.

We need a way of teaching that encourages them to develop understanding of those different from ourselves, enabling constructive collaborations across national and cultural origins and identities.

Instead, it is a collection of stories from multiple disparate and unequal factions that range in size and scope, sporting wildly different skill - sets and cultural identities.

A — DASH aims to encourage innovative and investigative approaches, crossing borders between different creative disciplines, cultural identities, geographical locations, political economies, crafts and new technologies.

Working in a remarkable mixture of surrealism, minimalism, pop, and psychedelia, she moves effortlessly between different media, between east and west, between art and popular culture, and between cultural identities.

2009 Beall, Dickson, SLAM for the holidays, West End World, 23 December Dawson, Jessica, Yinka Shonibare, skewing history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African Art?

Although different in form and ostensible subject matter, my works address the same overarching theme: they explore the role of historical circumstances, ideologies and cultural stereotypes in creation of personal and collective identities.

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.

The artists represented in the exhibition, Andrea Bowers, Blane De St. Croix, Margarita Cabrera, Zhi Lin, Hung Liu, and Tony de los Reyes each employ different styles and references and span different historic periods, geographic locations, cultural influences, and gender perspectives, but are seamlessly bound together by the common threads of memory, history, identity, and humanity.

Both artists share same cultural background, and furthermore, the same concerns regarding identity and historical memory, but they employ two different starting points in their practice.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

While you move freely through different periods of art history or take refuge in the work you admire, her exploration of cultural identity seems to be inseparable from her own investment in and love for pop culture, especially Pop Art.

With his Pakistani - British origin, Shezad Dawood is primarily preoccupied with the identity politics and expression of different cultural traits combined in his mixed heritage.

This campaign has been a key instrument in creating a racialised common identity among the different Chinese groups, overcoming their cultural and language differences.

The influence of cultural cognition explains why people with different outlooks and identities are forming such strong and divergent understandings of what happened despite their having almost no clear evidence to go on.

Based on data from the European Social Survey for Austria, Belgium, France, Norway, and Switzerland, three different sets of explanations are tested: (1) hypotheses stressing economic determinants, that is, the fear of wage pressure and competition over welfare benefits; (2) hypotheses emphasizing cultural determinants, that is, the perception of immigration as a threat to national identity; and (3) hypotheses focusing on social alienation, that is, dissatisfaction with the way the country's democracy works and the nonintegration into intermediary networks (trade unions).

Indeed, I am often trying to help students maintain a sense of healthy identification with their own cultural identity even as I am trying to encourage them assimilate so as to be able to maximize their success in a «culture» that stresses different attributes than might have been stressed in their prior life experiences.

Canada's other main submission was the argument that «things were different back then,» and given the knowledge at the time, it was not foreseeable that trans - racial foster and adoptive placements would cause such great harm.Chief Marcia Brown Martel, a member of the Temagami First Nations near Kirkland Lake Ontario, led the class - action lawsuit on behalf of approximately 16,000 Aboriginal children who were placed in non-Aboriginal adoptive and / or foster homes in Ontario between 1965 and 1983, and suffered the loss of their cultural identity.

(a) The development of the child's personality, talents and mental and physical abilities to their fullest potential; (b) The development of respect for human rights and fundamental freedoms, and for the principles enshrined in the Charter of the United Nations; (c) The development of respect for the child's parents, his or her own cultural identity, language and values, for the national values of the country in which the child is living, the country from which he or she may originate, and for civilizations different from his or her own;

The Geneva Convention defines it as acknowledging that every child has certain basic rights, including the right to life, his or her own name and identity, to be raised by his or her parents within a family or cultural grouping and have a relationship with both parents, even if that means they live in two different households.

Families might also be concerned about children losing their cultural identity through contact with children with different cultural backgrounds, for instance through the influences promoted in the media, at school, or through contact with children from different backgrounds.

For more information on creating a sense of identity in children from different racial, religious and cultural backgrounds read the focus article here.

Within these parameters it is likely that a range of different management models will be required to satisfy the distinct social and cultural identities of Western Australia's Aboriginal traditional owner groups.

Will marriage education programs be effective regardless of race, ethnic identity, and cultural norms, and how should these programs be adapted to better meet different groups» divergent needs?

Families from different cultural backgrounds help children to maintain their language, religion and identity while they are in care.

Because of our diverse and sizable team, we are able to to meet the needs of people of different races, religions, ethnic / cultural backgrounds, sexual orientations and gender identities.

These essential values include personal wellness, cultural identity, and academic preparation — all of which are interrelated and rely on an awareness of different cultures.

We used a 3 - year cross-sequential longitudinal design to examine the relations between self - efficacy judgments in three different domains (academic, social, resisting negative peer influences), cultural identity, theories of intelligence, and depressive symptoms.