Culturally Diverse Students Essay Example for Free

Culturally Diverse Students Essay Today our classrooms, just like families, are becoming more unique and blended. Teachers are tasked with effectively teaching students with disabilities and diverse cultural and linguistic backgrounds. In order for educators to meet the needs of their students, key strategies must be implemented that will positively affect their students academically and behaviorally. This paper reflects on the experience of one of these families and identifies key strategies to maximize the potential of cultural and linguistically exceptional students. Background I was lucky enough to interview a family that I have worked with over the years as a nanny. For the purposes of this paper and the anonymity of the family I am using the names Lucy and Chris (to refer to the mother I interviewed and her husband) and James (to refer to the exceptional child). Because I have been working in this family’s home for a number of years I am able to give an accurate overview of their socioeconomic status. Lucy and Chris self-identify as African-American and live in San Pedro, CA where the population is 76,415 with 59% identifying as Caucasian and 8% identifying as African American. The town can be classified as predominately middle class as the median household income is $62,422 (City Data, 2011). Lucy completed some college and works full-time as a manager of a credit union. She lives in a three-bedroom house with her oldest son, her younger son, James, who is now 15, and her husband. James is a lively young man with autism who is on the moderate/severe side of the spectrum. He is an exceptional swimmer and participates in his high school general P. E. program. He struggles with social interactions and has very little expressive language. He has learned to use a GO TALK to communicate functionally. James is very sensitive to his environment and sometimes becomes overwhelmed by loud noises and crowded spaces. Autism affects 1:88 children and the prevalence is on the rise. It is the fastest growing developmental disability in the U. S. It is five times more likely for boys to have autism than girls. It is characterized by language delays, social delays, and repetitive patterns of behavior (Facts About ASD, 2012). Lucy knows that I am in the process of getting my special education credential and that my own family member has DS-ASD. When she was interviewing me for the nanny position years ago she was nervous and unsure about letting anybody come into her home. After I told her about my background and how much I have learned from my brother she began to open up and become more comfortable with me. She has since then told me how thankful she is for me and how nice it is to have someone that understands her son. Discovering and Reacting to Disability It all started in preschool school. The teacher kept telling Lucy, â€Å"I don’t think he can hear. † And Lucy kept saying, â€Å"He can hear just fine! † The teacher kept saying the same thing so finally she took him to the doctor. This experience supports the research on professionals in early education or elementary school programs being the parent’s initial source of information about their child’s special needs (Turnball et. Al, 2011, p. 77). Denial was the first phase in the process of Lucy learning to accept her son’s autism. Lucy also said other members of her family were in denial, including her husband and father. Her father told them they â€Å"were not disciplining him enough† on multiple occasions. She did not talk about any anger, bargaining, or depression phases before finding acceptance (The Grieving Process ppt, 2013). Lucy has immense inner strength that I truly admire. After a doctor diagnosed James, Lucy and Chris told their family and her mother pushed her to get extra support. Lucy tells me she probably wouldn’t have ever done gone for it if it weren’t for her mother because they have always worked for everything they had and lively comfortably and didn’t want to ask for help. A person’s culture may affect treatment decisions and is often associated with certain socioeconomic or geographical constraints related to accessing care† (Mandell Novak, 2005, p. 113). Reaching out for support was not something the family wanted to do and because they lived in San Pedro, accessing the right services often required traveling long distances. Educators must recognize the relationship between status and our society’s symbols of success (holding a job, having a place to live, and being independent). As an educated service provider, I am always caught off guard by a family’s hesitation about pursuing services (even my own family never sought out extra help). My professional experience has ingrained in me the importance of early intervention. Many â€Å"African-American families seek help from family, friends and church groups before they will get professional help for their child (Dyches et al. , 2004)† (Litten, 2008, p. 5). Lucy’s perspective and her mother’s reaction had both been influenced by her experience with her sister, who was developmentally delayed as well. She said her mother wished she had gone and gotten services for her. But when they were growing up, Lucy said, â€Å"It wasn’t something you did. Our family was poor. We did whatever we did to survive and both of my parents worked. † Educators need to keep the roles of culture, poverty, and historical perspectives in mind as we work with these families because they have an impact on the attitudes and behaviors of families with exceptional children. In Lucy’s family growing up, there was a lack of awareness about the availability of services. As educators, we must consider the lack of awareness and the socioeconomic factors that prevent certain families from taking advantage of the services that they are entitled to. We can’t expect them to advocate if they aren’t aware of what is available. We must take on this role. Teacher strategy #1: Fairness is When a Child Gets What He/She Needs Over the years, Lucy and James struggled with the school’s changing James’ placements. It wasn’t until she came to the school to observe him and found him sitting in a corner of the classroom, on a couch, rocking back and forth for hours with no attention or demands placed on him that she decided to pull him out of the district completely. During their search for a new junior high school they came across programs that were solely focused on vocational skills. Lucy and Chris felt their son had more important academic skills to obtain before teachers started teaching him how to get a job. They didn’t expect him to be a scholar, but they did want him to have access to general reading, writing, and math curriculum. Education, rather than life skills, was more of a priority for them. They added an inclusion goal in his next IEP. James would participate in general P. E. and math or computer class. According to Kathryn Pitten, â€Å"Cultural mores may determine which treatment goals families will accept and which goals they will decide not to work towards. Also, parenting style will determine which goals are viewed as important. † (Pitten, 2008, p. 4). Teachers must be responsible for developing a classroom program that fosters the understanding and respect for individual differences and discusses what fairness means to each student. Teacher strategy #2: Develop a Positive Collaboration Between Parents and Teachers Lucy admitted that she did not take an aggressive approach to getting James all of the supports he needed. Most of the things she learned she â€Å"stumbled upon† through conversations with other parents, teachers, and paraprofessionals (all of which have worked out in their favor). She believes she has done the best she can for her son. Once again, awareness was lacking and because of that this family did not get the support they needed until much later on. This is consistent with literature addressing service accessibility in that ethnic minorities typically access services at a much lower rate than their Caucasian counterparts (Balcazar, Keys, Balcazar, 2001). Learning how the school system could work for her son was a significant stressor for her. If educators embraced the full reality of the student’s and family’s life and committed to supporting emotional and academic needs (Turnball et. Al, 2011, p. 147) this could help to bridge the gap between home and school. Letting parents know that you believe in their child is sometimes all it takes to give your family’s hope. Teacher strategy #3: Implement Culturally Responsive Teaching Ford (2012) points out that African Americans are the only involuntary minority group. African Americans live in a society where race affects every aspect of their lives. â€Å"The overrepresentation of Black students in special education has been dissected, discussed, and debated† (Ford, 2012). We need to understand the negative effects racism has on our children and be sensitive to the history of previous schooling of exceptional students. Some Moderate/Severe students, like James, are moved from program to program (several times a year). Teachers need to understand that not all children in their classroom have learned the same things and they can’t be taught in the same environment at the same time. We need to differentiate and individualize our instruction by providing a wide range of materials and utilizing several learning strategies. School strategy # 4: Ensure Each Student Can Identify With Someone One of the best things to happen to James in his freshman year of high school was joining the â€Å"Big Brothers and Sisters† program in his local community. Having a role model; someone to look up to, relate with, and rely on has made such a meaningful impact on his life. Lucy reflected on the first time James was invited to watch the local football team; â€Å"His face lit up. He jumped up and down and couldn’t contain his excitement. † Teachers need to facilitate healthy inclusive relationships school-wide. It is our job to spread awareness about disability and help all students to become sensitive to the beauty of differences. Conclusion James’ family hopes that one day he will be able to live in a supported living community with roommates but like many families with exceptional members, the future is uncertain. Teachers need to take an active role in the transition planning process and remember that culturally diverse families do not have the same values as those of the dominant culture. (Turnball et. Al, 2011, p. 89). These families deserve our utmost respect and attention. Showing parents that you are interested in their story can lead to unexpected successes. In order to truly do our jobs we must make our professional story a part of their family story.

The Assyrians :: essays research papers

The Assyrians There are different periods of the Assyrian empire. The first was called the Old Assyrian period which lasted from 2000-1550 BC. Then there was the Middle Assyrian period which lasted from 1550-1200 BC. The last was the Neo-Assyrian period which lasted from 1200-600 BC. The final phase of the Neo-Assyrian period is called the Assyrian Empire. The Old and Middle Assyrian periods ( 2000 - 1200 BC ) The name Ashur was used by the Assyrians to designate not only their country, but also their most ancient city and their national god. The cities of Ashur (near modern al-Sharqat), Nineveh, and Irbil formed a triangle that defined the original territory of Assyria. Assyria's early history was marked by frequent episodes of foreign rule. Assyria finally gained its independence around 2000 BC. About this time the Assyrians established a number of trading colonies in Cappadocia (central Anatolia), protected by treaties with local Hattic rulers. The most important of these was at Kultepe (Kanesh), north of present-day Kayseri, Turkey. Political developments Brought this enterprise to an end in 1750 BC. Assyria lost its independence to a dynasty of Amorite. Then Hammurabi of Babylon took over and established himself ruler of Assyria. The collapse of Hammurabi's Old Babylonian dynasty gave Assyria only temporary relief. It soon fell under the control of the Mitanni, until that state was destroyed by the Hittites c.1350 BC. The Early Neo-Assyrian Period (c.1200-600 BC) After the collapse of Mittanni, Assyria regained its independence and was able to hold it thanks to the weakness of its neighbors. The most important event in Assyrian history during the 13 century BC, was the capture of Babylon by King Tukulti-Ninurta (r.1244-1208 BC). Although the conquest was short-lived the memory of it remained strong. In the following centuries the chief adversaries of the Assyrians were the Aramaeans, who settled in Syria and along the upper Tigris and the Euphrates rivers, where they founded a number of states. In the 9th century BC, under Ashurnasirpal II (r.883-859 BC) and Shalmaneser III (859- 824 BC), the Assyrians finally managed to conquer Bit-Adini (Beth-Eden), the most powerful Aramaen state on the upper Euphrates. Shalmaneser then tried to invade the Syrian heartland, where he met with serious resistance from a coalition of kings that included Ahab of Israel. They successfully opposed him at the battle karkar in 853 BC. Internal disagreements marked the end of Shalmaneser's reign, and many of his conquests were lost. Assyrian power began with Tiglath-Peleser III (r. 745-727 BC) taking over the throne. He began on administrative reforms aimed at strengthening royal authority over the provinces. Districts were reduced in size and placed under

How Has Physical Theatre Changed Over Time Essay

Physical theatre is a form of performance where movement and physicality of the body has the main part within a performance. There are several quite distinct traditions of performance which all describe themselves using the term â€Å"physical theatre†, which has led to a lot of confusion as to what the definition of physical theatre actually is. The term physical theatre has been applied to performances consisting mainly of mime, contemporary dance, theatrical clowning and other physical comedy (such as slapstick), puppetry and mask work and theatrical acrobatics and lifts. One of the early practitioners of physical theatre was Artaud. His ideas included total theatre, wherein actors appeal to all of the audience’s senses; he rejected the idea of the proscenium arch and directed his actors to use the space in different ways. It was also his view that in performance, all expression was physical expression. Whereas Steven Berkoff’s style incorporates actors using their whole bodies, including facial expressions to tell the audience the story, and actors using their bodies to create sound effects. He is also a great believer in Le Coq’s seven states of tension, in this exercise the actor will move through seven different body states, starting off as exhausted and lazy and finishing in an the highest state of tension. The style of physical theatre can differ widely, but generally in a performance of physical theatre the audience would expect to see: elements of contemporary dance (fluid, graceful movements), detailed mime, as there are often limited props in physical theatre performances, complex lifts sometimes with several people, acrobatics and gymnastics and many fast-paced moments where actors will be stretching the limits of their bodies. One of the first instances of physicality being used within theatres was by the Greeks, as they used a lot of mime and pantomime acts within their performances. The performance of pantomime originates from Ancient Greece, the first recorded pantomime actor being TelestÄ“s in the play Seven Against Thebes by Aeschylus. Mime is u sed to give actors a way of portraying feelings, emotions, and entire stories through movement and expression, which helps in telling the overall story. It gives a focus on expression and movement, and it takes away speech, which makes performers use their bodies and their faces to show to the audience what is happening, therefore making it physical theatre as the body is used rather than the voice. Around the  16th century, Italian theatre developed, what they called, Commedia dell’arte, which is a form of theatre characterized by masked â€Å"types† which began in Italy in the 16th century. The Commedia dell’art characters first began to appear in English plays around 1660. This style of theatre has three important aspects to it; mask, music and costumes. The audience was able to pick up from each character’s dress the type of person he was representing. For example, loose–fitting garments alternated with very tight, and jarring color contrasts opposed monochrome outfits. Males would identify themselves with character-specific costumes and half masks and all the fixed character types, the figure s of fun or satire, wore colored leather masks. Today in Italy handcrafted theatre masks are still created in the ancient tradition of carnacialesca (carnival). Commedia dell’arte is classed as physical theatre as masks forced actors to project their characters’ emotions through the body. Leaps, tumbles, stock gags, obscene gestures and slapstick antics were incorporated into their acts. Pantomime (informally panto), is a type of musical comedy stage production, designed for family entertainment. The origins of pantomime go back to ancient Rome, and was developed in England to generally be performed during the Christmas and New Year season. Modern pantomime includes songs, slapstick comedy and dancing, employs gender-crossing actors, and combines topical humour with a story loosely based on a well-known fairy tale. It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers. The development of English pantomime was strongly influenced by commedia dell’arte. This was a â€Å"comedy of professional artists† travelling from province to province in Italy and then France, who improvised and told comic stories that held lessons for the crowd, changing the main character depending on where they were performing. Pantomime mainly incorperated song, dance, buffoonery, slapstick, cross-dressing, in-jokes, topical references, audience participation, and mild sexual innuendo. The general movement within Pantomime creates physical theatre as the storyline is presented to the audience mainly through lifts, dance and slapstick, although performers also use their voice throughout. The Theatre of the Absurd is the name for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s, as well as one  for the style of theatre which has evolved from their work. Their work expressed what happens when human existence has no meaning or purpose and therefore all communication breaks down, alerting their audiences to pursue the opposite. The Absurd in these plays takes the form of man’s reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Theatre of the Absurd consisted of horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichà ©s, wordplay, and nonsense; plots that are cyclical or absurdly expansive. The term â€Å"Theatre of the Absurd† was coined by the critic Martin Esslin, who made it the title of a book on the subject first published in 1961. The â€Å"Absurd† or â€Å"New Theater† movement was originally a Paris-based form of theatre, tied to extremely small theatres. There are many conventions of â€Å"absurd† theatre, such as words often appearring to have lost their denotative function, thus creating misunderstanding among the characters. Instead, language gains a certain rhythmical, almost musical quality; no plot, minimal staging, babbling; abstract setting, â€Å"It is sometimes said to express the ‘human condition’ in a basic or ‘existential’ way† (Worthen 1639 ). Pirandello, one of the first experimentalists, wanted to bring down the fourth wall that was created by Realism, thus creating more physicality and a deeper connection with the audience. Modern physical theatre has grown from a variety of origins. Mime and theatrical clowning schools, such as L’Ecole Internationale de Theatre Jacques Lecoq in Paris, have had a big influence on many modern expressions of physical theatre. Practitioners such as Steven Berkoff and John Wright received their initial training at theatre schools just like this. Contemporary Dance has also had a strong influence on what is regarded as physical theatre, partly because most physical theatre requires the performers to have a level of physical control and flexibility. This is rarely found in those who do not have some sort of movement background. Modern physical theatre also has strong roots in more ancient traditions such as Commedia dell’arte and some people suggest this links to the ancient greek theatre. Eastern Theatre traditions have influenced a number of practitioners who have then influenced physical theatre. A number of Oriental traditions have a high level of physical t raining, and are visual masterpieces. Antonin Artaud was fascinated with the energy and  visual nature of Balinese theatre and wrote extensively on it. He admired Eastern theatre because of the highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a â€Å"Theatre of Cruelty†, which he used to create physical theatre within performances and to describe a form of theatre that he hoped would unleash unconscious responses in audiences and performers that were normally inaccessible. Another physical theatre practioner, Steven Berkoff, used techniques such as background movement, repetitive actions, and mime to explore further the ways in which he approaches exchanges between two characters. Berkoff said that it was important â€Å"to see how I could bring mime together with the spoken word as its opposite partner, creating the form and structure of the piece†. Berkoff also used a theory he called Total Theatre, which is key to him and stemmed from Artaud’s theatre style. Total Theatre maintains that every aspect of theatre must have purpose: every movement, that is chor eographed; to each line, that is learned perfectly; to each lighting effect, that is used to convey a mood or message; to each sound effect, that enhances the audience’s experience; to each prop that has a use. The aim of Total Theatre is to create extreme moods to give the audience an overwhelming experience and to shock, amuse, scare, or amaze them. As a result of Total Theatre, performances are often minimalist, with bare stages and little language so that the focus remains on the physical movement and not on all the effects or the creation of a scene. This serves to detach the audience from the play and make them think about what was being said. However, from 1911 to 1916 Stanislavski, proposed that actors study and experience subjective emotions and feelings and perform these experiences to audiences by physical and vocal means. While in the early stages his ‘system’ focused on creating truthful emotions and embodying them, even though he later worked on the Method of Physical Actions. Its focus was on physical actions as a means to access truthful emotion, and involved improvisation. The focus remained on reaching the subconscious through the conscious. In other words, he wanted the performer to focus internally to portray a character’s emotions onstage. Later, between 1934 and 1938, this technique evolved to a method of physical actions in which emotions are produced through the use of actions. From Greek theatre to modern day, physical theatre has been used by many different practitioners and theatre  groups for one sole purpose; to impact the audience. On one hand, the mime and Commedia dell’arte that the Greeks first developed is still used widely today; mime is still an extremely popular form expression within plays, and commedia dell’arte is still extremely popular in creating humorous performances using masks, and over-exaggerated costumes. Similarly, pantomime is still one of the most popular forms of theatrical entertainment used across the world, achieving physical theatricality by including slapstick, lifts and dances, occasional mask work and costumes. This is effective as it provides the audience with the storyline in a less conventional and, arguably, more interesting way. It intrigues the audience, and makes them feel more emotionally connected with the characters involved in the performance, especially when the performers break the fourth wall, which frequently happens during pantomimes. However it can also be argued that many things have changed as time passed in regards to physical theatre. As technology advanced, the use of lighting and special fx have made creating a dramatic and intense atmosphere easier. Breaking the fourth wall is also a new idea, as the Greeks and Romans believed that the audience should not be included in the performance, and should purely be onlookers, whereas Artaud and Stanislavski believed that by bringing the audience into the performance, it would not only make it more intense and engaging, it would also achieve the â€Å"attacking the senses† criteria that Artaud believed in, by using â€Å"in yer face† theatre to scream and shout in the audience’s face. Physical theatre as it is used today, is st ill very popular with both performers and audiences, as it is both entertaining to watch and perform.

Mom and Pop Shops - 1153 Words

Death of Mom-and-Pop Shops Cindy Dias English Composition II Professor James Meeze January 19, 2013 Based on my research paper and reading the information, I am going to choose how Wal-Mart is taking down mom-and-pop shops and destroying them by leaving downtown barren and empty. I am going to prove it does have some effect on small business, but also it has to do with our economy. I plan on the information and graphs I found by researching my information about how the big companies do take over some small business. I will provide a power point presentation in my research paper to also show you more information about my research paper. There is no question that Wal-Mart does cause some mom-and-pop shops to fail. However, those†¦show more content†¦Most mom-and-pop shops do not carry toasters or DVDs, and if they do they are higher in price. Will Wal-Mart take over the world? There were shops of all kinds like bakeries, shoe stores, pharmacies, and then come Wal-Mart. The mom-and-pop shops fear that giant all-in-one stores would come to small towns and squash mom-and-pop op erations, based on discounter which topped two hundred twenty six billion in 2001, irresistible for its convenience, and low prices. Wal-Mart being such a huge buyer, it is such a huge seller that it can offer customers the lowest prices and make up the difference in volume. According to this article mom-and-pop shops are gone, regional chains are gone national retailers are thinning out. â€Å"We’re left with only the very big players at the top now that Wal-Mart has chewed right up the food chain. By reading all the articles, there are facts that Wal-Mart does and does not have effects on small mom-and-pop shops. The articles I read about Wal-Mart, Home Depot, Lowes has forced the mom-and-pop shops to close. For example the two big hardware stores have not put Ace, or even True Value out of business, they still exist throughout the United States. 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