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Tara Heath

Know Your Rights | Students' Rights | American Civil Liberties Union - 2 views

  • Do I have First Amendment rights in school? You have the right to speak out, hand out flyers and petitions, and wear expressive clothing in school — as long as you don’t disrupt the functioning of the school or violate school policies that don’t hinge on the message expressed. What counts as “disruptive” will vary by context, but a school disagreeing with your position or thinking your speech is controversial or in “bad taste” is not enough to qualify. Courts have upheld students’ rights to wear things like an anti-war armband, an armband opposing the right to get an abortion, and a shirt supporting the LGBTQ community. Schools can have rules that have nothing to do with the message expressed, like dress codes. So, for example, a school can prohibit you from wearing hats — because that rule is not based on what the hats say — but it can’t prohibit you from wearing only pink pussycat hats or pro-NRA hats. Outside of school, you enjoy essentially the same rights to protest and speak out as anyone else. This means you’re likely to be most protected if you organize, protest, and advocate for your views off campus and outside of school hours. You have the right to speak your mind on social media, and your school cannot punish you for content you post off campus and outside of school hours that does not relate to school.
  • Can my school tell me what I can and cannot wear based on my gender? Public schools can have dress codes, but under federal law dress codes can’t treat students differently based on their gender, force students to conform to sex stereotypes, or censor particular viewpoints. Schools can’t create a dress code based on the stereotype that only girls can wear some types of clothes and only boys can wear other types of clothes. For example, your school can require that skirts must be a certain length, but it cannot require that some students wear skirts and prohibit others from doing so based on the students’ sex or gender expression. That also applies to pants, ties, or any other clothing associated with traditional gender roles. Dress codes also must be enforced equally. For example, rules against “revealing” clothing, such as bans on tank tops or leggings, shouldn’t be enforced only or disproportionately against girls. All students should be allowed to wear clothing consistent with their gender identity and expression, whether they identify as transgender or cisgender. This also applies to homecoming, prom, graduation, and other special school events. Schools shouldn’t require different types of clothing for special events based on students’ sex or gender identity — for example, requiring tuxedos for boys and prom dresses for girls.
  • Can my school discipline me for participating in a walkout? Because the law in most places requires students to go to school, schools can discipline you for missing class. But schools cannot discipline you more harshly because of the message or the political nature of your action. The punishment you could face will vary by your state, school district, and school. If you’re planning to miss a class or two, look up the policy for unexcused absences for your school and school district. If you’re considering missing several days, read about truancy. Also take a look at the policy for suspensions. If you are facing a suspension of 10 days or more, you have a right to a formal process and can be represented by a lawyer. Some states and school districts require a formal process for fewer days. You should be given the same right to make up work just as any other student who missed classes.
Tara Heath

Hate Speech and Hate Crime | Advocacy, Legislation & Issues - 3 views

  • There is no legal definition of "hate speech" under U.S. law, just as there is no legal definition for evil ideas, rudeness, unpatriotic speech, or any other kind of speech that people might condemn. Generally, however, hate speech is any form of expression through which speakers intend to vilify, humiliate, or incite hatred against a group or a class of persons on the basis of race, religion, skin color sexual identity, gender identity, ethnicity, disability, or national origin. 1 In the United States, hate speech is protected by the First Amendment. Courts extend this protection on the grounds that the First Amendment requires the government to strictly protect robust debate on matters of public concern even when such debate devolves into distasteful, offensive, or hateful speech that causes others to feel grief, anger, or fear. (The Supreme Court's decision in Snyder v. Phelps provides an example of this legal reasoning.) Under current First Amendment jurisprudence, hate speech can only be criminalized when it directly incites imminent criminal activity or consists of specific threats of violence targeted against a person or group. Hate Crime For the purposes of collecting statistics, the FBI has defined a hate crime as a “criminal offense against a person or property motivated in whole or in part by an offender’s bias against a race, religion, disability, sexual orientation, ethnicity, gender, or gender identity,” including skin color and national origin.  Hate crimes are overt acts that can include acts of violence against persons or property, violation or deprivation of civil rights, certain "true threats," or acts of intimidation, or conspiracy to commit these crimes. The Supreme Court has upheld laws that either criminalize these acts or impose a harsher punishment when it can be proven that the defendant targeted the victim because of the victim's race, ethnicity, identity, or beliefs.  A hate crime is more than than offensive speech or conduct; it is specific criminal behavior that ranges from property crimes like vandalism and arson to acts of intimidation, assault, and murder.  Victims of hate crimes can include institutions, religious organizations and government entities as well as individuals.
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    "Hate Speech There is no legal definition of "hate speech" under U.S. law, just as there is no legal definition for evil ideas, rudeness, unpatriotic speech, or any other kind of speech that people might condemn. Generally, however, hate speech is any form of expression through which speakers intend to vilify, humiliate, or incite hatred against a group or a class of persons on the basis of race, religion, skin color sexual identity, gender identity, ethnicity, disability, or national origin. 1 In the United States, hate speech is protected by the First Amendment. Courts extend this protection on the grounds that the First Amendment requires the government to strictly protect robust debate on matters of public concern even when such debate devolves into distasteful, offensive, or hateful speech that causes others to feel grief, anger, or fear. (The Supreme Court's decision in Snyder v. Phelps provides an example of this legal reasoning.) Under current First Amendment jurisprudence, hate speech can only be criminalized when it directly incites imminent criminal activity or consists of specific threats of violence targeted against a person or group. Hate Crime For the purposes of collecting statistics, the FBI has defined a hate crime as a "criminal offense against a person or property motivated in whole or in part by an offender's bias against a race, religion, disability, sexual orientation, ethnicity, gender, or gender identity," including skin color and national origin.  Hate crimes are overt acts that can include acts of violence against persons or property, violation or deprivation of civil rights, certain "true threats," or acts of intimidation, or conspiracy to commit these crimes. The Supreme Court has upheld laws that either criminalize these acts or impose a harsher punishment when it can be proven that the defendant targeted the victim because of the victim's race, ethnicity, identity, or beliefs.  A hate crime is more than than offensive speech
Siri Anderson

Social identity theory - Wikipedia - 5 views

    • Siri Anderson
       
      Remember the example of Us v. Them
  • Social identity theory is described as a theory that predicts certain intergroup behaviours on the basis of perceived group status differences, the perceived legitimacy and stability of those status differences, and the perceived ability to move from one group to another
Nigel Coutts

Language moves for identity - The Learner's Way - 8 views

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    What changes when we refer to ourselves or our students as members of the community of thinkers and learners that they are apprenticed to? What changes when we are mindful in our use of a language of identity?
meghankelly492

The rise of creative youth development: Arts Education Policy Review: Vol 118, No 1 - 3 views

  • The article describes creative youth development in the larger contexts of arts education and of education reform.
  • Lastly, the article discusses policy, funding, and research needs and opportunities and provides questions for consideration.
  • Yet these two worlds largely exist apart, failing to address the reality that youth learn and grow—or fail to reach their potential—through influences and experiences in all spheres of their lives, including home, school, and the settings where they spend time outside of schoo
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  • attention due to their high levels of youth engagement that contribute to substantial learning, enhanced critical thinking
  • such as heightened confidence and sense of agency
  • Decades of research findings link adolescent engagement, efficacy, and responsibility with opportunities for immersion and mastery, connection in a community of practice, embracing youth voice, and cultivating youth leadership with adolescent engagement, and non-school settings have emerged as crucial developmental and learning environments for youth
  • Throughout the United States, teen participants in CYD programs assert that the programs saved their lives, putting them on positive trajectories and away from gangs, drug use, crime, and ennui.
  • The creative process at the center of CYD programs contributes to profound personal growth for youth participants
  • And as they experience the creative process over an extended period, they learn that they can use it to express their own identities, understand and change the world around them, and connect to the greater human experience.”
  • community of practice of youth artists and their artist mentors, the paid, professional artists who comprise the full-time faculty. SAY Sí boasts a 100% rate of graduation and pursuit of higher education in a community with a 45% dropout rat
  • hese programs had a central belief in the ability of young people to achieve and grow artistically and personally through creative expression and skill building in the arts.
  • impact of arts-based youth programs in reducing risk factors and building protective factors in a study conducted in three American cities
  • She also catalogued characteristics of effective CYD programs, such as supporting risk within a safe space (
  • Teens develop intrinsic motivation as they immerse themselves and develop competence in a topic, connect with others who share this interest, and work with educators positioned as senior collaborators—
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
solisg58

Favorite 2nd grade books - 4 views

  • llows children to imagine the things they would do if they co
  • uld. This is a story everyone can relate to, no matter his or her background
  • climb into a tree and read” summer days.
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  • read-aloud
  • Poetry
  • Themes of racial or ethnic identity and pride are incorporated in the plot.
  • Friends
meghankelly492

Exploring the Cultures of East Africa - Jenman African Safaris - 0 views

  • As much as these different East African countries have in common, there are also distinct differences as a result of the over a hundred different cultures, dozens of different languages and diverse opinions relating to national identity.
  • Tanzania has two official languages – English and Swahili
  • Over the last ten years, the art of cartoons and comics has really taken off in Tanzania and begun to develop a more outspokenly political edge
Martin Burrett

'Doing science,' rather than 'being scientists,' more encouraging to girls - 8 views

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    "Asking young girls to "do science" leads them to show greater persistence in science activities than does asking them to "be scientists," finds a new psychology study by researchers at New York University and Princeton University. "Describing science as actions, by saying 'let's do science,' leads to more science engagement than does describing science in terms of identities, by asking them to 'be scientists'" explains Marjorie Rhodes, an associate professor in NYU's Department of Psychology and the senior author of the study, which appears in the journal Psychological Science. "These effects particularly hold for children who are the target of stereotypes suggesting that they might not be the kind of person who succeeds in science-in this case, girls," she adds."
Martin Burrett

Managerialism in UK schools erodes teachers' mental health and well-being - 9 views

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    "Performance targets, increased workload, curriculum changes and other bureaucratic changes are eroding teachers' professional identity and harming their mental health, a new study in Educational Review finds. The study's authors interviewed 39 teachers across England and Wales who had experienced long term absence from work due to mental health problems, and six head, deputy and assistant head teachers who had dealt with mental health problems among staff."
Dallas McPheeters

Change and why we all see it differently - The Learner's Way - 14 views

  • the rise of the ‘gig’ economy where freelance and short term contract work is common and training and retraining for new projects is the norm
  • it is more important to be able to learn than it is to be learned
  • If the young people of today are to thrive beyond the walls of the classroom they will need to be able to cope with a world characterised by volatility, uncertainty, complexity and ambiguity.
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  • teaching children who have lived their entire lives in that very century
  • multiple reports that detail the skills and dispositions children will need
  • there are broad typologies which emerge along a continuum from those who actively seek to change to those who actively resist it. 
  • There are those for whom change is the next adventure
  • There are those who are open to change but need to be shown the evidence.
  • There are those who need to be show how the change will impact them
  • There are those who publicly embrace the change but in the privacy of the classroom continue as they have always done
  • There are those who are outright afraid of change
  • “A person’s sense of identity is partly determined by his or her values, which can mesh or clash with organizational values”
  • There are of course also those for whom the change is just wrong
  • Change is always complicated. A the least it involves people, personalities, cultures, beliefs, values, emotions and identity.
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     If the young people of today are to thrive beyond the walls of the classroom they will need to be able to cope with a world characterised by volatility, uncertainty, complexity and ambiguity. The children of todays Kindergarten will enter the workplace in the fourth-decade of the 21st Century. We debate the merits of teaching 21st Century Skills and what they might be while teaching children who have lived their entire lives in that very century. The challenge is how will schools and individual teachers respond to this drive for urgent change.
Martin Burrett

Is It for the Good of the Children or The Bank Balance? by @sheep2763 - 4 views

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    "The new code of practice has got rid of behaviour as a category and has replaced it with Social, Emotional and Mental Health Difficulties. This may be the cause of the child's difficulties but the manifestation is often in their challenging behaviour. Within school there are some families where their behaviour could almost be considered to have a genetic component. We appreciate that every child, even identical twins, are individuals and we always treat them as such. Today I wanted to refer a child who appears to have some Social, Emotional or Mental Health Difficulties to our Educational Psychologist. He wanted to have a chat about the child before accepting the referral, fair enough, I was happy to chat."
Martin Burrett

Book Review: Living Contradiction by @Sean_S_Warren & @StephenBigger - 2 views

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    PROS: An important book that questions an authoritarian school culture. The book grapples with both the philosophical and the pragmatic aspects of school culture. A resonatory self-examination of teacher identity and a significant contribution to the debate about how schools and classrooms are run. A survey of a wide range of related research that challenges the status quo on the effectiveness of punishment and authoritarianism as approaches to behaviour management."
Martin Burrett

Barnardo's launches free LGBTQ teaching resources - 14 views

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    "Barnardo's has launched free lesbian, gay, bisexual, transgender and questioning (LGBTQ) resources to help teachers better educate children about same sex relationships and gender and sexual identities. The free LGBTQ resources aimed at primary and secondary schools have been launched by children's charity Barnardo's to sit alongside their existing Real Love Rocks resources, which teach children and young people about healthy relationships and awareness of child sexual exploitation."
Martin Burrett

Boys secure in their racial identity seek more diverse friendships - 17 views

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    "Children often seek answers from parents, friends and media to better understand their racial identity. Middle school boys who feel secure about their race during this ongoing information gathering will likely befriend diverse people, according to a new University of Michigan study."
Fernando Escobar

Digital Culture & Education - 88 views

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    Digital Culture & Education (DCE) is an international inter-disciplinary peer-reviewed journal. This interactive, open-access web-published journal is for those interested in digital culture and education. The journal is devoted to analysing the impact of digital culture on identity, education, art, society, culture and narrative within social, political, economic, cultural and historical contexts.
Siri Anderson

National Catholic Sisters Week | SisterStory Listening Party - 8 views

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    Years ago the Hilton Foundation gave St. Catherine University money to support outreach around the Sisters, broadly construed. Why? Because in their research on ROI, they found that money given to Sisters to do good in the world yielded the largest returns. Sisters have a history of maximizing benefits. In our practice at St. Kate's we, with a faculty of varying faiths and identities, channel the Sisters' practices of hospitality, generosity, the Catholic Intellectual Tradition and treating our dear neighbors as ourselves to serve the greater good in our work with students and the community. Unity around this shared purpose is what makes working and learning here uniquely wonderful. Anyway, if you are a lover of podcasts, good stories, history, or community you might consider the series shared here. A suitable addition to National Women's History Month as well as National Catholic Sisters Week in March.
Julie Golden

Need your help!! - 25 views

eLearning faculty please consider taking my survey. It is anonymous, so I won't be able to send a proper thank you. Please know that I will pay your kindness forward to another doctoral student in ...

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started by Julie Golden on 13 Sep 15 no follow-up yet
Julie Golden

Need Your Help!! - 35 views

New Link below. Thanks so much for letting me know. Please consider taking my survey. It is anonymous, so I won't be able to send a proper thank you.Please know that I will pay your kindness forwa...

Web 2.0 elearning collaboration E-learning teaching education higher ed edtech

Julie Golden

Need your help! - 39 views

New Link! Thanks everyone for letting me know Please consider taking my survey. It is anonymous, so I won't be able to send a proper thank you.Please know that I will pay your kindness forward to ...

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