Culture and Care Value Base Essay Example for Free

Culture and Care Value Base Essay In this assignment I am going to examine and explain my own personal values and principles influence my own work in professional practice. I will compare my principles and values with the Northern Ireland Social Care Council codes of practice and the Care Value Base. The NISCC and the Care Value Base have many similar codes of practice which all health and social care practitioners should adhere by and work with. The values I feel that are relevant within my experience of healthcare and within my current placement are confidentiality, dignity and respect, effective communication, anti-discriminatory practice and culture and beliefs. In researching NISCC codes of practice and the Care Value Base, I have found that their values are also similar to my own values within my care practice. The first value I am going to discuss is confidentiality. According to the Care Value Base maintaining confidentiality of information is an important part of caring. Any information clients give is private and confidential. Individuals need to be aware of what they say to other carers and clients and also who have access to client files. Previously undergoing work experience in the stroke ward I found that all patients’ medical information is on a clipboard on the front of their bed, anyone could read this information, I feel the patient’s confidentiality is  being breached. During my work placement at Ceara School, I observed that each pupil has individual care folders within school; these are kept in a secure filling cabinet and only the members of staff who are looking after a particular pupil is allowed access, I feel this is very good practice to uphold confidentiality. Within my placement I feel my values would be similar to the Care Value base, if a service user informed me of private information I would keep it to myself to build trust and confidence unless the individual or others were at harm. The second value that I feel is most important and relevant to my experience and work placement is effective communication. According to NISCC, one of their codes of practice is to communication in an appropriate, open, accurate and straightforward way. Within my work placement you have to have recognition and respect of the pupil’s opinions and ideas so they gain confidence within you and be more comfortable to talk. You also have to talk respectfully and use a lot of humor and creativity to keep them interested. On a regular basis there are group conversations and also one to one conversations, simple language is used that is easily understood and additionally open questions are applied to develop the conversation. With having previous work experience in Craigavon Area Hospital I have learnt the importance of communication. Many doctors used jargonistic terms, which can be very hard for patients to understand, I consider this to be ineffective communication. I feel my values are comparable to those of the Northern Ireland Social Care Council. I think that my value of communication within my work placement will come across positively. While in placement I make the speaker feel heard and understood, I make sure to create an environment where pupils feel safe to express ideas opinions and feelings. I keep suitable eye contact and show interest in what is being said and sure my posture is open and inviting. The Care Value Base deems that it is important to acknowledge an individuals personal beliefs and identity. The NISCC feel that respective diversity and different cultures and values are very significant and can have extensive affects on a persons care. I went to an integrated secondary school with many cultures and religions. I took part in a multi-cultural day in school, I got to see other communities and cultures and what they believed in, this widened my views and changed my opinions of different religions. While in Craigavon Area Hospital completing work experience I learned that meals and meal times were very important in some religions and culture. Some individuals were vegetarian; I had to be very respectable of their culture and identity. They were supplied with a different menu with different foods that they could choose this promotes the right of choice and independence. Before my work placement commenced I hoped that the employees and pupils had the same value as myself in consideration of different cultures and are open to express their beliefs and identity and be proud of who they are. My next value is extremely important in my care practice and that is upheld by NISCC and the Care Value Base is anti-discriminatory practice. Anti-discriminatory practice is action to prevent discrimination against people on the grounds of race, class, gender and disability. Anti-discriminatory practice promotes equality by introducing anti-discriminatory policies in different situations of work. http://uk.ask.com/question/what-is-the-definition-of-anti-discriminatory-practice The Care Value Base describes one of their values by promoting anti-discriminatory practice and to protect the individual from abuse. There are many pieces of legislation that are in place to protect individuals from discrimination including the Disability Act 1995, Human Rights Act,  Equality Act 2010 and the Children (Northern Ireland) Order 1995. In my work placement I will work in an anti-discriminatory way, I will not discriminate or judge the service users on their gender, race, class or disability. I believe everyone is different and we all have rights set in place to prevent us from being discriminated against. While undertaking work experience in Craigavon Area Hospital, disabled individuals were protected from discriminatory practice, there were lifts and ramps so all wheel chairs could access the building. There were wide and automatic doors so wheel chairs could get through them with no difficulty, although I feel this is very good practice there was also bad practice within the hospital. I consider individuals with different religions and languages were discriminated against. There were no interpreters for different languages therefore the patients didn’t know what had happened or what was about to happen. I feel my values hinder those of the Care Value Base and I imagine my values will come across positively within my work placement. I feel my personal culture and experience has influenced me in many different ways in supporting users of services and others in health and social care settings. My parents have taught me from a young age to say please and thank you and to be respectful to others. I have grown up knowing these simple values and therefore it has influenced me to show dignity and respect to all service users. Although I am of a Catholic background and practice the Catholic faith, I went to an integrated primary school and secondary school with many different religions and cultures. I now have an understanding of other cultures within health and socials care settings and I am able to accept other religions and their beliefs. I believe this have had a positive influence on my personal culture and experience. When I was in primary school, I met my best friend, he was homosexual. My parents were quite weary of this as they didn’t like the way he dressed and  acted. They came to the terms of his sexual orientation and accepted him; because I have had the privilege of meeting him it has allowed me to open my eyes to all sexual ordinations. When working and supporting users of health and social care service I wouldn’t mind what sexual ordination the service user was, I would not discriminate against them. I would promote and uphold my values to protect them from harm. From experience I know many people have been discriminated on because of their gender. Some individuals will not be chosen for a particular job because they are male/female. Service users are also judged on their sexual ordinations, recently in the news according to Poots, Northern Irelands Health Minister he said that all gay men are not allowed to give blood. I feel this sexual ordination is being discriminated against, it is very bad practice and defeats the purpose of legislation created to protect individuals from this happening. I will promote and uphold my values to protect individuals from being discriminated against. http://www.bbc.co.uk/news/uk-northern-ireland-15014823 I think a pedophile and a murder would cause a barrier in the care setting I am working in. I have grown up knowing that they are bad from family, friends and the media. This may affect and hinder my work but as I am now aware of this negative point I need to work on this barrier. I can not make an assumption until I work and understand them, until then, I will try not to judge this group. New developments and changes to personal values can have a major impact on working in the Health and Social Care sector. Firstly a new development of mine is starting a new course; I have met new people and got to know them. Working in different practices can impact work in a care setting, partnership can be developed and new skills can be gained. I have started a new placement in Ceara School, I am very excited to see if it is the right area of health and social care I want to do further studying in. I feel this experience can be very education and rewarding. This experience will help me in my future and will give me a good start. I can now see that it is the first time I have looking at my values thoroughly and reflected on them, I  will challenge my values to become a better professional. I feel guest speakers were a new development of mine, they give me an insight into their organisation, and they also give me information on how I could get work experience. New developments and changes to my personal values can benefit the service user. I could reflect more in action rather than later, use communication more effectively and user my initiative in different situations. To conclude I believe that personal values is very significant in influencing my own work in the health and social care sector. I have found that my values are similar to the values of the Care Value Base and the Northern Ireland Social Care Council. I have found that there is legislation to protect individuals from unconfidentiality and anti-discriminatory practice also to promote dignity and respect, effective communication and culture and beliefs. I have also explored my new developments and what changes I could make to my personal values to create more effective and efficient care.

Pay Equity- Statistics, Legislations and Why Women Worn in Low - Paid Jobs Essay Example for Free

Pay Equity- Statistics, Legislations and Why Women Worn in Low Paid Jobs Essay Men and Women should not be called the opposite sexes, instead referred to as complimentary sexes. The sexes should be treated equally in every aspect, one of which is in the pay they receive. The sexes should receive equal wages for equal work. It should be more about ‘from each according to his ability, to each according to his need’. Statistics show that men are paid more than women for the same work. One may think if women are really paid less, why would anyone hire a man? Put another way, would not a company full of men will soon be put out of job by a company which hired only women. The truth is that the pay gap can be attributed to large scale discrimination against women. Men who earn more most often do so because of their gender. To get higher pay, men are more likely to enter higher-paying fields, perform riskier tasks and take positions with less stability which explains the fact that only 26% of all miners are women. To tackle this problem of unequal pay, various movements have risen in the recent times ensuring pay equity. In Canada, the purpose of the Pay Equity Act is to achieve equality in the workplace so that no person shall be denied employment opportunities. Though massive strides have been undertaken in the past for pay equity, the true scenario of pay equity has not been achieved as there is wage disparity in various jobs undertaken by women including unequal pay in the field of sports, and why women tend to work at low paid jobs. There is pay inequity almost in any profession undertaken by women. Men earn significantly more than women despite the existence of the Pay Equity Act. During the time when Baby Boomers were joining the workforce, women earned 59 cents to the dollar till the 1980s where the wage gap was narrowed by just 15 cents to just 74 cents to the dollar. Back then, the pay equity legislations never confirmed women equal pay as the men; they just gave the women the hope that women could raise their voice against unjust treatment by their employers. The Pay Equity Act of 1963 supported women who were employed in the public sector and thereby, offering no security to the ones employed in the private sector. In 2002, the median wages of women who worked full-time year-round were 76. 2 percent of men’s (Werschkul 13). In other words, women earned about 76 cents for every dollar earned by men. To reduce the wage disparities, pay equity legislation prohibits wage discrimination where employees are responsible for equal work. The goal of the legislation is to achieve the ideal balance between financial comfort, professional fulfillment and personal happiness for each women employee. Certain factors are a hindrance in the achievement of this dream. One reason why women earn less because women in the workforce are less likely to work a full-time schedule and are more likely to leave the labor force for longer periods of time than men. These differing work patterns lead to an even larger earnings gap between men and women suggesting that working women are penalized for their dual roles as wage earners and those who disproportionately care for home and family. Recent figures convey a better story. Working women today are paid an average of 80 cents for every dollar that men are paid, even when accounting for factors such as occupation, industry, race, marital status and job tenure. There are more than 80 fields in which women earn more than men, but some are too small to be statistically significant. Of which, there are only 40 fields in which women earn less than 5% more than their male counterparts. These positions include counter attendants in cafeterias, food preparation workers, waitresses and service station attendants to name a few. It has been argued that women earn less because they are not as qualified as their male counterparts. However women in the same positions as the men still earn less. For instance, women lawyers earn just 87% of their male counterparts (Farrell 8). In the medical field, physicians and surgeons earn just 59% of pay compared to male physicians and surgeons. Women and men employed in these fields are equally qualified as they would not be a certified physician without same qualifications. Despite similar qualifications, women still earn less. Pay inequity runs rampant in the sport world too. Professional sport continues to provide unequal pay to women. Paying men more for the same sport gives women in the sport less incentive to push themselves. As a result, it also discourages future female participation in the sport. Women athletes in the sport receive minuscule recognition and fewer rewards compared to their male counterparts. For example, for finishing in third place in the 2003 Women’s World Cup, each U. S. women’s national soccer team member was awarded $25,000. They would have received $58,000 if they had won the Cup. For reaching the quarterfinal of the World Cup in 2002, the U.  S. men’s national soccer team members received $200,000 each. To speak about Tennis, Wimbledon offered greater prize money to the male athletes till 2007. These discrepancies occur because of certain misconceptions. One misconception is that woman’s competitions are not as exciting compared to ‘masculine’ events for instance men perform riskier tricks, hit a tennis ball harder. Women should be compared to other women, not to men. There is a bias that women are not physically strong as the men but women perform to the best of their physical abilities. They would perform the same with a fluctuating pay. Athletes are driven by the passion for the sport, not for the money it offers. Another misapprehension is that women should not receive the same prize money as they are unable to bring the sponsorships and viewership compared to men. Women’s events are not publicized or advertised as much as compared to men’s events. Therefore it will be unfair to say they are unable to draw attention from the public. If the womens events are not included in the telecast, it is misleading to argue that mens events receive higher ratings. Another delusion is that men’s competitions go on for a longer time, include more games and thus men should receive more income. This assumption is flawed as length of the competition should not matter. Star athletes are the ones who draw the crowd. Women have the same capability like the men to draw crowds. The issue of pay inequity goes beyond the issue of money. This issue extends beyond the playing field. When girls grow up seeing celebrated women athletes receiving less than their male counterparts, they are forced to believe it is okay for them to compromise. This acceptable value is not an accepted one. Majority of women tend to be employed in low-paid jobs. In large corporate companies, there is a bias that women are better in the human resource field than in any other field. It is a stereotypical image of women being more cooperative, collaborative and intuitive than men. The CEOs of any company come from the manufacturing, marketing and operations department, not from the human resource department. The talented women are working in the human resources.

Seraikela Chhau And Purulia Chhau Drama Essay

Seraikela Chhau And Purulia Chhau Drama Essay India is a country with a rich range of various cultures and traditions. Each part of India has different ways to preserve those cultures traditions such as folk and classical dances. Folk and classical dances play a big role in the Indian culture as a way of communication. One of the dance-drama folk art that is performed in India is the Chhau dance-drama of Eastern India. There are three types of Chhau dance-dramas but this essay will focus on only two types: the Seraikela of Bihar and the Purulia of West Bengal. Both Chhau styles are masked dance-drama forms that are unique. To understand the significance of this folk art for the Indian community, it is important to first understand the elements and the origins of the Chhau. The Chhau is very significant to the Indian culture because it is both a religious and mythological practise that has been passed on thought many generations. Not only is the Chhau dance-drama used for festive celebrations but is also used as a way to communic ate moral message by the portrayal of stories from the Indian mythology. The portrayal of stories is where the theatrical aspect comes in the picture. The Chhau characters are mute so therefore, movements and masks are used instead of dialogues to show certain emotions and feelings to bring the story forwards. The study of the origins, history, costumes, music, staging, music and performers brings to the conclusion that indeed, the Chhau dance-drama is a folk art that is very significant to the Indian culture and the Indian people. 1) Introduction- Folk dances in India India is one of the very few countries in the world to possess a rich range of different cultures and traditions. Each and every region of India has a unique culture that has passed through many generations for centuries. What I find really interesting about India is that they have well preserved their cultures and that even today, they are still practising certain traditions compared to other countries that have lost their cultures by evolving into a more modernized civilisation. Cultures and tradition can be passed on through generations by many ways like paintings, written scripts, music, theatre and dance. Folk dances and folk theatre play a big role in the Indian culture as they are art forms that are a very efficient way of expression to the community. Folk dance is an art used to convey the local culture, legends, myths and religious beliefs of a specific region and as India has many different cultures, the folk dances vary from one region to another. Indian folk dances are th e products of a variation of socio-economic classes in India. They are usually performed by ordinary people rather than professional dancers in small towns or villages where people gather together to celebrate special occasions such as harvesting, marriages, religious holidays, festivals, birth of a child etc Since in India all those festivities are celebrated quite often if its not every day, folk dances have become an essential part for the Indian culture. Some folk dances which are performed in India also incorporate theatre in their dances. Those dance-drama forms are a rural extension of the ancient theatrical tradition found in the Nathya Shastra . The Nathya Shastra is known as the oldest surviving text on stagecraft in the world written by Bharata Muni between 200 AD and 200 BC. The Nathya Shastra covers stage-design, music, dance, and makeup which are important components for the folk dances in India and also for musicians as it is the only text that provides details about the music and instruments used in that period. One of the folk dance-drama forms that has survived past several centuries and that is still being performed today despite the movement of modernization is the Chhau of Eastern India. The word Chhau is believed by certain people to come from the Sanskrit root Chhaya meaning shadow and since masks forms an important feature of this dance, it is thence called Chhau, which means mask. Among other dance-drama traditio ns in India like Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali and a few more, Chhau is a rare and unique colourful masked dance-drama form. There are three types of Chhau named after their geographical locations; the Seraikela of Bihar, the Purulia of West Bengal and the Mayurbhanj of Orissa (Figure 1). This Essay will focus on the elements and the origins of the dance-drama form of Seraikela Chhau and Purulia Chhau and to what extent they are significant to the Indian Culture as a folk art. Why did I choose this rare form of dance-drama among others? Simply because I thought that my temporary stay in India would be the perfect occasion to discover a totally new and unknown form of art for me that is directly related to the Indian culture. Since I am a theatre student, I think that exploring a rare form of art is an excellent way to broaden my knowledge of theatre through different cultures. I chose to write an in-depth essay about the Chhau dance-drama of Eastern India among many others also because I find the Chhau very interesting in the way it combines dance and theatre together to tell a specific story or mythology by using rhythms, movements and masks instead of dialogues like most of the theatrical forms use. Figure 1: The orange shaded area of this political map of India represents the Eastern part of India where the three types of Chhau dance-drama originated from. 2) The history and origins of Chhau: The origins of the Chhau dance-drama are still not certain as is the origin of the word Chhau. The dance is known as Seraikela Chhau in Jharkhand, Mayurbhanj Chhau in Orissa and Purulia Chhau in West Bengal. If we look at the basic differences between the three different styles of Chhau, the Chhau dancers of Purulia wear highly stylized masks, in Seraikela the masks are smaller, while in Mayurbhanj the dancers do not always use masks. The word Chhau is interpreted in different ways by different quarters and persons. Most of the people say that the word Chhau arises from the Sanskrit root Chhaya which means shadow and that the art originated in West Bengal. On the other hand, some people disagree and think that it had arisen from the word Chauni which means camp for soldiers and that it originated from the state of Orissa. The reason being the hypothesis that the word chhau derived from the word Chauni is that the Chhau originated in the mock fights of the Oriya paikas (warriors) who fought rhythmically to the accompaniment of indigenous music instrument . Chhau dance is then believed to have originated as a martial art that contains vigorous fight and acrobatic movements. Since the period of time the Chhau started to be performed, many of the main rulers of the region of Orissa worked for the development and conservation of the art. The Chhau is a dance-drama performed only by men. The Chhau dance-drama barely evolved and today follows the basic principles of the Natya Shastra text and has become closely connected to religion. For several centuries, the Chhau dances have been used in association with the religious festival Chaitra Parva also known as the Sun Festival which is celebrated every year starting from the Chaitra month of the Hindu calendar which is around March-April in the Gregorian calendar. During this time of the year, the different social and economical classes used to come together, from the royal family to the local farmers, to celebrate the C haitra Parva. India is a country where religion takes an important part among the lives of the people. The aim of the Chhau dancers is to worship different Gods and Goddesses like for example Lord Shiva and Goddess Parvati for the goal of acting to call for their blessings to stay protected from evils. Besides being performed for religious purposes, the Chhau dance-dramas are also mythological as they are mainly based on the episodic epics Ramayana and Mahabharata. The Hindu mythology consists of stories of Gods, Devas and Asuras. In Hinduism, Deva is the Sanskrit word for a God or a supernatural being, normally resident in one of the numerous heavens and reborn there as the result of good karma. The Asuras are a group of power-seeking deities who are sometimes referred to as demons or sinful souls and are opposed to the Devas. Basically, there is a confrontation between the good and the bad and this confrontation is portrayed by characters in the Chhau dance-drama. However, with pa ssing of time the dance-drama started being used for many other occasions and celebrations through the year in the different states. 3) Masks and Costumes: a. Masks: Characters from the Indian mythology such as Lord Shiva or Ganesh are mythological and therefore, superior to the human being. It was not easy playing such characters using only the human facial expressions and features and that is the reason why in the early periods, different shapes and symbols were used as facial painting or body painting by the dancers to emphasize the characteristics of the different mythological characters .The practise of covering the face and the body with painting gradually gave birth to masks and bright coloured costumes in the dance performances to personify the God and Goddesses of the Hindu mythology. The mask is made not to hide or to conceal, but to expose. As an instrument of metamorphoses, the mask permits man to lose his identity, and allows the gods to manifest themselves with an uncovered face. To mask oneself is to give life to a superior being Masks have been used for many centuries throughout the world for both ritual purposes and traditional theatres especially for the expressivity they add in a characters performance. Masks are often used in folk arts because they are a part of a costume that adorns the whole body and embodies a tradition important to the religious and/or social life of the community. Unfortunately, I was not able to watch an actual Chhau dance-drama performance but I got to experience I quite similar style of dance during my trip in the island of Bali in Indonesia. As the community from Bali follow the Hindu religion, they have mythological stories resembling the Indian ones. The performance Ive seen in Bali was a dance-drama style of performance as the characters were telling a story using dance, movements and gestures to act a story. The dance-drama constituted five acts telling a story using the good ones and the evil ones which is till now very similar to the Ramayana and Mahabharata epics. In the Balinese dance-drama, the characters were wearing masks as well but not all of them compared to the Chhau dancers of Purulia and Seraikela where it is compulsory for all the characters to wear masks. In the Balinese dance-drama, only the superior characters wore masks to express their power and their high status while the other characters were only covered with colourful full-face makeup. As a member of the audience, I can say that the masks helped a lot in creating an epic style of atmosphere on the stage and also in creating a connexion between the characters and the audience which is the reason why I think that masks are used by all the characters in the Chhau dance-drama. The performance that I have seen in Bali helped me a lot in understanding the purposes of the use of masks in the Chhau dance-drama as the Balinese dance is performed for religious and mythical purposes as well. Figure 2 shows an image of the characters in the Balinese dance taken during a performance while Fig ure 3 shows the characters of the Chhau dance-drama. The similarities in the masks used to portray superior beings can be noticed between both dance-drama forms. Even though both forms use masks, the masks are different in the way they are made and the way they look. Figure 2: Masks in the Balinese style of dance-drama. Figure 3: Masks in Chhau dance-drama of Eastern India The Chhau dance-drama enters in the category of poor theatre as all the materials, costumes, masks and accessories are made out of small expenses. . The Chhau masks are made with low priced ingredients such as river soil, newspapers, thin pieces of clothe, little bit of lime and paint. The facial masks are mostly manufactured by the artisans of the villages of the regions of West Bengal or Jharkhand as the Seraikella and the Purulia are the only styles of Chhau that uses masks as a compulsory part of their costumes in their performances. In Seraikela for example, the craft of mask making is an art that is handed down from father to son through many generations. The techniques and the fundamental nature of the Seraikela and Purulia Chhau dance-drama are based on the use of masks. Not only does it add beauty, color and life to the dance but it also evokes bhava (mood) and rasa (aesthetic sentiments) in the audience. Masks have a big role to play in the relationship between the performe r and the audience. In Chhau, every performer has specific masks according to their characters. The Gods and Goddesses usually wear small pieces of decorative glittering materials in the facial masks accompanied with feathers and jewels while the evils or demons like the characters Ravana or Mahishasura wear grotesque masks. The masks used in the Chhau dance-drama are also used to interpret expressions. As the Chhau dance-drama is a speechless form of performance, the expressions given by the masks becomes essential. As the use of masks eliminate any form of facial expressions, the Chhau dancers use head gestures and neck movements to express any sort of feelings or emotions. I think it is really interesting how the portrayal of a story can be done using only body language and masks instead of spoken language and facial expressions. From a theatrical point of view, it is not common and that is what forms the uniqueness of the Chhau dance-drama in the world. The figures 4, 5 and 6 be llow illustrates example of Chhau masks used for different characters. Figure 4 Figure 5 Figure 6 b. Costumes: Like the masks, the costumes are made out of inexpensive local materials. The costumes that the Chhau performers used at the time the dance-drama started being performed are not known so therefore, we cannot tell if the costumes they are using today have evolved or stayed the same since the early years of the performances. Today, the costumes that are used in the Chhau performances are from various bright colors and designs as it is a performance that is supposed to evoke joy during festive periods. The costumes for the lower part of the body differ for the performers playing the Gods and the ones playing the demons. The artists that play the Gods (Devas) characters usually wear pajamas of light colors like green, yellow or red or a mixture of colors to make the characters look more attractive and alive; whereas those playing the role of the demons (Asuras) wear loose trousers of darker and deeper colors such as black. The costumes for the upper part of the body are made out of vario us designs and are as attractive and colourful as the costumes of the lower part of the body. For the performers that play characters such as animals or birds, suitable types of masks and costumes are used to portray the specific types of animals or birds. For example the character of Lord Shiva will be displayed by a tiger skin costume and his son Ganesh with a dhoti (Figure 7). The costumes also consist of many jewelleries and anything that look extravagant as those costumes are supposed to portray inexistent mythological characters. Figure 7: Dhoti Figure 8: Colourful costumes used in Chhau. 4 ) Music and staging: Staging: As the Chhau dance-drama is performed on festive occasions with a gathering together of a whole village community, there is no raised platform or dais being settled down for the performance. With the aim of keeping the traditionalism of the event, the Chhau dance-drama usually takes place in an open air ground where the spectators are divided into sections of women and men and sit in a circle surrounding the area where the Chhau is performed. The stage used for the Chhau performances is decorated in a colourful and joyful style to create a festive atmosphere among the villagers and is usually lit by torches or oil lamps that serve as lighting which once again are made to adhere to the traditionalism of the event. The staging of the Chhau is organized in a style that encourages people from any social or economical class to gather together and celebrate. The fact that the Chhau dance-drama remains a local and traditional event after so many years is fascinating to me as many other danc e or theatrical forms evolved to become more of an entertainment or money based purpose practise than a traditional one. It is very interesting how the Chhau is staged in a way to form a joyful atmosphere in a folk environment. Music: Like other ritual dances, the music accompaniment is a really important part for Chhau. The music style and the rhythm produced by the accompanying instruments are one of the key factors that characterize the uniqueness of the Chhau dance-drama. As the Chhau dancer is mute, the music and the lines sung by the orchestra are really important to introduce the performance. They create the right kind of mood and atmosphere for the scene to be enacted. The most important instrument accompanying the Chhau performances is the use of drum. The two main kinds of drums that are used in the Chhau performances are the Dhol ( Figure 9) and Dhamsa (Figure 10) which are played by local drummers of the area who also dance as they play. As for the tradition, the drummers themselves make the instruments and the tones used for the Chhau dance-drama based on the Hindustani Ragas wish is a Hindustani classical music concept. Ragas have a particular scale and specific melodic movements; their sound should bring delight and be pleasing to the ear. Reed pipes such as Shehnai (Figure 11) are also used by the orchestra along with the drums. The drum beats are important in the Chhau performances because they are used in the beginning of the dance-drama as an invocation to Lord Ganesha sung by a singer from the orchestra. As soon as the invocation to lord Ganesha is over, the drummers and musicians walk in to create an environment prior to the dance before the Lord Ganesha makes his entry followed by the other characters. Figure 9 : Dhol Figure 10: Dhamsa Figure 11: Shehnai 5) Performers and techniques: Even though the Chhau dance-drama is a folk form of dance, it also includes some elements from the classical form of dance of India like the navarasas. The navaras are basically nine emotions that are used in the Indian classical dances and dramas to make both the dancers/actors and the audience appreciate the meaning of the lyrics and the movements that are being portrayed by. The nine rasas goes as follows: hasya (happiness), krodha (anger), bhibasta (disgust), bhayanaka (fear), shoka (sorrow), veera (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity). These nine emotions have been mentioned in Nathya Shastra and all dance and theatrical forms in India use these emotions extensively. As there are no spoken dialogues in most of the Indian dances including the Chhau, the navarasas are usually portrayed by using the eyes, the face, the muscles and the body shifts as a whole. In the case of Purulia and Sereikela Chhau, the movements of the eyes and the face are not possible as it is compulsory for all the characters to wear masks so the focus is on the body movements more than anything else to portray the nine different rasas. Since the Chhau dance-drama evolved from martial arts, the movements are very specific and important. The mask movements usually show anger while the shoulder and chest movements show joy, depression or courage depending on the way the dancer portrays it. The movements of the lower part of the body of the Chhau dancers are very quick and strong while the upper part of the body barely moves and the head rests in a slanted position. Jumping in the air is a movement that is often used in the Chhau performances because they serve as a gesture of at tack in war scenes between the good ones and the evil ones. The kind of jump seen in the Chhau performances is known as ulfa which is an indicator of the physical power and acrobatic skills of the performers. As we can see, the body language plays an essential role in the folk dance-drama Chhau. In relation to the theory of knowledge, Chhau is very interesting in the way that it uses body language as a way to communicate with people. 6) Interview with Chhau master Chandi Mahato: Chhau dance-drama is a very rare and not commonly known form of folk art. Published books and web sources are not enough to properly study this art form in depth and therefore, I thought that an interview with an actual Chhau dance master would be ideal and effective to pursuit my exploration on the topic. As I live in Bangalore, a city in the state of Karnataka in the south part of India, a face to face interview was not possible so I sort this problem out by having a telephonic interview with the Chhau master Chandi Mahato. Chandi Mahato is a middle aged Chhau master residing in the remote village named Baghmundi in the Purulia district of West Bengal. He comes from a long lineage of Chhau dancers and teachers and has trained a lot of modern Chhau dancers including his son Lalit Mahato. An otherwise almost illiterate person, Chandi Mahato has learned a lot from his experience with Chhau dancing and at 67 years old, Mahato has performed in all major cities in India several times. Ma hato is a farmer for most part of the year but he also engages himself in training theatre troupes in India working with the methods propounded by Jerzy Grotowsky. After asking Mahato nine questions about his experience with Chhau and the Chhau art in general, I felt more enlightened about the Chhau dance-drama form. The answers I got from Mahato are very interesting (See Appendix 1). Like most of the Chhau practitioners, Mahato learned Chaau from his father Gurupada Mahato who also learned it from his father and Mahato also taught it to his son Lalit Mahato which confirms that the Chhau is a tradition transmitted from father to son through many generations. Chhau is usually learned form a young age because when one grows older, the flexibility of the body becomes weaker. Mahatos training techniques are very specific and challenging because dancing and acting using acrobatics is certainly not easy. Chandi Mahato persisted on the fact that the specific training is essential for Chhau practitioners and that consequences such as injuries of the performer or misinterpretation of the character could follow after a bad training. Drama is incorporated in the Chhau by the acting of a story without the use of any spoken language but instead body language. Mahato says that he uses a lot of typical exaggerated actions, movements, and gaits accompanied by music and rhythms which are easily recognised by the audience to carry the story forward. The Chhau master Mahato agrees on the fact that Chhau dance-drama as a folk art is very important to their community and cultural identity. Most of the people from those villages are farmers living in poor conditions. Therefore, they stick to this art form to bring joy and colors to their daily routines and they also use it as a way to express their emotions either the positive or the negative ones in a creative way. Chhau is also very important to their community because it is used to convey eternal moral messages. They use mytholo gical stories to convey these moral messages for goal to educate people from those villages. Mahato is therefore stating that Chhau as a folk art is important to the Indian culture and is very significant as well. 7) Conclusion: After an in-depth study of the elements and origins of the Chhau dance-drama, it is therefore evident that this folk art is based on traditional and cultural elements. Chhau is an integral part of the culture heritage of India and its an indigenous dance form created with a typical Indian psyche which is deeply rooted in the scriptures that are followed by all major Indian dance and dramatic forms. The Chhau is an art that is not only used for festive purposes but also as a way of communication with the community to convey certain messages using mythological stories. The Chhau is mostly performed for an audience that is typically Indian including sons and daughters of Indian soil, brought up with typical Indian values. As explained in the film by Vikrant Kishore Dancing for themselves, the states where the Chhau originated from are states in where poverty is a big problem and that is one of the reasons the residents of those states are very attached to the Chhau and work hard on pres erving it. Lalit Mahato who is the son of the Chhau master Chandi Mahato features in the film Dancing for themselves and explains through the movie how important Chhau is for him and his culture. Lalit Mahato said Whatever it takes Ill teach my son Chhau Dance, no matter if Ive to just eat boiled rice; this quote shows the importance of Chhau as a cultural aspect for the lives of those villagers. The Chhau dancers do not practise this art only to entertain an audience but they also use it as a creative way to express their feelings and emotions. It is incredible how the different states of India Including the ones practising the Chhau dance-drama preserved their cultures intact. What we also have to take into consideration is the fact that those areas have not yet been touched by the fast movement of modernization. What would happen once modernization touch those areas? Will it affects their culture? Will they still perform the Chhau dance-drama as it is performed today and would it still be as significant for their culture? Those are questions that one should have in mind. I personally hope that those states dont lose their culture because I think that the Chhau dance-drama is a unique and fantastic form of folk art that should be preserved the way it is. 8) Bibliography: Interview: Mahato, Chandi Chhau dance-drama. Telephone interview translated by Tamojit Ray. 24 Feb. 2010. Published work: Devi., Ragini. Dance dialects of India. Delhi: Motilal Banarsidass, 1990. Print. Gajrani, S. History, Religion and Culture of India. Vol. 4. Dehli: Isha, 2004. Print. Schechner, Richard. Between Theater and Anthropology. New York: University of Pennsylvania, 1985. Print. Video: Chhau Dance Performances : The Ramayana:Love and Valour in Indias Great Epic. Google Video. Web. 09 Dec 2009. Chhau dance promo. Youtube. Web. 05 Dec. 2009. . DANCING FOR THEMSELVES A film by Vikrant Kishore. Dir. Vikrant Kishore. Youtube. 16 May 2007. Web. 11 Dec. 2009. . Web Sources: Chhau dance. Orissa Government Portal. Web. 11 Dec. 2009. . Chhau , Indian Folk Dance. Indianetzone. Web. 10 Dec. 2009. . Chhau. India.gov. Web. 10 Dec. 2009. Courtney, David. FOLK DANCES. Chandrakantha. Web. 09 Dec. 2009. . Courtney, David. Natya Shastra. Chandrakantha. Web. 10 Dec. 2009. . Folk Dances of India. Iloveindia. Web. 09 Dec. 2009. . Folk Dances of India. Web. 11 Dec. 2009. . Kamat, K.L. The Chhau dance. Kamat. 08 Sept. 2001. Web. 11 Dec. 2009. . Masks in Serikella Chhau Dance. Acharyaseraikellachhau. Web. 11 Dec. 2009. . Origin of Indian Folk Dances. Indianetzone. Web. 10 Dec. 2009. . Seraikella Chhau: An Introduction. Acharyaseraikellachhau. Web. 11 Dec. 2009. . Ponmelil, V.A. India Introduction to folk dances. Web. 09 Dec.2009. . West Bengal Chhau. Indialine. Web. 12 Dec. 2009. .

Ethics in Machiavellis The Prince Essay -- Machiavelli The Prince

Ethics in Machiavelli's The Prince Niccolo Machiavelli (1469-1527) was an Italian statesman and political philosopher. He was employed on diplomatic missions as defence secretary of the Florentine republic, and was tortured when the Medici returned to power in 1512. When he retired from public life he wrote his most famous work, The Prince (1532), which describes the means by which a leader may gain and maintain power. The Prince has had a long and chequered history and the number of controversies that it has generated is indeed surprising. Almost every ideology has tried to appropriate it for itself - as a result everyone from Clement VII to Mussolini has laid claim to it. Yet there were times when it was terribly unpopular. Its author was seen to be in league with the devil and the connection between 'Old Nick' and Niccolo Machiavelli was not seen as merely nominal. The Elizabethans conjured up the image of the 'murdering Machiavel' [1] and both the Protestants and the later Catholics held his book responsible for evil things. Any appraisal of the book therefore involved some ethical queasiness. Modern scholarship may have removed the stigma of devilry from Machiavelli, but it still seems uneasy as to his ethical position. Croce [2] and some of his admirers like Sheldon Wolin [3] and Federic Chabod [4] have pointed out the existence of an ethics-politics dichotomy in Machiavelli. Isaiah Berlin [5] postulates a system of morality outside the Christian ethical schema. Ernst Cassirer [6] calls him a cold technical mind implying that his attitude to politics would not necessarily involve ethics. And Macaulay [7] sees him as a man of his time going by the actual ethical positions of Quattrocento Italy. In the face of s... ...erlin, Isaiah. The Question of Machiavelli. New York Review, November 4, 1971. 6. Cassirer, Ernst. Implications of the New Theory of the State (from The Myth Of The State) 7. Macaulay, Thomas Babington. Machiavelli http://www.fordham.edu/halsall/mod/1850Macaulay-machiavelli.html 8. Berlin, Isaiah. Ibid. 9. Machiavelli. Il Principe Ch XVIII 'Yet as I have said before, not to diverge from the good if he can avoid it, but to know how to set about it if compelled.' Trans. Marriott. The Project Gutenberg Internet Edition. 10. Erasmus. The Education of a Prince, quoted in J. R. Hale, Renaissance Europe 1480-1520 p. 309 11. Hale p. 308 12. Macaulay. Ibid. 13. Whitfield, J. H. Big Words, Exact Meanings. 14. Aristotle. Nichomachean Ethics. [trans. Sir David Ross] 15. Machiavelli. Discourses on Livy Ch XXVII, Project Gutenberg Internet Edition

Immigration :: essays research papers

December 11, 2000 Immigration In the decades following the Civil War, the United States emerged as an industrial giant. Old industries expanded and many new ones, including petroleum refining, steel manufacturing, and electrical power, emerged. Railroads expanded significantly, bringing even remote parts of the country into a national market economy. America was the ideal place. In the late 1800s, people in many parts of the world decided to leave their homes and immigrate to the United States. Fleeing crop failure, a shortage in land, and employment, rising taxes, and famine, many came to the U. S. because it was perceived as the land of economic opportunity. Others came seeking personal freedom or relief from political and religious persecution. With hope for a brighter future, nearly 12 million immigrants arrived in the United States between 1870 and 1900. During the 1870s and 1880s, the vast majority of these people were from Germany, Ireland, Russian, Italy, and England Immigran ts entered the United States through several ports. Those from Europe generally came through East Coast facilities, while those from Asia generally entered through West Coast centers. More than 70 percent of all immigrants, however, entered through New York City, which came to be known as the "Golden Door." Throughout the late 1800s, most immigrants arriving in New York entered at the Castle Garden depot near the tip of Manhattan. In 1892, the federal government opened a new immigration-processing center on Ellis Island in New York harbor. Although immigrants often settled near ports of entry, a large number did find their way inland. Many states, especially those with sparse populations, actively sought to attract immigrants by offering jobs or land for farming. Many immigrants wanted to move to communities established by previous settlers from their homelands. Once settled, immigrants looked for work. There were never enough jobs, and employers often took advantage of th e immigrants. Men were generally paid less than other workers, and women less than men. Social tensions were also part of the immigrant experience. Often stereotyped and discriminated against, many immigrants suffered verbal and physical abuse because they were "different." The Irish were called white niggers. They came to America because of An Gorta Mor. (That’s the great hunger for those who didn’t know). The Britt’s hated (and still hate) the Irish, and they made them work like slaves, and paid them very little. The Irish, who came because they thought they could get some land, and be free in America, were starving in the streets, and dying in the factories.

Essay --

In the beginning of the play, Caliban and Prospero had a relationship similar to that of a father and son. Prospero took care of Caliban, and taught him how to speak. Caliban too, taught Prospero how to live on the island by showing him the places to get food. I feel that in the beginning, Caliban was naà ¯ve and innocent, with no ill intent. He truly felt that Prospero was his father, or a king, and in fact was a king that he loved. For instance, Caliban in Act 1, Scene 2 states â€Å"And then I loved thee.† Their relationship was one of love, and the want to help each other. After Caliban attempted to rape Miranda, Caliban’s and Prospero’s relationship changed drastically. Prospero became extremely hostile to Caliban, and insulted Caliban in their first conversation in the book in Act 1, Scene 2, â€Å"Thou poisonous slave, got by the devil himself. Upon thy wicked dam, come forth!† It is easily seen how their relationship has changed severely since then. Caliban, too, hurled curses at Prospero: As wicked dew as e'er my mother brushed With raven’s feather from unwholesome fen Drop on you both! A southwest blow on ye And blister you all o'er! Certainly, this would not have been the way they would have talked to each other if they had still loved each other. Their relationship was now one of loathe and revolt. Caliban became resentful and grouchy because of Prospero’s rejection of him after what he had done. However, Caliban, being a savage, was probably just heeding nature’s calls. After all, all of nature has a need to procreate, and Caliban was just following his instincts. Furthermore, Miranda was the only girl on the island who was of the right age to procreate, so thus Caliban’s actions were valid, to him at least. In addition, Calib... ...nces whereby Caliban’s actions affected his relationships with others, it was not due to sudden changes in character, but rather, due to the way he was brought up, and the impact of people’s actions on him which led to the final blow. Also, Caliban’s and Prospero’s relationship changed in various ways throughout The Tempest, where at a point it was a relationship of love, and at another time it was one of hatred. However, looking at the text as a whole, the overarching relationship the both had was still one of a master and slave. Even though they had a loving relationship in the beginning of the story, theirs was still one of superiority and inferiority. At the end of the play, their relationship returned to what it was initially. Hence, their relationship did not actually change throughout, but what changed was the way they spoke to each other throughout the play.

Psychology Coursework Essay

We have studied various aspects of organization, its structure, strategy, effectiveness, changes and other aspects. Study of organizations by psychologists has attained much importance in recent times. The broad study includes perception, attitudes, motivation, and interpersonal relationships among members. Every organization is a group of members working towards a common goal. Every organisation has a structure and purpose. It may be a social, political, or a commercial organisation or one for any other purpose. Psychologists ‘research in this field assumes much importance so that suggestions can be ade and implemented for obtaining the optimum results . Several theories are proposed with regard to organizations. M L Blum states that group theory views that associations and human affiliations are primary work motivators in a group. He states that the degree of cooperation in a primary group is critical for its success. So we find that all the members’ contribution go to achieve the goal. So it is essential that each member is properly motivated. Regarding the question put forth about the factors inhibiting or supporting performance,  It can be said that a person could have achieved one part of his target but might have not achieved in another of the same task. The major reason for achieving could be motivation. Among the various factors which go to contribute to achievement , motivation has the great role. The very formation of a group brings in motivation in its members. Clifford T Morgan puts in that motivations are inferences from behaviour. We can never observe motivation but can infer their existence. Motivation ,according to him is a powerful tool for explaining behaviour. Incentive motivation like wages, bonus play a major role in the group work. A member has to be motivated according to his needs. It makes common sense to say that When a person’s needs are taken care of, his performance would increase. Various studies have shown that a person may have upto thirty seven needs. Anyway they can be classified into biological and socio psychological needs. The first one is about his body’s necessities like food, nutrition, rest and so on. The next one is about security, freedom, care, recognition, approval , self respect and so on. It can be safely deducted that any achievement or non achievement can be attributed to the above causes. As an Industrial psychologist, his role would be to ensure that all or atleast most of the motivations are taken care of. This would bring in the best results. Having studied the lesson , we have gained in depth knowledge about the various dimensions about groups. The author goes in detail about the need for changes in groups that is, introduction of new ideas or behaviour due to current technological; changes, global competition and so on. It is suggested in many experiments that resistance would occur for adopting any changes. This can be measured by survey feed backs. The most mportant factor making implementation difficult would be insecure feeling among members particularly if the group is one of working group. It may be a fear of losing jobs or fear of inability to cope with the new methods of work. Let us now take the example of failure to perceive benefits stated in the Lesson. as a reason for resistance for changes. This failure is due to lack of information about the changes. The member is unaware of the reasons or the mode of changes. So communication is essential from the highest level to the lowest level and vice versa. The changes proposed have to be iscussed and analysed with all the members . Their views heard and clarified and convinced. . This gives them the feeling of importance. This again goes on to motivate the member. David G Myers emphasizes the need for group discussions where ideas are pooled and discussed jointly. Just hearing to a person’s arguments is of no use. Active participation brings in better attitude change than merely listening passively. Again ,this may bring in more resistance arguments but a thorough debate with proper information will ultimately result in the members understanding the benefits of the change and being convinced . The industrial psychologist has to see that the members are given assurance of their benefits and all apprehensions removed. Let us now imagine what a person would talk to the CEO if just a few minutes are at his disposal. An Assistant Regional Sales Manager would probably assure the CEO on the lines that his department would welcome changes . He would be keen on impressing the CEO in the short time. He would even go to suggest ignoring resistance and going ahead with changes. He would not miss to suggest a salary hike to all along with changes , which would be beneficial to the organization.