Americans Constitutional Rights for Privacy Research Paper

Americans Constitutional Rights for Privacy - Research Paper Example American’s Constitutional Rights for Privacy The â€Å"war on terror† was introduced by George W Bush, which offered more power and authority to US intelligence agencies as the surveillance has become an acknowledged mechanism to assist in thwarting terrorist attacks in the near future. US government claimed that war on terrorism , and the enactment of Patriot Act are mainly intended to safeguard USA and its citizens from the future terrorist attack or to avert another 9/11 type attack. The main aim of the NSA (National Security Agency) of USA is to gather intelligence data and information so as to carryout national operation for foreign intelligence. SIGINT is the signal intelligence which involves collection data from foreign intelligence agencies, for helping missions carried over by the US government which includes narcotic and crime deterrence, military missions, foreign diplomacy, etc. The FISA (Foreign Intelligence Surveillance Act 1978) controls the gathering of foreign intelligence data and it covers wiretapping, electronic eavesdropping, physical ingress by intelligence agents and trap/ pen orders. Before eavesdropping, intelligence agency has to obtain a warrant from the FISA court (Carmen 2012). Whistle blowing against US government is not a new phenomenon. Earlier, in 1971, Daniel Ellsberg exposed how the US public had been hoodwinked about Vietnam War. Julian Assange leaked US documents about US’s engagement of war in Iraq and Afghanistan.

WIred LAN Versus Wireless Assignment Example | Topics and Well Written Essays - 500 words

WIred LAN Versus Wireless - Assignment Example tter than wireless ones, wireless networks are difficult to set up and troubleshooting is also very difficult, it is much different in the case of wired networks. Wireless networks provide mobility but wired networks can never do so, these were some of the major differences between the two. When it comes to covering a large area, the wired networks are very expensive. The wiring and cabling process is both time consuming and expensive, on the other hand wireless network doesn’t cost as much and it is hassle free. When it comes to speed wired networks offer better speed than wireless ones. This is because the connection is shared under wireless networks but the connection is not shared under wired networks hence the user gets better speed with wired networks. The difference between wired and wireless networks is the most common question asked; it is very easy to answer this one. When communication between two devices takes place without cables, it is called a wireless network, when communication between two devices takes place with cables; it is called a wired network. Wireless networks have made life easier; the communication takes place with the help of radio waves, Bluetooth etc have made life so much easier and uncomplicated. Music can be shared with others with the help of Bluetooth, wireless internet can be accessed which is very convenient and amazing. The mobility and the freedom are two of the biggest advantages of a wireless network. The clutter of wires is completely eliminated by using a wireless network. Ethernet is also known as wired networks, it has been around for quite some time now. The CAT5 cables are used to connect these wired networks, it is quite speedy and secure when compared to a wireless network. The overall cost of a wired network is much cheaper than that of a wireless network. Wireless networks have become popular in homes but in offices it is yet to pick up popularity. Wireless networks are ideal for time saving and relocation,

Strangers, babies (Theater Class) Essay Example | Topics and Well Written Essays - 1000 words

Strangers, babies (Theater Class) - Essay Example The director’s intent is to highlight the difficulty that people experience when attempting to relate to loved ones, especially with knowledge of their past mistakes and potential weaknesses. The director playwright and director chose an appropriate time to highlight this relationship deficiency, given the fact that the contemporary society is largely characterized by family disconnect and widespread disintegration of the family unit. This play attempts to show that people, have an individual burden, which is the lack of ability to understand how they associate with others, but still be responsible for pieces of information about their life experiences. Discussion The first scene of Strangers, Babies, begins with May steadily looking at the corner of the square shaped stage. The conversation, between May and her husband Dan, suggests that the direction to which she is staring is the couple’s apartment balcony. There is an injured bird and May seems concerned and willing to help it, as shown when she states that things can stay alive although they are injured. The presence of birds in the perceived balcony is indicated by high-pitched chirping sounds, which can be heard throughout this first scene. However, it is peculiar that although May is adamant about helping the bird, she is still reluctant to get involved. This serves to show that the protagonist is obsessive but distant at the same time. Dan looks at the balcony and occasionally at May in a knowing yet patronizing manner. He attempts to convince his wife that even though putting up a bird feeder on the balcony would be a caring gesture, it attracts more birds and there is a likelihood of getting additional injured birds. His patronizing attitude becomes evident when he uses a sarcastic tone to state that turning the balcony into a sanctuary for birds, would prevent him from engaging in his usual Sunday daydreaming involving newspaper reading and coffee drinking. It is obvious that there is affection between the two, but there is also an unsettling sensation. This is evident from May’s nearly desperate fixation on the injured bird and her apparent agitation as she slightly bangs her mug on the table, while her husband observes in a grave and sober manner. This scene provides a typical example of the atmosphere prevalent throughout the play, which constitutes disguised violence, careless attitude and ordinary daily life. From the play’s outset, the stage set-up evokes a feeling of disconnection. The stage is an ordinary square platform, which has a dividing space in between and high walls on either side. The director adds a dramatic effect to the play by concluding every scene with an abrupt and loud clang. This is followed by the rising of the back wall, in order to show the four other characters, who execute the subsequent scene change in a somber manner. Even though they are not explicitly mentioned, disturbing events in the protagonist’s past su ggest the possibility that, May’s current life is a sign of their impact. For instance, her monologue and distant look in the first scene makes one think that she is in deep thought about being injured in the past. The events in the play, just like the injured birds banging against the glass balcony door, constantly bang against May’s invisible past. These past events appear to increase the incapability of men

Analyze one song Essay Example | Topics and Well Written Essays - 1000 words

Analyze one song - Essay Example The key is to critically analyze and determine why songs impact us the way they do. To demonstrate this point, this student will analyze the song â€Å"Always Remember Me† by Ry Cuming. The specific aspects that will closely look at involve the songs instrumentation, lyrics, and electronic production. When analyzing any given song, one needs to look at how the instrumentation employed impacts the listeners’ mood as the music fills their ears. No matter how impactful the lyrics of a song might be, it is of little use if the musical content does not work. It would be similar to a car having a perfect engine, yet no tires. This particular song has instrumentation that truly seems to place the listener into the music studio of Ry Cuming. Viorica Barbu-Iurascu reminds us that â€Å"Music is the metaphysical counterpart to everything physical† (170). Perhaps like no other media, music transcends us to another place. We can leave the world behind as our consciousness be comes completely involved with the music that is playing within us. Naturally, some musical composers accomplish this transformation to the metaphysical world better than other, but this is still the aim of the musician. Music becomes an art that must be studied and examined closely to truly appreciate its beauty. â€Å"Always Remember Me† is composed of music that represents the lyrics being sung. The musical arrangement of this song begins with a softly playing guitar. This immediately sets the tone for what is to come by providing the listener with a soothing introduction into the lyrics to come. In essence, this opening prepares all who listen to relax, settle down, and be moved by arrangement. Without this type of opening, the song would not be nearly as effective in transforming people to that metaphysical realm that Iurascu talks about. As the lyrics begin to be sung, something interesting happens. The guitar playing moves softly to the background. When lyrics are not being sung, the guitar once again becomes the centerpiece and gradually becomes louder. Reflecting upon this, the author feels that Cuming has done an effective job at using the instrumentation to be a focal point of the song. Whereas most songs rely on the lyrics and the rhyming of such words, this particular artist seems to be more focused on allowing the guitar to speak to the listener. The softly playing melody really rocks most who listen into a new arena and a new realm of thinking. It is almost as if the old adage ‘forget all of your troubles for the moment’ rings true with this song. The music has a way of comforting and soothing the soul. The arrangement does not ‘jar’ the listener awake, rather it allows them to sit back and really be metamorphosed into another place and time. It is common to want to analyze the lyrics in a song. We seem to be obsessed with trying to understand what the artist is trying to say through his or her music. Analyzing m usical lyrics, however, must go deeper than merely just trying to understand what the words mean. As Katrina McFerran writes, â€Å"Lyrics are not simple statements of information; they are creative and multifaceted expressions of experience† (38). So, as one seeks to analyze the lyrics of any given song, they must move beyond simply trying to ‘understand’ what the words mean and move into the realm of experiencing what moved the artist to write the words in the

Sarahs Key Essay Example for Free

Sarahs Key Essay The dance ‘The Oppression of the Jewish Race’ was based on the stimulus ‘Schindlers List’ directed by Steven Spielberg. The dance is in narrative structure based on the journey of the Jewish race from freedom to oppression. The feelings within this dance vary. In the first section, the dance begins with a light playfulness where happiness and hope are portrayed by the dancers. This hopefulness gradually fade however, as the dance steadily progresses into bleakness and has a numbing quality to it. The dancers continue in this despair with outwards signs of pain being expressed. The feeling in the end section of the dance is one of utter hopelessness and anguish. The dance concludes with this feeling as it is how the Jews felt by the end of the Holocaust and as many of their lives ended when the Holocaust was taking place during World War II. This was the motivations that the choreographer used to choreograph this dance. The overall choreographic intention is to convey the oppression of the Jewish race. Through five sections of the dance this is displayed as each section gets progressively worse in a narrative structure that depicts different parts of the Schindlers List movie the stimulus. I was given the role, by the guest choreographer, of a teenage Jewish girl who is a similar age to me. Using the Stanislavski techniques I developed my character for each section of the dance. In the beginning I am happy and free, using emotional memory to get into character before I begin dancing. As the dance progresses my character becomes less and less happy and free. By the second section, I have lost all emotion and my movements are no longer free but more mechanical. My facial expressions slowly transform into those of pain and my movement reflects this as they are bound. When in the gas chambers I brought the idea of pain in my movements and expressions as my character passes away. I brought the understanding of what the Jewish race would have gone through during this time, through my character. Section 1 – The Beginning The beginning section of the dance is acting. There are seven dancers on stage, each interacting with someone. One dancer (a small boy character) runs onto the performance space from stage left to find his toy car, which he finds and then plays with. Another dancer runs on from stage right (a small girl character) with her toy doll. The boy then snatches the doll away from the girl and teases her with it as she chases after him. The boy’s mother then enters (third dancer to enter the stage) from stage left and tells off the boy for being mean to the girl. The girl’s mother then enters the performance space and supports the girl as she is apologised to by the boy. At the same time as this apology is taking place. A grandmother and her granddaughter are making their way through the space beginning from upstage right. This is when I enter the performance. I run onto the performance space from upstage left, waving as I enter. I move through the space to interact with two of the other dancers, by hugging both of them as they are my grandma and friend. I then walk down stage with the grandmother and friend and my focus is on the other dancers who are greeting each other, the mood is light and free. The dancers then make their way down stage to form a line. They then take whatever prop that they have with them (e. g. the car for the boy) and have it in their hand. Activity One Choreographic Intention The dance ‘The Oppression of the Jewish Race’ was based on the stimulus ‘Schindlers List’ directed by Steven Spielberg. The dance is in narrative structure based on the journey of the Jewish race from freedom to oppression. The feelings within this dance vary. In the first section, the dance begins with a light playfulness where happiness and hope are portrayed by the dancers. This hopefulness gradually fade however, as the dance steadily progresses into bleakness and has a numbing quality to it. The dancers continue in this despair with outwards signs of pain being expressed. The feeling in the end section of the dance is one of utter hopelessness and anguish. The dance concludes with this feeling as it is how the Jews felt by the end of the Holocaust and as many of their lives ended when the Holocaust was taking place during World War II. This was the motivations that the choreographer used to choreograph this dance. The overall choreographic intention is to convey the oppression of the Jewish race. Through five sections of the dance this is displayed as each section gets progressively worse in a narrative structure that depicts different parts of the Schindlers List movie the stimulus. I was given the role, by the guest choreographer, of a teenage Jewish girl who is a similar age to me. Using the Stanislavski techniques I developed my character for each section of the dance. In the beginning I am happy and free, using emotional memory to get into character before I begin dancing. As the dance progresses my character becomes less and less happy and free. By the second section, I have lost all emotion and my movements are no longer free but more mechanical. My facial expressions slowly transform into those of pain and my movement reflects this as they are bound. When in the gas chambers I brought the idea of pain in my movements and expressions as my character passes away. I brought the understanding of what the Jewish race would have gone through during this time, through my character. Section 1 – The Beginning The beginning section of the dance is acting. There are seven dancers on stage, each interacting with someone. One dancer (a small boy character) runs onto the performance space from stage left to find his toy car, which he finds and then plays with. Another dancer runs on from stage right (a small girl character) with her toy doll. The boy then snatches the doll away from the girl and teases her with it as she chases after him. The boy’s mother then enters (third dancer to enter the stage) from stage left and tells off the boy for being mean to the girl. The girl’s mother then enters the performance space and supports the girl as she is apologised to by the boy. At the same time as this apology is taking place. A grandmother and her granddaughter are making their way through the space beginning from upstage right. This is when I enter the performance. I run onto the performance space from upstage left, waving as I enter. I move through the space to interact with two of the other dancers, by hugging both of them as they are my grandma and friend. I then walk down stage with the grandmother and friend and my focus is on the other dancers who are greeting each other, the mood is light and free. The dancers then make their way down stage to form a line. They then take whatever prop that they have with them (e. g. the car for the boy) and have it in their hand. Each dancer, in time with the music, kneels down and places their prop on the ground and has one last moment with it. The dancers focus stays on the ground as they all stand up and then simultaneously they raise their heads, their focus up and out. This concludes this section. I learnt this section by getting into character and portraying the emotions that a teenage Jewish girl would. I interact with the other character and I had to really make sure that I used ensemble awareness when getting into the line so that there was equal space between the dancers next to me and to be in a straight line. I portray the intentions of the dance by interacting with the other dancers, showing my relationship with them – this portrays that Jewish race was free to be who they are. My interaction with my prop shows how the Jewish race is still holding on to its individuality but has to eventually let it go. Section 2 – Free Motif This section involves free and flowing movements. The focus of the dancers is all on the movements as it begins with a series of retire step with arms open and moving in a circular motion (half of the dancers go upstage and the other half continue to move toward stage right along down stage), into a drag turn with the left leg and foot is out and the arms are extended on a diagonal, with the body on a tilt. The dancers then run forward and reach toward the sky before they bend and contract their bodies, running backwards with their arms curved alongside their torsos. This is followed by many flowing movements, with the opening of arms, reaching out and looking up. The section finishes with the dancers dropping to their knees with their arms out in front of them. As they get up the pain on their faces begins to show as they enter into the Hitler salute and lifting the right leg at the same time and then coming together to shuffle along with our hands placed on one another shoulders. This ending of the section shows the Nazi regime tightening and sending to Jewish people to concentration camps, their freedom being taken away from them. This section also involves many contemporary contractions and I have had to work on ballet technique. When practising the retires I needed to focus is on pointing my feet, keeping my left arm extended in second and staying up on releve. Through the use of focus and expression I brought the idea across that I was free yet not happy as I know that something is wrong, being in the ghettos. Section 3 – Mechanical Motif The dancers facial expressions in this section are completely blank when completing the dance moves, almost, no sign of any emotion, almost like a robot. Their focus is directly out or in the direction they are moving to. This reinforces the idea that they are losing the very essence of who they are, their humanity and individuality and are beginning to live as though they are like machines. This section is performed through twice. The first time it its completed is in complete unison, the second time they are dancing the same movements but repeated different moves three times so it looks like each dancer is doing something different though they all end at the same time. This section involves a series of isolations of the arms, feet, legs and body as the dances move mechanically. After the isolations is a back bend. The dancers place their hands on the small of their back; tilt back and head facing the sky. This is the only place in this section when the dancer’s faces show expression – pain, with mouths open to show the intensity of it. The dancers then hunch over with knees bent, walk forward and then stand up with hands clasped up by their shoulder, before they drop to the floor. Once on the floor the dancers sit back on their knees and circle round in a back bend and then stand up. This whole sequence is repeated as stated before except for the circled backbend and that concludes this section. I had to practice the sharpness of the movements and keeping myself void of Each dancer, in time with the music, kneels down and places their prop on the ground and has one last moment with it. The dancers focus stays on the ground as they all stand up and then simultaneously they raise their heads, their focus up and out. This concludes this section. I learnt this section by getting into character and portraying the emotions that a teenage Jewish girl would. I interact with the other character and I had to really make sure that I used ensemble awareness when getting into the line so that there was equal space between the dancers next to me and to be in a straight line. I portray the intentions of the dance by interacting with the other dancers, showing my relationship with them – this portrays that Jewish race was free to be who they are. My interaction with my prop shows how the Jewish race is still holding on to its individuality but has to eventually let it go. Section 2 – Free Motif This section involves free and flowing movements. The focus of the dancers is all on the movements as it begins with a series of retire step with arms open and moving in a circular motion (half of the dancers go upstage and the other half continue to move toward stage right along down stage), into a drag turn with the left leg and foot is out and the arms are extended on a diagonal, with the body on a tilt. The dancers then run forward and reach toward the sky before they bend and contract their bodies, running backwards with their arms curved alongside their torsos. This is followed by many flowing movements, with the opening of arms, reaching out and looking up. The section finishes with the dancers dropping to their knees with their arms out in front of them. As they get up the pain on their faces begins to show as they enter into the Hitler salute and lifting the right leg at the same time and then coming together to shuffle along with our hands placed on one another shoulders. This ending of the section shows the Nazi regime tightening and sending to Jewish people to concentration camps, their freedom being taken away from them. This section also involves many contemporary contractions and I have had to work on ballet technique. When practising the retires I needed to focus is on pointing my feet, keeping my left arm extended in second and staying up on releve. Through the use of focus and expression I brought the idea across that I was free yet not happy as I know that something is wrong, being in the ghettos. Section 3 – Mechanical Motif The dancers facial expressions in this section are completely blank when completing the dance moves, almost, no sign of any emotion, almost like a robot. Their focus is directly out or in the direction they are moving to. This reinforces the idea that they are losing the very essence of who they are, their humanity and individuality and are beginning to live as though they are like machines. This section is performed through twice. The first time it its completed is in complete unison, the second time they are dancing the same movements but repeated different moves three times so it looks like each dancer is doing something different though they all end at the same time. This section involves a series of isolations of the arms, feet, legs and body as the dances move mechanically. After the isolations is a back bend. The dancers place their hands on the small of their back; tilt back and head facing the sky. This is the only place in this section when the dancer’s faces show expression – pain, with mouths open to show the intensity of it. The dancers then hunch over with knees bent, walk forward and then stand up with hands clasped up by their shoulder, before they drop to the floor. Once on the floor the dancers sit back on their knees and circle round in a back bend and then stand up. This whole sequence is repeated as stated before except for the circled backbend and that concludes this section. I had to practice the sharpness of the movements and keeping myself void of expression of emotion during this section so that I could effectively portray the end of the Jewish races freedom through my movements. Section 4 – Bound Motif This section has the dancers focus mostly on the hands. There is a mixture of point and flexing of the feet as the hands are cupped. The dancers then contract and then lift up, back flexed and hands flat above head. Then the chest and stomach concaves as the dancers turn and then lift their leg. They then swoop the arms while bending to the right. The dancers then swing around to push out their cupped hands. They then turn again, still with the arms cupped and circle their head around while raising the cupped hands. The dancers then walk back into a cluster as this section conclude. I had difficulty alternating between flexing and pointing my feet and I had to practise this to be able to show the bound movements that are the constriction that the Jews are going through. Section 5 – Gas Chamber Scene This is the section where all of the dancers act/dance their death in the gas chambers. Our black dresses are taken off and the dancers are ‘naked’. Each of the dancers begins by raising their heads in unison as if to look at the ‘shower heads’ that release the gas. The expression is a mixture of hope and utter despair. The music then drops and the dancer’s shoulders hunch over and it is if they had been punched in the stomach. All the dancers then interact with one another as they slowly die. The last person dies as the violin ends, with a single lifted hand that comes shakily down as the dance ends. This death symbolises how the Jews dies as one group, their dignity stripped away and their race slandered. I had to practise this is a lot with another dancer and working together to try and project the death of our characters. This help to show the intention of how they still helped each other even as they were dying. When I performed I used weight bearing in the death scene as I hold one of the dancers who fall onto me. This is to show the support that the Jews are still giving one another. Throughout the different sections my focus varies from out at the audience, to my hands and then focusing on the different movements. This is to enhance the ideas of going from freedom to oppression. There are many relationships with the other dancers through interaction with the other dancers. This is particularly in the beginning section and in the death scene. I interact with two of the dancers at the beginning as I hug them and walk with them. In the death scene I hold one of the dancers and then with my ‘grandma’ we clasp hands and hold her. expression of emotion during this section so that I could effectively portray the end of the Jewish races freedom through my movements. Section 4 – Bound Motif This section has the dancers focus mostly on the hands. There is a mixture of point and flexing of the feet as the hands are cupped. The dancers then contract and then lift up, back flexed and hands flat above head. Then the chest and stomach concaves as the dancers turn and then lift their leg. They then swoop the arms while bending to the right. The dancers then swing around to push out their cupped hands. They then turn again, still with the arms cupped and circle their head around while raising the cupped hands. The dancers then walk back into a cluster as this section conclude. I had difficulty alternating between flexing and pointing my feet and I had to practise this to be able to show the bound movements that are the constriction that the Jews are going through. Section 5 – Gas Chamber Scene. This is the section where all of the dancers act/dance their death in the gas chambers. Our black dresses are taken off and the dancers are ‘naked’. Each of the dancers begins by raising their heads in unison as if to look at the ‘shower heads’ that release the gas. The expression is a mixture of hope and utter despair. The music then drops and the dancer’s shoulders hunch over and it is if they had been punched in the stomach. All the dancers then interact with one another as they slowly die. The last person dies as the violin ends, with a single lifted hand that comes shakily down as the dance ends. This death symbolises how the Jews dies as one group, their dignity stripped away and their race slandered. I had to practise this is a lot with another dancer and working together to try and project the death of our characters. This help to show the intention of how they still helped each other even as they were dying. When I performed I used weight bearing in the death scene as I hold one of the dancers who fall onto me. This is to show the support that the Jews are still giving one another. Throughout the different sections my focus varies from out at the audience, to my hands and then focusing on the different movements. This is to enhance the ideas of going from freedom to oppression. There are many relationships with the other dancers through interaction with the other dancers. This is particularly in the beginning section and in the death scene. I interact with two of the dancers at the beginning as I hug them and walk with them. In the death scene I hold one of the dancers and then with my ‘grandma’ we clasp hands and hold her. Activity Five Technique Contemporary ballet is a form of dance which incorporates elements of both classical ballet and modern dance. It takes its technique and use of Pointe work from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work, balletic movements and turn-in of the legs Most contemporary ballet focuses on the movement rather than a storyline, though this dance is an exception. Contemporary ballet does not focus on symmetry, and having a stage that is unbalanced is characteristic of the style. It focuses more on a physical interpretation of a theme. Contemporary ballet dancers curve, twist and bend their upper bodies, which is different to ballet, which is all about having perfect posture and control. This dance has a series of contemporary ballet based movement like contractions, curved backs, flexed feet and abstract movements Activity Five Technique Contemporary ballet is a form of dance which incorporates elements of both classical ballet and modern dance. It takes its technique and use of Pointe work from classical ballet, although it permits a greater range of movement that may not adhere to the strict body lines of ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work, balletic movements and turn-in of the legs Most contemporary ballet focuses on the movement rather than a storyline, though this dance is an exception. Contemporary ballet does not focus on symmetry, and having a stage that is unbalanced is characteristic of the style. It focuses more on a physical interpretation of a theme. Contemporary ballet dancers curve, twist and bend their upper bodies, which is different to ballet, which is all about having perfect posture and control. This dance has a series of contemporary ballet based movement like contractions, curved backs, flexed feet and abstract movements Two movements/moments that I found difficult: Moment/Movement one: I had to work quite a lot on my retire in the second section. I needed to make sure that my left arm is support and is strong in second position. I also to make sure that my left foot connects with my right leg on the side of my knee. I need to focus on my left hand as my right arm is circling around. In the performance, because I practised them, I performed this movement with clarity and confidence, whilst think of how I practised it. Moment/Movement 2: In the beginning I had to work on becoming my character, the teenage Jewish girl who is happy and free. Using Stanislavski techniques, I remembered a time when I was feeling happy and free, using my emotional memory to get into character before I begin dancing each practise. During the actual performance I got into character before entering the performance space, remember how I was happy and free from the practises prior to the performance. Breath My breath is used to show my emotion in the dance. In section one and two my breath comes easy and is free flowing like the movements. In section three it is sharp and restricted as the movements and isolations are causing this. In section four and five my breath is laboured and shaky as I am in pain and in despair. Two movements/moments that I found difficult: Moment/Movement one: I had to work quite a lot on my retire in the second section. I needed to make sure that my left arm is support and is strong in second position. I also to make sure that my left foot connects with my right leg on the side of my knee. I need to focus on my left hand as my right arm is circling around. In the performance, because I practised them, I performed this movement with clarity and confidence, whilst think of how I practised it. Moment/Movement 2: In the beginning I had to work on becoming my character, the teenage Jewish girl who is happy and free. Using Stanislavski techniques, I remembered a time when I was feeling happy and free, using my emotional memory to get into character before I begin dancing each practise. During the actual performance I got into character before entering the performance space, remember how I was happy and free from the practises prior to the performance. Breath My breath is used to show my emotion in the dance. In section one and two my breath comes easy and is free flowing like the movements. In section three it is sharp and restricted as the movements and isolations are causing this. In section four and five my breath is laboured and shaky as I am in pain and in despair.

The Impact Of Culture On Healthcare Nursing Essay

The Impact Of Culture On Healthcare Nursing Essay Culture is one of the most important determining factors in healthcare preferences and practices. Thus, the need for transcultural nursing is undeniable. Transcultural nursing requires sophisticated assessment and analytic skills and the ability to plan, design, implement, and evaluate nursing care for individuals, families, groups, and communities representing various cultures (Andrews and Boyle, 2008, p.4). In order to effectively practice transcultural nursing, one must first understand the need for cultural competence. It is vital for nurses to have a desire to become culturally aware, culturally knowledgeable, culturally skillful, and to seek cultural encounters. Cultural desire is the stimulator in the eruption of the process of cultural competence and the nurse must seek and be open to learn and accept others, understand the process is lifelong, and set aside personal feelings to effectively treat unique patients (Campinha-Bacote, J, 2003). The Giger and Davidhizar (2002) Tran scultural Model is a helpful tool that addresses and effectively treats patients who have different cultures. The model takes into consideration 6 important phenomena. Communication keeps culture alive by verbal and nonverbal means; it is one of the biggest obstacles in healthcare. Nurses ask questions to determine patients views on illness, causes, and possible treatments. They listen and interpret their patients level of understanding and ability to follow through with treatment. Also, nurses interact with the patients family. Communication varies from culture to culture. Americans are expected to speak Standard English; however, it varies based on region, ethnicity, and social class (United States, 2001). Americans use a variety of nonverbal communication. Eye contact, which is viewed as a sign of trust and honesty, between patients and healthcare professionals is the norm. Expression of emotion varies in American culture. Americans use a combination of verbal language, body language, and gestures. Americans are often straightforward and rather demanding. Unlike Americans, Asians rarely complain. Silence and withdrawal may be the only indication of a problem. Asians tend to not ask for anything, accept pain, and remain stoic (Fernandez V. K., 2008, Asian Community). Many Asians dont engage in eye contact with powerful persons; the avoidance of eye contact shows respect and reverence (Non-Verbal Communication, p.4). Asians speak more than 100 languages; they vary based on the geographic regions they descend from (Asian Americans, p. 2). Arab Muslims usually cooperate by answering questions, listening, and following directions until they see improvement. They believe their expression, such as pain, should be quickly met with response (Fernandez V. K., 2008, The Middle Eastern Community). The Arabic language uses devices that outmatch reality and is not very direct or explicit (Ayish, 2003). Hispanics are very emotionally expressive. Effective communication with Hispanics is not based on just speaking their language; cultural rules allow for certain discussions with certain people (Fernandez V. K., 2008, The Hispanic Ameri can Community). Eye contact is expected on the nurses part but will not necessarily be reciprocated (Andrews Boyle, p.25). Nurses, if available, should undergo cultural competency training. Berln and Fowkes LEARN Model can assist; LEARN, represents the process of listening to the patient, explaining your view, acknowledging differences and similarities, recommending and negotiating a plan (Campinha-Bacote, J.,2003). Nurses should enlist the help of trained interpreters, preferably of the same gender, mature, and of no relation to patient; if there is no interpreter, the following but not limited to, is necessary: politeness, slow and concise speaking, simplicity, pantomime, validation of understanding, and instructions in the proper sequence (Andrews Boyle, p.29). Space is also important when dealing with various cultures. Nurses are required to interact with patients, often invading personal space. Giger and Davidhizar (2002) state: Territoriality refers to feelings or an attitude toward ones personal area. Each person has their own territorial behavior. Feelings of territoriality or violation of the clients personal and intimate space can cause discomfort and may result in a clients refusing treatment or not returning for further care. (p. 185) Americans tend to require a need for personal space. When family and friends are near, Americans tend to be relaxed; however, when a stranger or mere acquaintance invades space, it can become uncomfortable. Asians prefer a great amount of social distance. Many prefer minimum physical contact with acquaintances; excessive contact is viewed as inappropriate. Unlike Americans, who believe touch is a sign of friendliness, Asians view the head as a personal area that contains the seat of the soul and it should not be touched. Arab Muslims seem to require the least amount of space. It is not uncommon for people from the Middle East to stand closely when conversing. However, gender can play a role; Muslim woman may become distraught when a male, even a healthcare professional, stands or sits near her; Arab Muslims expect females to tend to females and males will care for males. Hispanics, unlike Americans, are use to standing or sitting near people they are not well acquainted with (Non-Ver bal Communication, p.3). Hispanics and Arab Muslims may unintentionally invade nurses space as a means of getting closer and more comfortable (Andrews Boyle, p.26). Nurses should take the patients lead; if the patient seems to gravitate towards you or initiates touch, then it is acceptable to do the same. At all times respect the patient and boundaries. When dealing with patients, there must be consideration of social organizations or what role the patients culture plays in his or her life. Family members are often the providers of a patients eating habits, sick role behaviors, and medications used. Americans view family as a vital part of their healthcare plans. It is common for Americans to be visited and supported by family; they often discuss and make important decisions. Asians are concerned with family interdependence over independence; family usually likes to assist with patient care. In some Asian cultures, some members, such as men and elders, dominate and consider women and children inferior (Galanti, 2005). Arab Muslims regard family as the foundation of their society. The husband answers questions, makes all major decisions, and gives consent. Often times, Arab Muslims dont believe in divulging family history. The family cares for the ill. (The Middle Eastern Community). Hispanics have large families who visit for long h ours as a way to demonstrate their love and genuine concern. Often times, decisions are made by the entire family or designated members (Galanti, 2003). Religious and spiritual beliefs are important factors during illness, recovery, and death. In the United States, most people consider themselves Christians; Catholics singly dominate, but the Protestant groups combined outnumber them. Americans include religious practitioners such as priest, ministers, and rabbis as well as nontraditional leaders during health related situations. Americans include religious objects, such as the Bible, and also rituals, such as communion. Death and end of life choices are also influenced by religion and practices; typically, Americans consider death a sad and somber time. Asians are host to numerous religions; Christian, Muslim, Buddhism, and Hindu are just a few. Many Asians believe in bad spirits; infants attract them and induce death. If the illness is thought to be caused by spirits, healers are sought (Asian Community). Arab Muslims are usually of the Islamic faith and pray 5 times a day to the Holy Land, Mecca. Muslims recharge their spiritual battery during the month of Ramadan; fasting from dawn to sunset accompanies. Arab Muslims often read from the Al Quran (The Middle Eastern Community). Hispanics are usually Catholics with the recent emergence of Pentecostals. Shrines and religious objects are common in practice. Health is viewed as Gods gift and should be revered (The Hispanic Community). Nurses must be accommodating to patients families and the value placed on family within cultures. Nurses must be sensitive to religious beliefs or practices and must not impose personal beliefs. Seeking knowledge is essential. However, exposure to diverse cultures is one the best learning mechanisms. Understanding a cultures notion of time elapsing, specific periods, and clock time are necessary for effective healthcare. Cultures may be past, present, or future oriented. Americans use time to provide order. Americans expect care at designated times; appointments are a prime example. Americans are future oriented; they believe they can manipulate the future by taking certain actions. Americans tend to be proactive; the focus is optimism, coping strategies, and preventive measures. Americans often demonstrate this orientation through self examinations, check-ups, and staying informed about healthcare advances. Asians tend to have a past orientation. They prefer to adhere to traditional methods and treatments; they are apprehensive about new innovations. Recently however, Asians are shifting towards future orientation (Galanti, 2004). Arab Muslims are present oriented and are neglectful of preventive measures. They may be late or not attend appointments at all (The Middle Eastern Community). Hispanics also focus on the present. They believe the future arrives in its o wn time and thus the notion that one cannot be late exist (Galanti, 2004). Nurses must explain the importance of time regarding life processes while being respectful and mindful of cultural views. Nurses should try to refrain from making time oriented promises that cant be kept. Environmental control or the attempt to control nature affects patients health practices, values, and the definitions of health and illness (Giger, Davidhizar, 2002). Americans believe nature can be controlled. Americans equate the body to a machine; if its broken, allow healthcare professionals to fix it (Galanti, 2004). Americans conform to the Western biomedical model which defines health as the absence of disease or the signs and symptoms of disease. The holistic paradigm exists in Asian cultures; it deals with the concept of yin and yang, in which forces of nature must be balanced to produce harmony (Andrew Boyles, 69). Asians tend to view people as part of nature. The land is a resource used to treat disease; herbal remedies are common (Galanti, 2004). Arabs believe the key to good health is personal hygiene and a healthy diet. They place a high value in modern Western medicine and have confidence in the medical profession (The Middle Eastern Community). Hispanics believe nat ural forces are not in their control and preventative measures are not often taken. (Galanti, 2004). Their system, the Curanderismo, combines spiritualistic, homeopathic, and scientific elements; curandero or holistic healers are utilized (The Hispanic Community). Nurses should become familiar with factors. Nurses should not dismiss patients view of their power and accountability or lack thereof. Biological variations exist between races; some groups are sensitive to certain medications, have metabolic differences, and are prone to certain diseases or factors that can affect healthcare. African Americans are three times more likely to get tuberculosis than whites; they also have higher rates of hypertension. Sensitivity to cardiovascular effects from Propranolol occurs more in Asians than Whites. Ethnic minorities, such as Hispanics, have higher HIV rates (Giger and Davidhizar, 2002). Middle Easterners or Arab Muslims have a lower percentage of sweat chlorides (Andrews Boyle, 54). The list of variations is broad and extensive. Accurate assessment and evaluation of clients require knowledge of normal biocultural variations among healthy members of selected populations (Andrews Boyles, 49). Nurses must acquire skills that will allow the recognition of variations. A nurse must always remember that the focus should remain on the patients well being and recovery. It is necessary to understand that individuals will never be the same. A patients health status and treatment is directly influenced by their culture and it is this reasoning, which has been proven through testing and the development of theories that has led to the conclusion that culture cannot and will not be ignored. Human diversity makes tolerance more than a virtue; it makes it a requirement for survival (Dubos). Healthcare will not suffice without negotiation, adjustment, and respect of differences. Transcutlural concepts in nursing care have made cultural competency an expected standard and it is the duty of every nurse to help maintain this standard.

Forged Under the Sun :: Essays Papers

Forged Under the Sun American Indian stories is the story of an Indian girl’s childhood experiences and how she went to school and also talks about the different Indian customs. The book sarts out with how her father, uncle and little sister were killed by the white men, and how much her mother resented the white men or palefaces as she called them. Bead work was one of the main things the Indian women did and so the little Indian girl also learned to do bead work by watching her mom. This book also tells of the many Indian myths or beliefs. In one case the little girl and many of the villagers were going to see a young warriors first arrival and their was a great party and during the walk to the center of the camp the little girl tried to grab a plum when her mother told her not to get a plum because the plum bush was growing out of the hands of an Indian boy who always like to play and eat plums. one day missionaries came to the camp to basically send mostly children to the East so they would learn the ways of the white man and also become civilized and in turn help bring more Indians Eastward to help with the modernization of America and Indians. The book describes in detail the regiment of what happened and how the little girl was feeling while she was in school and the day she went back home to visit her mother and also to recruit new children from the school she came from. Finally the little girl became a teacher. The book goes on to describing a warrior chief and his pride and joy in his little daughter and how he didn’t see anyone that would be able to marry his daughter. Blue-Star Woman was an Indian women at the age fifty three. She is described as a lady who keeps asking herself the question, Who am I? Blue-Star Woman was kept alive by the generosity of her neighbors. Finally the Chief Indian was in prison but by the help of Blue-Star’s to nephews. The southern railroad was under construction by mostly Chinese immigrants. During which time the Chinese were treated very wrongfully by the railroad supervisors and managers.