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pnwdoodlesreads · 4 years ago

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"Our goal in the remainder of this paper is to identify key factors that constrain national park visitation among people of color. We believe a constraints perspective will illuminate why people of color do not make greater use of NPS areas, particularly those parks that are remote and where outdoor recreation and scenery are major attractions. This brief review will aid NPS staff and its partners as they continue to diversify the park service and create programs and offerings that are relevant to a broader spectrum of Americans.

[...]

Discrimination and White racial frames.

Lack of formative experience with outdoor recreation activities and national parks reinforces the belief that these recreation amenities and destinations are culturally irrelevant to people of color. The procurement of this belief is linked to discriminatory and exclusionary practices in the past and present. Indeed, members of dominant groups engage in boundary maintenance of their own which often results in their resisting the inclusion or assimilation of outsiders.

Discriminatory and exclusionary practices go back generations and have long constrained people of color in their efforts to visit parks or engage in various forms of public recreation. Prior to the Civil Rights Act of 1964, many people of color were legally barred from, or segregated at, public recreational sites, including national and state parks (Shumaker 2009; Lee and Scott 2016). Efforts to integrate recreation areas often resulted in physical violence. Simultaneously, many conservationists who were instrumental in the establishment of national parks expressed little interest in encouraging minority citizens’ visitation (Jordan and Snow 1992).

The impact of racial discrimination on leisure and outdoor recreation participation in contemporary America is well documented. Many people of color have noted that they routinely encounter acts of discrimination onsite or during their travels, which negatively impact their enjoyment and subsequent behavior (Lee and Scott 2017). Discrimination by other visitors is among the most frequently cited form of mistreatment, and may range from hostile stares to physical attacks (Sharaievska, Stodolska, and Floyd 2014). People of color also note that they have been the victims of discrimination from park and recreation workers.

Professional staff may simply be inattentive to the needs and interests of people of color, which may embolden other visitors to engage in acts of hostility (Fernandez and Witt 2013).Other researchers have acknowledged a more nuanced relationship between discrimination and outdoor recreation among people of color. Discrimination may actually stem from a variety of everyday interactions and unconscious assumptions (Young 1990) that are regarded by employees and stakeholders as legitimate and fair. Inequality is perpetuated over time, according to Scott (2014), by a variety of “practices and beliefs that are firmly embedded in the normal, everyday functioning” of how park and recreation services do business (p. 47).

Although these practices are outwardly neutral, they “systematically reflect or perpetuate the effects of preferential treatment in the past” (p. 48). For example, researchers have documented that White managers of parks, forests, and wilderness areas often assume that the majority of visitors are Whites, so interpretive exhibits and stories in these areas tend to predominantly celebrate White Americans’ history and heritages (Taylor 2000). Stories and contributions of people of color are often ignored or distorted (Loewen 1999; Lockhart 2006).

Central to the perpetuation of institutional bias is what Feagin (2013) called a White racial frame, which he defined as “an overarching white worldview that encompasses a broad and persisting set of racial stereotypes, prejudices, ideologies, images, interpretations and narratives, emotions, and reactions to language accents, as well as racialized inclinations to discriminate” (p. 3). The idea here is that Americans routinely and often unconsciously view White people and their behavior positively and represent the standard for evaluating what is good and moral.

In contrast, people of color and their behavior are regarded with suspicion, stereotypes, and notoriety. A White racial frame permeates how Americans institutions operate, including park and recreation delivery. Since its inception, the NPS has codified appropriate behavior and ways of experiencing national parks that are rooted in 19th-century White middle- and upper-class ideas about respectability and decorum (Cosgrove 1995; Byrne and Wolch 2009). In a nutshell, national parks are to be used for education and inspiration. This view is reinforced by the media, including nature documentaries. Among staff and many visitors, this translates into a form of enjoyment that gives primacy to quiet contemplation of nature rather than noisy, active use of nature.

Throughout the United States, many public spaces are equated as White spaces. Despite civil rights laws that legally forbid the exclusion of people of color from public facilities, many parks and public areas remain the province of Whites and off-limits, at least unofficially, to people of color. Austin (1997–1998) observed that many White Americans have a proprietary attitude about the public places they occupy and rules for appropriate behavior.

People of color who venture into White spaces, including national parks, may be treated rather coolly and, not surprisingly, feel unwelcome and remain on their guard (Carter 2008). Moreover, their behavior in White spaces often comes under severe scrutiny. Leisure among young African American males, in particular, is often viewed as pathological, disruptive, anda major source of disturbance in public settings (Austin 1997–1998). This has led to no small amount of racial profiling and monitoring in public parks and recreation areas. It can be surmised that many people of color in the United States are constrained from more fully accessing a wider range of outdoor recreation activities and NPS areas because of the existence of a firmly entrenched White racial frame.

A White racial frame makes it daunting for people of color to participate in outdoor recreation activities and visit parks where they are in the minority. Mikhail Martin, a young African American from Queens and co-founder of Brothers of Climbing, explained why so few Blacks participate in rock climbing: “In the black community, there’s this misconception that, ‘Oh, Black people don’t do that. Only White people do this.’

And they have every right to believe that, because their outlet to the world is what you see on the TV and internet, and if you don’t see any Black people, or any people of color climbing, you’re not going to think you can do it” (REI 2017). J. Drew Lanham (2013), a serious birdwatcher and African American, offered nine “rules” for African American birdwatchers. An abbreviated list is as follows:

• Be prepared to be confused with the other black birdwatcher

.• Carry your binoculars—and three forms of identification—at all times.

• Don’t bird in a hoodie.

• Nocturnal birding is a no-no.

Some White visitors are vociferous in their opposition to the NPS’s efforts to promote ethnic and racial diversity in the national parks. The following letter to the editor, publishedin National Parks magazine, blasted the NPS for what the writer regarded as a misguided initiative: “Your recent article ... was way off target. To modify the National Park System tolure ethnic minorities would be a disaster and one more facet of our country that would be changed to please a few, ignoring the desires of the majority…. If minorities do not like goingto the parks, it is their loss. But please don’t let us be duped into thinking it is our loss. Many of us look to the parks as an escape from the problems ethnic minorities create. Please don’tmodify our parks to destroy our oasis” (Lucier 1994: 6). Three other letters were published along with this one and they too were critical of the NPS in its diversity efforts.

CONCLUSIONS

Despite NPS’s efforts to diversify its staff and create sites that reflect the history of all Americans, people of color are far less likely to visit many national parks compared with Whites and they face formidable constraints to visitation. We have argued that non-visitation can be boiled down to limited socioeconomic resources, cultural factors and boundary maintenance, and discrimination and a White racial frame.

These constraints limit visitation and the acquisition of leisure preferences that define outdoor recreation and NPS destinations as culturally relevant and appropriate. Is there anything the NPS can do to alleviate these constraints? Webelieve that service provision for people of color can be improved by ensuring that programs and facilities are affordable, accessible, culturally relevant, safe, and welcoming.

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artisticlegshake · 7 years ago

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NUVO CALGARY RESULTS 2017/18

Nubie Solos:

1st Alexandra Sandoval - YYCDP

Mini Solos:

1st Ashley Purdie - SHELLEY SHEARER

2nd Ella Clement - SHELLEY SHEARER

2nd Gabby Tarbay - YYCDP

3rd Gabriella Sandoval - YYCDP

4th Connie Sharabura - SPRINGBANK

5th Ella Bly - BALANCE DANCE

6th Skylar Dutrisac - VIREO

Junior Solos:

1st Alexis DeLucas - YYCDP

2nd Emily Armstrong - YYCDP

3rd Lane Styles - SHELLEY SHEARER

4th Tristen Toronchuk - YYCDP

5th Mya McBeth - YYCDP

6th Ellory Chisson - YYCDP

7th Anna Rosenberger - SHELLEY SHEARER

8th Kiley McNeill - SHELLEY SHEARER

8th Harlee Crisp - PRESTIGE

9th Taylor Sakwi - SHELLEY SHEARER

10th Mikayla Zarsky - DANCE UNLIMITED

Junior Duo/Trios:

1st YYC Dance Project - Illusion

Junior Groups:

1st Shelley Shearer School of Dance - Have No Fear

Teen Solos:

1st Brynne Abgrall - SHELLEY SHEARER

2nd Carter Williams - CSPAS

3rd Kylan Wagner - LEADER

3rd Lexine Eusebio - YYCDP

4th Taryn Miller - YYCDP

4th Emily Gutierrez - YYCDP

4th Brea Franklyn - TRI-CITY

5th Tatum Tanner - YYCDP

6th Marie Sandoval - YYCDP

6th Piper Fitzgerald - YYCDP

7th Ella Johnson - YYCDP

8th Brianna Del Mundo - YYCDP

9th Natalia Kuzmanovski - YYCDP

10th Kimberly Newman - YYCDP

10th Maesie Kostynuik - YYCDP

Teen Groups:

1st Bella Dance Academy - The List

Senior Solos:

1st Andrea Tarbay - YYCDP

2nd Lia Loewen - SHELLEY SHEARER

3rd Sarah Stephen - YYCDP

4th Shaelene Standing - YYCDP

5th Aishia Sampson - PRESTIGE

6th Abby Hegseth - DANSCOTT

7th Cierrah Houston - SHELLEY’S

8th Helena Rickards - YYCDP

9th Amber Standing - YYCDP

10th Aquinnah Ma - SGSDANCE

Senior Duo/Trios:

1st Shelley’s Dance Company - I Will Never Leave You

#nuvo calgary #thought id may as well post even though it wasn't streamed

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inattentive-scholar · 8 years ago

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My current reading list (in order from left to right):

Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong by James W. Loewen

This is actually a reread; I really love this book, and I think that it should be taught in high schools, or it least in your first undergrad history seminar. Loewen really made me think about the bias inherent to the presentation of history, and the book is a great jumping off point for critical historical thinking. Not that its without its problems. 10/10 would recommend

Doing Oral History, by Donald A. Ritchie

White Women, Black Men: Illicit Sex in the 19th Century South by Martha Hodes

Last semester, I took African-American History, and for the final paper, we had free rein. I had been thinking about sexuality in early America a lot since last year, particularly among enslaved people--for instance, how did slavery alter the reality of sexuality among slaves? My professors told me that there wasn’t really scholarship on the subject of early black sexuality, particularly as it pertains to same-sex encounters... Naturally, that’s what I wrote my paper about.

There are a lot of really interesting resources on the subject-- if you'd like to know more, please let me know!! Although this topic has really been neglected until the last few decades, it really is an important part of our history.

The Intimate World of Abraham Lincoln by C.A. Tripp

Stonewall: The Riots that Sparked the Gay Revolution by David Carter

David Carter actually spent a semester at my school, so I got to work with him a lot, and I’m very excited to read his book. I also had a chance to attend a panel at the Stonewall Inn, of people who were at the riot, and I’m looking forward to comparing what I heard to what David wrote.

Polish Roots by Rosemary A. Chorzempa

Daughters of America; or, Women of the Century by Phebe A. Hanaford

This is a used bookstore find-- I’m super excited about it! It was published in 1882, and its in very good condition. Its actually public domain, so you can find the whole thing on Google Books, but its so lovely in person.

America’s Women: 400 Years of Dolls, Drudges, Helpmates, and Heroines by Gail Collins

First Ladies: From Martha Washington to Laura Bush by Betty Boyd Caroli

Rogue Angel: Celtic Fire by Alex Archer

This is one of the series that made me really want to do history when I was younger: characters like Annja Creed, Indiana Jones, Lara Croft, and Amelia Peabody heavily influenced me. There are 57 books, written by different authors, and whenever I see one I don't have yet, I buy it without even thinking about it.

I’m trying out new methods of taking notes while reading, so I’ll share some of my notes as I finish the books.

#currently reading #cherie chats #books #studyblr #bookstagram #history #new studyblr #history books #lgbt history #women's history #queering slavery #black history #early american history #reading list

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anticwitty · 8 years ago

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3. “Eurocentrism elides non-European democratic traditions, while obscuring the manipulations embedded in Western formal democracy and masking the West's part in subverting democracies abroad.”

Some Citations

Instances of Use of United States Armed Forces Abroad, 1798 - 201 6 https://fas.org/sgp/crs/natsec/R42738.pdf

Woodrow Wilson in the Carribean Loewen, James W. Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong. New York: New, 1995. Print. Chapter 1: Handicapped by History: the Process Of Hero-making (pg 13)

Cuban Stuff Zinn, Howard. A People's History of the United States: 1942 to the Present. S.l.: Perennial, 1998. Print. (Chapter 12, Empire and the People Around pg 300)

The Carter Doctrine https://www.democracynow.org/2015/11/2/andrew_bacevich_ongoing_wars_in_iraq

Ronald Regan in Latin America Herman, Edward S., and Noam Chomsky. Manufacturing Consent: The Political Economy of the Mass Media. New York: Pantheon, 2002. Print. Chapter 3 Case Study: Legitimizing versus Meaningless Third World Elections: El Salvador Guatemala Nicaragua

Link to full video of full State Dept. Statement: https://www.youtube.com/watch?v=frO1T3vZNrA Democracy Now. "State Department Announces New "Long-standing" Policy Against Backing Coups." YouTube. YouTube, 11 Mar. 2015. Web. 18 May 2015

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jazzworldquest-blog · 6 years ago

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JAPAN/CANADA : Pianist/composer Satoko Fujii debuts new trio This Is It! with recording and Canadian tour

Pianist/composer Satoko Fujii debuts new trio This Is It!

with recording and Canadian tour

September 15 – October 8, 2018

Appearances in Guelph, Montreal, Kingston, Ottawa, Vancouver

1538, the trio’s debut CD, earning wide acclaim

4.5 stars “A rambunctious stew of explosive group dynamics and interludes of gorgeous piano ruminations beside prickly percussive keyboard moments. There are also fleeting, bright splashes of notes, odd noises from extended techniques…and driving rhythms in a wide array of time signatures.”—Dan McClenaghan All About Jazz

“The music is of the utmost simplicity, yet the works produce an effect of extraordinary voluptousness, as simple tonal chords drift in and out of focus, while the soloists describe a slow and wayward ascent, climbing higher by infinitesimal degrees.”—Raul da Gama, Jazzdagama

Acclaimed pianist/composer Satoko Fujii, celebrates her new trio This Is It! (Fujii, trumpeter Natsuki Tamura, and percussionist Takashi Itani) with a Canadian tour from Saturday, September 15 – Monday, October 8, 2018. The band’s debut CD, 1538, is part of Fujii’s 60th birthday celebration for which she is releasing a new CD every month during 2018. The group will also tour to six US cities including Philadephia, PA; Cambridge, MA; Portland, ME; Brooklyn, NY; Mission Viejo and Los Angeles, CA.

Canadian performances include:

• Sat, Sept. 15, 2 p.m. – Guelph Jazz Festival, Cooperators Hall, River Run Centre, 35 Woolwich St. Guelph, Ontario.

Tickets $20-$25. GJF: Groven/Lumley/Sadhouders will also perform. For information visit http://riverrun.ca/whats-on/gjf-groven-lumley-stadhouders-satoko-fujis-this-is-it/ or www.guelphjazzfestival.com.

• Tues, Sept. 18, 8 p.m. – La Sala Rossa, 4848 St. Laurent, Montreal, Quebec.

The Craig Pedersen Quartet will also perform. Presented by Suoni Per Il Popolo and CKUT. Tickets $12. For information visit https://www.lfttckt.com/tickets/lfttkt-casa-1511276966-20703 or https://casadelpopolo.com/en/la-sala-rossa/.

• Wed, Sept. 19, 7 p.m. – St. Marks Church, 263 Victoria Street, Kingston, Ontario.

Presented by Kingston Jazz Society. Tickets $15 at the door. https://kingstonjazz.ca/2018/08/20/sep-19-satoko-fujii-trio-st-marks-church/

• Fri, Sept. 21, 7 p.m. – Natsuki Tamura Solo, Improvising Musicians of Ottawa Fest, General Assembly, Ottawa.

http://www.improvisedmoo.com/

• Sat, Sept. 22, 3 p.m. – Natsuki Tamura, trumpet; Satoko Fujii, piano; Jesse Stewart, drums, Glebe St. James United Church, 60 Lyon St. S., Ottawa.

https://www.glebestjames.ca/

• Sat, Sept. 22, 10 p.m. – Improvising Musicians of Ottawa Fest, Gigspace, 953 Gladstone Ave., Ottawa.

Tickets $75 festival pass, $40 Saturday only. For information visit http://www.improvisedmoo.com/imoofest-2018/this-is-it/. In addition to the concert by This Is It!, Tamura will perform solo on Friday, September 21, 7 p.m. at General Assembly; Fujii will also perform solo on Sunday, September 23.

• Sun, Sept. 23, 6 p.m. – Satoko Fujii Solo – Improvising Musicians of Ottawa Fest, Gigspace, 953 Gladstone Ave., Ottawa.

http://www.improvisedmoo.com/imoofest-2018/satoko-fujii//

• Sun, Sept. 23, 9 p.m. – Satoko Fujii directs IMOO Orchestra with tenor saxophonist Bernard Stepien, alto and/or baritone saxophonist Linsey Wellman, trumpeter Natsuki Tamura, trombonist Rory Magill, guitarist David Jackson, cellist Mark Molnar, drummer Takashi Itani, Scott Warren on sound inspiration – Improvising Musicians of Ottawa Fest, Gigspace, 953 Gladsone Ave., Ottawa.

http://www.improvisedmoo.com/imoofest-2018/imoo-orchestra/

• Fri, Oct. 5, 8 p.m. – NOW Society Creative Music Series #5 at 8EAST, 8 E Pender St., Vancouver, BC

By donation $10-$20. Also performing are two duos: Nikki Carter and Kenton Loewen; Meredith Bates and Elsa Thorn. https://www.nowsociety.org/event/now-society-creative-music-series-5-october-3-5

• Mon, Oct. 8, 4-6 & 6:30-8:30 p.m. Improvisation Workshops – Western Front, 303 E. 8th Ave., Vancouver, BC. Suggested donation $5-$20.

Satoko Fujii leads improvisation workshops. https://www.nowsociety.org/2018-fall-workshops

Pianist-composer Fujii is always searching for new colleagues to help her in her quest “to make music that no one has heard before.” She found what she was looking for on 1538 featuring her latest trio with trumpeter Natsuki Tamura and drummer Takashi Itani. She calls the band This Is It!, and it’s little wonder why. After a long search, she’s found one of her most free-spirited ensembles, capable of playing her compositions with a natural élan as well as soloing with emotional intensity. The album was released June 22, 2018 via Libra Records.

This Is It! evolved slowly over several years from Fujii’s New Trio with bassist Todd Nicholson and drummer Itani. After their 2013 debut CD, Spring Storm, Tamura joined them in concert to form Quartet Tobira, which recorded Yamiyo ni Karasu in 2014. With the departure of Nicholson, the remaining band members played as Tobira – 1 (Tobira Minus One), but as they continued to play, a distinctive trio identity emerged and Fujii rechristened them with an original name. “I always like to have smaller units that can play my compositions,” Fujii says. “I have led small groups like Satoko Fujii Quartet, Satoko Fujii Trio, ma-do, and others since the beginning of my career. Right now, this trio is the one I really like to work with, so I just named it This Is It!.”

Fujii wrote some material especially for the group, but most of the compositions come from what she calls her diary. “When I sit at the piano, I always compose for 15 minutes before I begin to practice. After doing this for more than 10 years, I have 12 books of written compositions. The short pieces in these books can help me to make long pieces. I often turn to my diary books when I start to compose something.”

As Tamura attests in his CD liner notes, these pieces are often fiendishly difficult to learn but they always have structure and flow that sound unforced and that open up new possibilities for improvisers. The trio fully inhabits Fujii’s pieces, taking different approaches to each one. The trust and confidence among them create deeply layered performances that blend melody, sound, and rhythm in endlessly inventive ways. For instance, they each twist and bend the melody of “Prime Number” as they solo, creating variations that build a unified performance. They take the high-intensity title track (1538 is the melting point of iron in degrees Celsius) in multiple directions as they improvise. Tamura shrieks and brays with tormented abstractions while Fujii alternates between high energy thundering and a melancholy lyricism, and Itani’s unmoored rhythms ebb and flow.

Some of the most otherworldly sounds to issue from a Satoko Fujii band are heard on this album (and that’s saying something). It’s often hard to tell who is making what sound. The opening of “Yozora” (which means “night sky” in Japanese) and the dreamy abstractions of “Riding on the Clouds” are bravura examples of the trio’s ability to manipulate pure sound and tone color into emotionally satisfying music. A highlight of “Swoop,” a feature for Itani, is the drummer’s virtuoso command of timbre and his sure sense of construction.

“I just let the band play in their own way,” Fujii says. “I just love to hear how Natsuki and Takashi play my pieces. In music, I like to feel 120 percent free and I think we can do whatever we like. This is the advantage of the music!”

Drummer Takashi Itani plays everything from jazz (Max Roach was an early inspiration) to folk music, to rock. He’s been a sideman with a truly bewildering range of musicians, including singer-songwriter Yoshio Hayakawa; new wave rock guitarist Masahide Sakuma; singer-actor Hiroshi Mikami; Michiro Endo, front man of the influential punk band The Stalin; West coast jazz saxophonist Ted Brown; and best-selling Japanese American pop star Hikaru Utada. In addition he has performed with some of Japan’s most prominent poets, including Mizuki Misumi, Shuntaro Tanikawa, Gozo Yoshimasu, and the late Takaaki Yoshimoto.

Japanese trumpeter and composer Natsuki Tamura is internationally recognized for his unique musical vocabulary blending extended techniques with jazz lyricism. This unpredictable virtuoso “has some of the stark, melancholy lyricism of Miles, the bristling rage of late ’60s Freddie Hubbard and a dollop of the extended techniques of Wadada Leo Smith and Lester Bowie,” observes Mark Keresman of JazzReview.com. Throughout his career, Tamura has led bands with radically different approaches. On one hand, there are avant rock jazz fusion bands like his quartet. In contrast, Tamura has focused on the intersection of folk music and sound abstraction with Gato Libre since 2003. The band’s poetic, quietly surreal performances have been praised for their “surprisingly soft and lyrical beauty that at times borders on flat-out impressionism,” by Rick Anderson in CD Hotlist. In addition, Tamura and pianist (and wife) Satoko Fujii have maintained an ongoing duo since 1997. Tamura also collaborates on many of Fujii’s projects, from quartets and trios to big bands. As an unaccompanied soloist, he’s released three CDs, including Dragon Nat (2014). He and Fujii are also members of Kaze, a collaborative quartet with French musicians, trumpeter Christian Pruvost and drummer Peter Orins. “As unconventional as he may be,” notes Marc Chenard in Coda magazine, “Natsuki Tamura is unquestionably one of the most adventurous trumpet players on the scene today.”

Critics and fans alike hail pianist and composer Satoko Fujii as one of the most original voices in jazz today. She’s “a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver," says John Fordham in The Guardian. In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock, and Japanese folk music into an innovative music instantly recognizable as hers alone. Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including her trio with bassist Mark Dresser and drummer Jim Black, the Min-Yoh Ensemble, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. Her ongoing duet project with husband Natsuki Tamura released their sixth recording, Kisaragi, in 2017. “The duo's commitment to producing new sounds based on fresh ideas is second only to their musicianship,” says Karl Ackermann in All About Jazz. Aspiration, a CD by an ad hoc band featuring Wadada Leo Smith, Tamura, and Ikue Mori, was released in 2017 to wide acclaim. “Four musicians who regularly aspire for greater heights with each venture reach the summit together on Aspiration,” writes S. Victor Aaron inSomething Else. She records infrequently as an unaccompanied soloist, but Solo (Libra), the first of her 12 birthday-year albums, led Dan McClenaghan to enthuse in All About Jazz, that the album “more so than her other solo affairs—or any of her numerous ensembles for that matter—deals in beauty, delicacy of touch, graceful melodicism.” As the leader of no less than five orchestras in the U.S., Germany, and Japan, Fujii has also established herself as one of the world’s leading composers for large jazz ensembles, leading Cadence magazine to call her, “the Ellington of free jazz.”

www.satokofujii.com/

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