#this class has increased my respect for Haitians

[addithevampire]

Every time this topic comes up I’m reminded of a discussion I had in a Latin American history course.

Just after the French Revolution came the French enlightenment era, where French people were churning out new treatises on how all men are equal and none deserve to be subjugated, how they shouldn’t be ruled by a tyrant-king.

Haiti was a French colony with particularly brutal slave treatment, going through slaves quicker than anywhere else, and a population of free, educated black people who were reading these treatises.

These free black people read these works by French enlightenment authors and said “Hey, if you really believe in these principles, set us free and let us be our own country. We, too, are suffering under a tyranny we didn’t choose and want to be free.”

The French laughed and said no.

Because it wasn’t really the principles they believed in. It’s not that they believed oppressive rule was innately wrong. It’s not that they believed all men deserved freedom. It’s that they were against tyranny when it was them under its thumb. They couldn’t have given less of a fuck about doing it to others. They didn’t want the abolishment of oppression. They wanted to go from being oppressed to the ones doing the oppressing.

Obviously this is not on the same scale as this discussion, but the principle of the matter is something I think is the same. A lot of people don’t view these thing as something that’s inherently bad. They just want the bad to be directed at someone who isn’t them.

honestly if you only have compassion for oppressed people's suffering because they are in a sufficiently oppressed class, thats a problem. anti-oppressive activism is useless if it ends up as "these people deserve compassion because they are in the Right Group" instead of "everyone deserves compassion and injustice and cruelty is never okay for anyone". anything else is doomed to repeat the very systems it wants to destroy.

[orbemnews]

How Naomi Osaka Became Everyone’s Favorite Spokesmodel LOS ANGELES — In today’s world of celebrity branding, captions speak louder than words. But Naomi Osaka’s are decidedly understated. “Keep on keeping on,” the 23-year-old tennis champion posted on Instagram under two on-court photos after making it through the fourth round of the Australian Open (which she went on to win). For a slide show that began with a shot of the Metropolitan Museum of Art, whose Costume Institute Gala she will co-chair, in September: “oh we lit.” Below a portrait of herself draped in Louis Vuitton and Nike (both sponsors of hers), simply: “yo.” Her nonchalance, perhaps, is a way of guarding herself on social media, where many more loquacious celebrities have made unforced errors. “You don’t really know people, by looking at their profile,” Ms. Osaka said recently. “You feel like you can sort of catch a glimpse into their life, which, in a way, is a bit wrong.” She said she has to remind herself to post on Instagram: “My mind hasn’t been able to keep track of it.” But certainly her profile, well outfitted as it is, provides a glimpse into her business — and like the meme decrees, business is boomin’. Ms. Osaka is covering everything from ears to rears, making headphones with Beats, athleisure with Nike and denim with Levi’s. Dresses? She designed them with Adeam, a Japanese-American brand. Swimwear? She crafted a collection with Frankies Bikinis. In April, she announced that she would serve as C.E.O. of her own company: Kinlò, a line of skin care made for people with melanated skin tones, produced with GoDaddy. According to Forbes, she made $37.4 million in endorsements and tournament prizes between May 2019 and May 2020, the most a female athlete has ever earned in a single year. “She’s the first professional tennis player we’ve worked with,” said Jen Sey, the brand president of Levi’s, “but for us, she rises above that. She’s such a powerful voice, the way she’s encouraged others to speak out about equality. She’s outspoken. That’s what we like about her. There’s no point in partnering with someone if you’re just going to tell them what to do.” With Nike, she founded an academy to introduce more young women to sports; with L.V.M.H., she joined a judging panel to choose an emerging fashion designer worthy of a 300,000-euro grant. Her imprint seems to be suddenly on everything from enterprise management software (Workday) to water (Bodyarmor). “She is the perfect storm,” said Cindy Gallop, a brand consultant who has worked with several of Ms. Osaka’s sponsors. “She’s a spectacular athlete. She has a strong sense of social justice, she’s prepared to speak her mind.” “Thirdly,” Ms. Gallop said, “she’s female, and fourthly, she’s not white. I hate, loathe, and detest terms like this, but she is, in quotes, diverse. She ticks every box. You can practically hear the brand managers thinking: ‘She is absolutely the right person to sponsor, right now.’” Serving Salad Tennis stars of the past hawked rackets, pain medication, watches (which Ms. Osaka also does, for Tag Heuer) and the ever-changing category of fast food. On a Monday in March, Ms. Osaka found herself in the Los Angeles test kitchen of the chain restaurant Sweetgreen, the Supreme of salad, trying to wrap her head around the notion that one of the restaurant’s dressings — rémoulade — would soon be disappearing from the menu. “What’s in it that makes it seasonal?” Ms. Osaka said. “The pickles,” said Katelyn Shannon, a research and development chef of Sweetgreen. Ms. Osaka nodded. She was wearing a face mask and a high bun; green and black sweatpants poked out beneath her apron. She had more questions: “Are the other dressings seasonal, too?” “What is a salad ‘hack’?” “What’s more popular, kale or romaine?” “How quickly does Sweetgreen go bad?” (Answers: mostly, no; it’s a way to reverse engineer an ingredient, like a seasonal dressing; kale; after two days, stir fry it for 10 minutes for a whole new meal.) Last year, Ms. Osaka signed a deal with Sweetgreen that gives her equity in the company and makes her its first celebrity sponsor. While both parties declined to disclose the terms of the arrangement, Nathaniel Ru, a founder of Sweetgreen, said the company “wanted to make sure she had some skin in the game.” “We’re not going to get a logo on her shirt, maybe we’ll get a salad on the sidelines,” Mr. Ru said. Ms. Osaka stars in a new Sweetgreen ad campaign, on billboards and the internet, that features four sides of her personality (two of the lesser known: “the gaming mogul,” “the meditation master”). The goal, Mr. Ru said, is to “shift the paradigm of what fast food can be.” Traditionally, salad has not had a sponsor; perhaps the closest it came was 10 years ago, when the blog post Women Laughing Alone With Salad went viral. Most of those women were white; perhaps none of them compelled anyone to eat a salad (unironically, anyway). “Representation is important,” said Ms. Osaka, who is Haitian and Japanese. (Part of the proceeds of a salad she designed for Sweetgreen — with baby spinach and tortilla chips, among other ingredients — will go toward nonprofits working to increase food access in Asian-American and Pacific Islander communities.) “It’s important for me to represent things I actually believe in,” she said of her brand partnerships, “that I actually eat. I would never do, like, McDonald’s or Coca-Cola, because I don’t consume them. I consume Sweetgreen once every three days. It’s not something that you can fake.” She added, “you can always tell when someone’s lying.” So radical is her authenticity that it seems to override any desire to appease. When a Sweetgreen employee asked her what she eats on the road, Ms. Osaka said, “at tournament sites they have a salad buffet, so I like to make my own salad.” “Is it sad?” the employee said. “‘Is it sad?’” Ms. Osaka repeated. “Is the salad buffet sad?” the employee clarified. “Oh,” Ms. Osaka said. “Wimbledon has a really good one.” Sister Act In September, Ms. Osaka won the U.S. Open while declaring solidarity with the Black Lives Matter movement through her face masks. From a corporate sponsorship perspective, this was a turning point: taking a stance increased her brand value. She shortly thereafter teamed up with Basic Space, an online swap meet for hype beasts (sample items for sale include a St. John coat and a Range Rover) to sell 500 masks designed by her 25-year-old sister, Mari. They sold out in 30 minutes, with proceeds going to UNICEF. “We have a mutual appreciation and respect for what we’re all trying to build,” said Jesse Lee, the founder of Basic Space, “something cool, unique and authentic.” It was he who introduced Ms. Osaka to the founders of Sweetgreen. The Osaka sisters returned to Basic Space last month to auction off a series of N.F.T. artworks, with the final bid for one, “The Unsuspecting Player,” reaching $150,000. It is a Mangaesque imagining of a brown-skinned woman with a tennis racket and a cascade of pink hair not unlike a wig Ms. Osaka wore in a recent Instagram post. “I’ve always felt like my sister knows me best,” Naomi Osaka said during an April interview on Clubhouse, the audio broadcasting app. “I’ve grown up watching her draw and do digital art and paintings, I always wanted to find a way to use my platform to showcase that.” “Though maybe not exactly how I am,” she added, “she captured me well.” It was Ms. Osaka’s first time on Clubhouse, and she did not hide her bemusement when the volume of Mari’s audio dwarfed her own. “I’m literally right next to my sister, so I don’t get why I have a bad connection and she doesn’t,” she said. Many of her brand partnerships involve Mari. They collaborate on sketches for clothing Ms. Osaka designs with her fashion sponsors, like an upcoming capsule collection with Levi’s. “I draw really badly, she can make it look good,” Ms. Osaka said. “She’s able to interpret. Sometimes we don’t even have to talk for her to understand what I’m thinking.” Before the pandemic, Ms. Osaka visited the Levi’s workshop in West Hollywood to conceptualize the pieces, which include an obi-inspired bustier and denim shorts with crystal fringe. When in-person meeting became impossible, she went on Zoom, signing off on 10 designs before they went into production. “As a little kid, I would watch ‘America’s Next Top Model’ and ‘Project Runway,’ and those were sort of scratching the surface of what goes on behind the scenes,” she said. At Levi’s, she said, she could see the process, “how technical they are about buttons and cutting fabric.” Far from the celebrity sponsorship model of yore, in which stars of syndicated TV shows claim to color their own hair at home, Ms. Osaka does not want to work with a company unless she’s learning on the job. As companies scurry to make up for decades of underrepresentation of races other than white, Ms. Osaka is aware that she may seem like the golden ticket. “I don’t just want to be a figurehead, or someone used,” she said. “If I’m with a brand, I want it to be from my heart instead of just trying to promote a message, just for money.” Surely, some thirsty brands have offered some pretty sweet deals? Ms. Osaka laughed. “That’s really a him question,” she said, gesturing at Stuart Duguid, her agent and manager. “She’s not taking incoming calls,” he said. Back in the test kitchen, Ms. Osaka had cast herself, convincingly, as student in salad master class, asking about the pros and cons of various greens, what ingredients go together, watching and learning as Mr. Ru, the Sweetgreen co-founder, demonstrated the proper way to mix with tongs “You’ve got to do the twist,” he said, flipping his wrist. Upstairs, in a makeshift conference room, she photographed a mood board taped to a concrete wall. She gazed at the unfinished ceiling and a rattling screen window. “Really pretty architecture,” she said, sincerely. . Many celebrities are more keen on checking their texts than looking around the room. That’s not Ms. Osaka, or her brand. “I’m very curious about a lot of things,” she said. “Being curious is one of the happinesses of life, because if you’re not curious, that means you’re sort of settled. I feel really humbled, that I play tennis but I’m able to have all these new experiences and opportunities, like getting to make a salad here. I don’t think a lot of people can say that.” “I’m really good at tennis,” she added, “but I’d like to be really good at other things, too.” Source link Orbem News #Everyones #favorite #Naomi #Osaka #Spokesmodel

[rummy-playlearn]

Implementing pedagogy and method acting research

These both will be brought into the introduction/preface (haven’t decided if it will be both or one), and also reiterated in the order of experience. I’m struggling at this very moment to know what to write and where. I know there are certain things I need to talk about, and go into detail on, but I’m unsure of how to do it. This is always my problem. The overwhelming feeling of having a lot of difficult work to do, since I am so far behind. It’s over a week after the mid-point presentations and I am still making the final piece. It makes me so scared. I think I will drop the preface and just include everything in the introduction. This is because I feel there is too much overlap, and I am not bound to the normal structure of a book.

I think the structure will be a (I started writing and then got carried away, so here are all my thoughts as they come):

Introduction, outlining the reasons for writing the book, which are, talking in first person, so it as if i am introducing myself to the teacher, and the second person, talking directly to the teacher: 

The intent on writing the book - 

wanting to provide a clear cut lesson plan for those teachers who are aware of the damage the schooling structure is having on their students; are anti-capitalist; want to improve their lessons, but are not sure of how to go about this and fear being told of (or even fired) by their school. 

If they will be as their reason for teaching isn’t making money, but to better education for their students.

Can be taught as part of English, History, Drama or Citizenship lessons,  You can do this without fear of being told off by the head teacher, as this is perfectly subtle for any of those topics. If you do run into trouble, simply say you carried it out under the need for ‘re-calibration of the enjoyment of learning’ ie - ‘the class is in dire need of physical activity’. Do not put blame on the students, like having difficulties with their engagement, as this will result in them being flagged up, potentially.

The methods spoken about in this book can be transferred to any other topic. A script need not be the basis, any text could be acted out. An author could be a character. An academic text could be pulled apart, theories and subjects could become entities with personalities.

Why this is based in the Haitian revolution - 

It is a prime example of history that isn’t talked about, since there wasn’t that much of a positive outcome to the revolution, since the west practically refused to recognise Haiti as a Republic, informally, made trade very difficult, and altogether contributed to Haiti becoming the poorest country in the world. On top of this, the close connection Vodou had to the revolution was immense, and also, not commonly known, as it should. The misconception of Vodou (or voodoo, the Louisiana branch) as a religion, also the bestialisation and image of ‘savagery’ that is portrayed by the west, contributes to the racist perceptions of black people and their culture. All of this is reason enough to dedicate a whole lesson to, and very much coincides with the purpose of the lesson as a whole, to teach critical thinking, and destroying the capitalist education ‘banking system’, half of the lesson plan.

Why the use of script - 

drama is the optimum method of learning because it includes all of the necessary parts that for teaching in an anti-capitalist manner. Those are: experience, collective learning, interaction, imagination, cognitive development, memory, communication, problem solving and responsibility. 

Those are drama in general, but for this script acting experience it includes much more. This will all become clear in the order of experience section. 

Experience is so important to marxist teaching and also understanding Vodou as part of the Haitian revolution, because the point is to have the students see that they can incorporate elements of the of the teachings (this will become clear in The Meaning) into their lives, and they already do. 

Understanding the script - 

The script does not exist to be performed, only read and rehearsed.

Performing defeats the object of trying to understand the characters inside and out, and discussion on how draw on personal experiences to think about how a character might act, after deciphering who they are.

The stage direction decrease in the second half of the play, to allow to push students (with your help) into thinking about a characters tone or action, once they have become familiar with them.

The play is kept short. This is to keep the focus on the purpose of the lesson, discovering the analogy/meaning of the script and experience as a whole.

Method Acting -

Invented by Lee Strasberg in ...

Section that helps get the students into the acting mindset, it becomes serious for them, rather than seeing it as not learning. Although the atmosphere must be kept playful at all times - further discussed a bit later.

Helps to draw on experience even more, as this was the main aspect of the discipline.

Critical thinking - 

Schools don’t teach it.

the ‘banking system’ operates on creating students that exist to be ‘filled up’ with knowledge buy the all-knowing authoritative figure, the narrating subject, the teacher.

The more students accept this dynamic, they adopt it as their world view and never thinking critically about. This is why there is time at the very beginning for students to voice all of their issues with the school system. 

Validation - this is very important. Destruction of self-respect is what capitalist society feeds on to create a disciplined labour force that succumbs to authority - why the school system is run in this way. You must validate students in anyway possible. Not overly praising where nothing has value, to a degree where a student self-esteem and self worth doesn’t tumble. Criticism in a society where you feel held does bash you to the point of feel helpless, but in our current society it does. 

Vulnerability - 

To destroy the relationship of the teacher as omnipotent scary being, the students must be able to relate to the teacher. 

Show it by opening up; taking part in all exercises; learning alongside the students, learning from them as much as they are from you.

They must feel your humanity.  

Creating an equal space.

The Meaning -

Should not be read beforehand, only with the student so there is a feeling of collective discovery and destroys the notion of ‘narrating subject’, as well as increasing vulnerability. 

It explains each aspect of the script and how it is an analogy for the Haitian revolution and the influence of Vodou.

Explains the experience and why it was conducted in such a way, to learn about the Haitian revolution, but also a much wider understanding of emancipation and consciousness. 

Explains the elements that are involved: drawing on experience and critical thinking. 

[tailorcanoe55-blog]

You Owe Me an Apology

Serena Williams is the GOAT by all athletic standards. LeBron James has proclaimed it. Colin Kaepernick declared it. I'm very sure her daughter Olympia believes it. There is no modern athlete as awarded and credentialed as her, and if she never stepped foot on a court again, her status as the greatest of all time is, for many of us, set in stone, cast in gold, and permanently irrefutable.

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This is why it was fascinating to watch as the validity of Williams' reaction to being accused of cheating by umpire Carlos Ramos during the Women's Final of this year's US Open was debated, and debated, and debated some more. Some self-proclaimed tennis aficionados have argued that Serena's reaction was nothing more than the display of a sore, entitled loser. Others—including several professional male tennis stars and Billie Jean King, the grand matron of women's tennis—have called out the sexist double standard in both the umpire's calls and the public response to Serena's words. And just when we thought the conversation had quieted, an Australian cartoonist resurrected the trend in uninspired, boringly racist fashion, depicting Serena as an oversized brute, and Naomi Osaka, the new and powerful US Open champion of Haitian and Japanese descent, as a blonde-haired white woman.

But I'm not here to relitigate the incident. Because the most striking lesson I derived from all of this was a profound life lesson: demand the apologies you deserve.

Williams uttered the phrase with clarity, without irony or apology. Her feet were firm and her voice was steady.

"You owe me an apology."

Getty ImagesAnadolu Agency

In that instant, it occurred to me that I have never spoken this phrase. To anyone. Not a lover, not a friend. Not a bad boss or a vindictive colleague. This is not for lack of opportunity. I'm a black woman in America. I have been owed plenty of apologies.

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I just never believed I deserved to demand one.

In the instant that I watched Serena’s firm command, I anxiously searched my consciousness to determine why, in my 33 years of living, I had never demanded an apology I believed I was owed. I have certainly expressed personal and professional grievances; I have given voice to hurt feelings and frustrated moments with greater intention as I've grown in confidence—a confidence which is hard earned.

But the idea that someone would need to affirm responsibility for their actions and impact on me had just never occurred to me. I have quietly carried the scars of apologies desired but never received, seething with resentment but never questioning why I didn't demand an apology in the first place. I have always known, as seemingly all Black mothers say, that "closed mouths don't get fed," and that it is rare that anyone receives that which they do not ask for. Still, I had not formed my lips to utter the words: you owe me an apology.

I'm a black woman in America. I have been owed plenty of apologies. I just never believed I deserved to demand one.

The cycle of my socialization was centered on the archetype of the Strong Black Woman. I met her early and often. She was the long-suffering mother in films, and the sturdy women of my church. They held everything together—and I do mean everything—with little thanks, acknowledgment or applause. They suffered quietly and labored intensely. When they were wronged by men, they chalked it up. When they were abused by systems and institutions, they kept pushing. That’s a Black woman's life. Take a licking, keep on ticking, because if you don't, your family won't eat, the church won't run, and the school can't function. The weight of the world sits on our bosom, simply leaving no time to argue with the people who have harmed you. That’s a Black woman's life.

And if we ever did muster the audacity to push back, to demand, to respond? That did not come without punishment. As each of us are socialized, we develop survival mechanisms based on what we observe. When our proverbial hands get slapped, we learn to silence our instincts until that silence becomes habit.

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I was an early and vocal leader at my predominately white, affluent, private Midwestern high school. I spoke up in class, made speeches in school-wide assembly, and co-founded our school's first diversity organization back in 1998, long before the concept died an unceremonious death from overuse.

Despite some people’s discomfort with the topics we broached, our club was highly regarded and well-attended. There was one student, however, whose privileged existence saw my work as an existential threat to his way of life and inflated ego. I ignored him for several weeks as he harassed me between classes, walking closely behind me and asking me if his "whiteness" or "maleness" was "offending" me today. One day, though, I had had enough. Standing in front of the girls’ locker room, I finally turned and confronted him.

Then? He spit at me.

I now know this to be the classic fragility of patriarchal white supremacy. Back then, I was stunned.

I turned and entered the locker room. As I sat on the hard bench and stared into an empty locker, I somehow instinctively knew this was the quiet plight I had to carry. It was the same spit I’d seen hurled at Elizabeth Eckford, one of the Little Rock Nine, as I watched her silently integrate Little Rock's Central High School in the documentaries my parents had us watch. It was the same spit Diane Nash felt as she sat at segregated lunch counters in Nashville, TN. My adolescent pursuits toward social awareness were undoubtedly humble and incredibly minor by comparison, but the hate for the audacity of black womanhood was the same.

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After a week, I finally told someone—one of the two black teachers I had in my entire secondary experience. I told him only because I couldn't carry the emotional stain anymore, the shame that shouldn't have been mine to carry, but made me feel dirty all the same. But as I sat on his office couch, I knew the confession was futile. At just 15 years old, life had taught me enough for me to know nothing real would be done. The student who assaulted me was a rich white boy, the son of a trustee who was well-connected and well-respected. I was little black girl, a scholarship kid and the daughter of a hard-working widow. I knew how that story ended.

My prediction was correct. After my teacher made me tell our head of school, I received a forced, clenched-mouth apology-and further retribution from a student who was now even more angry. I never told anyone about the harassment that continued. I never asked for another apology.

As a Black woman, speaking up about the needs of others would win me applause; speaking up for myself would earn me punishment.

On that day, I learned with abundant clarity that black girls don’t demand apologies. As a Black woman, speaking up about the needs of others would win me applause; speaking up for myself would earn me punishment. I'd be vilified for even thinking I deserve dignity, and as I try to pursue justice for the rest of the world, I simply don't have that kind of time. For black girls, demanding the apologies we deserve is usually just wasted energy in a world where we can't afford to waste anything.

I didn’t tell that story again until I was 29 years old. By then, I was working daily in the Ferguson Uprising, and my high school asked me to return to that same assembly hall that had once earned me abuse and discuss our protest, power and plan. Before my speech I called that same trusted teacher and confided I was at an uncharacteristic loss for words. "The words will come to you," he said. And that story is what came out.

Even as I write this, tears are welling in my eyes, a salty mix of shame that I don't deserve and grief of a trauma unhealed. Consider, for a moment, all the apologies the women in your life, on your teams and in your family have never requested but were owed. Consider all the times they were given apologies and responded, "it’s ok," even though it wasn't. Consider all the times they themselves apologized for asking for an apology. Consider that the umpire may be any one of us who have harmed someone socialized to believe they must stomach the harm they receive.

Women are socialized to prioritize the comfort of others over self, no matter how shameful or painful the moment. This responsibility increases for women of color, who are often the mules of a society determined to pin domestic and social labor on Black, Latinx, Asian and Indigenous women who suffer in silence for fear of punishment and degradation.

Serena's declaration was an instantaneous declaration of freedom. Freedom for every woman who deserves an apology from the boss who gave her a #MeToo story to tell. Liberation for every black woman who was spoken over by a white woman in the erroneous name of unity in feminism. Deliverance for every little girl who's been socialized to believe she must sacrifice her dignity for your comfort.

You owe us an apology. And thanks to Serena, I'm no longer ashamed to demand it.

Brittany Packnett is an activist, educator and writer living in Washington, DC. She is co-host of Pod Save The People and a Fall 2018 Resident Fellow at Harvard’s Institute of Politics, teaching a course on social change.

Source: https://www.elle.com/culture/career-politics/a23102883/you-owe-me-an-apology/

[innewmumbaisconstruction-blog]

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