The 3 Organizational Theories And Assess Their Efforts,...

Nationwide Diploma in Business L6 ASSESSMENT TASKS Rajeev Pandey Student Id - 12001199 1.1: The 3 Organizational Theories and assess their efforts, talents, and weaknesses Classical theory: efforts: This concept helps management to divide all employees and their task description in work fields, predicated on their ability and in addition it assists business in growth of the corporation. talents :This theory has therefore talents being numerous have control, obligation. It helps to business to which method the very best for run business. weaknesses: the primary weakness associated with the concept is so it does not have good behavior they are rude it putts the bad influence on company also on connection of men and women. Humanistic concept: Contributions: this notion has large amount of share in general management it helps the employees to enhance their motivation degree, business offered them various task of works. skills: Humanistic concept has good talents to provide the free environment and workers have all of the legal rights to really helps to increase the communication skills. Weaknesses: sometimes the mangers did appreciate the ongoing work n’t done by employees and it also reduced the motivation and confidence amount of workers. Contingency concept : Contributions: In assists the business to really make the practices that are right decision generating for the business that is future. It helps the corporation just how to works in the tasks andShow MoreRelatedManaging The Global Workforce Final 1. As A Human Resource3674 Words   |  15 Pagesemployees. The average 33-year-old may respond differently then would a 55-year-old seasoned employee to an employee performance management system. 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ItRead MoreDevelopment Of Strategic Human Resource Management3563 Words   |  15 Pagesorganizations: 6 The critical approaches to SHRM: 7 Challenges of HRM and risks involved in implementing HR practices: 9 Contributions of HRM to overall organizational strategy: 11 Conclusion: 12 Reference: 13 Introduction: Purpose of the report: The main purpose of this academic report is to reflect is to know and understand that the organizational forms of the future are going to be controlled and influenced by the scope that technology and information offers (Becker et al. 2009). Another vitalRead MoreOrganizational Development and Swot Analysis6027 Words   |  25 PagesCurrent Trends in Organizational Development and SWOT Analysis ORGANIZATIONAL DEVELOPMENT i. Organizational Development (OD) is a field of research, theory, and practice dedicated to expanding the knowledge and effectiveness of people to accomplish more successful organizational change and performance. OD is a process of continuous diagnosis, action planning, implementation and evaluation, with the goal of transferring knowledge and skills to organizations to improve their capacity for solvingRead MoreBlink - Book Review1614 Words   |  7 PagesXavier Labour Relations Institute Managing Human Behaviour Assignment Blink by Malcolm Gladwell A book review by Narendran Santhanam (G10031) Contents Introduction 3 A brief summary 3 Evaluation 5 Conclusion 5 Introduction â€Å"Blink† by Malcolm Gladwell is a book about how we think without thinking, about choices that seem to be made in an instant – in the blink of an eye – that actually aren’t as simple as they seem. The book deals with the smallest components of our everydayRead MoreHuman Resources Environment at Dell5606 Words   |  23 Pagesrealization that HRM greatly influences an organization’s human and organizational resources (Jackson and Schuler). Accordingly, HRM practices can be used to gain competitive advantage over rival organizations. The extent to which HRM can be used to gain a competitive advantage and the means of achieving this are influenced by the climate in which the business operates. The impact of HRM strategy and practice on organizational performance is an important facet of any business strategy and is essentialRead MoreLeadership Skills, Mentoring, And Cultural Activities2154 Words   |  9 Pageslead aboriginal cultural practice s. Follow up work was given to the students and educators involved, and a youth liaison visited the school after the conference to conduct more follow up activities. To document the process a transition conference organizational manual was created. Four conferences with the involvement of over two hundred students were held to date. Successes of the programs Peer mentoring showed success in a few areas, two areas are highlighted. First area was enrollment and participationRead MoreEssay about The 2008 Financial Crisis3160 Words   |  13 Pagescrisis was caused by a â€Å"crisis of character† in their industry by actively seeking candidates of integrity and character? There are two components to this research question: The first draws on strategic management research and the notion of organizational legitimacy and to what degree organizations operationally respond to public opinion; the second is the concept of â€Å"character,† what it means, how it is conceptualized, measured and operationalised through the selection of new employees. I hypothesize

Tda 2.9support Children and Young Peoples Positive Behaviour

TDA 2.9 1.1 Describe the policies and procedures of the setting relevant to promoting children and young peoples positive behaviour. St Oswalds Catholic Primary School aim to create an environment which encourages and reinforces good behaviour and positive attitudes, and this is done through promoting the school Behaviour Policy. Our school maintains a consistent approach to behaviour at all times and by all members of the school community. Aims of the behaviour policy: To promote a positive ethos in the school through encouraging a shared understanding of the values which underpin our school ethos To create a consistent environment that expects, encourages and recognises good behaviour and one in which everyone feels†¦show more content†¦We display the school’s rules, rewards and consequence systems and explain them in the school prospectus. There is a Home/School agreement which is signed by pupils, parents and teachers. We expect parents to read these and support them. If the school has to use reasonable consequences as the result of unacceptable behaviour, parents should support the actions of the school. If parents have any concern about the way that their child has been treated, they should initially contact the class teacher. The Deputy and Assistant Head may then be involved, then the Headteacher and, if the concern remains, they should contact the school governors. We expect parents to behave in a reasonable and civilised manner towards all school staff, as professionals, and that issues will be dealt in an atmosphere of trust and mutual respect. Incidents of verbal or physical aggression to staff by parents/guardians/carers of children in the school will be reported immediately to the Headteacher and/or Governors who will take appropriate action in line with Local Authority Policy. TDA 2.9 Procedures Our school aims to provide a healthy balance between recognition and consequences. Pupils should learn to expect recognition for positive behaviour and fair and consistently applied consequences for inappropriate behaviour. Recognition is seen as a procedure for promoting positive behaviour and is displayed in the following

Prejudice exhibited in Of Mice And Men Essay Example For Students

Prejudice exhibited in Of Mice And Men Essay Everywhere you look there is prejudice, you may be the wrong colour, worship the wrong God or wear the wrong thing. No-one fits into our idealistic world perfectly. This prejudice has been around for thousands of years because it is just human nature not to accept people for who they are. In Of Mice And Men there are several different levels of prejudice shown, all contributing to the failure of the American dream. The main types of prejudice shown in this novel are racial, sexual and social prejudice. This essay is firstly going to look at racial prejudice. There is much racial prejudice shown in Of Mice And Men towards Crooks the black crippled stable buck. Crooks is more permanent than the other ranch hands and has his own room off the stables with many more possessions than them. This room is made out to be a privilege and also because it means he is nearer to the horses but in fact it is really because the other ranch hands do not want him in the bunk house with them. As a result of this prejudice Crooks has become bitter and very lonely. When Lennie comes to pet the puppies, not even realising that Crooks room is out of bounds, Crooks instantly becomes defensive and uncivil I aint wanted in the bunk room and you aint wanted in my room but Lennie in his childish innocence is completely without prejudice Why aint you wanted he asks. Crooks retaliates to this with: Cause Im black, they play cards in there but I cant play because Im black. They say I stink. Well I tell you, all of you stink to me This line showing that Crooks desperately wants to join in, be accepted, but because of his colour he cant and so he feels the only way he can make himself feel better is to cut himself off further, it is a vicious circle. When Crooks realises that Lennie means no harm he invites him to Come on in and set a while Lennie begins to talk about George and his dream, it makes Crooks reminisce to his childhood which he looks on as a kind of paradise. The white kids come to play at our place, an sometimes I went to play with them and some of them were pretty nice. My ol man didnt like that. I never knew till long later why he didnt like that. But I know now. Crooks didnt experience racism directly in his childhood, making his current situation even worse. Crooks is fascinated by the strength of the friendship of Lennie and George, especially how close they are. Crooks said, Well, spose, jus spose he dont come back. Whatll you do then? Crooks asks these questions because he does not have any friends, and wouldnt know how losing them unexpectedly would feel. He was curious and envious, about the friendship of Lennie and George, noticing that Lennie is retarded, he takes advantage of this situation to torture him mentally, to make him feel better and ease the pain of having other reject him Crooks face lighted with pleasure at his torture he also does this to ease his jealousy towards the friendship Lennie has, but that he, Crooks, will probably never have. He wants the people to feel the way that he does, completely alone. Crooks goes on to talk about his loneliness A guy needs somebody-to be near him He whined: A guy goes nuts if he aint got nobody. Dont make no difference who the guy is, longs hes with you he cried I tell ya a guy gets too lonely an he gets sick Crooks is looking for sympathy, he is so incredibly lonely even to the point to saying that loneliness can make you ill. .u7c6f81c63e28c475db74c078c975ba17 , .u7c6f81c63e28c475db74c078c975ba17 .postImageUrl , .u7c6f81c63e28c475db74c078c975ba17 .centered-text-area { min-height: 80px; position: relative; } .u7c6f81c63e28c475db74c078c975ba17 , .u7c6f81c63e28c475db74c078c975ba17:hover , .u7c6f81c63e28c475db74c078c975ba17:visited , .u7c6f81c63e28c475db74c078c975ba17:active { border:0!important; } .u7c6f81c63e28c475db74c078c975ba17 .clearfix:after { content: ""; display: table; clear: both; } .u7c6f81c63e28c475db74c078c975ba17 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7c6f81c63e28c475db74c078c975ba17:active , .u7c6f81c63e28c475db74c078c975ba17:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7c6f81c63e28c475db74c078c975ba17 .centered-text-area { width: 100%; position: relative ; } .u7c6f81c63e28c475db74c078c975ba17 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7c6f81c63e28c475db74c078c975ba17 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7c6f81c63e28c475db74c078c975ba17 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7c6f81c63e28c475db74c078c975ba17:hover .ctaButton { background-color: #34495E!important; } .u7c6f81c63e28c475db74c078c975ba17 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7c6f81c63e28c475db74c078c975ba17 .u7c6f81c63e28c475db74c078c975ba17-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7c6f81c63e28c475db74c078c975ba17:after { content: ""; display: block; clear: both; } READ: Obama 's Speech : Speech EssayGeorge continues to talk about his dream. Crooks, having been on the ranch for quite a while, has witnessed a lot of people with the same dream, he ridicules it Nobody ever gets to heaven, and nobody never gets no land but when Candy comes in and backs up what George has been saying he begins to believe in the dream If youguys want

Dance Education and Culture

Executive Summary In contemporary sociological usage, the term culture refers to the sum total of all knowledge, customs, beliefs, attitudes and values shared by a large group of individuals with other common linkages. Theories formulated by David Carr suggest that culture can also be described from an evaluative point of view as the things that are worthwhile to the humans (Carr 2003, p7).Advertising We will write a custom essay sample on Dance Education and Culture specifically for you for only $16.05 $11/page Learn More Carr goes ahead to suggest that it is a challenging fact for individuals to distinguish which of the various learning experiences they analyze in the various cultures is important for personal growth and development. Carr’s proposal has a definite application in dance education particularly because all the elements of the practice can be isolated using either the sociological or the evaluative criteria. This essay seeks to illus trate that the teaching experience particularly when it comes to dance is an amalgamation of the cultural elements manifesting through curricula and syllabi specifications. To this end various forms of literature shall be investigated to provide the background information necessary for the creation of a solid argument. Personal experience as a dance instructor shall also be drawn into the discussion and this shall be interwoven with theoretical frameworks proposed by different scholars in the field to offer even more credibility to the essay. Introduction Over the years dance studies have gained prominence all over the world. The knowledge and field requirements are under rapid evolution and both the practitioners and instructors in the field have to go through a specified amount of refresher training. Social and cultural shifts particularly in the student markets have necessitated the removal of the traditional boundaries between various academic disciplines. Teaching dance is beco ming more and more complex and in institutions of higher learning dance is crossing across all academic spheres with the introduction of such programs as dance medicine and dance philosophy. Dance education Syllabi There are three main syllabi that are well acceptable in the dance instruction field. These are named according to the institutions/personalities that established them and they are: Dance Vision International Dance Association (DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More For each and every of the three well recognizable dance curricula, there are three primary levels for ranking student talent and abilities. These are bronze, silver and gold. However, each and every syllabus has its own primary focus that aims at strengthening a student’s skills and abilities as well as acting as the fou ndation for which more work can be based on. The foundational stages of all the three curricula are aimed at identifying students’ abilities and talents as well providing proper the theoretical information to guide the trainees in subsequent stages. Through discipline and commitment, students in senior levels of training work on already acquired techniques and they build on them, in the process perfecting their skills. In order to illustrate how both the evaluative and sociological definitions of culture can apply to the dance profession, a comparison of the practical elements of credible dance syllabi in educational facilities has to be provided. This will mainly focus on the presentation of the dance as it is the final product of the entire training process. For the purpose of this discussion, the analysis shall be based on bronze level performance of nine competitive dance routines. These three dance instruction syllabi are defined by the unique approaches they each take i n the performance of various dance routines. These differences are summarily detailed below. It is worth noting that this discussion has been restricted to the major competitive styles which are widely accepted as the common point of reference for all the dance teaching syllabi. The important elements under discussion for all the dance styles analyzed include, the progression, the uniqueness in steps and the relevance of the knowledge gained to the student. Smooth dance Waltz – The Arthur Murray has well distinguishable number of steps and aside from giving the dancer the option of variety it also goes ahead to use layering in developing a definite motion pattern across the dance floor. The USISTD also entertains the distinguishable steps as Arthur Murray but doesn’t leave room for variety. This therefore makes it only ideal for professional dancing at the expense of social dancing. DVIDA has provisions for variety but does not have elaborate movement styles until much later in the syllabus. It has however been fronted as the best curriculum to follow for the Waltz.Advertising We will write a custom essay sample on Dance Education and Culture specifically for you for only $16.05 $11/page Learn More Tango –DVIDA has a clear and fun scope of teaching the tango but tends to involve the trainees in skillful moves too early in the curriculum. This is particularly because it tends to demand a change in alignment regularly and also requires high levels of accuracy in orientation which in a way makes it very challenging to navigate. Arthur Murray has various variations in the first half of the curriculum and the remaining half comprises random movements. UISTD on its part lays emphasis on the primary usable movements and lets the trainees develop into the routine naturally. Viennese Waltz – It is very difficult to analyze this category as there are numerous approaches to the American Viennese. This makes it dif ficult to establish the genuine presentation format of the dance at the bronze level. Trainees who follow the DVIDA syllabus tend to approach this dance routine at a slow pace and then develop the drive as the training progresses. The primary Viennese movements are introduced almost midway through the curriculum and then the American patterns are introduced much later into the syllabus. Arthur Murray on the other hand tends to kick off with complex styles both in terms of speed and drive and then gradually move into slower aspects. The UISTD introduces the students to the core elements of Viennese and then integrate them with unique American aspects. As the syllabus progresses, the more complex American patterns are introduced and fused with the previous techniques that the trainees have picked up over the time. Rhythm Cha Cha – The UISTD starts with an almost conservative number of steps. DVIDA is almost similar to UISTD but it tends to be open enough to allow for slight inn ovation. Arthur Murray is entirely conservative and it does not give the performer enough credibility by the time that he/she is done with the training. Rumba – Arthur Murray’s Rumba tends to be dull from the outset and then incorporates a number of complex steps as the syllabus progresses. UISTD has unique technique descriptions and these develop in a compounding manner throughout the training period. DVIDA starts definite patterns but has limited fifth position endings.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More East Coast Swing – For this routine, DVIDA tends to omit a number of important steps such as the outside turns, points and kicks. It is therefore very difficult for a dancer who is well versed with this technique to gel well with a dancer from a different syllabus. It however has great technique description. UISTD starts on a triple which makes some steps such as the whips challenging. It also has great technique descriptions. Arthur Murray has solid steps and a great technique which makes it appropriate for both social and competitive dancing. Bolero – The USISTD bolero tends to be more like a rumba dance version. As a matter of fact, individuals can use steps from the latter in learning the bolero. Arthur Murray’s syllabus stipulates that individuals have to be at bronze level before they can start the dance. DVIDA has a number of definite steps with well written technique descriptions making it a fun to pursue syllabus. Mambo – The DVIDA mambo comprise s a wide array of steps but has some unpopular endings. Arthur Murray encourages proper timing and a great technique. It however lacks variety and this tends to make the syllabus lose its appeal. UISTD is slow from the outset but gradually morphs into a fun-filled second half. Foxtrot – DVIDA’s foxtrot tends to coerce the dancers into SSQQ timing and some of the steps in this technique at the bronze level appear awkward. Arthur Murray encourages alternate timings and encompasses great variations to make the dance even more interesting. UISTD generally tends to start with proper and progressive steps but the entire piece at the bronze level appears like a re-jig of the waltz. Movement and the historical/cultural aspects of dance The way a dance defines the movement explains the primary aspects of the style and the historical context of the dance. The techniques and skill of a dance routine are attributes which are conferred from one generation to another in a form of br oad cultural transference. However, individuals studying and performing dance from time to time tend to reinterpret traditional dance styles and present them is ways that make sense and are comfortable to them. The three dance syllabi analyzed above present students with the chance to gain comprehensive knowledge of dance. Students from each curriculum learn the different dances based on how the dances were presented by the founders of the syllabi. The students therefore base their techniques and skills on the historical and cultural significance of the adopted style. In this way, they can easily evaluate their work by comparing it with the established framework of the syllabus that they learn in. Irrespective of the chosen curriculum, there are five key gains that students of dance are expected to have made at the completion of the training period; these are: They must have gained sufficient knowledge of the elements of dance. The must clearly choreograph a dance in such a way tha t it reflects the elements of the syllabus they followed. They must be in a position to apply the skills gained in non-competitive (formal) presentations The must be able to evaluate both professional and non-professional dance practice. They must know how to elaborately communicate ideas through choreography. These five elements are based on the broad appreciation of dance as an art form that is primarily grounded on culture and tradition. In this regard, tutors and instructors should ensure that the items included in their syllabi are well planned and comprehensively cover each and every component of their primary targets. Curricula should be developed and implemented using various instructional routines which put students in better positions to go through varied experience. Bearing in mind that most students have different learning rates, tutors should ensure that all their students achieve the desired levels of performance based on the chosen syllabus. Based on a broad perspect ive of dance and dance education, the roots of dance can be traced back to the origins of human kind. Dance has been used as a way of expressing cultural values by giving individuals the opportunity to reconnect with the past and link it to the present and create visions of the future. In a way, every coming generation recreates culture through dance. By the students understanding the historical and cultural heritage of a number of dance routines exposes the students to understanding the functions of dance in different social settings. Proper curricula enable students utilize their critical thinking abilities to envisioning, describe, provide an analysis and evaluation of a given dance piece in a credible manner. Students are able to assess various techniques and styles based on the presentations they receive in class. This kind of understanding makes them better understand most of the elements in each and every sequence. Formal education and dance culture Dance had been traditional ly viewed from a narrow-angle perspective as a performance art with no real significance in the real world and therefore most individuals opted not to go through formal training (McCutchen 2006). However, through years of study and enhancement of professionalism in the field, it has been found out that the people who go for training acquire skills which are important in achievement in other areas of life not related to dance. These students tend to develop proper self-understanding and appreciation of human relationships and also tend to auger well with their external environments. Aside from this, they are able to enhance their critical thinking abilities as they are able to question the reasons for certain actions during the dance practice as well as properly defining meaning from choreographed pieces based on their respective curricula (Carr 2003). Formal education has changed over the years to accommodate fields that were previously regarded as unimportant to societal developmen t. These include the likes of dance and other performing arts and over the years there has been a cultural shift towards incorporating these fields into educational curricula with an aim of recognizing them as worthy professions. As much as individuals can easily attain their goals through setting up personal structures for reading and networking, practical fields such as dance tend to require the presence of tutor/instructor who will serve as the assessor for growth. These tutors are now under constant pressure to have gone through a formal educational system, and particularly have obtained college certification which will put them in a better position to evaluate the talents and needs of students. A tutor who has grown through a credible educational system will no doubt be in a position to determine the kind of information that is important to the personal development of his/her students and filter out from knowledge that has become obsolete and irrelevant (McCutchen 2006). Howeve r, it is definitely clear that exposure of students/trainees to a wide array of subjects will further broaden their competitive advantage in the real world. The students who have a varied knowledge system will be better placed to communicate with persons who engage in other elements of the professional dance field and they will also be in a position to understand how their roles as professional dancers interrelate with other professions in such a way that the jobs influence each other. There are two elements of education that tutors should have in mind when designing dance training programs. One is that formal education gives students an opportunity to expand their way of thinking. This means that individuals are expected to graduate out of particular training institution with knowledge that they can use to circumvent any challenge that may arise in their line of duty (McCutchen 2006). Secondly, the education is supposed to provide them with an entry ticket to professional recogniti on. This recognition, however, can only be sustained by the quality of their work and as long as the tutors focus on instilling the necessary ethic to their students it can easily be entrenched in their (the students’) career routines. One of the ways that can be used to ensure that this is attained is through ensuring that the students have extensive theoretical and practical knowledge of their area of specialization. This coupled with personal post-training experience will determine how successful an individual’s career life will be. It should be noted that there is a difference between getting a formal academic accreditation and getting an education. The real point of training is to offer the student the opportunity to learn how to think and feel deeply about a particular profession in such a way that they can not only make a living out of it, but also make a life through the knowledge gained. The importance of curricula in defining growth All of the recognizable da nce curricula particularly at trainer/college level introduce individuals to the process of research in order to isolate knowledge that they can relevantly use in coaching their students. College education also trains students on how to practically deliver everything they have picked from theoretical sessions and how to face challenges and seemingly mundane activities with honor. Most of the value picked from college dance education is a representation of how much a student was able to apply him/herself to the course and endurance of the difficulties encountered (Barker 2008). As dance educationists, we are under constant pressure to decide whether to extensively expose our students to theoretical knowledge or to concentrate on the practical application of the basic knowledge garnered. However, it is vastly acceptable that an individual with credible certification in any professional field must be in a position to practically display his/her ability as well as explain the theory beh ind the actions he/she partakes in (McCutchen 2006). It therefore becomes the responsibilities of the tutor to identify those individuals with reading disabilities and finding ways of ensuring that they pick up the critical theoretical elements of the dance practice, even if it means having to give them audio notes and oral tests. The various dance curricula have their own delivery and presentation styles and it therefore becomes challenging for tutors to establish a general format that will appear appropriate across the board. Even with this bottleneck, individuals-particularly educationists- should have it mind that the most important element of the knowledge that the students are getting is that it puts them in a better position to reevaluate themselves irrespective of the cultural elements of the society in which they were raised in. The commercial benefits of a career should not be viewed as the primary driving force of an individual who prides in having gone through proper edu cation and formal professional training (Barker 2008). Instead, students should be made well aware that if they fully apply themselves to their jobs and deliver everything with professionalism, they will be able to supersede societal/cultural pressures and lead fulfilling career lives (McCutchen 2006). As a matter of fact, college/tertiary education enables students learn how to enjoy their lives outside their jobs as well as giving them the opportunity to pursue perspectives based on their personal intrinsic values. Students who are made to clearly understand the importance of entertaining ideas and perspectives eventually end up happy in both their professional and personal lives. While it arguable that individuals can still learn this outside an academic institutions, it has been proven that individuals who choose to pursue this route tend to spend a lot of time on certain irrelevant things before it dawns on them that they need to move on to the next agenda. It is therefore appr opriate, particularly in practical fields such as dance, that individuals enjoy some level of liberal education alongside the formal elements that can only be provided by academia (Carr 2003). Research has it that most practical skills are better picked outside of academia which tends to concentrate on giving theoretical and general education. However, most people will not have the drive and motivation it takes to learn a trade using this route. It is therefore the responsibility of the instructors to establish curricula and syllabi which will give their students both the ideal general knowledge to survive in the competitive ‘outside’ world as well as horn their skills in attaining professional competence in their respective trade. Role of the instructor/trainer in defining dance culture The design and creation of a dance curriculum is a reflective process that requires the tutors and instructors to actively engage in a number of questions that will focus on the strengt hs of the delivery process. Teachers should clearly know that the main goal of the training process is to enable their students develop proper creative and expressive techniques as well as adequate dance knowledge to see their careers develop from strength to strength (Carr 2003). From personal teaching experience, I have been able to understand the delivery and presentation of dance concepts are two independent but related elements of the practice. Like other traditional academic delivery syllabi, dance syllabi also focus on delivering certain concepts and elements in isolation. However, being one of the few professions whose products are clearly noticeable, the entire learning process for dance is aimed at ensuring that all the knowledge obtained in the different classes is integrated in performance. It is of paramount importance that students understand how to create performances based on the basic elements of dance that they pick up in class. The instructor/tutor is charged with the responsibility of ensuring that the students fully understand all aspects of the instruction, because the weakness of one component dramatically reduces the quality of the entire performance. The students should be able to have a clear perception of dance as well as place the different elements in their cultural and historical position based on relevance. In this way, the students will be able to understand and view dance as a form of art through the development of an awareness of spontaneous movement and they categorically understand the underlying principles and elements of dance. Through creative expression, students who have been well tutored in the dance art form are able to combine their knowledge on body sciences and fitness with dance elements to come up with presentations that are both impressive and professional. All of the syllabi analyzed earlier follow similar frameworks where students first learn the basic and simple movements of a given dance before progressing t o more complex aspects. Role of the student/trainee in defining dance culture While trying to establish the relevance and importance of certain elements to students, it is worth noting that the primary factor that will dictate the reception of information is the students’ personal approach to the knowledge they are receiving. Some individuals just take to formal education in order to get the bare minimum that will get them noticed by field agencies (Carr 2003). This mindset significantly reduces the gains they make from the training and it therefore becomes even more challenging for the instructor to try and get them to pick up knowledge that could adequately contribute to their personal development. With the limited number of employment facilities for dancers, educationists should make it their responsibility to ensue that their students define their career goals not only by the broad/sociological aspects of culture but using the evaluative elements. The latter will prepare them to creatively use the information garnered in school in establishing themselves as marketable individuals. This also means that even if they don’t get hired to work for other people, they could easily set out on their own and still earn a decent livelihood out of it. In this sense, an average student who has the drive and determination can easily end up starting his/her own agency and hire all the brilliant and fast students they were in training together. Societal participation in defining formal dance culture Most individuals particularly those in culturally ‘respectable’ professions tend to regard dance as a trade that does not necessarily require an individual to have gone through formal education to make it (Carr 2003). This misconception has in recent times come to be dismissed as it has been established that individuals can easily gain the varied life experience required understand the needs of the profession through proper education. Even the basic g eneral knowledge that students detest while in school will come in handy at some point in their lives irrespective of the chosen career path. It is also manifest that just a few individuals have the ability to learn on their own but even these persons need to have the basic groundwork which can only be founded on formal training. With the constant demand for degrees and other notable certification by employers and recruitment agencies, colleges and other training facilities have been pushed to accommodate individuals who would otherwise never have qualified for such education (Barker 2008). This heavily impacts on delivery as the limited facilities are overstretched demanding the instructors and tutors to concentrate on offering theoretical lectures. Unfortunately, some programs such as dance require enough practical lessons as this is what the world will use in analyzing the skills of the professionals who graduate from such fields. It is therefore the prerogative of the trainers, instructors and tutors to establish the relevance of the content they are presenting to their students as far as personal and professional growth is concerned. Good educationists will ensure that the knowledge they give their students sets the tone and confers on them skills to cope with the challenges of the profession (Carr 2003). It is unfortunate that individuals graduate from training facilities without the basic idea on how to practically apply the information garnered while their counterparts who chose to follow the longer way of learning through practice can cope with any of the challenges thrown their way. While it is admirable for tutors to focus on helping their students develop useful skills it is clear that with the rapid changes in society, such skills may lose relevance in a very short time. It is therefore important that curricula and syllabi be focused on turning students into well rounded individuals who can easily adapt to professional, societal and cultural metam orphoses. Summary In an effort to illustrate both the broad and narrow definitions of culture as applies in the dance profession, this essay has raised a number of critical issues as summarized below. First, there are three primary dance curricula which are well recognized in competitive dancing. These are the Dance Vision International Dance Association (DVIDA), United States Imperial Society of Teachers of Dance (USISTD) and Arthur Murray. All the three draw elements for their syllabi from how a given societal group used to present them. This goes in tandem with the sociological view that culture is a set of practices shared amongst a group of individuals with common characteristics and who end up defining how things shall be done within the group. As has been illustrated using an analysis of nine bronze level competitive dance styles some elements have been left out or added by each of the three curricula based on convenience and appropriateness to the performer. This supports th e evaluative view of culture in the sense that the teachers of particular syllabi have to establish which aspects are important to their students’ growth and which ones serve no definitive purpose. Coming to training accorded to dancers, it has in recent times come to the appreciation of individuals with diverse backgrounds that dance can be taken as a meaningful career. With this introduction of professional appreciation, diploma and degree programs have been set up to specifically offer proper training in dance. It is this kind of appreciation that has led individuals to seek academic certification and in the process learn which elements are necessary for their personal growth. While developing curricula for their students, teachers and other instructors are charged with the responsibility of ensuring that they determine which aspects of the training will be of relevance to each and every student in the class. As a result, they more or less dictate how the culture of their classes would be shaped as opposed to relying on hand down set ups. The training of dance professionals can be evaluated based on two elements. These are the delivery of the knowledge from tutor to students, and the presentation of the learned skills by the students. The latter is however entirely dependent on the former and it is with this knowledge in mind that instructors ensure that the syllabi and course outlines support elements that will put their students at a better place to learn. However, even with the tutors and instructors playing a critical role in how the information they present to the students will be received, the students themselves have to be willing to absorb the knowledge they are given. As a result, they also contribute greatly to how the skills they acquire become of relevance to them. In other words, the students are also responsible for how culture is defined within their places of learning. Society also has a critical role to play as far as the definition of culture and professional dance practice are concerned. This is primarily because most individuals tend to depend heavily on societal influences in establishing their career paths with most of them going against the desires of their hearts to join professions that they are not interested in. It is this desire to belong to a given cultural grouping that has for a long time caused performing arts such as dance to be seen as less important as compared to other careers. However it has been recently realize that the more society opens to change, the more people are comfortable going for professions that enhance their personal growth. Conclusion It is worth noting that culture is a constantly metamorphosing element of society. It undergoes changes from time to time and when it comes to professions such as dancing, the tutors and trainees end up dictating which aspects of the cultural practice are useful to them and which are not. This project has served to illustrate many key-note point s in regards to the importance of culture in dance training. The information obtained in the research has served to broaden personal knowledge on the profession particularly from an instructor’s point of view. This is the kind of knowledge that can be practically put to use whenever drafting syllabi and developing curricula. This paper has provided extensive data on the various aspects and elements of the dance profession and has illustrated how they ling to both the sociological and evaluative definitions of culture. Various elements of syllabi creation have been critically highlighted using data obtained from books and publications credited to various professionals in the field. This information has to some extent been broken down to such levels that individual who are non-professionals can easily pick out relevant bits of data from the essay and be in a position to relate them to their respective environments. The presentation has taken the form of a research process repor t by critically evaluating the topic of discussion with relevant explanations being given to evaluate concepts. The final product is a well laid out paper that if well reviewed can be used to provide background information to guide other professionals in their own projects on related topics. Reference List Barker, C. 2008. Cultural Studies: Theory and Practice. London: Sage. Carr, D., 2003. Making sense of education: an introduction to the philosophy and theory  of education and teaching. London: Routledge. McCutchen, P.B., 2006.Teaching dance as art in education. Illinois: Human kinetics This essay on Dance Education and Culture was written and submitted by user Lillianna Suarez to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Study Guide for Shakespeares Sonnet 29

Study Guide for Shakespeare's Sonnet 29 Shakespeare’s Sonnet 29 is noted as a favorite with Coleridge. It explores the notion that love can cure all ills and make us feel good about ourselves. It demonstrates the strong feelings that love can inspire in us, both good and bad. Sonnet 29: The Facts Sequence: Sonnet 29 is part of the Fair Youth SonnetsKey Themes: Self-pity, self-hatred, love overcoming feelings of self-deprecation.Style: Sonnet 29 is written in iambic pentameter and follows the traditional sonnet form Sonnet 29: A Translation The poet writes that when his reputation is in trouble and he is failing financially; he sits alone and feels sorry for himself. When no one, including God, will listen to his prayers, he curses his fate and feels hopeless. The poet envies what others have achieved and wishes he could be like them or have what they have: Desiring this man’s heart and that man’s scope However, when in the depths of his despair, if he thinks of his love, his spirits are lifted: Haply I think on thee, and then my state,Like to the lark at break of day arising When he thinks of his love his mood is elevated to the heavens: he feels rich and wouldn’t change places, even with kings: For thy sweet love remembered such wealth bringsThat I scorn to change my state with kings. Sonnet 29: Analysis The poet feels awful and wretched and then thinks about his love and feels better. The sonnet is considered by many to be one of Shakespeare’s greatest. However, the poem has also been scorned for its lack of gloss and its transparency. Don Paterson author of Reading Shakespeare’s Sonnets refers to the sonnet as a duffer or fluff. He derides Shakespeare’s use of weak metaphors: â€Å"Like to the lark at break of day arising/ From sullen earth...† pointing out that the earth is only sullen to Shakespeare, not to the lark, and therefore the metaphor is a poor one. Paterson also points out that the poem does not explain why the poet is so miserable. It is up to the reader to decide whether this is important or not. We can all identify with feelings of self-pity and someone or something bringing us out of this state. As a poem, it holds its own. The poet demonstrates his passion, mainly for his own self-loathing. This may  be the poet internalizing his conflicting feelings towards the fair youth and projecting or crediting any feelings of self-worth and self-confidence onto him, attributing the fair youth with the ability to affect his image of himself.

My First Day In College Essay Example | Topics and Well Written Essays - 500 words

My First Day In College - Essay Example The essay "My First Day In College" talks about the experience we can get from our first day in college. The author by his example tells what good experience the college gives a person to be successful in his life. I gladly anticipated the day because of the social title that I would gain for joining the university because most of my peers derived little pleasure from academic achievements and rarely qualified for and attained university education. I would be one of the few youths in the locality to join the university, the highest recognized academic institution. My feelings were however mixed with the anxiety of freedom from parental control and separation from my friends, people that had become very close to my life and with whom I had shared my weakness for social support. My younger sister, then in elementary school, particularly noted my unstable state and teased me for behaving like a little child. It was finally my reporting day and I had to take the step into my new life. I had packed all my belongings the previous night and was ready to bid my family goodbye. Leaving home was, however, a painful experience and I broke into tears, of pain and isolation, for fear of never seeing my family again. Even my mother’s consolation that they would occasionally visit me or that I was free to visit them over the weekends would not ease my overwhelming pain. She then drove me to college, in her favorite car, and I could feel the transition in my life as we passed the city center into the college’s main campus.

Trade Unions in Britain Essay Example | Topics and Well Written Essays - 1750 words

Trade Unions in Britain - Essay Example The trade unions in Britain traditionally had a system in which the bargaining was based on industries. This gave the trade unions a sense of institutional security in their operations within the private sector. By 1950, approximately 60% of the workers in the private sector were under collective agreements that had their origins outside their firm of employment. Several events and developments however combined to cause the decline of the trade unions and their influence (Fernie & Metcalf 202). The decline of the trade unions in Britain began in the years since 1979. This was after the election of Margaret Thatcher’s government that had conservative policies that were aimed at weakening the trade unions (Wrigley 2002, p40). This decline followed a period of rapid growth and increase in membership and influence in the 1950s. The collapse of the trade unions could therefore be anticipated following the decline experienced. There were several factors that contributed to the decli ne and the eventual collapse of the trade unions. ... The decline in the unions was also seen in the collective bargaining influence which was said to have declined from 70% to 40% in the years between 1980 and 1998 (Brown et al. 2003, p199). The future of the trade unions in Britain has largely been discussed. The discussion in based on the impact that the trade unions are expected to have in the future, and whether the trade unions are expected to grow or face a decline. The purpose that the trade unions serve has also come under scrutiny. It is however important to understand the role that the trade unions are expected to play so that one can understand the impact that they are likely to have in the country. It is also important to understand the crucial role that is played by the trade union and their function in the country. The 1999 Employment Relations Act in Britain was a significant step in marking the recovery of the political influence held by the trade unions. This came after many years of exclusion from the process of polic y making. The act has also been important in that it has stimulated the increase in the organization of unions, and helped the trade unions in getting recognition from the employers. The act has also paved way for the trade unions to adopt policies that are aimed at increasing their membership across all sectors of the economy. There are however many limitations to the influence that trade unions wield on the Labor government in Britain. While the trade unions have an opportunity to engage the government in dialogue over various labor policies, the government often ignores many of the ideas and representations of the trade unions. The trade unions also find it