My Practicum For Human Service 250 - 1038 Words

Abstract Three of the eight objectives that I have utilized the most during my practicum for Human Service 250 is, how to demonstrate a helping relationship with a client, how to demonstrate time management techniques, and how to demonstrate professional attitudes with clients and agency personnel. During my practicum I have utilized the rest of the objectives for this class, which are, how to demonstrate interviewing skills, to describe agency policies and functions, to demonstrate knowledge of confidentiality and ethical issues, how to measure, collect and interpret information needed for service delivery, and how to identify personal strengths and weaknesses in the practicum experience. Hopefully, this paper will demonstrate the†¦show more content†¦On Monday’s, we offer Marshall Arts, which is very new for me. But in order to teach, you must learn so I have been studying and learning the arts of what is called â€Å"Baguazhang† and â€Å"Tie-Chi† which are bo th forms of Marshall Arts, taught by Mr. Sam. I have worked with these children as they learn to be graceful in their every movement. They have also learned self-esteem, self-control, and manners through this class. After about a month of taking this class, I felt as if I were making a fool of myself. But then, one of the parents told me that her daughter is showing more self-esteem since I began taking the class! I asked her why she thought my being in the class has helped her daughter improve. She began to laugh and told me what her daughter had told her. Her daughter stated that if Ms. Ann can do it...I know I can do it too! This gave me a great feeling! I love being of help to children and it is worth making a fool of myself for. On Tuesday’s, we have Art class. Of course, this is my favorite because I know how to do art, and I love to paint. After about three weeks my supervisor, Ms. Lou Ann, tells me that the next week s class is all mine to teach! I needed to plan an activity for the upcoming class and instruct it. I was actually both nervous and excited, because I knew she wanted to observe me while I observed the children. And so I made it happen! I had the children to do what is known as a â€Å"collage.† They were to cut

Why Study Pop Music Essay - 1354 Words

Why Study Pop Music â€Å"Pop culture used to be all the stuff you had to wait for after school to enjoy. But these days, pop culture is just as likely to be the stuff you study in school† . In 1986 Michael Hannan establish a contemporary Popular Music program at Southern Cross University a trained classical pianist and musicologist he had previously worked in rock bands and for AC/DC’s publisher. Hannan recounts how in 2000 â€Å"at least 8 of the 37 universities in Australia are now offering degrees servicing aspects of the Popular Music, where as in 1985 there were none. In institutions that have traditionally focused on classical music, there may be a realisation that a broader market of students needs to be targeted in order for them†¦show more content†¦In the terms of Popular Culture this affinity with music is even starker as the nature modern life and the volume of accessible media dictates that this exposure is, in essence is everywhere, â€Å"Students come into college now having been immersed in pop culture since they were born. Its what they know -- its practically what they breathe. Simon Firth reiterates this in a musical context declari ng, â€Å"the sheer loudness of contemporary Popular Music as it competes with noise in our soundscape†. Traditionally pop music was and is still seen as a product for the lower classes; not worthy of social status, let alone study and is frequently referred to as being Normative. In opposition Classical music is then deemed intellectual, high brow, elitist and the fodder for the upper classes, with Popular Music referred to in the terms of the Negative of Classical i.e. â€Å"what Classical is not†! There is some evidence that this trend is however changing, â€Å"Many people talk as if classical music is in its essence an art and pop music in its essence, nothing but music created to make money. Neither of these statements is completely true, plenty of classical music has been commercial and plenty of pop has been created with no regard for money†. Can we prove this seed shift in musical academia is not only happening with regards to established music studies but also in Cultural Show MoreRelatedIs Pop Music Good Or Bad Essay816 Words   |  4 Pagesenjoys music, but what do you enjoy it for? Music is known for its ability to strike people to the core of their being with unwavering emotion. 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Evaluation of ‘Critical Essay on ‘Theme for English B’’ free essay sample

â€Å"Evaluation of ‘Critical Essay on ‘Theme for English B’’† â€Å"Critical Essay on ‘Theme for English B’†, written by Chris Semansky, is just that: an analytical essay on Langston Hughes’ poem â€Å"Theme for English B†. The article is a dissection of the author’s insight on the subject matter. The paper provides a detailed assessment of the content of Langston Hughes’ work by providing the reader with perspective on Hughes’ possible thoughts about people and the way they view themselves as well as others and how it affects their own judgments about themselves.The author strengthens his evaluation with background information about the poet. The writer of the article speculates that the poem is actually self-biographical. Chris Semansky’s insight provides a unique perspective on the interpretation of â€Å"Theme for English B†. His observations are worded appropriately and concisely, and it is easy for one to comprehend how he would arrive at such conclusions. While one point made by the author is contradictory to something read elsewhere during the course of study for Composition 2, most of the content of this particular essay were dead-on.After reading this analysis, one feels as though they have a deeper understanding of the poem and the thought process Langston Hughes may have applied when writing â€Å"Theme for English B†. Mr. Semansky highlights several very legitimate, very interesting points in his assessment Hughes’ work. He writes, â€Å"†¦Hughes suggests that the self, rather than being coherent and autonomous, is actually the effect of relationships. † (Semansky, â€Å"Critical Essay on â€Å"Theme for English B†) Upon reading this statement, one realizes that, as people, we do apply others’ assessments of ourselves when defining who we really are. Whether this is something one â€Å"should† do is irrelevant; it is a reflexive act ingrained in us from infancy. As a society, one’s self-worth is contingent upon others’ acceptance of us. Hopefully this â€Å"checking in† of sorts diminishes in importance as people learn to filter out what is simply thinly veiled, undue bitterness from influences outside themselves. This influence can manifest itself in the way of race, creed, color, sex, etc. For example, a person who is raised in a Christian family may have very little regard for people of the Muslim faith.This is not necessarily because of a conflict that an individual within that family has endured with a person of a different faith; it is fair to say that most people are groomed in an egocentric manner in which they believe their beliefs and ideals are the only â€Å"right† ones. Therefore, there may be a certain, maybe even unintentional, feeling of separation toward others with different be liefs or lineage, as can be interpreted in Hughes’ poem. In â€Å"Theme for English B†, Hughes writes, â€Å"In â€Å"Theme for English B†, Hughes writes, â€Å"I am the only colored student in my class. (Kennedy and Gioia, 980). The implied reason for Hughes to write down what is plainly true is that the fact that the narrator is a man of color is somehow supposed to affect how he thinks, feels, acts, etc. and the absence of others who share his race leaves him a bit alienated and without â€Å"backup† in the classroom. Such a feeling may prohibit a person in the poem’s narrator’s position to hesitate to participate in class discussions for fear of ridicule or drawing even more attention to the solitary brown person in the class.When Hughes follows up with â€Å"Well, I like to eat, sleep, drink, and be in love†¦ I guess being colored doesn’t make me not like the same things other folks like who are other races. † (Kennedy and Gioia, 980), it’s almost as though Hughes’ narrator comes to the realization himself that he is not, in fact, so very alien from his classroom peers, or his neighbors, or his fellow man, whatever ethnicity that man may be. Mr.Semansky makes the argument that,† His black identity rests on the fact that there is also a white identity; his identity as a Southerner rests on the fact that there is a North; his identity as a student rests on the fact that there is a teacher; and his youth rests on the fact that there are those older than him. † (Semanksy, Critical Essay on Theme for English B. ) This is very intriguing. It certainly can be argued that for every quality there is a sort of opposite, of course in many instances there is an overlap.Considering tradition black and white culture, it’s obvious that some of the things we base these cultural values on are stereotypes at very best. However, the foundation of black culture in America is in slavery, and the opposite in this instance with reference to the white culture is in ownership of the African slaves, a kind of forced inequality. Although the Emancipation Proclamation began a long fight for supposed freedom and equality of all men, there is residual hatred and contempt even now. In the nstance of age being a factor, typically we look at our elders and bestow upon them the wisdom of the experience their years on earth have granted them. Age can also lock in old or obsolete ideals. The youth of a society oftentimes is regarded as more open minded and therefore more willing to â€Å"roll with the punches† and adapt to the changing times. With reference to the older professor, Hughes makes a subtle implication that the instructor will view the narrator’s assignment as different, as he is the only person of color in the entire class, saying, â€Å"So will my page be colored that I write? .. Being me, it will not be white. †(Kennedy and Gioia, 980). In the final segment of Mr. Semansky’s article, he describes the narrator of â€Å"Theme for English B† completing a poem, rather than the assigned page, as â€Å"an act of rebellionof questioning the instructors very identity as teacher. † (Semansky, Critical Essay on Theme for English B. ). This is quite a dramatic accusation, as the instructor’s instructions for the assignment are rather vague as described in the original poem by Hughes, the assignment was, â€Å"Go home and write a page tonight.And let that page come out of you-Then it will be true. † (Kennedy and Gioia, 979). There are no specific guidelines given anywhere else in the work; there are no boundaries set. To gather that the poem’s narrator is somehow violating some sacred code of respect to the instructor’s authority is absurd. It seems as though the assignment in the poem was to allow ample room for creative interpretation by the student body, therefore sharing some authority with the students in the jurisdiction of their own work. Critical Essay on ‘Theme for English B’† raises many valid points on what Langston Hughes intended to say to the reader and why. The breakdown of several parts of the poem and how they may have come to fruition were delightful to read and to interpret along with one’s own understanding of Hughes’ work. Although when reading another person’s interpretation of a creative work there may be a difference of opinion, it is often our own experiences which shape our own understanding , and vice versa. It is for this reason that poetry from centuries ago is still enjoyed, and quarreled over, now and for all time. Works Cited Semansky, Chris. Critical Essay on Theme for English B.   Poetry for Students. Ed. Mary Ruby. Vol. 6. Detroit: Gale Group, 1999. Literature Resource Center. Web. 8 Mar. 2013. Kennedy, X. J. , and Dana Gioia. Theme for English B  Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 11th Ed. New York: Pearson Longman, 2007. 979-80. Print.