White Supremacy And The Jim Crow Laws - 1369 Words

White supremacy and the Jim Crow laws of the south continued the bondage and did not bring the Promised Land they envisioned. In 1890, white supremacy in the south where ninety percent of African Americans lived until the Great Migration north that gave way to the Harlem Renaissance. Which was a movement in the 1920 s and 1930 s that opened the discussion on a minority in America. This movement gave a voice to civilians who were slaves sixty years earlier. Even though the Harlem Renaissance was not a true renaissance, the period did serve to stimulate African American writing as well as a new view into politics. They expressed themselves in a way that was once considered too radical. African Americans attacked stereotypes and wrote about what it was like being left out of mainstream America. Their influences fostered racial pride and served as examples for promising young African American writers and activists (Henry Rhodes, Yale University). The Renaissance brings ionic names to min d including Artists, Musicians, Dancers, Writers, as well as Activists. The African Americans that come to mind are Painter Aaron Douglas, Author Langston Hughes, Jazz Musician Duke Ellington, Blues Singer Bessie Smith, Dancer Josephine Baker, Performer Paul Robeson, Poet Countee Cullen, as well as Activists W.E.B Du Bois, Marcus Garvey, Lucy Craft Laney, and Booker T. Washington. These people were psychological influences because African Americans at the time were perceived as finallyShow MoreRelatedA Deeper Analysis On The Aspect Of Race As Local Color1565 Words   |  7 PagesA Deeper Analysis on the Aspect of Race as Local Color: Jim Crow Laws Imagine you are a person of color in the early to mid 1900’s. You the mother of three young children. Despite your best intentions, your children are forced to grow up in poverty. When you direct them out of the house to go to school, they see the all the white boys and girls walking toward one school and all of the black boys and girls walking to another. Imagine being asked by your children why they don’t go to school with theRead MoreThe Laws And Customs Of The South After The Period Of Reconstruction864 Words   |  4 PagesJim Crow is the term given to describe the laws and customs of the south after the period of reconstruction. These were the products of southern whites determination to reinstall white supremacy. The name â€Å"Jim Crow† was originally popularized in the 1830s by a struggling actor Thomas ‘Daddy’ Rice. Rice, in blackface, played the role of a stereotypical black character to all white audiences. His act portrayed blacks as à ¢â‚¬Ëœsinging, dancing, fools.† Once Reconstruction ended in the south with the withdrawalRead MoreAncient History and Slavery836 Words   |  4 Pagesand displacement of newly freed slaves even though it legally ended on 6 December 1865. Sharecropping and the Jim Crow laws maintained a chokehold on the freemen and poor white sharecroppers. After the American Civil War, sharecropping replaced the big plantations throughout the soft. Sharecropping was a response to economic depression caused by the end of slavery. Many poor white and black farmers earned a living working the land owned by someone else. The first sharecroppers were the formerRead MoreJim Crow And Racial Segregation1205 Words   |  5 PagesJim Crow era was a time of struggle for all African Americans. White supremacy and discrimination was established by Jim Crow laws that lasted from the end of Reconstruction until the 1960’s. The laws caused African Americans to be at a disadvantage politically and economically. Jim Crow is defined as a minstrel show character whose name became synonymous with racial segregation (Foner). A man of the name Thomas Rice created the character Jim Crow. He was a white entertainer who would imitateRead MoreThe Letter From Birmingham Jail By Martin Luther King Jr.990 Words   |  4 PagesAfrican Americans by the white man supremacy, and to address the direct actions African Americans were making to change the people’s perspective. The books that have been read in this class reflect the same injustices that Martin Luther King Jr is addressing in his letter. The main point of this letter is to address the direct action being taken by the African Americans and how they sacrificing everything for their rights when only little progress is their outcome. The white supremacy is overruling andRead MoreRacial Segregation And The American Civil War945 Words   |  4 PagesJim Crow Most of the historians had a belief that the end of American civil war brought with it recommendable changes as far as racism was concerned. This was not possible as there were white Americans who were conservatives and could not let go the racial discrimination, which they believed was the best order of life. The whites they maintained white supremacy by drafting Jim Crow law designed to separate white and black Americans. Jim Crow also consisted of societal behaviors all with the intensionRead MoreSocial Inequality Breaks the Meaning of the Constitution778 Words   |  4 Pagesrace which was white. However congress started to go against this inequality and stood for equality. The phrase Jim Crow came along in the 1880 which was the same time that the Supreme Court had tried and failed to eliminate the Poll taxes which was also known as the grandfather clause, even though the laws undermined all federal protections for African American’s civil rights. At the same time that African Americans lost voting rights, southern states passed racial segregation laws to separate peopleRead MoreThe Segregation Of The Jim Crow Laws1521 Words   |  7 Pages The loud chatter of the audience at the old Park Theater in New York was for a one man show performed by Thomas Rice. To the all white audience, Jim Crow was vigorously funny. Clothed in a stable boy costume and a straw hat, his white face darkened by coal in a behaviour recognized as â€Å"blackface.† He danced and sang and even spoke in mockery of the black slang. He portrayed blacks as ignorant, greedy and foolish. Even though his act was for entertainment purposes, Thomas Rice implied through hisRead MoreThe Primary Goals Of The South1623 Words   |  7 Pagestimes we can truly begin to find out how Jim Crow laws, segregation and disenfranchisement affected women in the New South. Jim Crow Laws were state and local laws that helped enforce and extended racial segregation, which lasted for almost a century following the Civil War. The Jim Crow Era was roughly from 1865-1965, during this time Southern whites used this system of unjust laws to maintain social, political and economic dominion over blacks. Part of Jim Crow was the desegregation of blacks whichRead MoreTaking a Look at the Jim Crow Laws758 Words   |  3 Pagesand even parks; would you be able to cope with Jim Crow laws? Though many whites opposed the idea of integration and supported Jim Crow laws, many citizens of color fought for the right to use the same restroom, water fountain, go to the same schools, and even to intermarry. Jim Crow laws were instituted to separate those of color and whites, because of this, many blacks were discriminated against in social areas and job and school opportunities. Jim Crow was not a person, yet affected the lives of

Essay on Blanche DuBois in Tennessee Williams A...

The Destruction of Blanche in A Streetcar Named Desire A Streetcar Named Desire is an intricate web of complex themes and conflicted characters. Set in the pivotal years immediately following World War II, Tennessee Williams infuses Blanche and Stanley with the symbols of opposing class and differing attitudes towards sex and love, then steps back as the power struggle between them ensues. Yet there are no clear cut lines of good vs. evil, no character is neither completely good nor bad, because the main characters, (especially Blanche), are so torn by conflicting and contradictory desires and needs. As such, the play has no clear victor, everyone loses something, and this fact is what gives the play its tragic cast. In a†¦show more content†¦This is certainly true in Stanleys case. In Scene Two, Stanleys primary interest in Blanche is in whether he and Stella are entitled to any money from Stellas family home. When he finds there is no inheritance, Stanley shows quite plainly throughout the following scenes that he has no use f or Blanche: He doesnt like her personally and they have nothing in common. But as the play proceeds, it is obvious that Stanley does perceive Blanche as being something of a threat. She is a disruption to his and Stellas relationship in the physical sense since all three are living in close quarters, but whats worse, she is a part of what Stanley considers Stellas past, and Blanches influence revives old prejudices and ways of thinking in Stella that threaten Stanleys dominance. However, as Scene Ten begins, Stanley is on the verge of regaining his dominant stance. He has discovered details of Blanches past that discredit her in Stellas eyes as well as putting an end to a potential marriage between Blanche and his friend. His victory over her influence is sealed when he gives her a bus ticket back to Mississippi and insists that she use it. He is also only hours away from becoming a father, a physical manifestation of his virility and manhood. His confidence in himself is palpable as the scene unfolds in the way he plays along with Blanche, pretending to believe her story aboutShow MoreRelatedStanley in a Streetcar Named Desire949 Words   |  4 PagesMs. Albertson English IV Honors 17 January 2012 A Streetcar Named Desire: Stanley Kowalski In the play A Streetcar Named Desire by Tennessee Williams, an insensitive and cruel character named Stanley Kowalski is depicted. His juxtaposition to Stella Kowalski, his mild mannered and sensitive wife, accentuates his character flaws making them even more prominent and dramatic throughout the play. Through Stanley’s conflicts with Blanche DuBois and his rapist-like sexual advances, Stanley becomesRead More The Raw Power of A Streetcar Named Desire Essay example2254 Words   |  10 PagesThe Raw Power of A Streetcar Named Desire      Ã‚  Ã‚  Ã‚  Ã‚   Tennessee Williamss play A Streetcar Named Desire contains more within its characters, situations, and story than appears on its surface. As in many of Williamss plays, there is much use of symbolism and interesting characters in order to draw in and involve the audience.   The plot of A Streetcar Named Desire alone does not captivate the audience.   It is Williamss brilliant and intriguing characters that make the reader Read More Stanley Kowalski of Tennessee Williams A Streetcar Named Desire707 Words   |  3 PagesThe Character of Stanley in A Streetcar Named Desire       A Streetcar Named Desire, by Tennessee Williams, is a classical play about Blanche Dubois’s visit to Elysian Fields and her encounters with her sister’s barbaric husband, Stanley Kowalski. Stanley Kowalski is a very brutal person who always has to feel that he is better than everyone else. His brutish actions during the play leave the readers with a bad taste in their mouths. Stanley Kowalski’s brutality is clearly exemplified in severalRead MoreThe Tragic Blanche DuBois in A Streetcar Named Desire Essay1676 Words   |  7 Pagesencompassing their own destruction.† (Gassner 463). Fitting Gassner’s definition of a tragic character, Blanche DuBois in Tennessee William’s A Streetcar Named Desire caustically leads herself to her own downfall. In the beginning of the play, Blanche DuBois, a â€Å"belle of the old South† (Krutch 40), finds herself at the footsteps of her sister and brother-in-law’s shabby apartment in New Orlean s. Although DuBois portrays herself as a refined and sophisticated woman, the reader soon comes to realize that, hidingRead More Comparing A Streetcar Named Desire and Cat on a Hot Tin Roof1765 Words   |  8 PagesComparing A Streetcar Named Desire and Cat on a Hot Tin Roof In the game of life man is given the options to bluff, raise, or fold. He is dealt a hand created by the consequences of his choices or by outside forces beyond his control. It is a never ending cycle: choices made create more choices. Using diverse, complex characters simmering with passion and often a contradiction within themselves, Tennessee Williams examines the link of past and present created by mans choices in A Streetcar NamedRead MoreCompare and Contrast a Doll House by Henrik Ibsen and a Streetcar Named Desire by Tennessee Williams. Write a Brief Essay (of Approximately 1000 Words) to Comment on the Two Female Protagonists‚Äà ´ (Nora Helmer and Blanche1136 Words   |  5 PagesCompare and contrast A Doll House by Henrik Ibsen and A Streetcar Named Desire by Tennessee Williams. Write a brief essay (of approximately 1000 words) to comment on the two female protagonists’ (Nora Helmer and Blanche Duboi’s) relationship with men. A Doll House by Henrik Ibsen and A Streetcar Named Desire by Tennessee Williams are two well-known plays that give rise to discussions over male-female relationships in old society. The female protagonists in the plays are women who are dependentRead MoreA Streetcar Named Desire And Hamlet Essay1761 Words   |  8 Pagesnor it cannot come to good. But break, my heart, for I must hold my tongue† (Shakespeare 1.2.62-63). The play â€Å"Hamlet† by Shakespeare and one of Tennessee Williams famous book called â€Å"A Streetcar Named Desire† are very similar. Both of these works go along perfectly with W.E.B. Du Bois’s short story â€Å"The Comet.† In â€Å"Hamlet† and â€Å"A Streetcar Named Desire† these plays contain a tragic genre, characterization in main characters, and relationships between the characters and these works relate a lotRead MoreA Study on the Social Causes of Insanity How Appropriate Do You Find this Statement as a Co mment on Streetcar Named Desire and Regeneration?1641 Words   |  7 Pages‘A Streetcar Named Desire’ and ‘Regeneration’ both present studies of insanity that stem from social pressures on characters. Insanity is defined as a â€Å"state of being unsound in mind† and â€Å"applicable to any degree of mental derangement from slight delirium or wandering to distraction†. Throughout the texts, we do see characters with ‘unsound minds’, ‘mental derangement’ who appear utterly distracted or delirious. The massive social cause of this insanity for the characters in ‘Regeneration’ isRead MoreReality and Illusion in Tennessee Williams A Streetcar Named Desire1691 Words   |  7 PagesA Streetcar Named Desire, first published in 1947, is considered a landmark play for the 20th century American drama, bringing author Tennessee Williams a Pulitzer Prize. One of its most important themes deals with the contrast b etween reality and illusion. The aim of this essay is to examine how this contrast is reflected in the way the main character constructs her identity. As Ruby Cohn calls it in his essay â€Å"The Garrulous Grotesque of Tennessee Williams†, A Streetcar Named Desire is â€Å"a poignantRead More Themes in A Streetcar Named Desire Essay877 Words   |  4 Pages   Ã‚  Ã‚   The play A Streetcar Named Desire revolves around Blanche DuBois; therefore, the main theme of the drama concerns her directly. In Blanche is seen the tragedy of an individual caught between two worlds-the world of the past and the world of the present-unwilling to let go of the past and unable, because of her character, to come to any sort of terms with the present. The final result is her destruction. This process began long before her clash with Stanley Kowalski. It started with the death

Festival at the Village Free Essays

[pic] FESTIVAL AT THE VILLAGE T/A â€Å"F@V – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. We will write a custom essay sample on Festival at the Village or any similar topic only for you Order Now Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artistic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman f rom Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old. Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfinished job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"F@V†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province. F@V seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. F@V will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of F@V. Concept A three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of F@V – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at F@V as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home. The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facilitators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream. Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at F@V in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed. In its purest form, both the actors and spect-actors will be people who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets. F@Vison: ? To be an annual therapeutic and edutaining artistic platform. F@V – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society. ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development†™s value of partnership in working together with civil society, business, academia and the international community. F@V – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to have a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 20 13 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |F@V Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |F@V First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] How to cite Festival at the Village, Papers Festival at the Village Free Essays [pic] FESTIVAL AT THE VILLAGE T/A â€Å"F@V – 2013† A Proposal Document By Lentswe Arts Projects [LEAP] About Us Lentswe Arts Projects [LEAP] is a non-profit organization established in March 2011, in terms of Act No 71 0f 1997 under the Department of Social Development, South Africa. LEAP, is the brainchild of cultural activists, artists and art managers in the North West Province who have for decades combined, been running different organizations, but fundamentally pursuing the same goals. It was against this understanding that Lentswe was formed. We will write a custom essay sample on Festival at the Village or any similar topic only for you Order Now Lentswe† has many connotations in Setswana, one being a large rock and the other a voice. In this context, â€Å"Lentswe† is built from the root of the verb â€Å"go tswa†, which means to stem out in Setswana. â€Å"Lentswe le tswelele go tswela mosola† meaning â€Å"as you learn or benefit from Lentswe; continue to be good use unto others. † LEAP has been involved in artistic and social development projects since its inception. In 2010, even before being registered. , through the Maitiso le Kea’ cultural and artistic rendition, LEAP managed to buy school uniforms for the needy school children at Magokgwane Primary School in the outskirts f Mafikeng as well as stationary and uniform for another desperate learner at Redibone Middle School with the proceedings generated from ticket sales. The fundraising event drew a lot of support from national and international musical artists such as Mo Molemi, and Setswana folklore genius Ntirelang Berman f rom Botswana. October 2011, saw LEAP co-producing an exclusively cultural night of â€Å"Ntirelang Berman live† at Mmabana Mmabatho theatre. The show was hailed as â€Å"ground-breaking and conscious† by the local media and attracted a mixture of both the young and old. Executive Summary â€Å"The children who sleep in the streets, reduced to begging to make a living, are testimony to an unfinished job. † Nelson Rolihlahla Mandela It is with the above quote from the former South African president and Noble Prize winner, Dr. N. R. Mandela, which LEAP conceptualized and aims to stage FESTIVAL AT THE VILLAGE, also to be known as â€Å"F@V†. The festival aims to be the first of its kind arts festival to cater for the underprivileged youths who are also known as â€Å"homeless children† but currently reside at different places of safety in the North West Province. F@V seeks to be a therapeutic platform where these youths are skilled and integrated back into society. It is a vehicle to be used to identify, train and nourish hidden and/or undiscovered talent while creating possible artistic careers for the targeted market. F@V will also be the first ever arts festival to be staged within a rural community, with the aim of bolstering its local economy as well as making it a tourist destination. Buxton Village, in the Greater Taung Municipality is the ideal identified place with its strategic resources, zoning and accessibility for the staging of F@V. Concept A three months training period starting in April 2013 will culminate into a weekend [3 days] long artistic therapeutic experience, therefore making up the core of F@V – skill and emotional development. Different places of safety in four different regions of the North West Province will be identified and roped in for participation at F@V as part of their rehabilitation programmes. Each home will have three [3] teams covering disciplines of drama, music and dance. LEAP would then assign dramaturges/ facilitators to train and develop these groups in their respective discipline, with different themes attached to each group/home. The different groups based on different themes would then create performance pieces of between 20-30 minutes long with the guidance of their respective facilitators. The facilitators would be accompanied by unemployed social workers [either recent graduates or retired ones] to help with handling potential sensitive material that might be borne out of the workshoping process. It is a well known fact that every child has a secret aspiration of climbing on stage to unleash his/her potential performance dream. Lentswe Arts Projects aims to give voice to the oppressed by staging such a revolutionary concept for expression. Interesting and therapeutic theatre forms like â€Å"Forum theatre† will be used to harness participation at F@V in June 2013. What is Forum Theatre? â€Å"It is a theatrical game in which a problem is shown in an unsolved form, to which the audience (as spect-actors), is invited to suggest and enact solutions. The problem is always the symptom of oppression, and generally involves visible oppressors and a protagonist who is oppressed. In its purest form, both the actors and spect-actors will be people who are victims of the oppression under consideration; that is why they are able to offer alternative solutions, because they themselves are personally acquainted with the oppression. † – Augusto Boal It goes without saying how this type of theatre model would go a long way in helping our targeted children as participants and society at large as audiences to comprehend the type of either emotional or at times physical oppression that perpetuates the ever increasing number of homeless children on our streets. F@Vison: ? To be an annual therapeutic and edutaining artistic platform. F@V – Objectives: ? Endorse the Department of Social Development’s mandate of developing and implementing an array of programmes that do not only protect South Africans against poverty, but also promote investment in building and strengthening communities and households. ? To be a meaningful vehicle of intergrading our lost children back into society. ? To create jobs for our social workers and artists. ? To use the arts to address the socio-economic challenges and cultural restoration in our communities. To identify and address social ills that result in having children homeless. ? To create possible careers in the arts. ? To have an attracting socially-conscious arts calendar event. ? To align with the Department of Arts and Culture’s Mzansi’s Golden Economy policy of creating a â€Å"more than you can imagine† experience. ? Actualize the Department of Social Development†™s value of partnership in working together with civil society, business, academia and the international community. F@V – Implementation Once the financial and physical resources are available, LEAP will develop a detailed implementation plan and set up a strong team to take the project to its realization. The said project team will preferably be consisting of representatives from different stakeholders to have a successful and translucent process. The implementation stages shall mainly begin with the identification of willing participatory children’s homes around the province, followed by assigning of different facilitators to the respective teams/homes. Action Plan PERIOD: 07 January – 02 August 2013 ACTIVITY |DATE |PLACE |OUTCOME | |Pre-production begin |07 January – 29 March 2013 |Mafikeng and Taung |Festival Logistics Plan | |Fieldwork/workshops begin |01 April 2013 |Around NW |Unroll the development process | |Fieldwork/workshops begin |30 June 20 13 |Around NW |Have groups ready to | | | | |showcase/compete. |Marketing initiatives commence |10 June 2013 |Around NW |Create project awareness around | | | | |the province. | |Travelling day [Groups] |04 July 2013 |To Buxton |Different homes travel to get to | | | | |the designated area of | | | | |showcasing. |Technical set-up |04 July 2013 |Venues TBC |Have the venues accommodating the| | | | |productions. | |F@V Launch |05 July 2013 |Venue TBC |Launch the project to the media | | | | |and public. | |F@V First Day |06 July 2013 |Social Centre |Start showcasing the productions. |Last Day/ Prize Giving |07 July 2013 |Social Centre |End short festival of | | | | |performances and give prizes. | |Travelling day |08 July 2013 |From Buxton |Groups and technicians get back | | | | |home. | |Reporting |02 August 2013 |Mahikeng |Narrative and financial reports | | | | |submitted to the funders. | Project Budget Please see attached[pic] How to cite Festival at the Village, Essay examples

Career Analysis Of Film and Television Industry - Myassignmenthelp.Com

Question: Discuss about the Career Analysis Of Film and Television Industry. Answer: Introduction The film, television, and screen offer more than entertainment. They inform, inspire and act as a part of the culture. This field offers jobs to many people and create their career path. The glamour and creativity of this industry attract people with a variety of skills. Although working in this industry is not always easy and glamorous as it seems. Different types of challenges may face the emerging practitioner and requires him to develop certain skills to be able to compete and create the desired success he wishes to gain. This essay discusses the industry discipline and the recent changes that took place. It will also highlight the practitioners career specifications within the industry. Finally, it introduces the opportunities and problems faced by emerging practitioners. The film, television and screen industry discipline The TV and screen film production witnessed multiple changes as a result of the variety of media channels that the audience can choose to view. TV channels are no more attractive to the audience who prefer the online space. Today, the screen production offers great career opportunities for creative, problem solver and social people (Auckland University of Technology, 2016). Many film producers developed competencies in the drama television production to be able to diversify their work and sustain their business (Screen Sector Leadership Group, 2017). In order to reduce the risk associated with the film production, producers tend to take important actions according to Screen Australia (2015b), as follows: Cinema on demand: It provides direct contact with the audiences, as it enables anyone to ask for screening a participating film at the cinema. Cinema-on-demand services act as a mediator. Similarly, the tickets on demand that could be purchased on-line. Event screenings: Assist in making the cinema a premium experience for its visitors. The distributor can add more services as allowing questions and answers to the film makers. Primary release to transactional video on demand: Is considered a strategy for some film producers to raise their profile outside the cinema through targeting the online audience, and utilizing social media channels. This way is used to maximize the market impact. Film production attracts different types of people to collaborate on a single project. The work is tasking, stressing and frustrating and it includes difficulties in earning money. It is difficult to find work and stay employed in the film industry. People may stay unemployed between projects. The filmmakers suggest that wages should not be the motivator for work in this occupation (Royster Vilorio, 2013). As an innovative industry, challenges do exist and should be avoided to ensure the stability of a work (Sergi, 2012). Actions should be taken to keep growing in the film and screen industry. The practitioners careers within the film, television and screen industry The career pattern of people working in the film, TV and screen production reveals a diversity of work type. Unlike stable, permanent jobs, the TV and screen industry workers are employed as freelancers, service providers, individual contractors, crew, and directors. Income fluctuates year to year and work is not guaranteed (Mayer, 2017). It is a portfolio career, the junior level faces a lot of competition, but the multi skilled graduate is highly advantages when entering the workplace. For example, the advertising agencies usually contract production houses to make a huge budget commercials and utilize the best directors (Auckland University of Technology, 2016). There are some personal qualities of people who want to join the film and television industry, including the common sense, showing initiatives, resilient, able to learn new skills, communication skills, ability to manage stressful behaviors, and take risks (Brunel University of London, 2012). According to Screen Australia (2015a), there is no right way to enter the film and television industry, it is important to gather information related to the industry. Also, taking training courses and degree is important. Finding work experience, mentorship will help in getting a better chance to be employed. To keep informed about new developments in the industry is very important to find the best opportunity. Networking is considered an effective way to get involved, as state agencies, associations and festivals. The real world examples reveal the importance of formulating a plan to sustain a successful career. According to the British Academy of Film and Television Arts (2017), we can consider the experience of "Jinx Godfrey", an editor. She has participated in Man on Wire, Project, but before this she has started as an assistant editor in a commercial editing company. She began with editing TV commercials and documentaries. Learning was her key to success, as she found that editing documentaries very rewarding. To sustain her career, she could figure out the kind of films she wanted to edit, followed the client directions, established good relationships and she could choose the best work to do. Although, the film and television industry is a highly attractive industry, and people can get their dream jobs within it, but it requires special skills to help in sustaining the career. Opportunities and potential problems faced by emerging practitioners Emerging practitioners have to take the opportunities offered by the industry and manage the expected problems. Working in the film and television industry teach workers how to work within a team and utilize the opportunity to bring their vision to life on screen (Griffith University, 2015). The opportunities and problems are stated as follows: Opportunities: By developing the workers' advanced skills, they will be ready to contribute in the film and television industry as practitioners and the creators (Elsley, 2016) The digital technology underpins the most forms of screen media, the emerging practitioner will learn how to deal with diversity of forms, resources and techniques. Also, he will be able to fit himself in the chosen field (Griffith University, 2015). The digital technology provides opportunities for production and distribution. Although their capabilities for career evolving are still limited. Digital technology creates opportunities for both production and distribution, but its effectiveness for career progression and relationship to professional employment are still evolving (Rossiter Alcaraz, 2015). Access to resources, including time, equipment, finance and formal education are necessary to exist altogether to build a successful career (Rossiter Alcaraz, 2015). Potential problems: Challenges of the film distribution could be represented in the audience attitude, as they pay for the whole experience not only the film. Also, audience expect content on demand at the low or no cost (Screen Australia, 2015b). The career path is nonlinear or predictable, the screen production does not offer a standard definition for the emerging screen practitioner (Rossiter Alcaraz, 2015). The emerging practitioner had to proof himself through practice rather than the formal education (Rossiter Alcaraz, 2015). Following the graduation, the emerging practitioner faces the challenge of balancing between the day job with guaranteed income and the need to prove himself (Rossiter Alcaraz, 2015). The emerging practitioner may move overseas if he is talented to gain a better chance to progress in his career (Mayer, 2016) The emerging practitioner faces considerable amount of problems, especially in the screen production. The industry is dynamic and uncertain in terms of investments, customer demand and outcomes (Rossiter Alcaraz, 2017). There is no stable hierarchy or clearly defined job description that clarify the opportunities and challenges of the career success. Conclusion Film production attracts different types of people to collaborate on a single project. The industry is dynamic and uncertain in terms of investments, customer demand and outcomes. As it is difficult to find work and stay employed in the film industry, it requires special skills to help in sustaining the career. Emerging practitioners have to take the opportunities offered by the industry and manage the expected problems. There is no stable hierarchy or clearly defined job description that clarify the opportunities and challenges of the career success. References Auckland University of Technology. (2016). A future in TV screen production. New Zealand. British Academy of Film and Television Arts. (2017). Succeding in the film, television, and games industry. UK. Brunel University of London. (2012). Industry insight - Media. UK. Elsley, B. (2016). Making TV more diverse. UK: Creative Skillset. Griffith University. (2015). Career options: Film screen media. Australia. Mayer, V. (2016). The production of extras in a precarious creative economy. In M. Curtin, K. Sanson, Precarious Creativity (pp. 5-73). University of California Press. Mayer, V. (2017). The place of treme in the film economy: Love and labor for Hollywood south. In Almost Hollywood, Nearly New Orleans (pp. 69-95). 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