Prepare a 12- to 15-page Global Expansion Report.
Complete a SWOT analysis for the organization.
Complete an IFE based on your SWOT for at least 10 internal factors including both strengths and weaknesses.
Explain how the IFE’s highest weighted scores will influence your decision-making in the chosen region or country and justify your rating and weights for the internal factor evaluation.
Complete an EFE including at least 10 external factors related to the country or region selected based on your SWOT including both opportunities and threats.
Explain how the EFE’s highest weighted scores will influence your decision-making in the chosen region or country and justify your rating and weights for the external factor evaluation.
Recommend a strategy for expansion.
Justify your recommendation. Consider how your internal and external factor evaluations informed your recommendation and decision-making.
Format your references according to APA guidelines.
Surname 15 Modern art and cinema. Name Institution Course Professor Date In
Modern art and cinema.
In the world of motion picture, where art in motion has become one of the biggest forces to reckon with in the modern world, documentaries have taken the top spot in reality-based meaning-making. Documentaries utilize both motion pictures and montage shots of still images with or without voiceover narration to tell a particular narrative; to shed light on a particular issue or phenomenon in the natural world in a visually captivating way that keeps the audience engaged. Documentaries utilize camerawork, sound mixing, musical score and editing to elicit emotional highs and lows in the audience, ensuring that the message hits the right notes. This paper functions as a close reading and in-depth analysis of Raoul Peck’s critically acclaimed 2016 documentary titled ‘I Am Not Your Negro’. The documentary is directed through the perspective and lens of James Baldwin, an American activist, author, playwright and poet who wrote extensively on the racial divide in the US. The documentary lets the audience see the history of racial bias in the US, brilliantly capturing the plight of black people throughout the slavery era, before, during and after the civil rights movement, which was characterized by icons such as Malcolm X, and even up to today long after Baldwin’s death, when the Black Lives Matter movement is in full swing. In the documentary, James Baldwin, as he narrates, reminisces on his interactions with and the lives of civil rights leaders and activists Malcolm X, Dr. Martin Luther King Jr. and Medgar Evers. This paper uses the documentary as a case study into documentary filmmaking, examining how the film speaks as a documentary, highlighting different aspects of production, the evidence presented and how all the elements of the documentary help pass its message. The paper also outlines the means of expression used in the documentary to help enhance its message and examines the documentary through the lens of some authored works concerning its themes and production style.
‘I Am Not Your Negro’ primarily utilizes a documentary camera lens. The camerawork is the primary framework of a documentary’s production. According to Jason Fox, writing for the World Records Journal (n. d), cameras are used to record reality as it happens, either through still photography or motion photography. The extensive use of both is seen throughout the documentary since the images and footage contain video and still photos of the activists’ activities and the atrocities committed against black people. Archive footage and still images from that time were taken using cameras, and the filmmaker integrates both of them into the documentary to enhance the message. The article in the World Records Journal agrees with the argument that the camera has become a tool with which truth can be spoken to power. Even in current times, errant powers that be get uneasy whenever a citizen pulls out a recording device, most commonly their mobile phone camera, since they are afraid of their misdeeds being frozen in time. Camera technology has defined the century. The ability to freeze moments in time is what has made it possible for people living in the 21st century to listen to the messages of liberators such as Martin Luther King Jr. and get inspired. Through camera technology, which has enabled great messages such as the one explored in this documentary to see the light of day, an audience in any time period can witness the life and times of those that came before them and learn from them. Essentially, cameras enable people to travel back in time (Fox, n. d), just like the documentary under study has enabled its audience to travel back in time and relive the plight of black people throughout the civil rights movement, and see how far the struggle has come. The camera co-produces reality to be revisited at a later time.
Barbara Jeanne Fields provides a unique perspective into the plight of black people in her 1990 article titled ‘Slavery, Race and Ideology in the United States of America.’ In line with Baldwin’s sentiments in the documentary, she reiterates the difference between a presidential candidate and a black presidential candidate. The etymological difference also applies while referring to scholars and black scholars. Fields (1990) argues that it is possible that people rallied around black icons and living legends such as Malcolm X and Martin Luther King Jr. due to racial identification. They did not necessarily agree with their methods to achieve civil equity, but since they were men of their race, they rallied behind them. This creates a case of argument by definition. According to Fields, racial bias arose historically, took root and gained a life of its own. Race is not genetic; thus, one cannot be born with a natural predisposition to racial prejudice. Bias cannot be genetic, which makes it an ideology, a purely human creation. Fields (1990) argues that slavery was borne of convenience, not necessarily out of racial grounds. Slaves became easy to purchase with a guaranteed lifetime of servitude, along with all their offspring. Maintaining then freeing indentured servants, most of whom received similar treatment to slaves, had proven costly. Her argument somehow contravenes the documentary’s message by somewhat invalidating the atrocious nature of slavery by adding a deterministic element to it. She also poses the argument that oppression precedes inferiority. People are likely to be seen as inferior when they are already under the yoke of oppression. This is why racial bias exists to this day. Racial inferiority, as seen in the documentary, only occurred after the black community was successfully subjugated.
The documentary under study can also be touted as an excellent example of Third Cinema. Third cinema, according to Solanas and Getino (1970), is filmmaking that inspires truth and sparks, if not intensifies, revolutionary activism. ‘I Am Not Your Negro’ does an excellent job of painting a concise picture of racial oppression showing how far the struggle has come, and juxtaposed the civil rights movement with the current situation, showing that there is yet a lot of work to be done. It would inspire anyone with a conscience to stand up and relentlessly fight for racial equity until the day comes that it is a reality. Solanas and Getino (1970) outline that cinema must participate in the struggle for the complete liberation of all peoples by highlighting, using captivating narrative and other filmmaking techniques, such as in the documentary under study, the plight of the oppressed and bring attention to it. Essentially, the camera becomes a gun with which to fight back against oppression through exposure. Filmmaking is now part and parcel of the anti-imperialist struggle. ‘I Am Not Your Negro’ excels at sensitizing people to the struggle they need to participate in. Third cinema is the cinema of revolution, deconstruction of oppressive past ideals and reconstruction of a better, more inclusive and cohesive society. Documentary filmmaking depicts reality through enthralling narrative, which transforms it by deepening its truth, enabling it to speak truth to power both overtly and subliminally. Solanas and Getino (1970) decry the commercialization of cinema by the powers that be and the use of Hollywood to pander to stereotypical tropes, for example, about depicting black people as subservient and white people as saviors without blemish, as seen in the documentary. Thus, Third cinema aims at inspiring revolt against the class system, gender and racial biases, in line with the documentary’s message. It pushes audiences to think a lot about social injustices by painting a clear picture of their realities, inspiring them to take action to change their situation. Third cinema, such as ‘I Am Not Your Negro’, increases the degree of sociopolitical awareness in its audience and highlights the socioeconomic and political policies that led to exploitation in the first place.
Nick Estes and Jaskuran Dhillon (2019) write about a similar struggle to the black civil rights struggle described in the documentary. They report on how indigenous communities in North Dakota stood up and protested against the construction of the Dakota Access Pipeline (DAPL), which threatened the environment, and their very lives. The protesters were mainly youth, as were black civil rights activists like Malcolm X, Medgar Evers and Martin Luther King Jr., who, according to the documentary, never lived past the young age of 40. The protests of the North Dakota residents against the DAPL expanded since millions of people joined the cause. The movement can be said to be a part of a larger movement of indigenous Americans’ resistance against imperialism which has spanned centuries. A parallel can be drawn between this and the everlasting black struggle against systemic oppression in America, which spans back to the days of slavery, which the documentary extensively discusses. Indigenous women and youth stood up against colonialism which had banked on gender, class and racial divides to entrench systemic oppression, which was the same agenda used against the black community prior to the civil rights movement. It did not help that the pipeline was commissioned by an openly misogynist and racist president who has enabled white supremacists akin to the ones in the documentary. Since Trump’s election, according to Estes and Dhillon (2019), many progressive amendments that had been made to benefit indigenous communities were reversed. Sacred indigenous sites were turned into mining areas to further the interests of the state and corporations, akin to the plight of black people whose identity had been shunned for centuries. The article reports that just like the civil rights movement, which continues to this day as the black lives matter movement, the indigenous fight against imperialism is a trans-generational struggle. The documentary depicts this well. Civil rights for black people were not won in a day or a decade. The struggle took decades and cost many lives, some of which are well-known like the ones in the documentary, while others remain to be faceless heroes. Just like the civil rights movement, whose heroes are described in ‘I Am Not Your Negro’, as the indigenous uprising against the construction of the DAPL gained traction, forces to undermine it gained steam as well. The state administration declared a state of emergency which saw close to a thousand protesters arrested after police and military presence intensified in North Dakota. Similar strategies were used in the civil rights movement, as seen in the documentary. Even up to today, protesters fighting for black lives are routinely arrested and brutalized by the police. The NoDAPL struggle, just like the civil rights and black lives matter movements, descends from a larger history of imperialist violence. The imperialists had waged extermination wars against the Native Americans in the 19th century, during the construction of the Northern Pacific Railroad, which the Native Americans had heavily resisted. Many of them were slaughtered. Both the Native and black people’s rebellion against the oppressive system is borne of a long-standing history of discrimination and oppression spanning centuries.
The documentary under review, ‘I Am Not Your Negro’, incorporates images, narration, film, dance, letters and advertising, among other mediums, to critique the racial divide that plagued the USA in the 20th century and even up to today. The filmmaker displays numerous montages of black movements spanning from Dr. Martin Luther King Jr.’s nonviolent protests to Black Lives Matter protests. Through the use of vivid imagery, parallels between the movements can be drawn to show how 50 years later, racial discrimination is still rampant in the US. A difference can be drawn from increased military response to the protests. The filmmaker also uses alternative black and white and colored footage to symbolize the racial divide. In one scene where Baldwin explains that the two races can join hands and build the nation, instead of perpetrating segregation, the footage from a social event turns from a grim black and white to colored footage which is suddenly filled with life. This brilliant visual transition denotes Baldwin’s hope of the nation working together. As the documentary unfolds, death is also covered as a major overarching theme. The narrator himself is departed at the time of production of the documentary, and he narrates the lives of his comrades and how suddenly they ended. This documentary also juxtaposes ideological differences between civil rights leaders such as Martin Luther King Jr. and Malcolm X, stating that towards the end, their philosophies had almost aligned.
In the documentary, the filmmaker uses footage from Hollywood films to portray the stereotypes of black subservience, which spanned back to the plantation era, juxtaposed against white innocence and purity. Footage of police brutality meted out against black people from the 1960s is intercut with footage of similar violence meted out against black people today with the narrator, James Baldwin, collapsing the distance between the two periods. The documentary helps its audience draw lessons from history’s dark chapters. Baldwin acknowledges the psychological complexity of the race issue in America and describes himself as a witness, watching from the sidelines of heroism and tragedy, having been made an outsider to the cause due to his estrangement from Christianity, his queer sexuality and his Northern origins. The filmmaker uses still images, and TV clips of Baldwin with Malcolm X, Medgar Evers and Martin Luther to show their relationships and uses images of them in similar but separate locations to create the effect that they were together during times that they were not. This lends extra coherence to the narrative since the four interacted very often but were not photographed as often, so the historical gaps are filled. The filmmaker uses Baldwin’s words and video montage to deconstruct stereotypes of white heroism, racial forgiveness and the derogatory N-word. He also quickly cuts from footage of a drove of white citizens at a picnic to a shot of a pandemonium of African Americans as they are subjected to wanton police brutality. Peck also brilliantly showcases the evolution of African Americans from plantation stereotypes, as previously mentioned, to subservient individuals in the advertising industry. Archive footage of black adolescent boys being led to jail cuts fast to white mass shooters, curating a vivid image of the stark reality in which both races live in.
The aforementioned means of expression used in the documentary prove highly effective. Raoul also uses other means such as imagery, symbolism and juxtaposition of realities to further paint the picture of racial inequality and black subjugation. As early as the beginning of the documentary, a montage of still images of black protesters is shown (Peck, 2016, 00:02:18) with guns trained on them and in various states of brutalization by police. This sets the documentary’s tone and acts as a brilliant exposition of the documentary’s message. He also uses tracking shots of traveling scenery which symbolizes the literal and spiritual journey which the narrator is taking. The filmmaker also integrates footage of Caucasian citizens airing their views about racial integration (Peck, 2016, 00:06:08), with some claiming that schools with black students were to be considered broken, while another one boldly opines that racial integration is morally abhorrent and unforgivable by God. Such means of expression help to accurately paint a picture of what the black citizens were up against; a people who saw them as abominations and unwilling to accept them as equals. The filmmaker also utilizes still photos of Dorothy Counts, whose ordeal Baldwin recounts. She is a 15-year-old black girl who is seen being spat on, jeered and reviled by angry Caucasian citizens as she makes her way to an integrated school. From the photos, the girl is visibly shaken, tensed and somewhat proud, but it is harrowing that such a young girl had to endure such atrocities on her way to receiving an education.
Visually arresting imagery of how black people were perceived with regard to job allocation is also utilized to show that they were only regarded as domestic servants (Peck, 2016, 00:08:30). The filmmaker also uses thematically appropriate music to enhance the message (Peck, 2016, 00:08:05), whose lyrics outright shamed, sidelined and ridiculed black people and what they stood for. Throughout the documentary, the filmmaker uses jazz music to enhance a message of hope of rising out of the ashes for black people. Jazz was invented by black people, and its use in a documentary depicting their plight inspires them to stand in solidarity and is emotionally appealing to the black audience. The filmmaker also integrates footage from a 1937 film called ‘They Won’t Forget’ (Peck, 2016, 00:14:35). In the film, a black actor plays the role of a janitor in whose workplace a young white girl’s body who had been raped and murdered was found in a Southern town. Historically, Southern states were known for their fight to keep their slaves and their prejudicial attitudes towards black people. In the film, the black man is brutalized through whipping, which is the way in which errant slaves were punished. Films are a reflection of the reality of human society. Thus, Peck uses this scene from the film in the documentary to show that it was used as a form of subliminal messaging to black people at the time that their situation could be easily reversed to what it was barely sixty years earlier. As mentioned before, the films of the time painted Caucasian citizens as heroes, which is another form of subliminal messaging and conditioning, which the narrator abhorred. The white savior narrative is still alive in present-day cinema.
In a debate in 1965 at Cambridge University, the documentary’s narrator, James Baldwin, explains how the subjugation of black people and racial segregation destroys their sense of reality and identity. The filmmaker juxtaposes his narration with an image of a black mother and her confused daughter standing adjacent to a colored entrance neon sign (Peck, 2016, 00:17:09). The daughter seems confused as to why they have to use different entrances from other people since she is not yet aware of the full meaning of what it means to be black in America. Up to this day, black children are appalled to find that their country of birth has no place for them in their system. This shows how powerfully James Baldwin’s words resonate even in the present.
While depicting the Birmingham campaign, the filmmaker uses a tracking landscape shot of a desert-like planet like Mars, as the narrator explains that the majority of Caucasian citizens could not fathom how a movement as bold as the campaign had happened. The concept was so foreign to them that they had to be convinced that it had not happened on Mars but on earth. The filmmaker’s use of the Mars symbolism entrenches the extent of their denial. He also uses still photographs and archive footage of black citizens in various states of physical intimidation and assault by white citizens and Martin Luther’s entourage with shotguns trained on them by the police (Peck, 2016, 00:26:27). These are deafeningly accurate depictions of their plight at the hands of violent white police officers and other white citizens, and Martin Luther’s campaign advocated for response to such with nonviolence. The filmmaker also uses footage of white protesters with white power slogans to show how dedicated a large part of the white citizenry was towards keeping black people subjugated. They can even be seen baying for Martin Luther’s blood as gunshots rent the air showing how dangerous the struggle for racial equality had gotten. Some white protesters are seen holding up the Nazi swastika symbol. This symbol had been used as a tool to perpetrate mass genocides by Adolf Hitler in Nazi Germany, who, before and during World War II, routinely executed German citizens who did not belong to his master race, the Aryan race. It was used to execute scores of Jews and other non-Aryan citizens using means of mass murder such as gas chambers. Thus, in the context of this documentary, a case can be made that these aggressive protesters held the same sentiments about how black people who did not belong to their master race should be treated. Some of them can also be seen holding up confederate flags, a tradition that still persists today. The confederate flag was used by the Southern states during the Civil War, which wanted to maintain their slave-owning rights. Thus, the use of confederate flags in response to black people asking for equal rights was a clear message that some white citizens still saw them as nothing more than slaves. Throughout the documentary, footage of civil protests in recent times protesting against racial brutality, especially by the police, is used, which is a clear indication that the plight of black people in the US is far from over. Even in the protests, police are shown aiming high-caliber weaponry at unarmed protesters (Peck, 2016, 00:31:52). In the Missouri protests of 2014, a body is seen being ferried away after being shot by police.
Peck uses a still photograph to explain Malcolm X’s ideology of how white people saw black people, starting with the etymology of the word ‘negro’. Its roots as a word meaning ‘subhuman’ are explored (Peck, 2016, 00:34:50), and an analogy is drawn from the word ‘chattle,’ which is ‘cattle’ in another language. Likewise, Malcolm breaks down ‘negro’, tracing it back to ‘necro’ and ‘nekro,’ which is a word for a corpse. The filmmaker again uses a still image of a white police officer with his knee against a black woman’s neck as she lies on the ground, as his fellow officers look on unbothered. Almost poetically, in 2020, history repeated itself in the case of George Floyd. Derek Chauvin, a white police officer, pressed his knee on George Floyd’s, an African American man’s neck, for more than nine minutes, after which he died of asphyxiation. The other officers were just looking by but were caught on camera by bystanders. The trial is still ongoing. The incident was widely publicized, sparking widespread protests by the Black Lives Matter movement. As mentioned before, this goes to reiterate James Baldwin’s sentiments that the black man is not yet truly free in his own country. The filmmaker then uses a montage of images of black youth who have lost their lives to police brutalities, such as Tamir Rice, who was killed by police at 12 in 2014; Darius Simmons, who died at 14 in 2012, Trayvon Martin, who died at 17 in 2012, Ayana Stanley-Jones who died at 8 in 2010, Christopher McCray who was gunned down at 18 in 2014, Cameron Tillman who died at 14 in 2014, and Amir Brooks who died at 17 in 2014. Peck superimposes these stills with James Baldwin’s narration about how corpses of young black people pile up because of just being born black. This sends a powerful and saddening message that the tribulations of black people since his time are still rampant in today’s world, which is a sad state since it means that no progress has really been made despite all the sacrifices black people have made.
Peck uses various shots of bridges in the documentary. These can be touted as instances of symbolism; a case can be made that the bridges symbolize that the black community is not out to subjugate their oppressors or exterminate them, in spite of their anger being very justified. It symbolizes that they are still willing to build a bridge between them and coexist in a peaceful society. He also uses a shot of an interracial couple from a 1976 film called ‘Pressure’ (Peck, 2016, 00:53:08) as the narrator voices over the plight of his own interracial relationship that never really came to fruition because of its nature. Interracial relationships were still frowned upon. The shot shows what the narrator so badly wanted but could not have. When Robert Kennedy predicted that in about 40 years, a black man could rule America, the statement was not very enthusiastically received by black people since it meant that they had to cooperate with the oppressive institutions in order to have a shot at the presidency. Peck then uses some images of young black men and women looking at the flag, possibly symbolizing the evasive dream of what Kennedy had said, and right after intercuts the image with footage of Barack Obama and his wife celebrating his presidential win. This sends a hopeful message that, indeed, civil rights activism yielded results no matter how long it took and that the struggle must never be given up.
Summarily, this paper has extensively broken down the documentary ‘I Am Not Your Negro’ in light of how it works as a work of documentary filmmaking and how it speaks its message. The paper has extensively examined its themes explained through various means of expression and their effectiveness. It has also compared the struggle for racial equality with the indigenous American struggle against imperialism, from where parallels were drawn. All in all, the documentary makes its audience more politically aware and inspires the joining of the struggle for civil equity.
Estes, Nick and Dhillon, Jaskiran. “Introduction: The Black Snake, #NoDAPL, and the Rise of a People’s Movement.” Standing with Standing Rock: Voices from the #NoDAPL Movement. University of Minnesota Press. 2019.
Fields, Barbara Jeanne. “Slavery, Race and Ideology in the United States of America.” New Left Review, 1990.
Fox, Jason. “What do Cameras Do?” World Records Vol.1 (1). https://vols.worldrecordsjournal.org/01/01
Peck, Raoul, director. 2016. I Am Not Your Negro. Amazon Studios.
Solanas, Fernando and Getino, Octavio. “Toward a Third Cinema.” Cineaste Vol. 4, No.3. 1970.
The basic structure of a research paper was used with the main
Select a region/country for expansion for the case you selected in Week 7 (Macy’s see attached.) You must choose Business Assignment Help The basic structure of a research paper was used with the main parts: introduction, body, conclusion, and references included. The article in this attribute can be regarded to be complete.
The subheadings were used to differentiate the various primary sections. This, however, does not fully appeal to the structure of the subheadings. The formatting was off, with some subheadings indented, bolded, and numbered, while others came without these formatting options. The design of the headings is non-uniform.
The material was well ordered in a logical sequence, following from introduction to conclusion helping the reader follow the flow of ideas from the writer with ease. This was in the general overview; when it comes to the flow of ideas in the paragraphs, there comes a break in the flow of ideas as some paragraphs feel disjointed from the main view of the section they are in. This, for example, can be seen in the body where the second paragraph does not support the ideas presented by the first, thus losing fluency of thoughts on the matter.
No intext citations were present. This is alarming as there are so many facts and heavy reliance on past studies, but quotations from their respective sources supported no statements. This thus results in most reports being plagiarized as the authors are not acknowledged. Examples can be seen from the definition of obesity, the likely causes of obesity in the United Arab Emirates, etc.
The formatting in the reference section is not coherent. The teams do not follow the same style of referencing. It is also anticipated that referencing is usually arranged in alphabetical order to ease locating references; in this paper, the authorities are jumbled in their arrangement with no discernable patterns. With the absence of intext citations, it is difficult to map the connections to the statements being made throughout the paper. Thus the referencing is inadequate and incomplete.
The grammar was below par; the sentence construction was flawed, with errors in diction and fluency. There were notable grammatical errors in spelling the example “character” instead of “character.” The use of improper tenses can be observed where the tenses are not the same and keep fluctuating, thus hindering the comprehensibility of the paper.
It can also be observed that the use of punctuations is up to per, and this helps to make ideas flow quite easily.
The writing style was unclear at times. The type of paragraphing can be explained as confusing as different formats are used throughout the paper. Most paragraphs lacked a topical and conclusive sentence and thus carried very little significance in developing ideas for the whole article.
It can be noted that the methodology for conducting the campaigns has been wholly overlooked. The paper would also benefit from including a literature review to offer more insight into what has been done to improve the studies and the results needed. The other aspects of the paper were tackled satisfactorily.
The methodology of conducting the awareness campaigns is not given. The materials to be used, their preparation, and the statistical analysis that will be used to assess the effect of the awareness campaigns have been missed. This is a massive gap as it hinders the reproducibility and assessment of the impact of the public awareness campaigns.
The paper has been generally structured poorly. I recommend adopting a writing style, for example, APA 7 edition, and sticking to its guidelines to offer a better aesthetic outcome. To give a good understanding of this field, the addition of a literature review is relevant as it provides insight into previous studies. The introduction and conclusions offer excellent insights into the paper and can be concluded satisfactorily.
After the introduction, a literature review should be added to offer a basis for the body section. The body needs improvement in the addition of methodology and a results section. This will further affirm the ideas from the paper.
After writing, it is recommended that the reader uses tools to help correct the grammar and sentence structures to eliminate grammatical errors. For information found from external sources, citations need to be added to do away with plagiarism. The author should adopt a referencing style and format all references appropriately in the literature cited section.
HUMAN RIGHTS CAMPAIGN AGAINST ALBINISM DISCRIMINATION 2 Running head: HUMAN RIGHTS CAMPAIGN
HUMAN RIGHTS CAMPAIGN AGAINST ALBINISM DISCRIMINATION 2
Running head: HUMAN RIGHTS CAMPAIGN AGAINST ALBINISM DISCRIMINATION1
Human Rights Campaign for theLGBT Community
Human Rights Campaignfor the LGBT Community
Human rights are described to as the inalienable sacrosanct freedoms which cannot be taken away or denied from an individual or community as they form part of a human life and relationships. It is for this that new developments on human rights are identified and expended so as to improve the quality of life, enhancing relationships between humanity beings and expressing the same towards others. The most basic document that describes various human rights and their application is the Universal Declaration of Human Rights. This document, signed in 1945, has 30 different rights and freedoms, points out the conditions for applying and limiting these rights in different scopes. Many national laws and regulations about human rights are drawn from the UDHR, though localized to meet the emerging issues of local communities.
Cases of the LGBT community in the US facing discrimination at the workplace due to their sexual orientation are common,despite having mechanisms in place to reduceand eliminatediscrimination in social places, such as workplace, universities and online campaigns. In the US,around 4% of the workforce identify themselves with or as the LGBTcommunity (Mallory & Sears, 2017). This means a number of theworkers in the US incline towards sexual orientation that constitutes human rights endeavors. A number of people who disclose their sexual orientation are likely to face discrimination either sexually or physically. Others who are in employment, may face discrimination based on poorworking conditionsand environment. They are therefore not willing to expose their sexual identity since it denies equal opportunitiesin comparison to people whose sexual orientation is not subject to discussion in the public domain (for example the straight).
Whilea number ofpeople in the UShave attained self-actualization level,sexual orientation continues to elicit a number of arguments as to whether it should be an issue of national discourse or it could be addressed as a private matter.The kind of sexual orientation discrimination accelerates further the employmentlevels of againstthe LGBTcommunity. The effects of suchdiscrimination, leads to cases ofstigma,mistreatment andeven death, because there are continues campaigns against the LGBT rights. This is drawn fromthe aforementioned social levels/ conditions. In countering the discrimination propelled by the opponents of LGBT community rights, is initiating programs that advocate for anti-stigma campaigns against the community. Such campaign can cascade to other nations where human rights abuse and discrimination are a commonfeature. Countering negative perceptions about LGBT requires strategies that are both political,socialand progressive,which include employing LGBT communities, In decision making positions, educating the wider community on LGBT and pursuing justice to victims of sexual orientation discrimination.
Sexual orientation at workplace can be addressed by developing policies and procedures that are non-descriminative and accommodate the needs of different clientele, which include not labeling or profiling people based on their sexual orientation (such as LGBT), which could be detrimental to their rights. A business manager needs to identify situations that may lead to discrimination against sexual orientation, by focusing on the business development ethics in a human rights perspective.
Mallory, C. & Sears, B. (2017).TheWilliams Institute.Employment DiscriminationBased on Sexual Orientation andGender Identity in Alabama
Capital Area Family Violence Battered Women Pro A Proposal for Building Community
Capital Area Family Violence Battered Women Pro
A Proposal for Building Community Resilience against Domestic Violence in Baton Rouge
Background of the Capital Area Family Violence Battered Women Pro
Capital Area Family Violence Battered Women Pro is an organization which offers temporary shelter for women and children who have experienced domestic violence as they seek legal redress to their problem. The organization also provides counselling services to them. All the services are provided at free of charge to the victims. The organization aim is to engage the public with the focus to understand the negative effects of domestic violence and seek interventions of lowering the occurrence of the vice through partnership with other organizations. Domestic violence occurs mostly in communities where the education levels are low, because of the perceived notion that it is the normal way of living and standard procedure in some communities, especially the immigrants from Nepal, Bhutan, Sri Lanka, India, Pakistan and Bangladesh to developed world, such as the US.
To engage the public on the negative effects of domestic violence
To seek interventions of lowering he occurrence of domestic violence through partnerships with other organizations
To raise awareness on the effects of domestic violence to the Baton Rouge community.
To enhance relationships and partnerships with other organizations for the purpose of creating interventions for lowering the occurrence of domestic violence.
To promote education as an enabler for empowerment of Baton Rouge Community to map, and help reduce cases of domestic violence
Project Title: Building Community Resilience against Domestic Violence in Baton Rouge
Domestic violence has continued to dominate immigrant workers from south Asia living in Baton Rouge due to cultural issues that propagate domestic violence in their countries of origin. It has for a long time, been used as a tool for defining male (and to some extent, female) power, where the driving purpose is silencing those who are seen go against the norm, or who question the way things are doing. In many cultures, imparting superiority complex was one of the ways of stamping authority and command over those who are perceived to be weak and have therefore accepted the status quo without attempting to question. A society that propagates domestic violence, denies the same people it is claiming to protect and control, the right to develop fully and to take a leading role in seeking interventions for empower the socially-excluded from participating in interventions that are valuable, important and purpose oriented. It is not surprising to note that domestic violence happen in all societies including the most developed, yet in many cases, the focus has always been on the emerging economies and economies in transition.Domestic violence constitutes to physical, emotional, sexual and spiritual deprivation of the right to enjoy life’s inherent rights fully. This proposal seeks to reverse the occurrence of the denial of these rights through instilling of education to males and females who are victims and survivors of domestic violence.
Statement and Purpose of Need
Immigrants are often marginalized and do not have access to social amenities at their disposal. Their children are likely to drop out of school because they lack role models who can be emulated to guide them achieve intrinsic individual goals. In their home countries where there are few places for realizing and instilling individual capabilities, immigrants tend to focus on activities that are detrimental to their well-being which include domestic violence owing to frustrations.
The illiteracy rate among the immigrantcommunity in Baton Rougehas led to an increment in social challenges facing them, because in their countries of origin, education is not equally provided, and high chances of women dropping g out due to incidents of early pregnancies and other cultural barriers. Adults who are supposed to engage in activities that are meant to offer channels of sound livelihoods, however with little or no education, the vicious cycle coupled with illiteracy, slows their full participation. Such circumstances contribute to social injustices and overall human suffering.
Capital Area Family Violence Battered Women Pro identified the target group through a needs assessment, which realized that many adult learners and youths are unable to progress to advanced levels of education due to lack of programmes that offer them opportunities to develop their capacities.
Capital Area Family Violence Battered WomenProseeks to provide education to adults through traditional methods of learning, in order to enable the organization identify the problems associated with prevalence of domestic violence in Baton Rouge. This is because lack of education or any form of empowerment becomes a leading factor for social exclusive and annihilation.
The targeted beneficiaries are immigrants from South East Asia(of both genders) who have undergone through domestic violence either at home or in the workplace.
CapitalAreaFamilyViolenceBatteredWomenProseeks to build a center for the victims of domestic violence, which will be equipped with accomodation,community recreational,more temporary shelters and such facilities formaking the targetgrouplive normal lives.
In order to realize theobjectives of the center, US$ 500,000 is required.
The facility will empower the communities engage in productive work, which will provide a basis for seeking empowerment avenues such as seeking legal services, job placement, small scale business enterprises and becoming ambassadors of peace. The project will run for over two years as a way of equipping the immigrants and locals with skills for striking out the vice completely in Baton Rouge area.TheprojectisastartingpointtoaddressingalongtermproblemthathasgappledtheimmigrantcommunityintheUS,whereover100,000casesofdomesticviolencearerecordedonanannualbasisdespite measures in place addressing the growing numbers of immigrants in the US. Further research tools (questionnaires, interviews,face to face interactions,web discussions and social media chats)will intensity of the vice and lessons learnt will play a critical role in shaping the legal aspects of domestic violence against the immigrant community in the area.
The successful measures of the project will be realized with the decreased number of domestic violence cases and the increased reports made to the authorities and the Center against domestic violenceagainst the immigrant community in Baton Rouge. The information from victims of domestic violence will be treated in utmost confidence so as not to expose them further, which may aggravate the situation at hand or to avert victimisation.
Finally, working with all partners in providing information, security and privacy of the victim is the one of the key elements of measuring the impact of this project to the community in Baton Rouge.