Report: Cultural Research Centre (CRC)

This report arises from research carried out in Iganga and Namutumba districts in late 2006/early 2007 by the Cultural Research Centre (CRC), based in Jinja. Our research focus was to gauge the impact of using Lusoga as a medium of instruction (since 2005 in "pilot" lower primary classes) within and outside the classroom. This initiative was in response to a new set of circumstances in the education sector in Uganda, especially the introduction by Government of teaching in local languages in lower primary countrywide from February 2007. This followed an experimental period, in selected pilot districts, including Iganga, where fifteen pilot schools had been chosen: all these became part of this study

A Cultural Tourism Strategy: Enriching Culture and Building Tourism in Buffalo Niagara

Their continued dedication to the region\u27s cultural, arts and heritage organizations and the development of cultural tourism has been, and will continue to be, essential to attaining the vision of “A Cultural Tourism Strategy”. The cultural tourism mission is to strengthen cultural, artistic and heritage organizations; expand individual opportunities for creativity and interpretation; help our regional economy grow; enhance the quality of life in our communities; advance the image and identity of the region; and build the region\u27s reputation as a world-class tourism destination. These benefits reinforce one another and can be achieved together

Cross-cultural impression management: a cultural knowledge audit model

Purpose – Many people moving into a new culture for work or study do so without prior cross-cultural training, yet successful cultural adaptation has important ramifications. The purpose of this paper is to focus on cross-cultural impression management as an element of cultural adaptation. Does cultural adaptation begin by paying strong attention to nonverbal cues in a host culture? How is that attention converted into knowledge, and how do people use such knowledge management during impression management within the new culture? Design/methodology/approach – The method was qualitative. In total, ten international students at an English university were recruited. All originated outside the European Union and each took part in a one-hour structured interview. The transcripts were analysed through thematic analysis. Findings – International students adopted cross-cultural impression management strategies in order to enhance successful adaptation to the new host culture. Students consciously processed knowledge about nonverbal behaviour norms through everyday interactions. They audited knowledge deficits by detecting differences between the host norms and their home culture's norms. The motives for this included desiring to maximise rewards from situations. Research limitations/implications – The findings imply that being in a new culture makes people “high self monitors”. They are more aware than usual about their own and others' nonverbal behaviours. The findings tell us about how cultural adaptation begins. Originality/value – This appears to be the first in-depth qualitative research examining cross-cultural impression management by international students and deducing implications for expatriates

Kwanzaa: Come Celebrate! 2009

https://scholarworks.sjsu.edu/chc_flyers/1020/thumbnail.jp

Smuggled. Film Screening

https://scholarworks.sjsu.edu/chc_flyers/1031/thumbnail.jp

Japanese American Resettlement Through the Lens

https://scholarworks.sjsu.edu/chc_flyers/1008/thumbnail.jp

The Braceros: Guest Workers, Settlers, and Family Legacies

This lecture was given in support of the exhibit Bittersweet Harvest: The Bracero Program, 1942-1964 that was on display at the Mexican Heritage Plaza Galeria in San Jose from February 10-May 2, 2010.https://scholarworks.sjsu.edu/chc_flyers/1009/thumbnail.jp

Dr. Sun at Liberty\u27s Door: A video documentary

https://scholarworks.sjsu.edu/chc_flyers/1032/thumbnail.jp

Cultural omnivores or culturally homeless? Exploring the shifting cultural identities of the upwardly mobile

The concept of the cultural omnivore has become increasingly influential in cultural sociology. Its proponents argue that it has now become a badge of honour to be eclectic and omnivorous in one’s cultural preferences and explicitly not be seen as an exclusivist cultural ‘snob’. It is even argued that omnivorousness represents a new source of social and cultural capital, enhancing one’s ability to communicate with diverse groups and nurturing greater cultural and political tolerance. Drawing on a large-scale survey of British comedy taste and 24 follow-up interviews, this paper strongly challenges existing representations of the cultural omnivore. Among comedy consumers, I only find omnivorousness among one social group; the upwardly mobile. However, notably, the culture switching of these respondents does not seem to yield the social benefits assumed by other omnivore studies. In contrast, the life histories of these respondents reveals that omnivorousness is more a bi-product of life trajectories - whereby lowbrow comedy taste is established during childhood but then highbrow taste is added as cultural capital resources grow. Significantly, though, this combination of tastes has more negative than positive implications, leaving socially mobile respondents largely uncertain of their cultural identities. While they lack the ‘natural’ confidence to communicate new, more legitimate, tastes as embodied cultural capital, their upwardly mobile trajectory means they are also acutely aware that the tastes of their youth are socially unacceptable and aesthetically inferior. In short, these comedy consumers are more accurately described as culturally homeless, caught with one foot in two different taste cultures