Through the Eyes of a Child: The Portrayal of South Africa’s Apartheid in Children’s Cinema

August 1977: a thirteen-year-old African American girl stands at the gate of an airport holding a bouquet of flowers. Standing with her mother, she is anxiously awaiting the arrival of Mahree, a South African school girl her family has offered to host for the upcoming academic school year. The young African American girl, Piper, is excited to meet this South African girl, hoping their African heritage will bond them together. The passengers all exit the plane, and Piper starts to worry that they are at the wrong gate because neither Piper nor her mom spotted a fourteen-year-old South African girl leaving the plane. In hopes of locating Mahree, Piper calls out Marhee’s name. Suddenly, a young white girl turns around and says “I’m Mahree Bok.” Both parties are stunned; Piper pictured Mahree to be black South African, while Mahree pictured her host family to be white. The scene described above is a scene from the children’s movie, The Color of Friendship, released in 2000. From the outside, this scene seems to be an innocent interaction-- two young girls are meeting for the first time. However, put in the context of the South African apartheid, one learns that this scene carries certain historical truths that warrant a deeper understanding. Its 1977 and South Africa is still entrenched in a strict and oppressive system of racial segregation. When meeting her African American host family for the first time, is it safe to assume that Mahree’s shock comes from a set of apartheid cultural ideologies that believe blacks to be inferior to whites. Directed by Kevin Hook, The Color of Friendship is a children’s TV film that seeks to address issues of race in the context of the South African apartheid. The Color of Friendship raises important questions about the genre of children’s film, memory, and history when analyzed through a historic lens. How can children’s film be used to address important but difficult themes of discrimination and race? Can directors use children’s film to accurately portray historical injustices? These series of questions can be answered through a deep historical analysis of the film, The Color of Friendship. The film’s representation of South African race relations through the portrayal of Steven Biko’s death and Afrikaner ideologies illustrates that difficult historical themes can be accurately portrayed through children’s cinema

Drawing Survivance, Embodying Survivance: The Work of Contemporary Ledger Artists Dwayne Wilcox and Monte Yellow Bird Sr.

This paper examines the work of two contemporary Indigenous Artists, Dwayne Wilcox and Monte Yellow Bird Sr. using Gerald Vizenor\u27s theory of suriviance. I first discuss survivance, drawing on the ways both Vizenor and other scholars have used survivance in their academic works. I then move on to situating ledger art in its historical context, analyzing the ways ledger art has been historically examined and written about. The last two sections of this paper are dedicated to highlighting the ways in which two contemporary Indigenous artists, Dwayne Wilcox and Monte Yellow Bird Sr., have embodied Vizenor’s theory of survivance in their artwork. By analyzing the works of artists Dwayne Wilcox and Monte Yellow Bird Sr. through the lens of survivance, I propose that examining ledger art through survivance gives scholars a nuanced way of understanding both nineteenth century and contemporary ledger art

Face to Face, Carl Beam and Andy Warhol

Keira Koch ’19 examines representations of indigenous cultures in prints and photographs by American artist Andy Warhol and First Nations artist Carl Beam. In this comparative study, Koch considers the topic of appropriation and re-appropriation of Native imagery. Warhol, as a non-Indigenous artist, is using this imagery to highlight the dominant narrative of the American West. Beam, however, incorporates photographs of Native subjects and traditional narratives by re-appropriating those images to tell a distinctly Native narrative. This exhibition invites discussion about the role of contemporary indigenous artists and how indigenous identities are expressed in contemporary art. This exhibition intersects with the issues and methodologies studied in Koch’s individualized major titled “Indigenous Cultures, History and Identity.” In addition to studying aboriginal arts and indigenous communities in Australia during her Junior year, Koch serves as the Co-President of Students for Indigenous Awareness at Gettysburg College.https://cupola.gettysburg.edu/artcatalogs/1027/thumbnail.jp

Women and World War II at Gettysburg College

An examination of the women attending Gettysburg College during World War II. This project examined what the women did and experienced during the World War II, along with analyzing campus culture and life

Medical Marijuana-Induced Tacrolimus Toxicity.

As both recreational and therapeutic marijuana use increases in the US, more attention is being paid to its direct medical and psychoactive effects. One crucial dimension is the potential for marijuana or marijuana-derived therapies to interact with other prescribed medications. Tacrolimus is an immunosuppressant medication prescribed to prevent rejection in patients receiving solid organ and bone marrow transplants. Clinically, it is characterized by a narrow therapeutic index and multiple drug-drug interactions. Constituents in marijuana are known to inhibit cytochrome P-450 3A, which is normally responsible for metabolizing tacrolimus, leading to the potential for a dangerous interaction. Though this phenomenon has been described previously in a stem cell transplant patient, we present the case of medical marijuana induced tacrolimus toxicity in a patient who recently received an orthotopic liver transplant

Adaptation of Pt-DNA binding experiments into a multiweek upperlevel biochemistry laboratory activity

Platinum-based drugs are commonly used as anti-cancer therapeutics due to their abilities to bind to DNA and prohibit proliferation in cells. Although the concept of drug interactions within biomolecules is often introduced in undergraduate courses such as biochemistry and toxicology, there are very few laboratory activities that exist that provide undergraduate students with the opportunity to investigate this topic in the lab. During the Summer 2020 PRISM program, we worked to create a multi-week laboratory activity for upper-level biochemistry students focused on the investigation of the DNA binding abilities of common Pt anticancer therapeutics through biochemical modeling and wet laboratory experience

Kamalaśı̄la’s interpretation and philosophy of the Middle Way

Madhyamaka philosophy is considered the philosophy of the middle way (madhyamā pratipad). Madhyamaka philosophers acknowledge that the middle way is free from the two extremes of existence and nonexistence. However, when analyzing the way they understand the middle way, we encounter differing interpretations. In his Mūlamadhyamakakārikā 24.18, Nāgārjuna says “precisely this [voidness] is the middle way (pratipad … madhyamā)” (18d). According to Avalokitavrata, Bhāviveka interprets the term pratipad madhyamā in stanza 18d as referring to two types of middle way, i.e., a conventional type and an ultimate one, while Candrakı̄rti comments on stanza 18d that voidness is the middle way. When in his Madhyamakālaṃkārapañjikā Kamalaśı̄la comments on verse 18, he seems to interpret that term neither as voidness or the two types of middle way. His interpretation of the term seems to be different from Nāgārjuna’s and his commentators’. In this article, in order to clarify his interpretation and philosophy of the middle way, we first analyze Kamalaśı̄la’s comments on verse 18. Next is an examination of whether he accepts the conventional type of middle way and the ultimate type, that is, voidness (= ultimate reality) free from the two extremes, and a clarification of his central idea of the middle way and his systematization of the different types of middle way. After an analysis of his idea of the practice for eliminating the two extremes, we will lastly examine his philosophy of the middle way. These analyses will allow us to say that by means of his central idea of the middle way, Kamalaśı̄la systematized his Madhyamaka philosophy as the path (mārga) for fully achieving the understanding of the middle way

Conditions

Conditions is a collection of written works by women, their experiences in life, and their thoughts and views on the world. It features six poems, two short stories, and an interview with author Adrienne Rich. The book is illustrated with imagery of mountains, hot weather, and desserts, settings that are often referenced in the stories. On a deeper level, a theme that runs through the book is that of rejection of traditional expectations of women and femininity. For this reason, motifs like flowers and the colour pink were avoided purposely. The typefaces Playfair Display and Crimson Text were chosen to match the overall feel of beauty that is communicated in this collection, as well as the elegance and quality of the written pieces. The layout was kept traditional to accommodate a wide variety of different types of work included in the collection; large headings and ample white space was used to separate each writing. Presented in absentia on April 27, 2020 at "Student Research Day" at MacEwan University in Edmonton, Alberta. (Conference cancelled) Faculty Mentor: Constanza Pacher  Department: Design Studies    &nbsp

Busy teacher educator guides : 3 : PGCE M Level

This ESCalate Busy Teacher Educator Guide on the PGCE M Level has been written by Dr Keira Sewell, Primary PGCE Programme Director, School of Education, University of Southampton. It covers the characteristics of effective PGCE M level practice, programme design and organisation, teaching, assessment, collaborative work with schools, Quality Assurance, marketing, the benefits of PGCE M level to students and teacher educators and how the PGCE M level be incorporated into current practic