Labour Set To Compound Nigeria’s Woes With Strike

A part of the Newspaper Review discussion focuses on the controversies surrounding the consistent labour strike.
#TVCBreakfast #NewspaperReview

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Kick Off Hispanic Heritage Month with An Education Twitter Chat:

Kick Off Hispanic Heritage Month with Education Twitter Chat:

ETHNIC STUDIES in Our Schools

by Melanie Mendez-Gonzales

In some school districts across the country, a debate on ethnic studies in high school is happening.

What is ethnic studies? It is the critical and interdisciplinary study of race, ethnicity, and indigeneity with a focus on the experiences and perspectives of people of color within and beyond the United States.

Advocates for ethnic studies believe that it will support academic success and bring an understanding between races. Opponents argue that ethnic studies are anti-American and teach divisiveness.

According to the National Education Agency, research finds that the overwhelming dominance of Euro-American perspectives leads many students to disengage from academic learning. In fact, a recent Stanford study shows the opposite effect that an ethnic studies course had on, particularly Hispanic male, students. Students in the study who took ethnic studies classes in a pilot program in San Francisco high schools increased attendance rates, improved their grades and even increased the number of earned course credits for graduation.

These courses allow students to connect to their own culture and see their home life inside their classrooms. That has a powerful impact. Some argue that ethnic studies could have a powerful impact on white students, too.

“Similar to students of color, white students have been miseducated about the roles of both whites and people of color throughout history,” Siobhan King Brooks, an assistant professor of African American studies at Cal State Fullerton said, and culturally relevant lessons allow white children to “not only learn about people of color, but also white people’s roles as oppressors and activists fighting for racial change. This is very important because often whites feel there is nothing [they] can do to change racism.” ()

Ethnic studies were born out of both educators’ and students’ desires to counterbalance inaccuracies and predominance of the Euro-American perspective found in U.S. schools’ curricula. However, the most recent rise of ethnic studies came out of the 2010 ban of a Mexican-American studies course in the Tucson United School District and the Arizona H.B. 2281. Mexican American studies has spread to high schools at a rate no one could have imagined before Arizona banned the class in 2010.*

Five California school districts, for example, has since made an ethnic-studies class a requirement, and 11 others offer it as an elective. Currently, California AB-2016, which would require the Instructional Quality Commission to develop, and for the state board to adopt, a model curriculum in ethnic studies for all districts to offer a course of study in ethnic studies, is sitting on Gov. Jerry Brown’s desk.

Albuquerque Public Schools will launch a new ethnic studies program for all 13 of its high schools beginning August 2017.

In Texas, there’s a different debate.

“The ban of Mexican American studies in Arizona opened our eyes to the discrimination,” Tony Diaz, El Librotraficante, says, “and how important it is to embrace our history and culture. We realized there was nothing to ban in Texas, so we needed to start one.”

Diaz and others began to demand that the Texas State Board of Education make Mexican-American studies a requirement in Texas schools. The result was an agreement from the SBOE to call for textbook proposals for the Mexican-American curricula that would be put in place in 2017 and until then, allow schools who wished to teach MexicanAmerican studies, to do so but without direction from the SBOE. Some Texas teachers have begun to implement Mexican-American studies in their classrooms.

The one textbook “Mexican American Heritage’ that was submitted for review has come under fire for what some have called ‘deeply flawed and a deeply offensive textbook’ that is filled with stereotypes. Protestors, including Diaz, will be in Austin, Texas to testify against the textbook at the SBOE hearing on Tuesday, September 13. A final vote on adoption is scheduled for November.

These are just some of the discussions happening today about ethnic studies courses in our schools.

Join our Twitter chat as we discuss more about ethnic studies in K – 12 education this Thursday, September 15. It is the beginning of Hispanic Heritage Month. Let’s have a real chat about what are Latino students are learning about their own heritage in schools.

LATISM Education Twitter Chat with Special Guest Tony Diaz

9 p.m. EST – 10 p.m. EST

TWITTER.COM/LATISM

Hashtags to follow: #LATISM #LATISMedu

Special Guest: @Librotraficante

Moderator: @LATISM

TonyDiazBio--element45Tony Diaz, El Librotraficante, founded Nuestra Palabra: Latino Writers Having Their Say in 1998.He is the leader of the Librotraficantes-champions of Freedom of Speech, Intellectual Freedom, and Performance Protest. He holds a Master of Fine Arts in Creative Writing, a black belt in Tae Kwon Do, and wrote the award winning novel THE AZTEC LOVE GOD. He also hosts the Nuestra Palabra Radio Program on 90.1 FM KPFT Houston, Texas.

He was recently named the Director of Intercultural Initiatives at Lone Star College-NH and will be starting their Mexican American Studies Program. Learn more about Tony Diaz at

###

Sources:

*

https://ethnicstudies.berkeley.edu/

NEA, The Academic and Social Value of Ethnic Studies: A Research Review

https://news.stanford.edu/2016/01/12/ethnic-studies-benefits-011216/

https://www.theatlantic.com/education/archive/2016/03/the-ongoing-battle-over-ethnic-studies/472422/

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Richard Alston Dance Company review – a thrilling farewell | Stage | The Guardian

To watch Richard Alston’s choreography is to think that there is goodness in the world. And light and reason and modesty, harmony and grace. When there’s so much darkness about – in the aesthetics of contemporary dance and the world at large – it is all the more regrettable that this is the last outing for the Richard Alston Dance Company after 25 years as a cornerstone of British contemporary dance.

The company is closing due to a funding gap rather than any lack of appetite from the 71-year-old choreographer, and he’ll continue to work independently. His sense of forward motion is on display here in an array of recent and new work.

Isthmus, from 2012, is the oldest piece on stage, albeit one that feels timelessly modern. The dancing is smart, beautiful, clear as a ringing note struck on the side of a glass. It is also a great example of Alston’s famously musical choreography, which doesn’t laboriously mimic melody or pulse but dances alongside it, providing a counterpoint and catching certain tones and turns of phrase.




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The 2015 duet Mazur makes the bill in order to give a proper farewell to pianist and longtime collaborator, who plays a selection of Chopin mazurkas on stage. A dextrous, sensitive player, his dynamic shifts underscore the dance. Alston’s steps are so fluently arranged it’s like being on your best conversational form. Swift chainé turns and grand jetés are absorbed into deft phrases, the difficulty of a series of jumps where the body changes direction are effortlessly underplayed; it’s dance that wears its intelligence lightly.

Another nod to an important collaborator comes in Martin Lawrance’s A Far Cry. Lawrance started as a dancer in Alston’s company in 1995, before becoming rehearsal director and associate choreographer. The work brings intoxicating speed, with the dancers’ clarity in quickly unfolding angles never compromised.

The new piece Shine On was made as Alston faced the reality of losing his company, and it’s a subdued yet defiant work, the dancers facing the audience as soprano Katherine McIndoe sings WH Auden’s text in Benjamin Britten’s On This Island: “Let the hot sun / shine on, shine on.” The performers serious-faced and resolute, they open and close the piece in strident, certain unison, etching the elegant figures of Alston’s choreography with its deeply classical sensibility. There’s a poignant central duet for Niall Egan and Joshua Harriette, made of tender strength, careful grip and small details.




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The evening and the company itself closes with Voices and Light Footsteps, another fine new work that is Alston at his best. Set to a mix of Monteverdi, the dancers fly, swoop and lunge in light glancing leaps and gently tilted lines. (It shares a title but none of its steps with a Monteverdi piece Alston made in the 80s.) There is a spellbinding solo by Monique Jonas, a young dancer of great composure and singing lines. Alston has always nurtured talented performers, and this current company has a rich mix of styles and physiques yet they dance with a truly unified voice. They will all, no doubt, go on to rewarding careers elsewhere. As, hopefully, will Alston himself. As a company, though, they will be much missed.

At Sadler’s Wells, London, on 8 March.

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NASA Mulls Next Steps for Boeing’s Starliner Astronaut Taxi After Shortened Test Flight | Space

It’ll be a little while before we know if the next flight of Boeing’s new will carry astronauts.

On Dec. 20, 2019, Starliner launched on an uncrewed mission called (OFT), which was designed to demonstrate the capsule’s ability to fly NASA astronauts to and from the International Space Station (ISS). Boeing has been contracted by NASA’s Commercial Crew Program to do just that, as has SpaceX.

OFT was supposed to last eight days and feature an autonomous docking with the station. But Starliner suffered a shortly after liftoff and got stranded in an orbit too low to allow a rendezvous with the ISS. The reusable capsule ended up zooming around Earth by itself for 48 hours, then coming down for a picture-perfect landing in New Mexico’s White Sands Missile Range on Dec. 22.

The original plan called for OFT to be followed by a crewed demonstration mission to the ISS. And that option is still on the table, despite the issues with December’s flight, NASA Administrator Jim Bridenstine Tuesday (Jan. 7).

“NASA is evaluating the data received during the mission to determine if another uncrewed demonstration is required. This decision is not expected for several weeks as teams take the necessary time for this review,” Bridenstine wrote. 

“NASA’s approach will be to determine if NASA and Boeing received enough data to validate the system’s overall performance, including launch, on-orbit operations, guidance, navigation and control, docking/undocking to the space station, reentry, and landing,” he added. “Although data from the uncrewed test is important for certification, it may not be the only way that Boeing is able to demonstrate its system’s full capabilities.”

Bridenstine also announced that NASA and Boeing are forming a joint team to investigate Starliner’s timing anomaly and figure out how to make sure it doesn’t happen again. 

“Once underway, the investigation is targeted to last about two months before the team delivers its final assessment,” the NASA head wrote. He added that Starliner is currently being transported from White Sands to Boeing’s facilities on Florida’s Space Coast, where the capsule will be examined in even greater detail.

The latest big Commercial Crew contracts were awarded in 2014. Boeing got $4.2 billion to finish development work on Starliner and fly six operational, crewed ISS missions. SpaceX got $2.6 billion to do the same with its Crew Dragon capsule.

Crew Dragon aced its version of OFT, the uncrewed , in March of last year. SpaceX is now gearing up for a crucial in-flight test of the capsule’s emergency-escape system, which is . If that test goes well, Crew Dragon would be pretty much cleared for Demo-2, a test mission that will fly NASA astronauts Bob Behnken and Doug Hurley to and from the ISS.

Mike Wall’s book about the search for alien life, “” (Grand Central Publishing, 2018; illustrated by), is out now. Follow him on Twitter . Follow us on Twitter or

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