o Beliefs/Traditions: What kinds of beliefs or traditions might shape the experience of Indigenous youth? o Gender: What are the gender role expectations for Indigenous youth? Are they different compared to indigenous youth in Canada?
o The Self: Can you say something about the personal, cultural, or ethnic identity of Indigenous youth?
o Family Relationships: What are common parenting practices, the quality of parent-adolescent relations, how much conflict, and what do Indigenous youth and their parents argue about?
o Friends and Peers/Youth Culture: How much do Indigenous adolescents associate with peers? To what extent are there distinct youth culture characteristics?
o Love and Sexuality: What do we know about dating, cohabitation, marriage, sex, childbirth, and views on sexual orientation and identity in Indigenous youth? o Health Risk Behavior: What are the rates of adolescent drug and alcohol use, crime, gang involvement, and suicide/depression? Are there other threats to Indigenous adolescent health? o Education: What are the literacy and secondary and post-secondary education participation rates?
o Work: What kind of paid and unpaid work do adolescents perform and are they obligated to work? Do they perform household chores or care for younger siblings? o Media: What are the rates of media use by Indigenous adolescents (e.g., internet, music, cellphones)?
o Politics and Military: Are Indigenous adolescents politically active (e.g., what is the voting age and who votes and to what extent do they participate in the military.
o Unique Issues: Are there unique experiences of Indigenous adolescents that we should know about? • Reflection Paragraph. At the end of your chapter section, include a paragraph or two that briefly describes your thoughts on research about Indigenous youth in Canada. Possible questions to think about: o How easy/difficult was it to find relevant research?
o Does the research you encountered provide a balanced view (e.g., positive and negative outcomes are discussed) of the development of Indigenous youth in Canada? What is the lens we use to see these youth? o What research topics, other than the one(s) you reviewed, might also be important in understanding adolescent development among Indigenous youth in Canada? What should future research examine?
o How is research on Indigenous youth in Canada similar to or different from research on youth in general? o What is the role of the historical context in shaping the experience of Indigenous youth in Canada? (c) Attachments. Turn your term paper in, with all attachments in the following order (use wing clip or duotang to bind): 1. Your letter to Dr. Steinberg, with your signature(s) 2. Your chapter section with name(s) and word count on first page (you do NOT need a separate title page — just make it look like the first page of a chapter section)
- A separate reference page in APA style where you list all your sources (between 4 and 8)
Green, J. R. (2000). 1. In Straight Lick : The Cinema of Oscar Micheaux (pp. 1-30). Bloomington, US: Indiana University Press. Recovered from http://www.ebrary.com.libproxy.nau.edu Movie chief and creator Oscar Micheaux's works are thoroughly analyzed to contemporary producer D.W. Griffith's film, Birth of a Nation. Micheaux's film, Within Our Gates, similar to Griffith's film, glorifies an upbeat middle class couple, yet the social complexities and foundation accounts of these couples are altogether different. Griffith's character Elsie Stoneman is a special and fragile white northern lady who later grasps prejudice and experiences passionate feelings for a Klu Klux Klan part who saved her. Micheaux's Sylvia is a blended African American lady who does not originate from an advantaged family and is exceptionally autonomous. She begins to look all starry eyed at Dr. Vivian, not on the grounds that he protected her, and fund-raises for an underprivileged dark school. Micheaux's tale, The Forged Note: A Romance of the Darker Races, outlines Michaeux's philosophical control contrasted with Griffith's undaunted Manichean state of mind. The creator takes note of that Griffith's goals to clashes normally included power; Micheaux's goals were practiced by training. Micheaux's depiction of compensation is two sweethearts at long last combining as perfect partners. Griffith's compensations are vengeance and reimbursement. Both Micheaux and Griffith endeavored to depict the perfect average American culture, however with essential contrasts between the two depictions. Griffith needed this unspoiled symbol to stay with the racial oppressors and to keep up racial virtue. Micheaux needed others to have the capacity to get to the white collar class life. The creator relates that Micheaux's perspectives were from the base turning upward as underprivileged individuals endeavoring to end up white collar class, while Griffith's perspectives were starting from the top, depending on high society to develop the working class. Green, J. R. (2000). 8. In Straight Lick : The Cinema of Oscar Micheaux (pp. 123-136). Bloomington, US: Indiana University Press. Recovered from http://www.ebrary.com.libproxy.nau.edu The creator examines in detail the stereotyping and personification of African Americans as managed by Oscar Micheaux in his movies and especially the characters in his preparations. Micheaux's principle center in life was to inspire others, however stereotyping and personifications were frequently barricades for him. The creator considers the film The Exile by Micheaux and relates the battles of the movies characters Jean, Jango, and Edith to the greater social issues of African American generalizations among whites. The contention among Edith and Jango about instruction is contrasted with the contemporaneous supposition that African Americans amid the time of Prohibition were regularly overeducated for the employments they were performing. The creator features Micheaux's worries of the debasement of the nobility of African Americans by participating in occupations of ill-conceived business amid Prohibition. The film The Darktown Revue, the main show film by Micheaux, gives both positive pictures and negative racial generalizations which the creator portrays as intelligent contentions by Micheaux to represent the issue of African American twoness. Alain Locke's course of events of African American music intently coordinates Micheaux's own melodic encounters and can be utilized to distinguish Micheaux's movies from both a melodic and political point of view. The creator clarifies the word darktown as a dark network, yet additionally shows a more profound significance, that of a haven for African American minstrel performers getting away from the ethnic exaggerations of their stage exhibitions. These minstrel performers endured an obscured line between dread of disappointment or analysis and dread of damage or even passing. Green, J. R. (2000). 9. In Straight Lick : The Cinema of Oscar Micheaux (pp. 137-156). Bloomington, US: Indiana University Press. Recovered from http://www.ebrary.com.libproxy.nau.edu Oscar Micheaux's film The Darktown Revue is examined from the point of view of how Micheaux dealt with the many negative personifications of African Americans and correlations are attracted to the Fisk Jubilee Singers. The creator relates how the Fisk Jubilee Singers from the dark Fisk University in Nashville visited the eastern US amid the 1870's and were a triumph both monetarily and politically. This gathering of dark entertainers is uncovered as the gathering which made ready for future dark melodic theater and furthermore attempted to elevate the cartoon of Black Americans as saw from the prevalently white open. Examinations are attracted to G. D. Pike's account of the Fisk Singers and Micheaux's film The Darktown Revue as both utilized common personifications to impact change in their gatherings of people. The creator takes note of how the racial atmosphere in Micheaux's years was much more savage than the season of the Fisk Singers about sixty years sooner. Exaggeration in Micheaux's time was seen as a barricade for African American development. The creator clarifies the two demonstrations of the Darktown Revue and the cartoons exhibited. Micheaux's utilization of structure in the film is paradigmatically clarified as switching back and forth among positive and negative figures, depicted by the theme speaking to white collar class African Americans and the exhibitions including changed racial cartoons, individually. The cutting look of Micheaux is clarified as his focus on negative pictures. Differences to the Fisk Singers and Micheaux are noted as the Fisk Singers essentially utilized just positive pictures. The creator safeguards Micheaux's point of view on exaggerations and compliments his soul.>GET ANSWER