Insight ::: 03.04.2024

By Tim Gihring Brand Narrator Minneapolis Institute of Art

The last time Robin HickmanWinfield saw Gordon Parks was in 2006, shortly before his death at 93. They were in New York, in the elegant apartment that Parks bought in 1971 after directing his second film, Shaft. Parks made dinner, as he liked to do. Played the piano. Yet something was off. His eyes filled with tears. Parks had always seemed the epitome of cool, as the first Black photographer for Life magazine, as a civil rights activist, as the Hollywood raconteur the New York Times called—later in life, when he still had a full head of white hair and a well-groomed mustache— America’s sexiest great-grandpa. (“An ultra-relaxed masculinity,” a fellow photographer once said of his style.) He had advanced a kind of lyrical photojournalism, at once artful and incisive, like the sixty-some images in the exhibition “American Gothic: Gordon Parks and Ella Watson” on view at Mia through June 23. But now, as he confessed to Hickman-Winfield, he was worried. Violence was still upending neighborhoods. The Black community was still hurting. Had his work been in vain? “Baby,” he asked her, “what’s going to happen to Black boys? What did I really do?”

Parks had grown up in Fort Scott, Kansas, the youngest of fifteen children. In his first autobiography—A Choice of Weapons, which came out in

1966—he describes a Jim Crow childhood of attending segregated schools and fearing for his life. By early adolescence, he had lost four friends to violence and nearly drowned when a group of white boys threw him in a river, assuming he couldn’t swim. At 14, when his mother died, he moved to St. Paul to live with a sister. He figured things would be better up north. His sister’s husband, however, soon threw him out, and Parks spent his first Minnesota winter on the streets, riding trolleys to stay warm. He eventually found work— washing dishes, playing piano in a jazz band, serving passengers on the Great Northern railroad as a porter—before hitting on the idea of becoming a fashion photographer, making images like the ones he admired in the magazines left on the train. And one day he walked into Frank Murphy’s, a women’s clothing store in downtown St. Paul, and offered his services—despite not having any experience or a camera. He got the job. More gigs followed, shooting for the Minneapolis Spokesman and the St. Paul Recorder—local Blackowned newspapers—and he staged his first solo exhibition at the Hallie Q. Brown Community Center in St. Paul. In 1941, he moved to Chicago, and the following year to Washington, D.C., on a fellowship to shoot for the Farm Security Administration, a New Deal agency created to fight poverty. There, he met Ella Watson, a custodian in the FSA offices, and spent weeks photographing her

PARKS 4

Minneapolis Sailing Center’s (MSC) welcomes spring with high school sailboat racing. Sailboat racing is a dynamic coed sport that challenges sailors to use their minds and their muscles. With this warm weather, MSC anticipates being able to sail on April 2nd, following ice out by mid-March unless there is severe cold snap. Students in grades 7-12 can sign up to represent their school and join other sailors around the metro area competing in regattas on weekends. A school does not need to have an “official” sailing team for a student to join the MSC High School Sailing Program. Students from different schools can make up a complete team for regional

Governor Tim Walz and Explore Minnesota last week launched Star of the North, a new multi-platform campaign aimed at attracting visitors from around the world and recruiting top talent to Minnesota.

“As a top state for quality of life, health care, and business, we’re investing in a tourism and talent attraction campaign to promote Minnesota on a global stage,” said Governor Walz. “We’re also aiming to attract skilled workers to support our nation-leading health care, manufacturing, and technology sectors. Whether you’re visiting as a tourist, searching for a job, or looking to relocate, there are opportunities for everyone in Minnesota.”

“Minnesota’s got a lot going for it – we’re expanding economic opportunity, driving workforce development, and investing in our kids and families,” said Lieutenant Governor Flanagan. “From Greater Minnesota to the Twin Cities, we’re ready to welcome anyone who wants to see what we’re all about here in the North.”

The complementing tourism and talent attraction campaigns are the first of a kind for Explore Minnesota, promoting Minnesota in more places, and to more people, than the state has had capacity to reach in the past.

The Minnesota state legislature approved an increase of $3.84 million to Explore Minnesota during the 2023 session, and the state will invest $22 million in one-time funding over the next two years for an aggressive livability recruitment campaign. This new campaign will include national advertisements targeting workers in technology, health and wellness, education, and high-tech manufacturing. In total, this is a $25 million dollar investment to promote the state not only as a top tourist destination, but also a top place to live. “With the Star of the North campaign, we are promoting Minnesota’s many offerings to more

national and international travelers and future residents than ever before,” said Explore Minnesota Executive Director Lauren Bennett McGinty. “Minnesota ranks as one of the healthiest and most livable states in the nation with growing opportunities for job seekers and business owners. With uniquely green urban areas, sparkling lakes, cultural richness, and recreational opportunities, our state has unparalleled experiences for individuals and families.”

The Star of the North campaign builds on the Minnesota story, with the state continuing to place at the top of “Must Experience” travel lists

The

Gordon

By Leahjean M. Denley, MBA

The Diamond in the Rough Diamond Fellowship Program, powered by THE Frazier Foundation, a respected 501c3 IRS designated nonprofit organization, presents a dynamic and continuous leadership development endeavor.

Program Essence:

The program is tailored for exceptional candidates who showcase academic integrity, innate leadership acumen, and a profound dedication to public service that transcends mandatory service learning requisites for high school volunteer hours or college credit.

Candidate Selection:

Meticulously chosen, Diamond Fellows embody academic excellence, leadership potential, and a steadfast commitment to community engagement that surpasses expectations. Additionally, each cohort has their own unique distinction.

Cohort One Diamond Fellows are aged 1218 years old and stand 6foot or taller.

The Minneapolis Parks Foundation today/last week announced the official launch of Transforming North Commons Park, a $20 million capital campaign in partnership with the Minneapolis Park and Recreation Board (MPRB).

The campaign will result in the largest ever investment in a Minneapolis City Park and means a community vision is being realized, thanks to strong early community and philanthropic support. The Parks Foundation reported it has already secured $11.9 million, including a $10 million gift – the largest single gift in the organization’s

Empowering Mentorship: A unique facet of the program, Diamond Fellows possess the autonomy to select mentors from our esteemed partnerships and collaborations. This alliance ensures personalized mentorship, guiding the Diamond Fellows through their transformative journey. Selected Tall Girls United Executive Officers, Regional Captains and members will serve as mentors for Cohort One Diamond Fellows.

Access to Elite Resources: Once accepted into the program and following their initial cohort colloquium, Diamond Fellows unlock complete access to unique Institute for Arts & Academic Leadership and Athletic eXcellence [AALAX]

offerings and resources. These encompass an array of benefits including career exploration, skills training, advancement advocacy, permissible grants, and funding for professional development.

Sustained Connections: Diamond Fellows are strongly encouraged to forge lasting connections through their distinctive cohorts as well as nurturing relationships that traverse academic and professional pathways.

Alumni Influence: Numerous

history, to help make the North Minneapolis community’s vision for the park’s future a reality.

According to Jocey Hale, interim executive director of the Minneapolis Parks Foundation, the North Commons Park expansion and renovation “will be one of the most significant investments ever made in a neighborhood park in Minneapolis history. From upgrading the decadesold water park, adding a new field house and increasing community programming to renovating and expanding other park amenities and natural systems, North Commons Park

accomplished Diamond in the Rough 1.0 alumni contribute by becoming mentors to upcoming Diamond Fellows, embodying the program’s ethos of mentorship and growth.

Engage and Nominate #ForeverADiamond!

Mentorship Enlistment: Envision becoming a mentor through the Tall Girls United collaborations?

VIP and LIFE level members are encouraged to participate in the TGU Fund Mentorship Program. Step forward to illuminate the paths of aspiring leaders. Visit www. TallGirlsUnited.com to learn more.

Nominate a Scholar: Have a towering scholar(6foot+) in your midst?

Nominate them for the Cohort One Diamond in the Rough Diamond Fellowship Program, contributing to the tapestry of leadership, community dedication, and academic distinction. A member of our selection committee will contact you. For inquiries, nominations, or detailed insights, visit: https://www. coachleah.net/diamond-alumn Or send an email to: Programs@ CoachLeah.net Anticipate the upcoming roster of mentors, eagerly waiting to inspire.

will serve as a source of pride not only to its surrounding neighborhoods, but to the whole city and region.”

The North Commons Park project, approximately 2/3 new build and 1/3 renovation, features a 58,000-squarefoot 3-court field house; a community room with kitchen; dedicated senior, teen, fitness, wellness and art rooms; expanded lobby and lounge area; and a fully rebuilt water park with two water slides.

The overall cost for the North Commons Park renovation, $35 million, was recently approved by the MPRB Board of Commissioners, with funding coming from a

What we are talking about is a regional destination that people on the Northside and throughout our city can be proud of,” said Minneapolis Mayor Jacob Frey. Born and raised in North Minneapolis, Minnesota Senate President Bobby Joe Champion said, “It was always important for me to be able to go to North Commons Park where there was great recreation activities with trusting adults.”

at work, at home, in the community. Among these pictures—displayed together for the first time in Mia’s exhibition—is one of the most iconic images of the 20th century: Watson with her mop and broom before the flag. Parks titled it American Gothic.

In 1948, Parks joined Life, and stayed until the magazine folded in the 1970s.

By that time, when HickmanWinfield came to know him, he was famous. But he always made time for his Minnesota relatives. Hickman-Winfield was his great-niece, growing up in St. Paul, where she still lives today. Her father, Bobby Hickman, ran the city’s Inner City Youth League, which he cofounded in the late 1960s to empower Black teens. He would sometimes arrange for Parks to meet with inmates at the correctional facility in Stillwater, where they would read A Choice of Weapons about how to move

combination of federal, state and local dollars, in addition to philanthropic dollars raised by the Minneapolis Parks Foundation. As the primary philanthropic partner to MPRB, the Minneapolis Parks Foundation has been a driving force behind advancing parks design, promoting stewardship of Minneapolis parks within the civic and business community, and ensuring that city parks equitably serve the city’s diverse communities. Over the past 20 years, the Parks Foundation has delivered more than $42.2 million in private funding for the parks, primarily in underserved neighborhoods,

forward. “We just had this affectionate, loving relationship,” says HickmanWinfield, “and I loved what he did.” She, too, went into media. While still a teenager, she began working in local radio and television. In the 1990s, she launched the public television series Don’t Believe the Hype, recently revived by TPT, which puts young people of color in front of and behind the camera.

“He didn’t only inspire what I do for a living, but how to do it,” she says, noting that Parks and Watson worked together for about six weeks on their series, sometimes without any cameras around. “Spend that time. It’s about the person whose story is being told. It’s about the relationship.”

As Parks grew older, Hickman-Winfield became a kind of caretaker of his legacy. In the early 2000s, she helped produce Half Past Autumn, an Emmy-nominated documentary about his life and work that ran on HBO. Around the same time, the St. Paul school district wanted to rename an alternative

the Foundation said in a press statement. “Funding for a transformational project like the North Commons Park effort takes significant leadership from both private philanthropists as well as public officials. We are working with our elected officials as well as the Minneapolis Parks Foundation to raise the capital and programming dollars needed for this amazing public resource,” said Al Bangoura, superintendent, Minneapolis Park and Recreation Board.

“Every person in our city needs access to safe and incredible recreation spaces, including North Minneapolis...

learning center after Parks, and Hickman-Winfield was asked to handle the arrangements. Any association, she thought, needed to go beyond a name on the wall. “I said, ‘Sure, I’ll do that, but I don’t want to see students asking who’s Gordon Parks?’” she recalls. “To know him is transformative. We’ve proven that over and over again.”

Gordon Parks High School opened in 2008, two years after Parks’s death. Hickman-Winfield began teaching a three-week class there on his life and work, and still does. She talks about his story, how he went from homeless in St. Paul to famous around the world. And every year some of the students travel to Fort Scott, Kansas, to reflect on Parks’s journey.

“I call them my Gordon Parks Scholars, young people who have been dismissed and discounted,” she says.

“When they come to class, they learn about a man who had the same existence they’re experiencing. I tell them, ‘Uncle Gordon was a visionary, and you’re a visionary.’”

The Parks Foundation supports equitable investment in Minneapolis parks through the Transforming North Commons Park partnership and the People for Parks Fund.

The Minneapolis Park and Recreation Board oversees a park system spanning 7,059 acres of parkland and water in 185 park properties that include 55 miles of parkways, 102 miles of Grand Rounds biking and walking paths, 22 lakes, 12 formal gardens, seven golf courses and 49 recreation centers. The parks receive more than 30 million visits annually. Since 2013, MPRB has been recognized among the top five urban park systems in the United States by the Trust for Public Land.

In the past few years, there’s been a flurry of local interest in Parks. In 2020, the Minnesota Museum of American Art, in St. Paul, exhibited his work alongside that of contemporary photographer Jamel Shabazz. In 2022, the History Theatre, in St. Paul, staged Parks: Portrait of a Young Artist, about his Minnesota roots.

As part of the MMAA exhibition, Hickman-Winfield arranged a photo shoot. Students from Gordon Parks High School assembled glamorous outfits from the newly revived Frank Murphy’s clothing store (since closed again) and posed for black-and-white images at the St. Paul Hotel. Called Gordon Parks: A Homecoming, it was a re-creation of Parks’s early fashion photography—and for the students, a kind of affirmation: you are worth this. Parks was interested in what happens when people see themselves reflected in popular culture—or don’t. In 1947, he photographed one of the original “doll tests,” a series

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of experiments in which Black children were given white and Black dolls and asked which one they preferred. (HickmanWinfield has carried this interest into her own art: restyling dolls as Black men and women, a project she calls A Celebration of

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Soulful Dolls.) In 2006, Parks and Philip Kunhardt, a former managing editor of Life established the Gordon Parks Foundation to carry on this work. Based in New York, it maintains Parks’s archives, organizes exhibitions, and hosts an annual awards ceremony.

For years now, Hickman-Winfield has accompanied students from Gordon Parks to the ceremony, so they can feel the power of

Parks’s legacy and see themselves among single-name celebrities like Common and Usher. Recently, she brought a student whose family was in danger of losing their home. He was scared—about his future and the flight, having never flown before. “He almost broke my hand on the plane, he was so afraid,” she says. But at the awards dinner, Qubilah Shabbazz—the daughter of Malcom X and goddaughter of

Parks—asked him to walk down the red carpet with her. John Lewis, the late congressman and civil rights hero, shook his hand.

“The day before, we go to Harlem together,” recalls Hickman-Winfield, “and he walks up to the statue of Adam Clayton Powell, Jr.”—who represented the area in Congress for nearly three decades—“and asks me to take his picture. When I show him the photo, he sees the name of the store behind

him: Lazarus. He says, ‘Ain’t that the dude that Jesus rose from the dead? That’s me! I feel like I’ve been rose from the dead.’”

At times like these, she thinks back to the conversation in Parks’s apartment, shortly before he died: “What’s going to happen to Black boys? What did I really do?” In the moment, she could only make assurances: “Uncle Gordon, I promise you, your

living will not be in vain.” Now, she would answer differently. “I would say, ‘Uncle Gordon, they’re going to get on airplanes for the first time. They’re going to go to your hometown. They’re going to go to Harlem and profess that, like Lazarus, they have risen. They’re going to bear witness.’ But I’m sure he sees this. He knows. Promise kept.” Reprinted courtesy of the Minneapolis Institute of Art.

Cultura Afrovenezolana y Pedagogia Cimarrona

Las Estapas de la cultura de resistencial cultural Africana

¿Que es la cultura afrovenezolana?

La cultura afrovenezolana es aquel segmento de la diversidad cultural venezolana formada por las distintas expresiones musicales, culinarias, bailes, técnicas de trabajo, arquitectura tradicional, conocimientos tecnológicos, religiosos, valores sociales, elementos lingüísticos, traído por los africanos esclavizados y esclavizadas durante la época colonial venezolana. Este complejo cultural de origen africano se mantuvo a través del tiempo por un largo proceso de cultura de resistencia caracterizado por varias etapas. La cultura Kongo, Arara, Mina, Mandinga, Loango lograron sobrevir al calvario de la Trata negrera, la esclavitud y la discriminacion.

La primera etapa fue la preservación cultural de los códigos distintivos originales ante la imposición de la cultura occidental. Las diferentes muestras de tambores de percusión existente a o largo de la costa de Venezuela así lo evidencian. La preparación de algunos alimentos como la CAFUNGA de Barlovento, las construcciones de las casas, palabras como Malembe, Birongo, Carabali, Zambe, y las técnicas agrícolas son una muestra de la continuidad cultural africana en Venezuela

La segunda etapa fue la creación cultural expresada en la construcción de expresiones culturales al mezclarse voluntaria o involuntariamente con las culturas hispano-árabe o aborígenes. Así tenemos las como San Juan, San Benito, San Pedro, San Antonio, Diablos Danzantes de Venezuela, en

las cuales se mezclaron cantos, bailes e instrumentos musicales de las culturas aborígenes, hispano-árabes y africanas. La tercera etapa fue la innovación cultural, es decir las expresiones culturales que son el resultado un proceso continuo de recreación partiendo de las expresiones originales y recociendo en la africanía sus puntos de partida. En este contexto de innovación cultural tenemos los Quitiplás (instrumentos de percusión de Bambú en la región de Barlovento), el baile de los morochos, la bandola barloventeña, el arpa tuyera y sus respectivos bailes. Educación e interculturalidad: una lucha permanente

La cultura afrovenezolana forma parte de la diversidad cultural venezolana, la cual es poco reconocida por el sistema escolar. En los textos, programas, y la actual estructura curricular del sistema educativo venezolana estan casi invisibles.

Existe un desconocimiento la cultura afrovenezolana por parte de quienes elaboran programas y textos del sistema educativo venezolano. Este olvido, intencional o no, voluntario o involuntario, ha contribuido a que nuestros niñas y niños muchas veces sientan vergüenza de su propia cultura, que el sistema educativo deslegitima en el aula de clase y en las actitudes y prácticas discriminatorias de algunos docentes en la rutina escolar, al negar la entrada de las culturas locales afrovenezolanas a las aulas de clase. Tres son las limitaciones con respecto al docente en los procesos de reconocimiento de la afrovenezolanidad en el sistema educativo:

1. El desconocimiento de la cultura afrovenezolana

2. El sistema de formación a que ha sido sometido durante 20 años que no le dio las herramientas para trabajar bajo el concepto de

interculturalidad y respeto a las diferencias.

3. Desconocimiento de los contextos históricos, sociales y culturales en las comunidades donde ejerce la docencia. Ante estas tres limitaciones la Red de Organizaciones Afrovenezolanas hizo tres sugerencias:

La formación del docente Incorporar en los procesos de formación docente los aspectos históricos, culturales, políticos, económicos de los afrodescendientes.

Cambiar la estructura curricular vigente Hasta los momentos tenemos un instrumento curricular negador de la interculturalidad y discriminador de las culturas afrovenezolanas. Según la Convención Internacional Sobre la Eliminación de Todas las Formas de Discriminación

Racial de las Naciones Unidas, el artículo 1 reza: “La expresión

discriminación racial denota toda distinción, exclusión, restricción o preferencia basada en motivos de raza, color, linaje u origen nacional o étnico que tenga pro objeto o pro resultado anular o menoscabar el reconocimiento, goce o ejercicio, en condiciones de igualdad, de los derechos humanos y libertades fundamentales en la esfera política, económica, social, cultural o en cualquier otra esfera de la vida pública.”

Impulsar la pedagogia cimarrona.

La pedagogia cimarrona es la visibilizacion de los aportes africanos en todas sus dimensiones que han contribuido a la identidad nacional. Esa pedagogia cimarrona tiene su base en la oralidad, en la cultura de resistencia, en la medicina tradicional, la estetica y la espiritualidad.

Las y los pedagogos cimarrones y cimarronas seguiremos batallando por nuestra ancestralidad.

Afro-Venezuelan culture and Cimarron pedagogy

What

culture?

Afro-Venezuelan culture is that segment of Venezuelan cultural diversity formed expressions, culinary, dances, work techniques, traditional architecture, technological knowledge, religious, social values, and linguistic elements, brought by enslaved enslaved Africans during the Venezuelan colonial era. This cultural complex of African origin was maintained over time by a long process of culture of resistance characterized by several stages.

The Kongo, Arara, Mina, Mandinga, and Loango cultures managed to survive the ordeal of the slave trade, slavery, and discrimination.

The stages of the culture of African cultural resistance cultural preservation of the original distinctive codes before the imposition of Western percussion drums existing along the coast of Venezuela show this. The preparation of some foods such as the CAFUNGA of Barlovento, the construction of the houses, words such as Malembe, Birongo, Carabali, and Zambe, and agricultural techniques are a sample of African cultural continuity in Venezuela

The second stage was cultural creation expressed in the construction of cultural expressions by voluntarily or involuntarily mixing with Hispanic-Arab or aboriginal cultures. This is how we have the Afro-Catholic religious

festivals such as San Juan, San Benito, San Pedro, San Antonio, Dancing Devils of Venezuela, in which songs, dances and musical instruments of the aboriginal, Hispanic-Arab and African cultures were mixed.

The third stage was cultural innovation, that is, the cultural expressions that are the result of a continuous process of recreation starting from the original expressions and recoiling their starting points in Africa. In this context of cultural innovation we have the Quitiplás (Bambú percussion instruments in the Barlovento region), the dance of the morochos, the barloventeña bandola, the tuyera harp and their respective dances.

Education and interculturality: a permanent struggle

Afro-Venezuelan culture is part of Venezuelan cultural diversity, which is little recognized by the school system. In the texts, programs, and the current curricular

structure of the Venezuelan education system they are almost invisible. There is a lack of knowledge of the historical culture by those who elaborate programs and texts of the Venezuelan educational system. This forgetfulness, intentional or not, voluntary or involuntary, has contributed to our girls and boys often feeling ashamed of their own culture, which the educational system delegitimizes in the classroom and in the discriminatory attitudes and practices of some teachers in the school routine, by denying the entry of local Afro-Venezuelan cultures into the classrooms.

There are three limitations with respect to the teacher in the processes of recognition of Afro-Venezuela in the educational system:

1. The ignorance of AfroVenezuelan culture

2. The training system to which he has been subjected for 20 years did not give him the

tools to work under the concept of interculturality and respect

3. Ignorance of the historical, social, and cultural contexts in the communities where he teaches. Faced with these three limitations, the Network of Afro-Venezuelan Organizations made three suggestions: Teacher training Incorporate the historical, cultural, political, and economic aspects of people of African descent into the processes of teacher training. Change the current curriculum structure So far we have a curricular instrument that denies interculturality and discriminates against AfroVenezuelan cultures. According to the United Nations International Convention on the Elimination of All Forms of Racial Discrimination, article 1 reads:

“The expression racial

discrimination denotes any distinction, exclusion, restriction or preference based on reasons of race, color, lineage or national or ethnic origin that has the object or pro result to annul or undermine the recognition, enjoyment or exercise, under conditions of equality, of human rights and fundamental freedoms in the political, economic, social, cultural sphere or in any other sphere of public life.”

Promote the Cimarron pedagogy.

The Maroon pedagogy is the visibility of African contributions in all their dimensions that have contributed to national identity. That midwife pedagogy is based on orality, in the culture of resistance, in traditional medicine, aesthetics and spirituality.

The pedagogues cimarrones and cimarronas ancestry.

Cultura Afro-Venezuelana e Pedagogia Cimarrona

O que é a cultura afrovenezuelana? A cultura afrovenezuelana é aquele segmento da diversidade cultural venezuelana formada pelas diferentes expressões musicais, culinárias, danças, técnicas de trabalho, arquitetura tradicional, conhecimentos tecnológicos, religiosos, valores sociais, elementos linguísticos, trazido pelos africanos escravizados e escravizados durante a época colonial venezuelana.

Este complexo cultural de origem africana foi mantido ao longo do tempo por um longo processo de cultura de resistência caracterizado por várias etapas.A cultura Kongo, Arara, Mina, Mandinga, Loango conseguiram superar o calvário

As etapas da cultura de resisténcia cultural Africana A primeira etapa foi códigos distintivos originais ocidental. As diferentes amostras de tambores de longo da costa da Venezuela

de alguns alimentos como a CAFUNGA de Barlovento, as construções das casas, palavras como Malembe, Birongo, Carabali, Zambe, e as técnicas continuidade cultural africana na Venezuela A segunda etapa

expressões culturais ao se misturar voluntariamente ou involuntariamente com as culturas hispano-árabe ou aborígenes. Assim temos as festas religiosas afro-católicas como San Juan, San Benito, San Pedro, San Antonio, Diablos Danzantes de Venezuela, nas quais se misturaram cantos,

danças e instrumentos musicais das culturas aborígenes, hispano-árabes e africanas. A terceira etapa foi a o resultado de um processo das expressões originais e recocendo na africania seus pontos de partida. Neste temos os Quitiplás (instrumentos dos morochos, a bandola barloventeña, a harpa tuyera e suas respectivas danças. Educação e interculturalidade: uma luta permanente

A cultura afrovenezuelana faz parte da diversidade cultural venezuelana, que é pouco reconhecida pelo sistema escolar. Nos textos, programas, e a atual estrutura curricular do sistema educacional venezuelano Existe um desconhecimento

cultura afro-venezuelana por parte daqueles que elaboram programas e textos do sistema educacional venezuelano. Este esquecimento, intencional ou contribuiu para que nossas meninas e meninos muitas vezes sintam vergonha de sua própria cultura, que o sistema

educacional deslegitima na sala de aula e nas atitudes e práticas discriminatórias de alguns professores na rotina escolar, ao negar a entrada das culturas locais afro-venezuelanas nas salas de aula.

processos de reconhecimento da afrovenezolanidade no sistema educativo: 1. O desconhecimento da cultura afro-venezuelana 2. O sistema de lhe deu as ferramentas para trabalhar sob o conceito de interculturalidade e respeito às diferenças.

3. Desconhecimento dos contextos históricos, sociais e culturais nas comunidades onde exerce a docência.

Diante destas

três limitações, a Rede de Organizações AfroVenezuelanas fez três sugestões:

A formação do professor

Incorporar nos processos aspectos históricos, culturais, políticos, econômicos dos afrodescendentes.

Alterar a estrutura curricular vigente Até agora, temos um instrumento curricular negador da interculturalidade

e discriminador das culturas afro-venezuelanas. De acordo

Racial das Nações Unidas, o artigo 1o diz:

em motivos de raça, cor, linhagem ou origem nacional ou étnica que tenha pro objeto ou pro resultado anular ou prejudicar o reconhecimento, gozo ou exercício, em condições de igualdade, dos direitos humanos e liberdades fundamentais na esfera política,

econômica, social, cultural ou em qualquer outra esfera da vida pública.” Impulsionar a pedagogia cimarrona. A pedagogia cimarrona é a visibilidade das contribuições africanas em todas as suas dimensões que contribuíram para a identidade nacional. Essa

pedagogia cimarrona tem a sua base na oralidade, na cultura de resistência, na medicina tradicional, na estética e na espiritualidade.

Os pedagogos e cimarrões e cimarronas continuaremos a lutar pela nossa ancestralidade.

Culture Afro-Venezuelaine et pédagogie Cimarron

Les étapes de la culture de la résistance culturelle Africaine

Qu’est-ce que la culture afrovénézuélienne ?

La culture afrovénézuélienne est ce segment de la diversité culturelle vénézuélienne formé par musicales, culinaires, danses, techniques de travail, architecture traditionnelle, connaissances technologiques, valeurs religieuses, sociales et éléments linguistiques, apportées par les esclaves africains pendant l’ère coloniale vénézuélienne. Ce complexe culturel d’origine africaine s’est un long processus de culture de résistance caractérisé par plusieurs étapes. Les cultures Kongo, Arara, Mina, Mandinga et Loango ont réussi à survivre à l’épreuve de la traite négrière, de l’esclavage et de la discrimination.

La première étape a été la préservation culturelle des codes distinctifs d’origine avant l’imposition de la culture échantillons de tambours à percussion existant le long des côtes du Venezuela le montrent. La préparation de certains aliments comme le CAFUNGA de Barlovento, la construction des maisons, des mots comme Malembe, Birongo, Carabali et Zambe et les techniques agricoles sont un échantillon de la continuité culturelle africaine au Venezuela.

La deuxième étape était la création culturelle exprimée dans la construction d’expressions culturelles par mélange volontaire ou involontaire avec des cultures hispano-arabes ou autochtones.

C’est ainsi que nous avons les fêtes religieuses afrocatholiques telles que San Juan, San Benito, San Pedro, San Antonio, Diables dansants du

Venezuela, dans lesquelles se mélangeaient des chants, des danses et des instruments de musique des cultures aborigène, hispano-arabe et africaine. .

La troisième étape était l’innovation culturelle, c’est-à-dire les expressions culturelles qui sont le résultat d’un processus continu de recréation à partir des expressions originales et en reculant leurs points de départ en Afrique. Dans ce contexte d’innovation culturelle, nous avons les Quitiplás (instruments à percussion Bambú de la région de Barlovento), la danse des morochos, la bandola barloventeña, la harpe tuyera et leurs danses respectives.

Éducation et interculturalité : Un combat permanent

La culture afrovénézuélienne fait partie de la diversité culturelle vénézuélienne, peu reconnue par le système scolaire. Dans les textes, les programmes et la structure curriculaire actuelle du système éducatif vénézuélien, ils

sont presque invisibles. Il existe un manque de connaissance de culture afro-vénézuélienne de la part de ceux qui élaborent les programmes et les textes du système éducatif vénézuélien. Cet oubli, intentionnel ou non, volontaire ou involontaire, a et nos garçons aient souvent honte de leur propre culture, que le système éducatif délégitimise dans la classe et dans les attitudes et pratiques discriminatoires de certains enseignants dans la routine scolaire, en refuser l’entrée des cultures afro-vénézuéliennes locales dans les salles de classe.

Il existe trois limites à l’égard de l’enseignant dans les processus de reconnaissance de l’Afro-Venezuela dans le système éducatif :

1. La méconnaissance de la culture afro-vénézuélienne 2. Le système de formation auquel il est soumis depuis 20 ans ne lui a pas donné les outils pour travailler sous le concept d’interculturalité et de

3. Ignorance des contextes historiques, sociaux et culturels des communautés où il enseigne.

Face à ces trois limites, le Réseau des Organisations Afro-Vénézuéliennes a fait trois suggestions : Formation des enseignants

Intégrer les aspects historiques, culturels, politiques et économiques des personnes d’ascendance africaine dans les processus de formation des enseignants.

Changer la structure actuelle du programme Jusqu’à présent, nous disposons d’un instrument pédagogique qui nie l’interculturalité et discrimine les cultures afrovénézuéliennes. Selon la Convention internationale des Nations Unies sur l’élimination de toutes les formes de discrimination raciale, l’article 1 se lit comme suit : “L’expressiondiscrimination raciale désigne toute distinction,

exclusion, restriction ou préférence fondée sur des raisons de race, de couleur, de lignée ou d’origine nationale ou ethnique, ayant pour objet ou pour résultat d’annuler ou de porter atteinte à la reconnaissance, à la jouissance ou à l’exercice, dans des conditions d’égalité., des droits de l’homme et des libertés fondamentales dans la sphère politique, économique, sociale, culturelle ou dans toute autre sphère de la vie publique.” Promouvoir la pédagogie Cimarron. La pédagogie Marron, c’est la visibilité des apports africains dans toutes leurs dimensions qui ont contribué à l’identité nationale. Cette pédagogie sage-femme s’appuie sur la morale, sur la culture de résistance, sur la médecine traditionnelle, l’esthétique et la spiritualité.

Les pédagogues cimarrones et cimarronas continueront à se battre pour notre ascendance.

Dhaqanka Afro-Venezuelan iyo waxbarashada Cimarron

addoonsiga, iyo takoorka. Marxaladihii uu soo maray Dhaqanka

Waa maxay dhaqanka AfroVenezuelan?

Dhaqanka AfroVenezuelan waa qaybta kala duwanaanshaha dhaqameed ee Venezuela oo ay sameeyeen tibaaxaha muusiga ee kala duwan, cunnada, qoob ka ciyaarka, farsamooyinka shaqada, qaab dhismeedka dhaqanka, aqoonta tignoolajiyada, diinta, qiyamka bulshada, iyo qaybaha luqadaha, oo ay keeneen Afrikaan la addoonsaday xilligii gumeysiga Venezuela. Isku dhafkan dhaqameed ee asalka Afrikaanka ah waxaa lagu ilaalinayay muddo dheer geeddi-socod dheer oo dhaqanka iska caabin ah oo lagu garto dhowr marxaladood. Dhaqamada Kongo, Arara, Mina, Mandinga, iyo Loango waxay ku guulaysteen inay ka badbaadaan dhibaatada ka ganacsiga addoonsiga,

Africa Marxaladda koowaad waxay ahayd ilaalinta dhaqameed ee xeerarkii asalka ahaa ka hor inta aan la soo rogin dhaqanka reer galbeedka. Tusaalooyinka kala duwan ee durbaanka garaaca ee ka jira xeebaha Venezuela ayaa muujinaya tan. Diyaarinta cuntooyinka qaarkood sida CAFUNGA ee Barlovento, dhismaha guryaha, ereyada sida Malembe, Birongo, Carabali, iyo Zambe, iyo farsamooyinka beeraha ayaa tusaale u ah sii

wadida dhaqanka Afrikaanka ee Venezuela Marxaladda labaad waxa ay ahayd abuurka dhaqameed ee lagu muujiyey dhisidda tibaaxaha dhaqanka iyadoo si mutadawacnimo ah ama ikhtiyaari ah loogu dhex

milmay Hisbaanik-Carab ama dhaqamada asalka ah. Tani waa

diimeed ee Afro-Catholic sida San Juan, San Benito, San Pedro,

San Antonio, Dancing Devils of Venezuela, kuwaas oo heesaha, qoob ka ciyaarka iyo qalabka muusikada ee asalka, HispanicCarabta iyo dhaqamada Afrika ay isku dhafan yihiin. . Marxaladda saddexaad waxay ahayd hal-abuur dhaqameed, taas oo ah, tibaaxaha dhaqameed ee ka dhashay hab-socodka madadaalada ee joogtada ah oo ka bilaabmaya tibaaxaha asalka ah iyo dib u soo celinta meelaha ay ka soo bilaabayaan Afrika. Macnaha guud ee halabuurka dhaqameed waxaanu ku leenahay Quitiplás (qalabka garaaca Bambú ee gobolka Barlovento), qoob ka ciyaarka morochos, barloventeña bandola, kataaradda tuyera iyo qoob-ka-ciyaarkooda. Waxbarashada iyo dhaqamada ka dhexeeya: halgan joogto ah Dhaqanka AfroVenezuelan waa qayb ka mid ah kala duwanaanshaha dhaqameed ee Venezuela, kaas oo aan la aqoonsanayn nidaamka dugsigu. Qoraallada, barnaamijyada, iyo qaab-

dhismeedka manhajka hadda jira ee nidaamka waxbarashada Venezuela waxay ku dhow yihiin inaan la arki karin. Waxaa jira aqoon la’aan ah oo ku saabsan muhiimada taariikhiga ah ee dhaqanka Afro-Venezuelan by kuwa sii faahfaahiyay barnaamijyada iyo qoraallada nidaamka waxbarashada Venezuela. Hilmaantan, ula kac iyo mid aan ahayn, mid iskaa wax u qabso ah iyo mid aan ku qasbanayn, waxay ka qayb qaadatay in hablaheenna iyo wiilasheenna ay inta badan dareemaan xishoodka dhaqankooda, kaas oo nidaamka waxbarashadu uu sharciyeeyay fasalka dhexdiisa iyo hab-dhaqanka iyo dhaqanka takoorka ah ee macallimiinta qaarkood ee joogtada ah ee dugsiga. diidmada soo galitaanka dhaqamada AfroVenezuelan ee gudaha fasalada. Waxaa jira saddex xaddidaad oo ku saabsan macallinka hababka aqoonsiga Afro-Venezuela ee nidaamka waxbarashada:

1. Jahliga dhaqanka Afro-Venezuelan

2. Nidaamka tababarka ee uu ku jiray 20 sano ma siinin isdhexgalka iyo ixtiraamka kala duwanaanshaha. 3. Jahliga taariikhda, bulshada iyo dhaqanka ee bulshooyinka uu wax ku baro. Iyadoo ay wajahday saddexdan xaddidaad, Shabakadda Ururrada Afro-Venezuelan waxay soo jeedisay saddex talo: Tababarka macalinka In lagu daro dhinacyada taariikhiga ah, dhaqanka, siyaasadda, iyo dhaqaalaha ee dadka asal ahaan ka soo jeeda Afrika habka tababarka macalimiinta. Beddel qaabka manhajka hadda jira Ilaa hadda waxaan haynaa qalab manhaj ah oo diidaya dhaqamada ka dhexeeya oo takooraya dhaqamada Afro-Venezuelan. Sida ku cad heshiiska caalamiga ah ee Qaramada Midoobay ee ciribtirka dhammaan noocyada takoorka jinsiyadeed, qodobka 1aad wuxuu akhriyaa: “Odhaahda midab-

takoorka midab-takoorka ahi waxay muujinaysaa farqi kasta, ka-saarid, xaddidid ama doorbidid kasta oo ku salaysan sababaha jinsiyadda, midabka, abtirsiinta ama jinsiyadda asalka ah ee leh shayga ama natiijada natiijada si loo baabi’iyo aqoonsiga, raaxaysiga ama jimicsiga, xaaladaha sinnaanta. , xuquuqda aadanaha iyo xorriyaadka aasaasiga ah ee siyaasadda, dhaqaalaha, bulshada, dhinaca dhaqanka ama qayb kasta oo kale oo nolosha dadweynaha.” Horumarinta waxbarashada Cimarron. Barashada Maroon waa muuqaalka wax ku biirinta Afrikaanka ee dhammaan cabbirkooda kuwaas oo gacan ka geystay aqoonsiga qaranka. Barashada umulisadu waxay ku salaysan tahay akhlaaqda, dhaqanka iska caabinta, daawooyinka dhaqameed, bilicda iyo ruuxa. Barbaarinta cimarrones iyo cimarronas waxay sii wadi doonaan inay u dagaalamaan awowgeenna.

Utamaduni wa Afro-Venezuelan na ufundisho wa Cimarron

na semi tofauti za muziki, upishi, densi, mbinu za kazi, usanifu wa jadi, maarifa ya kiteknolojia, maadili ya kidini, kijamii, na vipengele vya lugha, vilivyoletwa na Waafrika waliokuwa watumwa wakati wa enzi ya ukoloni wa

Venezuela. Mchanganyiko huu wa kitamaduni wa asili ya Kiafrika ulidumishwa kwa muda na mchakato mrefu wa utamaduni wa upinzani unaojulikana na hatua kadhaa.

Tamaduni za Kongo, Arara, Mina, Mandinga, na Loango ziliweza kustahimili majaribu ya biashara ya utumwa, utumwa na ubaguzi.

Hatua za Utamaduni wa ukinga wa Utamaduni wa

Afrika Hatua ya kwanza ilikuwa uhifadhi wa kitamaduni wa kanuni bainifu za asili kabla ya kuwekwa kwa utamaduni wa Magharibi. Sampuli tofauti

za ngoma za midundo zilizopo kando ya pwani ya Venezuela zinaonyesha hili. Utayarishaji wa baadhi ya vyakula kama vile CAFUNGA ya Barlovento, ujenzi wa nyumba, maneno kama Malembe, Birongo, Carabali, na Zambe, na mbinu za kilimo ni sampuli ya mwendelezo wa utamaduni wa Kiafrika nchini Venezuela. Hatua ya pili ilikuwa uundaji wa kitamaduni ulioonyeshwa katika ujenzi wa semi za kitamaduni kwa kujitolea au bila hiari kuchanganya na tamaduni za Kihispania-Kiarabu au tamaduni za asili. Hivi ndivyo tunavyokuwa na sherehe za kidini za Afro-Katoliki kama vile San Juan, San Benito, San Pedro, San Antonio, Mashetani Wachezaji wa Venezuela, ambapo nyimbo, densi na ala za muziki za tamaduni za asili, Puerto Rico-Kiarabu na Kiafrika zilichanganywa. . Hatua ya tatu ilikuwa uvumbuzi wa kitamaduni, ambayo ni, usemi wa kitamaduni ambao ni matokeo ya mchakato endelevu wa burudani kuanzia usemi wa asili na kurudisha nyuma sehemu zao za kuanzia barani Afrika. Katika muktadha huu wa uvumbuzi wa

kitamaduni tuna Quitiplás (zana za midundo za Bambú katika eneo la Barlovento), dansi ya wamorocho, bandola ya barloventeña, kinubi cha tuyera na ngoma zao husika. Elimu na tamaduni: mapambano ya kudumu

Utamaduni wa AfroVenezuela ni sehemu ya anuwai ya kitamaduni ya Venezuela, ambayo haitambuliwi kidogo na mfumo wa shule. Katika maandishi, programu, na muundo wa sasa wa mtaala wa mfumo wa elimu wa Venezuela ni karibu kutoonekana. Kuna ukosefu wa ujuzi wa umuhimu wa kihistoria wa utamaduni wa Afro-Venezuela na wale wanaofafanua programu na maandishi ya mfumo wa elimu wa Venezuela. Kusahau huku, kwa kukusudia au la, kwa hiari au kwa hiari, kumechangia wasichana na wavulana wetu mara nyingi kuhisi aibu juu ya tamaduni zao, ambazo mfumo wa elimu unazifanya darasani na katika tabia na tabia za kibaguzi za baadhi ya walimu katika utaratibu wa shule. kukataa kuingia kwa tamaduni za ndani za Afro-Venezuela darasani. Kuna vikwazo vitatu kuhusiana na mwalimu katika

taratibu za utambuzi wa AfroVenezuela katika mfumo wa elimu:

1.Ujinga wa utamaduni

wa Afro-Venezuela

2.Mfumo wa mafunzo

ambao amekuwa akifanyiwa

kwa miaka 20 haukumpa zana za kufanya kazi chini ya dhana ya tamaduni na kuheshimu tofauti.

3.Kutojua muktadha wa

kihistoria, kijamii na kitamaduni katika jamii anamofundisha. Kwa kukabiliwa na mapungufu haya matatu, Mtandao wa Mashirika ya Afro-Venezuela ulitoa mapendekezo matatu: Mafunzo ya walimu Jumuisha nyanja za kihistoria, kitamaduni, kisiasa na kiuchumi za watu wa asili ya Kiafrika katika michakato ya

mafunzo ya ualimu. Badilisha muundo wa sasa wa mtaala

chombo cha mtaala ambacho kinakanusha tamaduni tofauti na kubagua tamaduni za Afro-Venezuela. Kulingana na Mkataba wa Kimataifa wa Umoja wa Mataifa wa Kutokomeza Aina Zote za Ubaguzi wa Rangi, kifungu cha

1 kinasomeka hivi: “Maneno ya ubaguzi wa rangi yanaashiria tofauti yoyote, kutengwa, kizuizi au upendeleo kulingana na sababu za rangi, rangi, ukoo au asili ya kitaifa au kabila ambayo ina lengo au matokeo ya kitaalam utambuzi, starehe au mazoezi, chini ya masharti ya usawa. , haki za binadamu na uhuru

wa kimsingi katika nyanja ya kisiasa, kiuchumi, kijamii, kitamaduni au katika nyanja nyingine yoyote ya maisha ya umma.” Kuza ufundishaji wa Cimarron.

Ufundishaji wa Maroon

ni mwonekano wa michango ya Waafrika katika nyanja zao zote ambazo zimechangia utambulisho wa kitaifa.

Ufundishaji huo wa wakunga unategemea maadili, katika utamaduni wa upinzani, katika dawa za jadi, aesthetics na kiroho. Waalimu cimarrones na cimarronas wataendelea kupigania babu zetu.

Afro - Venezuelan asa ati pedagogy Cimarron

Translation by Macdonald Anyanwu Afrodescendientes Yoruba Text

African resistance

o wa ni eti okun ti Venezuela

Barlovento), ijó morochos, barloventeña bandola, háàpù

Igbagbe yi, imomose tabi rara, atinuwa tabi aibikita, ti mu ki awon omobirin ati omokunrin wa maa n tiju asa ti ara won, yara ikawe ati ninu iwa ati ise eleyameya ti awon oluko kan ninu ilana ile-iwe, nipase. kiko

1. Venezuelan 2.

3.

Devils Jijo ti Venezuela, ninu

isinru, ati iyasoto.

ni aaye eyikeyi ti igbesi aye gbogbo eniyan.”

Cimarron.

pada

Titi di isisiyi a ni ohun elo

bí Àdéhùn

-Èdè lórí Ìmúkúrò yà, ìwé 1 kà pé:

o ni nkan tabi abajade abajade

cimarrones ati cimarronas yoo wa.

Insight 2 Health

Early COVID-19 research is riddled with poor methods and low-quality results − a problem for science the pandemic worsened but didn’t create

By Dennis M. Gorman Professor of Epidemiology and Biostatistics, Texas A&M University

Early in the COVID-19 pandemic, researchers flooded journals with studies about the then-novel coronavirus. Many publications streamlined the peer-review process for COVID-19 papers while keeping acceptance rates relatively high. The assumption was that policymakers and the public would be able to identify valid and useful research among a very large volume of rapidly disseminated information.

However, in my review of 74 COVID-19 papers published in 2020 in the top 15 generalist public health journals listed in Google Scholar, I found that many of these studies used poor quality methods. Several other reviews of studies published in medical journals have also shown that much early COVID-19 research used poor research methods.

Some of these papers have been cited many times. For example, the most highly cited public health publication listed on Google Scholar used data from a sample of 1,120 people, primarily well-educated young women, mostly recruited from social media over three days. Findings based on a small, self-selected convenience sample cannot be generalized to a broader population.

And since the researchers ran more than 500 analyses of the data, many of the statistically significant results are likely chance occurrences. However, this study has been cited over 11,000 times.

A highly cited paper means a lot of people have mentioned it in their own work.

But a high number of citations is not strongly linked to research quality, since researchers and journals can game and manipulate these metrics. High citation of low-quality research increases the chance that poor evidence is being used to inform policies, further eroding public confidence in science.

Methodology matters I am a public health researcher with a long-standing interest in research quality and integrity. This interest lies in a belief that science has helped solve important social and public health problems. Unlike

The

the anti-science movement spreading misinformation about such successful public health measures as vaccines, I believe rational criticism is fundamental to science.

The quality and integrity of research depends to a considerable extent on its methods. Each type of study design needs to have certain features in order for it to provide valid and useful information.

For example, researchers have known for decades that for studies evaluating the effectiveness of an intervention, a control group is needed to know whether any observed effects can be attributed to the intervention.

Systematic reviews pulling together data from existing studies should describe how the researchers identified which studies to include, assessed their quality, extracted the data and preregistered their protocols. These features are necessary to ensure the review will cover all the available evidence and tell a reader which is worth attending to and which is not.

Certain types of studies, such as one-time surveys of convenience samples that aren’t representative of the target population, collect and analyze data in a way that does not allow researchers to determine whether one variable caused a particular outcome.

All study designs have standards that researchers can consult. But adhering to standards slows research down.

Having a control group doubles the amount of data that needs to be collected, and identifying and thoroughly reviewing

Hennepin Healthcare professional profile

Marcus Hollie – EVS Operations Manager

“I

Our

has fun together – there’s a lot of backand-forth banter. I like knowing that I’m helping someone. I’m giving back to the community that I grew up in.”

every study on a topic takes more time than superficially reviewing some. Representative samples are harder to generate than convenience samples, and collecting data at two points in time is more work than collecting them all at the same time.

Studies comparing COVID-19 papers with nonCOVID-19 papers published in the same journals found that COVID-19 papers tended to have lower quality methods and were less likely to adhere to reporting standards than non-COVID-19 papers. COVID-19 papers rarely had predetermined hypotheses and plans for how they would report their findings or analyze their data. This meant there were no safeguards against dredging the data to find “statistically significant” results that could be selectively reported.

Such methodological problems were likely overlooked in the considerably shortened peer-review process for COVID-19 papers. One study estimated the average time from submission to acceptance of 686 papers on COVID-19 to be 13 days, compared with 110 days in 539 pre-pandemic papers from the same journals. In my study, I found that two online journals

that published a very high volume of methodologically weak COVID-19 papers had a peer-review process of about three weeks.

Publish-or-perish culture

These quality control issues were present before the COVID-19 pandemic. The pandemic simply pushed them into overdrive. Journals tend to favor positive, “novel” findings: that is, results that show a statistical association between variables and supposedly identify something previously unknown. Since the pandemic was in many ways novel, it provided an opportunity for some researchers to make bold claims about how COVID-19 would spread, what its effects on mental health would be, how it could be prevented and how it might be treated. Academics have worked in a publish-orperish incentive system for decades, where the number of papers they publish is part of the metrics used to evaluate employment, promotion and tenure. The flood of mixedquality COVID-19 information afforded an opportunity to increase their publication counts and boost citation metrics as

journals sought and rapidly reviewed COVID-19 papers, which were more likely to be cited than non-COVID papers. Online publishing has also contributed to the deterioration in research quality. Traditional academic publishing was limited in the quantity of articles it could generate because journals were packaged in a printed, physical document usually produced only once a month. In contrast, some of today’s online mega-journals publish thousands of papers a month. Low-quality studies rejected by reputable journals can still find an outlet happy to publish it for a fee.

Healthy criticism Criticizing the quality of published research is fraught with risk. It can be misinterpreted as throwing fuel on the raging fire of antiscience. My response is that a critical and rational approach to the production of knowledge is, in fact, fundamental to the very practice of science and to the functioning of an open society capable of solving complex problems such as a worldwide pandemic.

Publishing a large volume of misinformation disguised as science during a

pandemic obscures true and useful knowledge. At worst, this can lead to bad public health practice and policy. Science done properly produces information that allows researchers and policymakers to better understand the world and test ideas about how to improve it. This involves critically examining the quality of a study’s designs, statistical methods, reproducibility and transparency, not the number of times it has been cited or tweeted about.

Science depends on a slow, thoughtful and meticulous approach to data collection, analysis and presentation, especially if it intends to provide information to enact effective public health policies. Likewise, thoughtful and meticulous peer review is unlikely with papers that appear in print only three weeks after they were first submitted for review. Disciplines that reward quantity of research over quality are also less likely to protect scientific integrity during crises. Public health heavily draws upon disciplines that are experiencing replication crises, such as psychology, biomedical science and biology. It is similar to these disciplines in terms of its incentive structure, study designs and analytic methods, and its inattention to transparent methods and replication. Much public health research on COVID-19 shows that it suffers from similar poor-quality methods.

Reexamining how the discipline rewards its scholars and assesses their scholarship can help it better prepare for the next public health crisis.

Dennis M. Gorman does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

This article is republished from The Conversation under a Creative Commons license.

The COVID-19 vaccines were carefully tested in a diverse group before being authorized or licensed. Tens of thousands of Black, Latinx, American Indian, and Asian people participated in the Pfizer, Moderna, and Novavax vaccine studies. We know that these communities, along with our disability and LGBTQ+ communities, are often excluded from the benefits of medicine and experience ongoing and historical racism, medical trauma, and abuse. These factors worsen the impact of COVID-19 for these communities and emphasize the importance that the vaccine works and is safe for all.

No safety steps were skipped in the making of the COVID-19 vaccines. The Food and Drug Administration (FDA) required safety data for the vaccines to be authorized. Additionally, medical researchers continue to monitor the vaccines for safety.

Available vaccines

At this time, there are three different vaccines available: Pfizer, Moderna, and Novavax (Novavax is only authorized for persons age 12 and older). The CDC does not recommend one of the vaccines over the other. Each vaccine helps protect people from getting very sick with COVID-19. Not all vaccination locations will have each vaccine available. The most important thing is not to miss an opportunity to get vaccinated. For more information on the vaccines, visit CDC: Overview of COVID-19 Vaccines (www.cdc.gov/coronavirus/2019ncov/vaccines/different-vaccines/overview-COVID-19-vaccines.html)

What to expect when you get the vaccine

People trained to give the vaccine will tell you about the process, discuss any potential risks or side effects, and answer questions.

The vaccine and number of dose(s) you receive depends on your age, vaccine, previous COVID-19 vaccines received, and if you are immunocompromised.

All people age 5 years and older should receive one dose of 2023-2024 COVID-19 vaccine. Children 6 months through 4 years may need multiple doses to be up to date.

Essays from a Black woman trying to survive in America

By: W.D. Foster-Graham Book

Editor

TRAVELING WITHOUT

MOVING

Essays from a Black Woman

Trying to Survive in America

By Taiyon J. Coleman

The constructs of race, gender, class, orientation, culture, etc. in this country have been like, in the words of our author, “trying to stand straight in a crooked room,” when it comes to those of us who are BIPOC. With Black History Month segueing into Women’s History Month, I bring to you facets from Taiyon J. Coleman’s upcoming memoir, Traveling Without Moving: Essays from a Black Woman Trying to Survive in America.

Born in Chicago’s South Side with roots in Randolph County, Illinois, Coleman shares her cultural history growing up as a Black girl of the 1970s and 1980s who was considered big for her age, darker-complexioned, full-figured, natural hair, and way too inquisitive. The adults around her shut her down for asking too many questions, citing “grown folks’ business”; looking back, certain admonishments were done out of fear. Some, like her Aunt Reola, recognized the storyteller in her and found ways to affirm her. In spite of the negative voices, her inquisitive nature prevailed into her adult life, and ultimately to a career in English and composition, and women’s studies as an associate professor.

Through her essays, Coleman, as a Black woman who grew up in poverty with four siblings and a divorced mother, by the standards of the dominant constructed (white) culture, wasn’t supposed to be where she is. She shares her experiences as a BFGS (Black Female Graduate Student) in composition and creative writing in a predominately White university and the implicit bias in its programs. In addition, her essays speak a powerful truth in regard to the disparities faced not only by a Black woman in housing, medical care, employment, and education, but by marginalized communities as a whole.

When speaking of a visit to a school in Tuscaloosa, Alabama for grad school and her experience in grad school in Minnesota, Coleman realized later, “There are Confederate flags everywhere, even where we can’t see them.” Later, when she becomes an instructor at a community college where her students are Liberian, she learns valuable lessons from them and about herself as an educator.

In addition to her associate professorship at St. Catherine University, Coleman is a 2017 recipient of a McKnight Foundation Artist Fellowship, and a recipient of the 2018-19 Mirrors and Windows Fellowship. Coming in June 2024, Traveling Without Moving will be available through the University of Minnesota Press.

Thank you, Taiyon, for sharing your story with us, and with it, “strength, hope, and healing.” Your story, and the steps toward equity in our classrooms and the other institutions, is needed now more than ever.

TINSLEY

By Richard Walker, Member of the Football Writers Association

In the realm of football greatness, the discussion surrounding Hall of Fame induction transcends mere statistical comparisons.

Ottis Anderson, the former New York Giants running back, stands as a compelling example of a player whose legacy extends far beyond numbers.

As a member of the Football Writers Association of America and a voter for the 2024 class of the College Football Hall of Fame, my perspective on the voting process gives me unique insight into the nuances of a Hall of Fame selection. The overall process needs to be reevaluated.

Anderson’s journey in the NFL began with a bang in 1979, claiming the title of Offensive Rookie of the Year and setting the stage for a career that would challenge conventions and redefine the expectations for running backs.

By Leahjean M. Denley, MBA

Back in the spring of ‘83, the year USA Today burst onto newsstands, I found myself proudly listed among the top 50 players in the nation—a thrilling nod to the hard work and passion poured into the game. Fast forward to today, and the landscape has evolved. USA Today kicks off each high school season with a dynamic “watchlist,” actively seeking input from the vibrant tapestry of basketball enthusiasts.

In the thrilling dance of the 2023-24 USA TODAY HSSA Girls Basketball Team, anticipation is building. Picture this: later this spring, the 25 incredible finalists will step into the spotlight, each one vying for the coveted title of National Girls Basketball Player of the Year. The grand revelation? It’s set to unfold during the fourth annual USA TODAY High School Sports Awards, a dazzling event sure to leave fans on the edge of their seats.

Curious about who’s making waves on the court? The watchlist, a compass guiding us through the labyrinth of talent, is a dynamic starting point. But remember, the journey doesn’t end there. The 2024 McDonald’s All American selections have been made. The stage is set, the spotlight awaits, and the suspense is palpable. It’s a celebration of ded-

His early success was not merely a promising start, but a harbinger of a career marked by versatility and impact, culminating in a First Team AllPro selection. A decade later, Anderson achieved the extraordinary. In 1989, at the age of 32—an age typically considered past the prime for running backs—he clinched the prestigious title of NFL Comeback Player of the Year. This feat was unprecedented for a running back, given the position’s shorter prime span. His remarkable rushing performance that season, tallying an impressive 14 touchdowns, showcased a resilience and skill set that defied age and position stereotypes. Beyond rewriting the narrative of a running back’s career, Anderson emerged as one of the first dual-threat running backs in NFL history. With a career yards per carry (YPC) of 8.1 and over 3,000 receiving yards, he underscored his versatility and ability to impact the game in multiple dimensions. Anderson’s prowess as a receiver out of the backfield set him apart in an era where specialization was the norm.

ication, talent, and the thrilling unpredictability of the game. Is this a sign for who may make the top 25? We’ll have to wait and see. Stay tuned for the grand reveal, celebrating not just the victor, but all 25 nominees who’ve left an indelible mark on the court. In the meantime, chime in and let us know who we’ve missed and who you think will be the National Girls Basketball Player of the Year. As the season unfolds, athletes burst onto the scene like shooting stars, their brilliance illuminating the court. And this watchlist? It’s our guiding compass, pointing the way toward those destined to capture the title. Ah, this time of year— it’s pure magic!

2023-24 USA TODAY HSSA Girls Basketball

All-American Selectee

1. Darianna Alexander — JR, G | Purcell Marian High School | Cincinnati, Ohio

2. Imari Berry — SR, G | Clarksville High School | Clarksville, Tennessee

3. Sienna Betts — JR, F | Grandview High School | Aurora, Colorado

4. Mikayla Blakes — SR, G | Rutgers Preparatory School | Somerset, New Jersey

5. Alexis Bordas — JR, G | Wheeling Park High School | Wheeling, West Virginia

6. Divine Bourrage — JR, G | Davenport North High School | Davenport, Iowa

7. Kaniya Boyd — SR, G | Centennial High School | Las Vegas, Nevada

8. Sabine Brueck — JR, G | North Country Union High

Sports

Adding to his remarkable story is Anderson’s exceptional ball security. Fumbling just three times in 739 touches as a Giant from 1987 to 1992 showcased his reliability and consistency, rare qualities in a position notorious for turnovers.

School | Newport, Vermont

9. Avary Cain — SR, G | Saint Joseph High School | Lakewood, California

10. Justice Carlton — SR, F | Seven Lakes High School | Katy, Texas

11. Danielle Carnegie — SR, G | Grayson High School | Loganville, Georgia

12. Aaliyah Chavez — JR, G | Monterey High School | Lubbock, Texas

13. Morgan Cheli — SR, G | Archbishop Mitty High School | San Jose, California

14. Devin Coppinger — SR, G | Nooksack Valley High School | Everson, Washington

15. Aaliyah Crump — JR, G | Minnetonka High School | Minnetonka, Minnesota

16. Jazzy Davidson — JR, F | Clackamas High School | Clackamas, Oregon

17. Indya Davis — SR, G/F | West Bloomfield High School | West Bloomfield, Michigan

18. Addison Deal — JR, F

Additionally, Ottis Anderson’s impact on the game extends to his impressive statistical achievements. He still ranks 20th in all-time career rushing touchdowns, surpassing esteemed Hall of Famers and future inductees such as Frank Gore, Edgerrin James, Tony

Dorsett, Earl Campbell, Eddie George, Fred Taylor, O.J. Simpson, Thurman Thomas, and Terrell Davis. Furthermore, Anderson ranks 30th in all-time rushing yards, 48th in all-time combined career touchdowns, and 44th in all-time yards from scrimmage in NFL history. It’s essential to recognize the challenges Anderson faced on the field. The evolution of the West Coast offense didn’t occur until late in his career; meaning defenses primarily tailored their philosophy around stopping the run. Consequently, running backs from his era often faced more 8 and 9-man fronts, resulting in typically fewer overall yards. Yet, despite this defensive emphasis, Anderson’s numbers rival or exceed players at the same position who benefited from defenses having to deal with spread offenses, which meant less emphasis on stopping the run and much fewer 8 or 9-man fronts. As we evaluate Ottis Anderson’s Hall of Fame credentials, it’s imperative to recognize both his onfield achievements and the challenges of the voting process. His impact on the game transcends mere statistics,

painting a portrait of a player who not only excelled within his era but also left an indelible mark on the sport. Yet, despite Ottis Anderson’s undeniable credentials, the Hall of Fame voting process, unfortunately, is not without its flaws.

The Senior Committee should be comprised solely of Hall of Fame players and coaches who will evaluate the players’ Hall of Fame worthiness and vote in favor of or against. Specifically, the Senior Committee, currently stockpiled with media members from the 32 NFL cities, may be responsible for some of the oversights in Hall of Fame selections. I suggest that the process be changed. The impact of the evaluation by the peers of the Pro Football Hall of Fame should be the final judgment on whether or not a player had a Hall of Fame-worthy career.

I believe it’s imperative that we address these flaws in the process to ensure that deserving candidates, like Ottis Anderson, receive the recognition they rightfully deserve.

Richard Walker is an NFL Alum and President of Pro Legend Media