Evaluation Of A Performance Character - 780 Words

Performance character is very important. I set out to find a way to analyze and improve my performance character. I took a little time this week and searched for ways to better understand character performance. I made a plan stuck with it and found that it really worked. Looking back I would say that implementing the character education concept has proved to be a success. Performance character is more than analyzing one’s own PERFORMANCE. It’s diving deep and discovering one’s motivation, shortcomings, abilities, skills, and abilities. Author Claudia Hazar of the University of Zurek had this to say about performance â€Å"Researchers in the field of positive psychology postulate that morally positively valued personality traits—character strengths—help people to flourish and lead them to good and right behavior. The right behavior can be being productive or profitable , and therefore, it is hypothesized that the possession of specific character st rengths is related to productive or profitable behavior at work (i.e., job performance). There is first empirical evidence that character strengths do matter at work. It is evident that that our specific relationship to performance is directly correlated with our level of job PERFORMANCE I applied the performance character education quite simply. On Monday I came into the office early, and created a small worksheet for myself. The worksheet was titled My Goals, Dreams, Necessities, and Plans for 2016. The worksheet had a few openedShow MoreRelatedSelf-Evaluation and Assessment in Contemporary Leadership1397 Words   |  6 PagesSelf Evaluation and Assessment in Contemporary Leadership What makes a good leader? Is it the ability to execute tasks, or manage teams? There are seriously a myriad of answers to such questions. 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Part Seven Chapter 2 Free Essays

‘No problem,’ he muttered. He was glad. He could not imagine what they had left to talk about. We will write a custom essay sample on Part Seven Chapter 2 or any similar topic only for you Order Now This way he could sit with Gaia. A little way down Church Row, Samantha Mollison was standing at her sitting-room window, holding a coffee and watching mourners pass her house on their way to St Michael and All Saints. When she saw Tessa Wall, and what she thought was Fats, she let out a little gasp. ‘Oh my God, he’s going,’ she said out loud, to nobody. Then she recognized Andrew, turned red, and backed hastily away from the glass. Samantha was supposed to be working from home. Her laptop lay open behind her on the sofa, but that morning she had put on an old black dress, half wondering whether she would attend Krystal and Robbie Weedon’s funeral. She supposed that she had only a few more minutes in which to make up her mind. She had never spoken a kind word about Krystal Weedon, so surely it would be hypocritical to attend her funeral, purely because she had wept over the account of her death in the Yarvil and District Gazette, and because Krystal’s chubby face grinned out of every one of the class photographs that Lexie had brought home from St Thomas’s? Samantha set down her coffee, hurried to the telephone and rang Miles at work. ‘Hello, babe,’ he said. (She had held him while he sobbed with relief beside the hospital bed, where Howard lay connected to machines, but alive.) ‘Hi,’ she said. ‘How are you?’ ‘Not bad. Busy morning. Lovely to hear from you,’ he said. ‘Are you all right?’ (They had made love the previous night, and she had not pretended that he was anybody else.) ‘The funeral’s about to start,’ said Samantha. ‘People going by †¦Ã¢â‚¬â„¢ She had suppressed what she wanted to say for nearly three weeks, because of Howard, and the hospital, and not wanting to remind Miles of their awful row, but she could not hold it back any longer. ‘†¦ Miles, I saw that boy. Robbie Weedon. I saw him, Miles.’ She was panicky, pleading. ‘He was in the St Thomas’s playing field when I walked across it that morning.’ ‘In the playing field?’ In the last three weeks, a desire to be absorbed in something bigger than herself had grown in Samantha. Day by day she had waited for the strange new need to subside (this is how people go religious, she thought, trying to laugh herself out of it) but it had, if anything, intensified. ‘Miles,’ she said, ‘you know the council †¦ with your dad – and Parminder Jawanda resigning too – you’ll want to co-opt a couple of people, won’t you?’ She knew all the terminology; she had listened to it for years. ‘I mean, you won’t want another election, after all this?’ ‘Bloody hell, no.’ ‘So Colin Wall could fill one seat,’ she rushed on, ‘and I was thinking, I’ve got time – now the business is all online – I could do the other one.’ ‘You?’ said Miles, astonished. ‘I’d like to get involved,’ said Samantha. Krystal Weedon, dead at sixteen, barricaded inside the squalid little house on Foley Road †¦ Samantha had not drunk a glass of wine in two weeks. She thought that she might like to hear the arguments for Bellchapel Addiction Clinic. The telephone was ringing in number ten Hope Street. Kay and Gaia were already late leaving for Krystal’s funeral. When Gaia asked who was speaking, her lovely face hardened: she seemed much older. ‘It’s Gavin,’ she told her mother. ‘I didn’t call him!’ whispered Kay, like a nervous schoolgirl as she took the phone. ‘Hi,’ said Gavin. ‘How are you?’ ‘On my way out to a funeral,’ said Kay, with her eyes locked on her daughter’s. ‘The Weedon children’s. So, not fabulous.’ ‘Oh,’ said Gavin. ‘Christ, yeah. Sorry. I didn’t realize.’ He had spotted the familiar surname in a Yarvil and District Gazette headline, and, vaguely interested at last, bought a copy. It had occurred to him that he might have walked close by the place where the teenagers and the boy had been, but he had no actual memory of seeing Robbie Weedon. Gavin had had an odd couple of weeks. He was missing Barry badly. He did not understand himself: when he should have been mired in misery that Mary had turned him down, all he wanted was a beer with the man whose wife he had hoped to take as his own †¦ (Muttering aloud as he had walked away from her house, he had said to himself, ‘That’s what you get for trying to steal your best friend’s life,’ and failed to notice the slip of the tongue.) ‘Listen,’ he said, ‘I was wondering whether you fancied a drink later?’ Kay almost laughed. ‘Turn you down, did she?’ She handed Gaia the phone to hang up. They hurried out of the house and half jogged to the end of the street and up through the Square. For ten strides, as they passed the Black Canon, Gaia held her mother’s hand. They arrived as the hearses appeared at the top of the road, and hurried into the graveyard while the pall-bearers were shuffling out onto the pavement. (‘Get away from the window,’ Colin Wall commanded his son. But Fats, who had to live henceforth with the knowledge of his own cowardice, moved forward, trying to prove that he could, at least, take this †¦ The coffins glided past in the big black-windowed cars: the first was bright pink, and the sight robbed him of breath, and the second was tiny and shiny white †¦ Colin placed himself in front of Fats too late to protect him, but he drew the curtains anyway. In the gloomy, familiar sitting room, where Fats had confessed to his parents that he had exposed his father’s illness to the world; where he had confessed to as much as he could think of, in the hope that they would conclude him to be mad and ill; where he had tried to heap upon himself so much blame that they would beat him or stab him or do to him all those things that he knew he deserved, Colin put a hand gently on his son’s back and steered him away, towards the sunlit kitchen.) Outside St Michael and All Saints, the pall-bearers were readying themselves to take the coffins up the church path. Dane Tully was among them, with his earring and a self-inked tattoo of a spider’s web on his neck, in a heavy black overcoat. The Jawandas waited with the Bawdens in the shade of the yew tree. Andrew Price hovered near them, and Tessa Wall stood at some distance, pale and stony-faced. The other mourners formed a separate phalanx around the church doors. Some had a pinched and defiant air; others looked resigned and defeated; a few wore cheap black clothes, but most were in jeans or tracksuits, and one girl was sporting a cut-off T-shirt and a belly-ring that caught the sun when she moved. The coffins moved up the path, gleaming in the bright light. It was Sukhvinder Jawanda who had chosen the bright pink coffin for Krystal, as she was sure she would have wanted. It was Sukhvinder who had done nearly everything; organizing, choosing and persuading. Parminder kept looking sideways at her daughter, and finding excuses to touch her: brushing her hair out of her eyes, smoothing her collar. Just as Robbie had come out of the river purified and regretted by Pagford, so Sukhvinder Jawanda, who had risked her life to try and save the boy, had emerged a heroine. From the article about her in the Yarvil and District Gazette to Maureen Lowe’s loud proclamations that she was recommending the girl for a special police award to the speech her headmistress made about her from the lectern in assembly, Sukhvinder knew, for the first time, what it was to eclipse her brother and sister. She had hated every minute of it. At night, she felt again the dead boy’s weight in her arms, dragging her towards the deep; she remembered the temptation to let go and save herself, and asked herself how long she would have resisted it. The deep scar on her leg itched and ached, whether moving or stationary. The news of Krystal Weedon’s death had had such an alarming effect on her that her parents had arranged a counsellor, but she had not cut herself once since being pulled from the river; her near drowning seemed to have purged her of the need. Then, on her first day back at school, with Fats Wall still absent, and admiring stares following her down the corridors, she had heard the rumour that Terri Weedon had no money to bury her children; that there would be no stone marker, and the cheapest coffins. ‘That’s very sad, Jolly,’ her mother had said that evening, as the family sat eating dinner together under the wall of family photographs. Her tone was as gentle as the policewoman’s had been; there was no snap in Parminder’s voice any more when she spoke to her daughter. ‘I want to try and get people to give money,’ said Sukhvinder. Parminder and Vikram glanced at each other across the kitchen table. Both were instinctively opposed to the idea of asking people in Pagford to donate to such a cause, but neither of them said so. They were a little afraid, now that they had seen her forearms, of upsetting Sukhvinder, and the shadow of the as-yet-unknown counsellor seemed to be hovering over all their interactions. ‘And,’ Sukhvinder went on, with a feverish energy like Parminder’s own, ‘I think the funeral service should be here, at St Michael’s. Like Mr Fairbrother’s. Krys used to go to all the services here when we were at St Thomas’s. I bet she was never in another church in her life.’ The light of God shines from every soul, thought Parminder, and to Vikram’s surprise she said abruptly, ‘Yes, all right. We’ll have to see what we can do.’ The bulk of the expense had been met by the Jawandas and the Walls, but Kay Bawden, Samantha Mollison and a couple of the mothers of girls on the rowing team had donated money too. Sukhvinder then insisted on going into the Fields in person, to explain to Terri what they had done, and why; all about the rowing team, and why Krystal and Robbie should have a service at St Michael’s. Parminder had been exceptionally worried about Sukhvinder going into the Fields, let alone that filthy house, by herself, but Sukhvinder had known that it would be all right. The Weedons and the Tullys knew that she had tried to save Robbie’s life. Dane Tully had stopped grunting at her in English, and had stopped his mates from doing it too. Terri agreed to everything that Sukhvinder suggested. She was emaciated, dirty, monosyllabic and entirely passive. Sukhvinder had been frightened of her, with her pockmarked arms and her missing teeth; it was like talking to a corpse. Inside the church, the mourners divided cleanly, with the people from the Fields taking the left-hand pews, and those from Pagford, the right. Shane and Cheryl Tully marched Terri along between them to the front row; Terri, in a coat two sizes too large, seemed scarcely aware of where she was. How to cite Part Seven Chapter 2, Essay examples

Role of music in ending Apartheid Essay Example For Students

Role of music in ending Apartheid Essay Analyses the role music played in bringing an end to the Apartheid regime in South Africa. After watching the film Searching for Sugar Man, directed by Mali Pendulous earlier this year I was intrigued and inspired to look further into the role music played in ending the Apartheid regime in South Africa. Searching for Sugar Man is a critically acclaimed film, winning an Academy Award for Best Documentary Feature, which tells the story American musician Sixth Rodriguez role in introducing the people of South Africa to anti-establishment ideas and his eventual role in bring the Apartheid regime to an end. Background Segregation and cruel inequalities imposed on the native black population had been deeply rooted in the South African psyche since it was first colonized. South Africans had a long history of living under white rule, the Dutch East India Company landed in South Africa in 1652 to use using the Cape of Good Hope as a base for ships traveling trade route between Europe and Assail and where followed by the British. The Boer Wars, fought in the late 1880 and early sass show how for the South African nation the main international concern was its wealth of materials, not the people itself. The Boer wars also show the dominance of whites within South Africa and the disregard and the disrespect with which they treated the natives. Segregation was intensified when the Nationalist Party introduced Apartheid in 1948. Through a series of laws the Nationalist Party made inequality not only permissible, but actively encouraged. 2 The Nationalist Party forced indigenous South Africans to reside in impoverished townships where they where denied even their most basic human rights and where exploited by the white minority. These townships where separated into tribal groups and were situated on the outskirts of towns. South Africans who lived in these townships worked as mainly miners and servants, for white superiors, and received very small payment for their work. Introduction Plato once noted that at times music can carry meaning that goes beyond purely musical level and enters the political spheres This notion was evident in South Africa during the period of Apartheid. Apartheid, which literally means apart in Afrikaans, was implemented by the National Party in 1948 and was enforced through legislation until the end of the Apartheid regime in 1990. Music played an extremely vital role in ringing Apartheid to an end as it brought native South African communities together, gave a voice to the voiceless, gave hope to those oppressed by the Apartheid and those fighting it and made the international community aware of the plight of South Africans, Musician Spills Intuit states At the height of the South African madness Others were engaging Apartheid with the guns. Others were Role of music in ending Apartheid By giddied how we managed to turn the tide of the world. 4 Music as means of protest before Apartheid (before 1948) South African music in the sass and early sass was heavily influenced by American audible shows, as well as by church choirs due to musicians and audiences valuing close imitations of American musical styles. By the mid sass South African musicians began to integrate African elements into music with the aim of making a political statement against the unsympathetic white rule. The content of the shift was to assert the belief that there was intrinsically a value in the adoption or incorporation of music materials that where African. 6 The integration of South African elements musical elements into Western styles of music was the first real protest in South Africa against white rule. The music of the mid sass early sass foreshadow the political protest movement to come using music and was adopted by groups such as the African National Congress (NC) as a means of fighting the Apartheid regime. Music as means of political protest during Apartheid (1948-1990) During the late sass and early sass many popular songs started to reflect the current events within South Africa. Mary Dhobi, a recording during the sass explained Our songs all had meaning. They reflected what was happening right now Cutout used to listen the news, you see. Then he would come there and say, Did you hear about in he news they said this and that and that? It ended up we are going to record that. Musicians after the sass Joined in on the open political opposition to the implementation of apartheid recording songs such as Dorothy Masks Udder. Milan Motherhood Amazonian (Dry. Mammals governed is Harsh). One of the most famous songs from the sass, released in August 1956, went Hey Stardom, Hatpins baize, way thingamabobs guffaw which translates to Stardom, now that you have touched the women, you have struck a rock, you have dislodged a boulder, and you will be crushed. This song, like Masks Udder. Milan Motherhood Amazonian and other popular songs of the sass such as Nondenominational, Overpower basso, nondenominational composed by political activist Visible Mini and later recorded by Miriam Make translates to behold the advancing blacks, Overpower. Beware of the advancing blacks the politician is addressed directly, a common feature of songs during this era. These songs aimed to get the politicians they where addressed towards attention and reflect the fact that ordinary people where becoming more politically conscious. During the sass songs took on a mournful tone. Sensei An? s a typical example hat demonstrates the desolation that characterized the sass. The accusatory and confrontational tone of songs written before 1960 is abandoned, as is evident in the lyrics of Thin Size; Thin Size, thin size sinusoid/ Skeletal, skeletal cellulite/ Leather, leather unmanageable/ Maybe, unfathomable wet which translates to We the nation, we the black nation/ We mourn, we mourn for our l and/ Stolen from us, stolen from us by the white man/ let them leave, let South Africa with the intensification of Apartheid causing amplified feelings of discontent. Elements of music EssayBleak Member, a speaker of parliament stated, Music had played such a role that I Just dont see how we would have pulled through the many years of struggle, at Music as means of protest during Apartheid (1948-1990) outside South Africa The outrage the international community felt towards the moral injustices caused by Apartheid became part of Western pop culture. Artists released songs such as Bike by Peter Gabriel and Free Nelson Mandela by The Special A. K. A aimed at bringing the realities of the brutal Apartheid system to light and giving people an individuals story, which they could relate and empathic with. Peter Gabrielle Bike bring attention to the police brutality in this lyrics, September 77/ Port Elizabeth weather fine/ It was business as usual/ In police room 619/ah Bike, Bike, because Bike / The man is dead Musicians also released albums with the same intention, to bring the realities of the brutal Apartheid to the attention of Western culture and the spark outrage and protest that would hopefully lead Western government to denounce Apartheid. This can be seen in albums such as It Dont Bother Me by Bert Jansen, From South Africa to South Carolina by Gill Scott-Heron and Brian Jackson, Resistant Vibration by Bob Marled and Peter Tooths album Equal Rights and Heroes. The Anti-Apartheid sentiment outside South Africa reached a peak in 1998 when the Mandela concert was held at Humbly. Musicians brought people together to protest one common thing, Apartheid. These songs, albums and concerts reflected the growing anti-Apartheid sentiment in Western culture and informed its citizens of the trudges and racial vilification people in South Africa faced. In the United States American citizens, made aware of the plight of South Africans through music and other forms of media, where able to put pressure on the US government to change its policy towards the Apartheid regime from playing a role in its initial survival to aiding in its eventual downfall. 20 Due to the South African government being an ally against communism in North Africa, during a time of immense fear caused by the cold war, United States president Harry Truman didnt speak out against Apartheid and behind closed doors supported it,21 all the while actively trying to eliminate racism within the United States. Due to mounting pressure from U. S musicians and the public and the end of the cold war the United States government put in place trade embargos and cultural sanctions which lead to South Africa experiencing significant loss in revenue, security and international reputation in the sass and ultimately played a part in ending Apartheid. Role of Western music in ending Apartheid within South Africa Western music also played and extremely crucial role in introducing South Africans to new, anti- establishment ideas, and telling South Africans it is okay to be angry with the society o live in. This idea was evident in musician Sixth Rodriguez and his album Cold Fact. In the film Searching for Sugar man Stephen Germans explains how Rodriguez songs became anthems for the countries white youth who began to stand up against Apartheid, To us it was one of the most famous records of all time. The message it had was be anti-establishment. One song is called The Anti- Establishment Blues. We didnt know what the word was until it cropped up on a Rodriguez song, and then we found its K to protest against your society, to be angry with your society. 22 The film also states Any revolution needs an answer and in ND start thinking differently. 23 Afrikaans musicians such as Willed Miller, Kooks Cambiums and Johannes Caretaker, who are regarded as icons of the Afrikaans music revolution, where all inspired by Rodriguez and released songs such as Set It Off which encouraged people to turn the television off when P. W. Booth came on the television. 4 Out of the Afrikaans community emerge d a group of Afrikaans musician and song writers and for the when they heard Rodriguez it was like a voice spoke to them and Thats where really the first opposition to Apartheid came within the Afrikaans community. 25 Conclusion Music played a pivotal role in ending Apartheid in South Africa. Inside South Africa music developed from having subtle political undertones and being a means of expression and sharing stories to a weapon used to spark protest and attack members of the Apartheid government directly. Music also played an extremely important role in unity the different South African tribes and giving people hope and the courage to voice their opinions. Outside South Africa people became aware of the situation within in South Africa through songs and where able to protest the government. Like Sixth Rodriguez said in the song The Establishment Blues, This yeasts goanna fall soon, to an angry young tune . And fall it did. In the year 1990 Apartheid officially came to an end and in 1994 Nelson Mandela was elected President of South Africa, making him the first black South African to hold the office. South African is now a place of unity and equality between ethnic groups, as can be seen in the National Anthem that was changed in 1997 to contain five different languages within one song. The National Anthem, like music did during Apartheid, shows the political situation of South Africa, however unlike the Apartheid regime the political system now is fair and equal.