Assignment

profilefawadshah
initial_research_integration.rar

New folder/Chipotle Ad IRI.docx

2

Student Name

WR 121

Teacher

Date

The Organic Food Fad

Industrial farm animal productions (IFAP) have been the reason why meat is as inexpensive as it is. They are able to produce mass amounts of meat while keeping costs low. The industry has gone unquestioned for many years, until now. Why is that? Restaurants and food products now add “organic” or “cruelty-free” on their labels and consumers buy it despite the higher price. This new age of food consumption has gotten people to think about where their food comes from and how it is treated before it is shelved in the grocery store then placed on their plate. With animal activists spreading horror stories of the animal industry through news and social media, it is hard to ignore this once overlooked problem. Is affordable meat worth what IFAP put animals through? IFAP causes harm to the human population, the environment, and animals leaving its continuation to be both unnecessary and damaging and yet it is difficult to eliminate.

One corporation that is capitalizing on the organic and natural food trend is Chipotle Mexican Grill. They have released many advertisements that promote their food and their campaign towards sustainable food systems. One commercial in particular, “Back to the Start”, portrays a farmer and his family going out of business due to factory farming. The pigs going through the factory are pumped with antibiotics, packed and then shipped off all while the factory pollutes the surrounding air and bodies of water. Playing in the background is a cover by Willie Nelson of Coldplay’s song “The Scientist”. The narrator “was just guessing at the numbers and figures pulling the puzzles apart” much like how the American population was unsure of the effects IFAP caused (Nelson, 2011). Eventually, the population began to question the industry once they learned more and put the puzzle pieces together. The next line says “science and progress do not speak as loud as my heart” (Nelson, 2011). This mimics the feelings of the audience as they know factory farming is not sustainable nor healthy but those faults are not as prominent as how morally wrong industrial farming is. The song directly corresponds to how Chipotle wants to make their audience, and potential new customers, feel. To top it off, the song is sung by someone with those exact feelings. To the casual listener, this cover is soothing and motivational, but Willie Nelson was not chosen at random. Nelson is actually an animal rights activist and supporter of family farming.

With companies such as Chipotle beginning to point out inadequacies within IFAP, more people have begun to look deeper into the industry and have shared the information they uncovered. Two of those people are John Rossi and Samual Garner who have written an extensive critique of IFAP by reviewing the industry in five steps to ‘[show] that from any reasonable moral perspective, IFAP is not morally defensible”(Rossi & Garner, 2014). Arguments defending and going against the IFAP have been spreading, making it difficult to come to a conclusive answer that also encompasses individual morals. With no way to please everyone, Rossi and Garner have broken down both sides.

IFAP have been found to facilitate animal-product rich diets that “contribute significantly to our growing burden of chronic disease and preventable death”(Rossi & Garner, 2014). Compared to those who consume minimal to no animal products, people who consume high amounts of animal products have a much higher risk of obesity, cardiovascular disease, diabetes, and several types of cancer (Rossi & Garner, 2014). It is hard to avoid animal products. IFAP has made these products inexpensive and accessible. Though vegetarians and vegans must take extra supplements to ensure their intake of essential micronutrients, that is not a difficult task to accomplish in a developed country. Animals also have their own diseases that can be spread to humans. Facilities that house farm animals tend to be small. Animals are kept close to one another making it very easy for a disease to infect others. Pandemics such as the avian influenza or the H1N1 influenza are examples of how an outbreak in one area can erupt into a widespread problem.

Environmental health problems are another drawback to IFAP. Seen in the Chipotle commercial is the factory releasing fumes in the air and dumping pollutants into a lake.

In their research, Rossi and Garner found that about 87% of United States water resources are used by the agriculture industry which has caused water shortages and depletions. Also, the animal industry contributes 15-51% of greenhouse gas emissions (Rossi & Garner, 2014). This supports Chipotle’s portrayal of factory farms. Factory farming contributes to many environmental problems. It is no longer possible to overlook this fact. The IFAP creates health concerns not only for the environment and human population, but for the animals as well.

Animal welfare is a moral issue that is noted in the commercial. The pigs are on a conveyor belt going through the factory to get their shots of antibiotics and to be packaged. Though raising animals to be slaughtered and eaten is continuously debated, what can be said is that there are some animal product producers who treat their animals poorly and cause them distress. Some reported abuses at slaughterhouses include “ramming animals with forklifts, beating them with pipes, chasing them into scalding tanks, stomping on them, or holding electric prods in their eyes” (Rossi & Garner, 2014). It is important to recognize that not all production and slaughter sites mistreat the animals. Yet there have been too many reported instances to say the laws and regulations are being enforced. Cramped enclosures, disease and deformities along with limited veterinary care prevent factory animals to live a comfortable life. Oddly enough, humans have a history of interfering with the lives of animals.

In his article “Industrial Farming is One of the Worst Crimes in History”, Yuval Noah Harari chronicles the history homosapians have in causing the “extinction of about 50% of all the large terrestrial mammals on the planet” and all before they domesticated animals (Harari, 2015). He then compares the life of a wild animal to its domesticated counterpart. One searches everyday for food, water, and shelter while humans provide those things to the other. They live differently but both have the same fate. Harari says “what makes the existence of domesticated farm animals particularly cruel is not just the way in which they die but above all how they live” (Harari, 2015). Though the survival and reproduction of the animal is ensured, domesticated animals still have instinctual needs leftover from their wild ancestors (Harari, 2015). Animals have “ physical, emotional and social needs that are redundant in farms” that are ignored (Harari, 2015). This reduces the quality of the animal’s life. Human care will allow the animal to survive but it leaves animal's instinctual needs unfulfilled causing the animal to suffer. This problem lies in the farms at the industrial level. Family farmers, such as the one in the Chipotle commercial, seem to be the ones who can raise animals well enough so animal consumers do not feel guilty. These are the farmers who would be against IFAP, but not all are.

Curt Zingula grew up on a crop and livestock farm and has been a farmer for almost forty years. He describes how industrial farming has allowed 99% of Americans to “participate in manufacturing or service industries” instead of agriculture (Zingula, 2014). Zingula brings up the critics’ argument that the nation would benefit from “farming the way great-grandpa farmed back in the 1940s” (Zingula, 2014). The difference between now and the 1940s is the population. U.S. farmers have to produce food for over twice as many people which includes the American population and other countries. Zingula also argues that the environment has not been damaged by modern farming. He claims it was “the use of repeated tillage, instead of herbicides for weed control [which] led to severe erosion and filthy waterways” (Zingula, 2014). He also says that confined animal facilities are necessary to keep manure from contaminating bodies of water. Despite being a farmer, he agrees that organic food is costly and that many people prefer the price industrial farms offer. He ends his article by saying that “‘factory farms’ deserve our appreciation” for all they have accomplished in feeding the population at an affordable price (Zingula, 2014).

A constant flow of differing opinions on this topic leaves the future of factory farming up in the air. The dependency the American population has on IFAP prevents it from ceasing production. Should there be stricter regulations on IFAP, or should it be stopped all together? No matter what the solution is, the problem will not be solved for a long time. In the last scene of the chipotle commercial, the farmer and his wife are now elderly and their older son looks to be taking over the family farm. It may take a lifetime before anything is done to IFAP. Their current fate may be unknown, but with all the harm IFAP causes, it would be no surprise if a drastic change in the American mindset occurs where animals are friends, not food.

Works Cited

Chipotle Mexican Grill. "Back to the Start." YouTube. Youtube, 25 Aug. 20

Harari, Yuval Noah. “Industrial Farming Is One of the Worst Crimes in History.” The Guardian.

Guardian News and Media, 25 Sept. 2015 Web. 16 Apr. 2016.

Nelson, Willie. By Chris Martin. The Scientist. Willie Nelson. Buddy Cannon, 2011. Web.

Rossi, John, and Samuel A. Garner. “Industrial Farm Animal Production: A Comprehensive

Moral Critique.” Journal of Agriculture and Environmental Ethics 27.3(2014): 479-522.

OSU Library Databases. Web. 16 Apr. 2016.

Zingula, Curt. “Appreciate ‘Factory Farms’” The Gazette. 1 Apr. 2014. Web. 16 Apr. 2016.

New folder/coldplay_IRI.docx

student 1

student 2

student 3

Student

Instructor

Date

WR121

Engage then Detach

Various perspectives and opinions can be extracted from, the famous British band, Coldplay's music video for “The Scientist.” When analyzing this video, simply from the images displayed, it seems to be sectioned off into three different components based off the pathos present within it. Put simply, throughout the video the audience experiences relaxation, followed by confusion, and ending with shock. After a more thorough examination of the broader cultural message, however, this video can arguably be sectioned off into various parts based off the thought process of the videos main character and lead singer of Coldplay, Chris Martin.

The initial sense of relaxation, established at the beginning of the video, quickly fades when Martin's body begins to jostle. A minor moment of intensity takes place when the singer is flung from a mattress. The sudden movement seems unnatural and creates curiosity among viewers. Later in this scene, however, the director quenches the viewers curiosity and appeals to pathos when a biker travels backwards out of the camera view. This simple act leads to the conclusion that the video is of a man moving backwards through his day. Once again the director is throwing the viewers back into a state of curiosity. Why is the man moving backwards? This question lingers throughout the course of the video until the end when the scene of a car accident is displayed. This action of moving backwards could be a display of guilt. In a discussion on the differences between shame and guilt, Nita Lutwak, Joseph R. Ferrarib, and Jonathan M. Cheek lay out the components of guilt. Lutwak, Ferrarib, and Cheek claim:

Feelings of guilt involve a sense of remorse and regret over some specific behavior performed, or not performed, by the actor. People often report obsessively thinking about the specific transgression act and wishing they had behaved differently or could somehow ‘undo’ the deed. Guilt emotions may motivate acts that in some way undo the harm caused to the target (Lutwak).

The act of Chris Martin continuously walking backwards throughout his day symbolizes this “obsessive thinking” about something that occurred within his life(Lutwak). It is essentially him replaying the day over in his head. People are continuously making decisions and performing actions. Oftentimes, we perform these actions and never think, afterward, about what we did and why we did it. When, however, a mistake is made, people continuously revisit the thoughts, actions, and outcomes that correlate to the blunder(Lutwak). Walking backwards through his day exemplifies Martin's thinking about what happened and why it happened. The stoic expression, maintained up until the moments before the accident, give a glimpse into the emotions of the singer. It appears he is detached and emotionless from an outside viewers perspective. The appearance of disengagement reoccurs throughout the course of the video. For example, Martin walks past a group of men playing basketball and shows total disinterest in the actions around him. A few scenes earlier, the audience watches Martin look the other direction when a woman in a wheelchair is pushed past him. Coldplay titled their song “The Scientist.” Oftentimes, science is viewedas the mean of disengagement from humanity. It is the fear that once one becomes a scientist, he or she begins to look at the world as a display of science and no longer the stage for emotion and common thoughts. Therefore, the title of this song could be accusing a man of detachment from others.But why did the singer disengage? Was he always unaffected by others or was this state a product of an event? The singer revisits the brief moments leading up to the car accident. Does Martin wish he could have “behaved differently(Lutwak)?” Just moments before the car accident Chris Martin was smiling and laughing, giving the audience the idea that the singer was content, but rapidly turns expressionless after getting out of the car, giving a glimpse into the guilt he experiences. Maybe Chris Martin saw the world as filled with passion and love before the accident, but turns calculative once he continues to rethink what happened and how things could have ended differently, showing the negative impact of guilt and the change from what used to be a passionate man into “a scientist.”

If trying to “undo” what has occurred is characteristic of guilt, then what is actively avoiding the central problem(Lutwak)? After the car accident, Chris Martin walks right past the woman that only moments before was sitting and laughing in his car. The singer gives no indication of caring for, what the audience is pushed to assume was, the woman he had feelings for. The ethos of Chris Martin is decreased in this scene. The audience experiences empathy for the woman but a sense of dislike for the man walking past like she was insignificant and not worthy of attention. This could be interpreted as another form of guilt Martin is experiencing, but there is the possibility of the singer feeling shame. In the article, “Shame, guilt, and identity in men and women: the role of identity orientation and processing style in moral affects,”Nita Lutwak, Joseph R. Ferrarib, and Jonathan M. Cheek also define shame. The three state, “Guilt may promote reparative action; shame, instead, may prompt a desire to hide the defective self—‘to sink in the floor and disappear’” (Lutwak). The desire to hide due to shame can be seen as a possible reason for Martin leaving the woman without facing her limp body(Lutwak). Maybe, to the singer, the act of going to her felt like a display of a faulted man(Lutwak). The directors appeal to logos when Martin leaves the woman behind in shame because it brings the viewer back to the beginning scene of the video. What was the first moment of intensity, the singer being thrown from the mattress, can also be seen as him falling down when the singers day is played forward. Like Lutwak, Ferrarib, and Cheek state, Chris Martin essentially “sink[s] in the floor” through falling into the mattress, showing more evidence of his shame(Lutwak). This desire to disappear, correlated with his shame, drives him to retreat to the dark woods after the accident(Lutwak). Once hidden by the full pine branches, Martin removes his nice black jacket.

The removal of this high-quality, black jacket is one of the scenes where the viewers see Chris Martin's struggle with his social status. Throughout the video, the audience is presented with evidence of a difference in social status between the man and the women. The connection, however, between the evidence and the conclusion about this social status divide can not be connected until the car accident scene is presented.As the video rewinds to the moments leading to the crash, the girl reaches into the back of the car to put back her jacket, revealing a pink shirt. According to "The Social Psychology of Class and Classism"by Bernice Lott, lower class workers take on specific titles. Lott states, “Working-class and low-income workers include those who receive wages at union or nonunion jobs, those who work at blue- or pink-collar jobs” (Lott 651). Perhaps the pink shirt the woman was wearing was not simply to portray contrast between herself and the other people in this video, but instead to implicitly indicate her class. In addition, higher class workers are given the title of “white-collar” workers. The directors choice to have Chris Martin wear a white shirt furthers the argument that the colors the two main characters are wearing do not seem unintentional but rather a piece of evidence towards their social status identity.

It seems Martin comes from the more financially privileged society, while the women comes from the rugged part of town.Throughout the majority of the video, Chris Martin is traveling back through various places. Two of the scenes comprise of the singer walking through a street. The first street depicted seems to be for the more financially privileged, while the other is tailored towards the lower class. The financial state of these two areas can be seen through the clothes people are wearing. In the more privileged streets, black suit jackets and collared shirts pass by. While in the less privileged area, t-shirts, a vest, and a red jacket with a front zipper can be spotted passing the laundry mat. In order for Chris Martin to move between these two distinctly different areas he must simply jump over a wall. In taking a closer look at this rapid change in life’s luxuries, the audience may pose the question “what does the brick wall represent?” Social, economic, self-imposed or culturally established barriers are all possible meanings of the wall, but why are they important?

The forming of these “walls” between people greatly affects the relationships between them. When these obstacles begin to dominate in a relationship, two people can not truly connect with one another. Chris Martin crossing the brick wall can be interpreted as an attempt to understand the world the woman came from. It is important, however, to remember the video works backwards. Therefore, Martin is jumping from her less financially-fortunate world back into his privileged community. In fact, when examining the rest of video, the viewer can identify Martin's continuous changing between the two worlds. After the car accident, Martin leaves his jacket, that all the other higher class men can be seen wearing, in the woods. He then enters a train station, which can be interpreted as furthering himself in her world, because trains are a form of mass transportation which are generally utilized by the lower-class, while the upper-class generally owns personal vehicles. In the next scene, however, Martin is walking along a nice fence with vines hanging down. There is an absence of graffiti on the fences, which is a form of frequency within the more fortunate areas throughout the video. In an article discussing social hierarchies, authors Emily M. Zitek and Tiedens Z. Larissaargue, “relationships with more hierarchical organization are easier to see, understand, learn, and remember”(Zitek 98). Therefore, the viewer can claim Martin has entered back into his higher-class world because that hierarchy is simple and engrained due to it's nature of being easy to remember(Zitek 98). Move further back and the singer is walking under a graffiti laden bridge, where a group of men are playing basketball, and then through the streets of a less fortunate part of town. This leads the singer to the brick wall that he jumps over and lands in the affluent area. The place the singer ends, however, is laying on a mattress on a yellowish-brown, tiled floor with graffiti plastered all around. Chris Martin seems to be playing a man trying to understand a different social class but oftentimes falls back into the comforts of his own social status.

Works Cited

Lott, Bernice. "The Social Psychology of Class and Classism."American Psychological Association 67.8 (2012): 650-658. PsycARTICLES. Web. 28 Apr. 2016. <http://psycnet.apa.org.ezproxy.proxy.library.oregonstate.edu/journals/amp/67/8/650.pdf>.

Lutwak, Nita, Joseph R. Ferrari, and Jonathan M. Cheek. "Shame, guilt, and identity in men and women: the role of identity orientation and processing style in moral affects."Personality and Individual Differences 25.6 (1998): 1027–1036. ScienceDirect. Web. 28 Apr. 2016. <http://www.sciencedirect.com.ezproxy.proxy.library.oregonstate.edu/science/article/pii/S0191886998000671>

Zitek, Emily M., and Larissa Z. Tiedens. "The fluency of social hierarchy: The ease with which hierarchical relationships are seen, remembered, learned, and liked."Journal of Personality and Social Psychology 102.1 (2012): 98-115. APA PsycNET. Web. 19 Apr. 2016. <http://psycnet.apa.org.ezproxy.proxy.library.oregonstate.edu/journals/psp/102/1/98>.

New folder/Cultural Artifact.jpg

New folder/Cultural-Artifact-Analysis edited.docx

Artifact:1968 Black Power Salute

The artifact that I have chosen represents one of the most powerful political gestures in the sporting history. It is referred to as the Black Power Salute of the 1968 Olympics. The image shows two African-American athletes standing on the podium while receiving their respective medals. Both of them can be seen raising their fists as a symbol of solidarity with their community. The context of time at which this picture was taken plays a crucial role as well. A time when racism was still at its peak in United States of America, the image captures what is the essence of being an oppressed minority and how that ends up shaping your worldview regarding others and your own identity. It speaks volumes about the anxieties that plague the minds of any oppressed or subjugated group.

Having won the gold and bronze medals in the 200 meter running event, the US athletes turned on the podium to face their flags, and to listen to the national anthem. Both athletes have raised a black-gloved fist, and kept them raised until the anthem had finished. Although it cannot be seen in the picture, both US athletes received their medals shoeless. However, wore black socks, symbolizing black poverty. Smith, the gold winner, wore a black scarf around his neck which represents black pride.

Carlos had his tracksuit top unzipped to show solidarity with all blue collar workers in the US and wore a necklace of beads which he described "were for those individuals that were lynched, or killed and that no-one said a prayer for, that were hung and tarred. It was for those thrown off the side of the boats in the Middle Passage.”

Each athlete’s jacket, has a human rights badge, pinned on their chests - even the Australian silver medalist, Peter Norman, partook.

The ethos presented in the picture, is remarkably conspicuous, their aspirations, the spirit of the era, and their beliefs, succinctly manifested in this simple gesture. One cannot help but feel the gravity of the poignancy, one cannot help but share the pathos.

The question of owns identity is the main theme of this image. As these athletes who were out there representing their nation, still thought and actively decided that their identity as people of color at that time, trumped any other identity they could have associated with. Smith later during an interview said, “If I win I am an American, not a black American. But if I did something bad then they would say 'a Negro'. We are black and we are proud of being black. Black America will understand what we did tonight."[footnoteRef:1] This quote portrays that how these athletes more than anything else, were just commodities that were performing for the will of their oppressors. The most important part of this quote which really stands out is, “Black America will understand.” And this statement was not totally off target as the athletes were received as heroes by their communities when they went back home. [1: 1968: Black Athletes make silent protest: bbc.co.uk]

What the image shows is what has become a symbol for civil rights movement, although what it fails to encapsulate is the massive and immediate backlash that these athletes had to face due to their radical actions. This can somehow be seen as a means of disassociating the guilt of culprits of that era. The vast majority would prefer to call this an action of great bravery today, but few will talk about their suspension from national team and the shaming they received for their political stand. This goes on to show how the narrative is controlled, and even at times how the narrative of the victim is molded according to the comfort of the oppressors. Also what is to be noted is that the Australian athlete who is seen in the picture didn’t make any political gesture, but fully supported the actions of these young athletes. In the image he looks like just a silent spectator. Although out there on the field his role was much more than articulated in this image. And hence he has been a part of many tributes that have been paid to these humanitarians.

One last aspect that I would like to focus upon is what can be seen as the ‘politics of naming’. The salute has been dubbed as the ‘black power salute’ in popular culture; however, Smith during an interview categorically used the word ‘humanitarian salute’ for his actions. It raises the question that how our understanding of artifacts might be corrupted in a manner that we are not able to fully understand what the author or creator wanted to truly exhibit, but merely our own interpretations of what we want to see and how our perception is affected by the popular information that is available to us.

New folder/Initial Research Integration Grade Guide.docx

121logo_black-line_outline_cropped Initial research integration Grade guide | Randy Magnuson

OBJECTIVE

Evaluation

Comments

Analysis

» shows evolution and advancement from Initial Artifact Analysis, extending and deepening the overall analysis;

» is more nuanced in its claims;

» is more effective in presenting evidence to support claims;

» is more thorough in the reasoning that connects claims to evidence;

» situates the artifact and its analysis into a larger cultural conversation effectively and articulately.

Exceptional

Reasonable

Minimal

Insufficient

(quality and quantity of analysis)

30%

Research

integration

» includes quality sources that are credible and relevant to the issues raised by the artifact and its analysis;

» uses research to extend and deepen analysis, using sources to support, complicate, challenge and/or contextualize;

» effectively introduces others’ voices through summary and proper quotation, using appropriate signal phrases.

Exceptional

Reasonable

Minimal

Insufficient

(quality and quantity of analysis)

50%

organization, style & Format

» crafts paragraphs that cohere and are organized effectively;

» demonstrates word choice that is precise and varied, and exhibits a tone appropriate to academic genres;

» contains very few grammar, punctuation, and spelling errors;

» is formatted correctly according to MLA standards.

» meets the 4–5 page length requirement

Exceptional

Reasonable

Minimal

Insufficient

(quality and quantity of analysis)

20%

Grade: ___/100

New folder/Initital Research Integration.docx

Black Power Salute, 1968

On the morning of 16th of October, 1968, two African-American Olympic sprinters Tommie Smith and John Carlos stood atop the podium in Mexico City to receive their medals. In their honor, the organizers played the national anthem “The Star-Spangled Banner” of their home country, America. As soon as the anthem started the two athletes bowed their heads and raised their black-gloved fists, in solidarity with the struggles of their fellow African Americans back home. Smith and Carlos received their medals without any shoes to symbolize black poverty. Smith wore a black scarf to represent black pride, while Carlos unzipped the top of his tracksuit to show solidarity with the blue-collar workers in the U.S. He also wore a necklace of beads which he described “were for those individuals that were lynched, or killed and that no-one said a prayer for, that were hung and tarred. It was for those thrown off the side of the boats in the middle passage.” The athletes wore badges indicating their support for the Olympic Project for Human Rights (OPHR) to stress upon the atrocities against the African Americans as being directly contradictory to the Human Rights charter around the world. Peter Norman an Australian on the podium, who did not agree with policies of Australian government towards the indigenous communities in Australia, too agreed to wear the badge in solidarity with his fellow sprinters.

Not surprisingly many of the Americans witnessing the ceremony at home were outraged. They saw this act as a disrespect to the American spirit, done in order to express their discontentment with their home country. Both, Smith and Carlos (national heroes for winning the medals) were criticized at home for doing the protest. This criticism was not limited to scathing articles in the press but also resulted in their suspension from the U.S team. However, this wasn’t the end of their troubles. Both men and their families started receiving grave death threats upon their return to America despite the positions scored. The Time magazine on the 25th of October, 1968 summarised the general attitude towards these athletes and wrote, ““Faster, Higher, Stronger” is the motto of the Olympic Games. “Angrier, nastier, uglier” better describes the scene in Mexico City last week”. Peter Norman, their Australian counterpart, was criticized by the Australian media. He was rejected a position in the 1972 Summer Olympics, despite having qualified 13 times over. But this behavior did not deter the athletes, they refused to apologize for the salute, as the conduct showed by their countrymen only solidified their stance. Understanding and empathising with their community, millions of American understood their gesture and acted as a shield for the two sprinters, protecting them against the conservatives with their support.

The struggle for civil rights in the US did not start in the sixties, it thrived since the independence of the US. However, 1960s was the start of a more concentrated effort in the struggle of achieving civil rights. They highlighted the civil rights movement and the struggles of its participants in a manner which was much more effective than anything seen before, and especially in the year 1968. The Black Power Salute served as the perfect complement to the evergrowing resentment against the current sociological order. The king assassination, the JFK assassination and urban riots showed America as a land which was plagued by unrest and injustice. All of this unrest in the US political sphere inevitably spilled over into the apolitical world of sports with the initiation of the black power salute. NPR reflected on this event,“The Black Power demonstration on top of the victory stand in Mexico City in 1968 by several African-American athletes was one of the great political moments in the history of the Olympic movement," Hoberman says. "This was a way of saying, at the end of the 1960s ... that the African-Americans had had enough of domestic racism and that here was an opportunity to express their feelings about that."

The characteristics of the stage that the protest was orchestrated on carries equal importance when gauging the depth of the matter and its impact. Traditionally, the Olympics is held every four year and it is used as an international platform by athletes to present their many different sporting abilities from athletics in various manners. On paper, Olympics are supposed to politically neutral, free from any political bias and are only meant as a sporting event, where athletes compete with each other for recognition. Olympics being an international sporting event, is often regarded as a platform fit to forward politically-motivated issues. However, the competition has been increasingly acknowledged as a platform to voice international concerns for a larger audience. Therefore, the Olympics have not been a stranger to political controversy and politically motivated protests; 1936 in Berlin, 1968 in Mexico City, 1972 Munich, 1980 Moscow, and 1984 Los Angeles are all monumental protests that proved necessary for bringing social and political problems to the forefront. Irrespective of the jeering crowd, disqualifications and death threats, the statement made by the two athletes were successfully highlighted, acquainting the world with the struggles of the average African American. No matter how the officials tried to mitigate the effect of the silent protest, the iconic image continued circulating in newspapers and propping up in conversations around the world; the international reach and impact of the Salute, therefore, has to a great extent be attributed to the platform it was played out on.

Works Cited

"On This Day: Tommie Smith and John Carlos Give Black Power Salute on Olympic Podium." On This Day: Tommie Smith and John Carlos Give Black Power Salute on Olympic Podium. N.p., n.d. Web. 27 Oct. 2016.

Salute, 1968 Olympics Black Power. "1968 Olympics Black Power Salute." 1968 Olympics Black Power Salute. N.p., 01 Jan. 1970. Web. 27 Oct. 2016.

"The Black Power Salute That Rocked the 1968 Olympics." Time. Time, n.d. Web. 27 Oct. 2016.

Younge, Gary. "The Man Who Raised a Black Power Salute at the 1968 Olympic Games." The Guardian. Guardian News and Media, 30 Mar. 2012. Web. 27 Oct. 2016.

New folder/Political Cartoon IRI.docx

1

5

Student Name

WR 121

Teacher Name

Date

:

In today's political climate, and specifically around the issues of inequality based on ethnicity and race in the united states, every citizen of this country is a stakeholder. This idea doesn't seem to be commonplace in many of the voices emanating from this emotional and too often violent debate. University campuses are a unique reflection of society, in that they often thrust many different groups into a highly diverse environment where interaction and the exchange of ideas is both encouraged and necessary. This presents many challenges, and many opportunities for learning and for growth, but also for conflict and pain, sometimes unintended, sometimes deliberate, and unfortunately often inflicted by institutions. Why are we all so emotional around this discussion? How have we come to fear that which is not like us? It isn't hard to imagine why people of color are emotional: they are the most directly hurt by any form of discrimination whether by an institution or by individuals, but we are all hurt when one group has to work harder to achieve the same results, we are all hurt when ignorance is tolerated, and we are all hurt when (justified) anger does not move to positive energy. How do emotions and notions of power and privilege affect the outcomes in conflict resolution? Where does freedom of speech fit in when words can be a violent weapon? This discussion should aim to separate the notions of aggression and microaggression by drawing a line between intent, and error or misconception, not to absolve the ignorant party of any responsibility, but to foster an environment in which learning is cultivated, and where initial emotional responses are acknowledged then redirected to fuel growth and mutual understanding. Finally, this idea that we are all stakeholders must be explored further. The balance of power is a source of friction, and the idea that power is a zero-sum resource is perhaps one of the many deep roots of the problem. In essence we all gain, and none of us have anything to lose, by moving this discussion further down the path of peaceful resolution.

In the academic world, and specifically around the issues of antiracism, Ali Michael proposes that “a critical piece of the inquiry model of learning is that it cannot be based solely on our own existing understanding” (Michael 29). She further suggests the Johari Window as a model for examining how to gain deeper understanding over our own shortcomings. Specifically, over that which we don’t know we don’t know. This is important. A well-meaning student may directly offend another, or indirectly perpetuate the institutional nature of discrimination that exists today. What she means to say is that the notion of colorblindness that is popular among white millennials is counterproductive since it does not account for the fact that it is simply ignorant, literally, of the complex dimensions of racial identity. She is then correct in asserting that “we also have to act in ways that are intentionally anti-racist to explicitly eliminate racist impact on students” (Michael 66). Finding ways to explore what our identities have in common, may be just as important as asserting our identities’ uniqueness. Perhaps considering what it means to be white in earnest self-reflection may shed some light on the nature of privilege.

Racial identity is extremely relative, and communication around it has a deep relational aspect. This is due to the environment in which we grow up either as white, or as a person of color. Joshua Miller and Ann Marie Garran agree when they state that “people of color will be more aware of the salience of their race and how this can threaten their well-being in a racist society,” they add that “white people will encounter less dissonance between their race and their social world and experience less disequilibrium so they likely will not have to be conscious of their race constantly” (Miller and Garran 88-89). At this intersection we begin to discern the notions of privilege and power as major players in this conflict. They simplify matters by assigning responsibility broadly when they say that “the persistence of racism relies on collusion of the majority of white people in the United States, a form of by-standing that allows existing racial privileges for whites and the web of racism for people of color to remain unchallenged” (Miller and Garran 276). We must not ignore that causing harm, even unintentionally, has very real consequences for the victim. A thought reflected by Miller and Garran who propose that simply “having the courage to move beyond our comfort zones, extending that compassion to others through our actions” is a solid place to start (Miller and Garran 277). In other words, we must recognize our shortcomings, our negative emotions, such as fear, and redirect our energy in a more productive manner.

In the same way that fear affects white people’s ability to move the conflict forward in a positive way, anger, even justified, has the same effect on the abilities of people of color to do the same. Evelyn Lindner states that “our emotions affect conflict and conflict affects our emotions” (Lindner 268) This is reminiscent of the tendency of closed loop systems to entropy. Without new energy, there is a loss of momentum; a new challenge then, according to Peter Coleman who forewarns that “significant changes in the status quo of the balance of power between parties can affect experiences of relative deprivation and increase conflict aspirations.” (Coleman 133) In other words, the zero-sum notion of power seen as two sides of the same scale is largely responsible for engendering conflict. We, as American college students of all ethnic backgrounds, need to shift our understanding to something perhaps more counter-intuitive, where the two sides of the scale may never move in opposite directions, where if one side gains, then so does the other and vice-versa. Peter Coleman agrees when he states that “cooperative interdependence in conflict leads to orientation of gaining “power with” others” (Coleman 136). That is, “power with” others as opposed to “power over” them. This argument is corroborated by Lindner’s concluding thought that “for complex long-term problems, we need to entertain superordinate regulatory loops in our higher brain structures [and] slow down our thinking processes so we can assess them” (Lindner 285). In essence, this simply means that progress, understanding, and eventually resolution can only happen when rational thought is driven by a controlled release of the energy fueled by emotion, all parties are equally invested, all parties are equally represented, and all parties see themselves and each other as equal stakeholders.

There is hope, and much work to do. Ruth Sidel states that “administrators, teachers, and students then face the critical task of finding new ways to facilitate communication among disparate groups, of helping people from different backgrounds live together, and of creating a sense of connectedness in the outside world” (Sidel 9). It is hard to elaborate on her clear suggestion. Perhaps it may help to juxtapose this with her assessment that “among many barriers that many students have had to face in recent years are virtually continuous clashes stemming from prejudice, ethnocentrism and fear” and that “at the root of these clashes are entitlement and power” (Sidel 79). She implies that all of these clashes have been a result of deliberately malicious actions meant to elevate the status of one group above that of another. That is certainly at least partially true, but it is not the whole issue; it does however, run parallel to my argument that ignorance and apathy are at least as much responsible as fear and prejudice, or entitlement and power. Lindner inversely reflects my argument when she explains why we might experience anger such as “when we deem that the person who hurts us has sufficient control over the situation to avoid harming us” (Lindner 275). Sidel, in contrast, paints a cynical picture of the college student. She also contradicts her earlier assessment that students are “complex, sometimes conflicted players in a drama that is not, for the most part, of their making, but is nonetheless one for which many of them feel genuine concern and a sense of responsibility” (Sidel 9). This directly reflects my motives for exploring this thorny issue.

Finally, we must acknowledge the overarching issue of the institution as the main perpetuator of racism and inequality. It is not the scope of this discussion to review the history of racism at the hands of the United States government, though it is essential to acknowledge the heavy influence of the past on our present policy, and their inherent bias. Coleman specifically addresses this issue, reminding us that “the powerful also largely determine what is considered to be important, fair, and just in most settings and thus shape and control many methods of resolution” (Coleman 121). The convergence of these ideas of race, of power and government, and the deeply entrenched bias in the identity of our nation, resonates with Michael Ramirez’ cartoon criticizing the Obama administration for carrying-on with failed policy, to appease the population, and quiet our fear of change. Ramirez, let us be frank, mocks the American people for being blind and resting easy in the illusion of safety, rather than stepping outside of our comfort zones, and demanding real progress (Ramirez).

The unique opportunity presented by the nature of college campuses, that is, the high concentration of diverse and disparate groups, creates in us a responsibility or a duty to educate ourselves, and each other, in good faith and with compassionate intention, about what makes us different and what makes us the same, so that we may finally design ways to not only coexist, but to cooperate in making all of our lives better and safer in a world that rejects all notions of inequality as acceptable traits of our society. How much idealism is too much? How much is too little? Can we begin at the level of personal responsibility for our thoughts, our emotions and our actions, and push out and up through institutions and communities? Who holds the proverbial key? Is it the government, the people as whole, Millennials, or the next generation? Peaceful protest in the names of prosperity, and equal opportunity for all stakeholders is vital, and aggressive campaigns to reform policies which hold inherent bias must be once more de rigueur, and our prejudice must be turned away from each other and instead, to the very entity that separates us based on the color of our skin, our economic status, or any other differentiating factor. This cannot be the sole responsibility of the oppressed, and ignorance can no longer be condoned as a viable solution. Stop being colorblind when color is often the sole criteria on which institutionalized racism rests on. How do we bring stakeholders to the conversation? Who decides what is acceptable to say and what is not? There is no simple way to balance the importance of freedom of speech and the damaging nature of hate speech, since the lines are impossible to draw clearly. Can we improve the landscape of this conflict by adding more policy? As a nation, we seem to hold firm onto our constitution, against which all laws are meant to be weighed. Let us not forget that the document was written by wealthy white men a long time ago, in a world where slavery was a legal business, and neither slave nor woman had a vote. Isn't then our constitution the ultimate failed policy? Do we not need laws that better represent the interests of all people equally? Finally, we must look for those who gain the most by perpetuating the culture of racist oppression. The question is: why is someone still allowed to profit from it.

Works Cited Coleman, Peter T. "Power and Conflict." Deutsch, Morton, Peter T Coleman and Eric C Marcus. The Handbook of Conflict Resolution. San Francisco,CA: Jossey-Bass, 2006. 120-143. Print. Lindner, Evelyn G. "Emotion and Conflict: Why it is Important to Understand How Emotions Affect Conflict and How Conflict Affects Emotions." Deutsch, Morton, Peter T Coleman and Eric C Marcus. The Handbook of Conflict Resolution. San Francisco, CA: Jossey-Bass, 2006. 268-293. Print. Michael, Ali. Raising Race Questions. New York, NY: Teachers College Press, 2015. Print. Miller, Joshua and Ann Marie Garran. Racism in the United States. Belmont, CA: Thomson Brooks/Cole, 2008. Print. Ramirez, Michael. Untitled. Investors Business Daily. 2015. Web. Sidel, Ruth. Battling Bias. New York, NY: Viking, 1994. Print.