2014年妇产科优质护理工作计划

.However, the heritage of the American slave system is still part of our lives. Racial attitudes of white superiority and black inferiority became an integral part of the American cultural climate, and it is still part of the air we all breathe. All Americans, black and white, inhale and assimilate more racism than we care to admit. Denying that we are still infected by prejudice, however, does not help us to deal creatively with it. The drive to create a black identity which can be worn with pride and the emergence of independent African nations already have made a significant impact in altering American racial sterotypes. (The Black Experience in America)Part 4 Culture music & danceAfrican American culture is both part of and distinct from American culture. From their earliest presence in North America, Africans and African Americans have contributed literature, art, agricultural skills, foods, clothing styles, music, and language to American culture, especially music and dance.African American music has influenced musical tastes around the world. Africans introduced Americans to musical rhythms and instruments quite different from the musical traditions of Europeans or Native Americans. In some cases, African musical traditions have blended into American culture with little notice. The banjo, now associated primarily with the bluegrass music popular among white Southerners, was originally an instrument used in African religious ceremonies. Southern slaves adapted the instrument to suit secular (nonreligious) musical styles in the 18th and 19th centuries. African Americans blended African musical forms with European Christian hymns to create distinctive religious songs known as spirituals. In the early 20th century, the tradition of slave spirituals developed into gospel music, a religious song form which incorporated melodies and rhythms from popular music. Black church choirs around the country continue to sing both gospel and spirituals. African Americans have also created many secular musical styles. Ragtime music developed among blacks in the urban areas of the North and South after the American Civil War. Another musical style with roots in the African American experience, known as the blues, emerged in the early 1900s. Both ragtime and the blues contributed to the development of jazz, considered by many to be the most original and complex of American musical forms. Whereas jazz largely eclipsed ragtime, the blues have continued to exist alongside jazz. Jazz musicians often improvise solos based on a theme or melody. In the 1950s and 1960s, African Americans pioneered new forms of popular music such as rhythm-and-blues and rock-and-roll. In the 1980s and 1900s, rap emerged as the newest form of black musical expressin. Combining social commentary with rhythmic lyrics, heavy bass beats, and remixed or original melodies, rap is one of the most controversial of black musical forms. (Harris, 2007)Like music, African American dance is rooted in African and African American traditions. In Africa, dance is often an integral part of religious ceremonies. The degree to which African slaves were able to retain African dance forms in North America depended on their masters. In some parts of North America, dancing was frowned upon by some Protestant slave-owners as sinful. Since these slave-owners defined dancing as crossing the feet, slaves adapted their dances to conform to European beliefs, creating a shuffling motion with the feet that would be less offensive to Europeans. In places such as New Orleans and New York City, however, slave-owners allowed their African slaves to preserve their music and dance. Blacks often performed in public squares or at private ceremonies, and were sometimes rewarded with money or extra food for their virtuosity. Blacks also helped establish dance as a profession in the 20th century. In films and on stage, black dancers displayed their skills before both black and white audiences. Beginning in the 1920s, tap dance became one of the best-known forms of dance performed by blacks. African American tap dancers became famous throughout the world. In the mid-20th century, black dance companies began preserving and reinterpreting African American and Caribbean dance forms. Other African American dancers mastered European dance forms, often producing innovative combinations of the African and European traditions. Blacks also participated in the creation of nonprofessional dances. As with music, African American dance forms have greatly influenced popular culture. (Harris, 2007)Slavery was a crucial dilemma, in which contact between blacks and whites were close and often intimate, though an outer show of social distance and social untouchability existed. There was a reciprocal cultural exchange. In the South especially, there was a subtle and an unrecognized effect of blacks upon a developing American culture. Often there has been an energetic and clashing interaction of black culture with the rest of American culture. (Mildred, et. Wis, 1977)In American music both song and dance, some argue, often include Africanisms. African polyrhythms are the foundation of jazz, with its intricacies, repeated themes, syncopations, embellishments, and improvisations. As with African music, performers have the freedom of individual interpretation and embellishment. American songs, particularly spirituals, some point out, show traces of Africanisms in rhythm and vocal style. American music includes spirituals, jazz, and rock. Black musicians have given modern American music its form, its direction, and its “soul”. American dances which feature a combination of active head-and-hand, body-pelvic movements are suggestive of African dance. It is said that the American Charleston is nearly identical to an Ashanti ancestor dance. (Mildred, et, 1977)Part 5 Conclusion: AAVE & Appellations and Music & DanceAfrican American English is important to African American people. Whether they celebrate or criticize it, it is the evidence of what they have been through. The speaker who relies on its most vernacular form represents his or her social world and the encroachments of racism and class inquities. The successful adult who claims an allegiance to standard, “good” speech uses language as proof that the escape from racism is successful and over. The teenager who confronts and confounds the world with language games and verbal usage that celebrates the dialect is recognizing its power. And the college student and computer specialist who uses elite speech when working and AAE when theorizing and plotting to overtake the world evokes home. African American English is part and parcel of social, cultural and political survival. It is about ideas, art, ideology, love and memory. (Morgan, 2002: 7)Generally speaking, the degree of exclusive use of AAVE decreases with the rise in socioeconomic status, although almost all speakers of AAVE at all “socioeconomic levels readily understand Standard American English”. Many blacks, regardless of socioeconomic status, educational background, or geographic region, use some form of AAVE to various degrees in informal and intra-ethnic communication. The use of AAVE, as with the use of SAE (Standard American English), can also be a conscious choice. The level of usage of any dialect is subject to the speakers volition. In certain situations, speakers of AAVE may deem it more appropriate to use SAE, and in other instances (most likely among other African Americans) use AAVE. (Answers)Appellation is a name of meaning, a name of social status, and a name of self-identity. African Americans are still in pursuit of a most appropriate appellation which would endow them with a sense of dignity, pride and identity.As slaves and later second-class citizens, they were victioms of wrongdoing for several hundred years. But they do have greatly molded American culture. The vastly disproportionate contributions of African Americans to music, sports, film, language, and fashion are a large part of the reason for Americas cultural dominance. (Godless, 2003)Generations of slaves arrived in North America and the Caribbean with little else but their rich customs and diverse forms of cultural expression. These persisted for centuries, in spite of brutal attempts to suppress them, eventually evolving into complex new art formsart forms now celebrated, and imitated, the world over. Yet today the influence of African-American folklore on art, music, film, literature and religion remains largely unacknowledged, says Anand Prahlad, a professor of English at MU and editor of the new three-volume Greenwood Encyclopedia of African American Folklore. “There is a real public void when it comes to knowledge of African-American culture in our society,” Prahlad says. “Americas cultural identity is so defined by elements f African-American folklore, yet Americans are ignorant about the roots of those elements.” (Illumination Fall 2006, 2006)In a word, no matter how they were badly treated in history though not fairly enough even nowadays, we cannot ignore their great influence on American culture, and they have struggled bravely to maintain their own racial heritage in Africa and gain their pride