By reconnecting youth to the practice of cultural traditions, no matter what their religion, color or ethnicity is, Indlondlo Zulu Dancers aims to encourage young people to stay away from drugs and criminal activities, while building an intercultural dialogue through dance, among the members of its dance troupe.
The NGO performs, as well as educates, cultural dances in the rural areas of the Valley of 1000 Hills / KwaNyavu / Mkhambathini and surrounding areas (South Africa). The aim really is about providing a positive model for young men from backgrounds lacking male role models, due to the history of a nation where families were torn apart because men often had to live apart from their families.
The concept of intercultural dialogue will have different meanings in different countries depending upon their histories, traditions, population structures, concepts of
citizenship and the distribution of rights and freedoms.
Indeed studies show that intercultural dialogue has been understood in a plurality of ways ranging from promoting: a culture of peace, a dialogue of or among civilisations, cultural co-operation or diplomacy, integration and social cohesion through community participation, etc. It has also been used interchangeably with terms such as ‘cultural diversity’ or ‘multiculturalism’. Some have even argued that the concept is in itself contentious and places artificial boundaries around cultures and their ‘representatives’.
The present resource maps views and collect examples of good practice on the role of intercultural dialogue in the arts and arts policies.
Joined by a global array of musicians, music researcher and virtuoso Jordi Savall traces the relevant story of the African diaspora and its musical legacy across centuries and continents in 'The Routes of Slavery'. This multicultural performance of music and dance, interspersed with dramatic readings, features artists from Africa, the Americas and Europe.
Together, the artists trace the journey of enslaved peoples from 1444 to 1888, showcasing the musical traditions they brought with them and how these cross-pollinated with other indigenous cultures during the African Diaspora. When Savall first designed 'The Routes of Slavery' several years ago, he chose from the outset to collaborate with, and give the performance platform to, artists representing the cultures to whose history the show pays homage.
Facing History and Ourselves is a nonprofit international educational and professional development organization. Their mission is to engage students of diverse backgrounds in an examination of racism, prejudice, and antisemitism in order to promote the development of a more humane and informed citizenry. By studying the historical development of the Holocaust and other examples of genocide, students make the essential connection between history and the moral choices they confront in their own lives.
In this activity, Facing History and Ourselves invites to read a short piece from Amin Maalouf, a writer who was born in Lebanon and immigrated to France, who resists other people’s attempts to oversimplify his identity. Following the reading, educators are given a few connecting questions in order to have a discussion with the group.
The Carleton Centre for the Study of Islam, in collaboration with the Intercultural Dialogue Institute – Ottawa and the Canadian Council of Muslim Women, hosted a workshop entitled “Averting Violent Extremism: Religious Literacy, Pluralism and Community Resilience” on February 4 and 5, 2016.
The overall goal of the interdisciplinary workshop was to assess the viability of the religious literacy approach in ameliorating the attractiveness of violent extremism for vulnerable youth. It was an interactive event designed to enable broad participation by a large number of knowledgeable and experienced people.
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The Global Report series has been designed to monitor the implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005). It provides evidence of how this implementation process contributes to attaining the United Nations 2030 Sustainable Development Goals and targets. The 2018 Global Report analyses progress achieved in implementing the 2005 Convention since the first Global Report was published in 2015.
he Global Report series produce new and valuable evidence to inform cultural policy making and advance creativity for development.
Grounded in the analysis of the Quadrennial Periodic Reports submitted by Parties to the Convention and relevant new findings, this report examines how the 2005 Convention has inspired policy change at the global and country level in ten areas of monitoring. It puts forward a set of policy recommendations for the future, addressing the adaptation of cultural policies to rapid change in the digital environment, based on human rights and fundamental freedoms of expression.
Rwanda has faced war and migration since 1959, and genocide against the Tutsi in 1994. Currently Rwanda is inhabited by native groups, people who have migrated from other countries, and migrated Congolese people who have received nationality. The Batwa or “Abasigajwe inyuma n’amateka”, literally translated as those who were neglected by history, form an isolated and marginalized group in Rwandan society. Batwa are widely stigmatized, the Impunyu above all. Taboos surround eating together or even using utensils used by Batwa.
Batwa tradition is rich in song, dance and music. Dance, instinctively arising from music, is one of the most spectacular expressions of the Rwandan culture. The IDARC project (Intercultural Dialogue Awareness Rising for Cooperation) uses dance to play an important role in civil, economic and social life of the Rwandans. Further, the IDARC project promotes freedom of speech and thought by creating an intercultural dialogue space for peace and development in Rwanda. This project solves two problems; it enables the marginalized ethnic group to express their thoughts and ideas through sharing their culture to the cultural lives of other Rwandans and it promotes understanding and cooperation among Rwandan citizens.
'There are 65 millions of refugees in the world. Get to know some of their stories'.
The campaign #YoSoyRefugio comes from Proyecto Reflejad@s. It deals with raising awareness on the situation of people who have had to flee their countries, and find themselves in vulnerable contexts. Reflejad@s aims to give them a voice, so that people understand who are the human beings behind headlines and hot news.
Sharing their stories is a way to build a bridge between them, and the rest of the world.
This book of Ricard Zapata-Barrero and Anna Triandafyllidou seeks to offer a European view of diversity challenges and the ways in which they are dealt with. It highlights important similarities and differences and identifies the groups that are worse off in the countries studied.
While it may be difficult to devise policy approaches that are responsive to the needs of all the 16 European countries studied here (let alone the 27 EU member states), it is however possible to develop policies that address a number of European countries that share common or parallel migration and ethnic minority experiences.
Cultural respect is vital to reduce health disparities and improve access to high-quality healthcare that is responsive to patients’ needs, according to the National Institutes of Health (NIH). Nurses must respond to changing patient demographics to provide culturally sensitive care. This need is strikingly evident in critical care units.