Key pieces of legislations promotion Essay Example for Free

Key pieces of legislations promotion Essay Places a duty for schools to produce a Disability Equality Scheme (DES) and an Access Plan. Schools must encourage participation in all aspects of school life and eliminate harassment and unlawful discrimination Race Relations (Amendment) Act 2000 Ensure to develop the good relationship between organizations and people. Human Rights Act 1998 Set out the rights of the individuals and guide them how to take action against the authorities if these rights are effected Special Educational Needs and Disability Act 2001 Makes it unlawful for educational providers to discriminate against pupils with a special educational need or a disability Children Act 1989 Sets out the duty of local authorities (including schools) to provide services according to the needs of children and to ensure their safety and welfare Education Act 1996 Sets out the school’s responsibilities towards children with special educational needs. The Act also requires schools to provide additional resources, equipment and / or additional support to meet their needs Children Act 2004 Sets out the duty to provide effective and accessible services for all children and underpins the Every Child Matters outcomes Equality Act 2010 Sets out the legal responsibilities of public bodies, including schools, to provide equality of opportunity for all citizens. This brings together nine equality laws Table B: Code of Practice about promotion of equality and valuing of diversity Code of Practice Purposes The special educational needs code of practice 2001 This code outlines the statutory guidance for policy and the procedures and responsibilities

Ethnographic Paper :: essays papers

Ethnographic Paper The Pleasure of Pain These days anything can be considered art. The structure of a building, the human body, music on the radio, love, Versaci’s new line of winter, and pretty transvestites walking down the street are just a few of hundreds of thousands of examples. That kind of art is overrated. Most of these only exist because of society. As people grow and change so does the values and traditions that they are accustomed to. True art hangs on the walls of museums all over the world. Paintings by Monet, Da Vinci, and Picasso represent all that can be made beautiful by a man’s touch. The word tattoo comes from the Tahitian word tattau, which means ‘to tap,’ and can be traced back through a part of history. The art of tattoos has been evident since ancient Egypt and more than 1,500 years ago the Japanese marked criminals as a symbol of shame for their punishment (Britannica, 2000). In the nineteenth century tattoos were viewed as frightful and grotesque, but as the twentieth c entury rolled by technology gave way to the trend. The electric needle created a sense of precision and control. This is how the various designs developed and tattooing became more about expression, rather than branding. It is a guarantee that tattoo and piercing artists can be found by the thousands in a metropolitan city. Their form of art may be simpler to an extent, but it has been growing in popularity for years. By using the body as a gateway for expression, people can present themselves in a new light, and as a mean for recreating their image. The concept of transferring art on paper to the body for the mere purpose of self-pleasure is attracting all types of people. It is impossible to walk through a mall without spotting people of all ages with this type of branding. â€Å" Young adults have accepted this practice as a normal part of their culture. You can’t escape it.† Says Walter Hewitt, who recently completed a 19-school study on tattoos and piercing (Vogel, 2000). There are big ones, small ones, tasteful ones, tacky ones, and probably some temporary ones, and because tattooing is forever and also carries a mental heath risk known as regret, the decision to get one shouldn’t be taken lightly. The customer is very vulnerable when entering a tattoo and piercing parlor, because all their trust for a good product is put in the hands of the artist.

Plot and central idea in Shirley Jackson’s “The Lottery” Essay

Shirley Jackson’s, â€Å"The Lottery† concerns a small town’s annual lottery drawing and the grim circumstances that ensue. In this short but disturbingly profound piece of work, Shirley Jackson communicates to the reader the theme of scapegoatism along with its implications concerning traditions. In the village where this lottery takes place, we find many familiar elements: a post office, a grocery store, schools and a coal mine. In this village, Mr. Summers owns the coal mine, so his business has made him the wealthiest man in the village. Mr. Summers also controls the annual lottery. He is somewhat uncomfortable with his authority but has chosen to carry on with the yearly tradition. The order in which the lottery drawings take place emphasizes who does and who doesn’t have power in the village’s social hierarchy. Men or working sons draw for their families. The few exceptions involve death or illness. Only then is a wife permitted to draw. It is evident that although everyone eventually participates in this drawing (children included), women are disenfranchised from the village social structure. As the villagers anxiously wait for the lottery to begin, the young boys rough play and gather piles of stones, while the girls socialize in their circles, watching the boys. Agriculture is the main staple of this village and a great emphasis seems to be placed on the bountifulness of crops. This is reinforced by Old Man Warner, a long time resident of the town, when he cites the expression, â€Å"Lottery in June, corn be heavy soon.† There is timid talk by Mr. and Mrs. Adams of nearby villages doing away with the lottery, but the notion is quickly abolished when Warner calls these new thinkers â€Å"a pack of crazy fools.† He sarcastically suggests that perhaps they would be better off if they succumbed to living in caves and eating â€Å"stewed chicken weed and acorns.† As far as Old Man Warner is concerned, there has always been a lottery. As Mr. Summers begins to address the town gathering, Mrs. Hutchinson shows up  late, hurriedly joining her husband and family. She claims to have almost forgotten what day it was. Once the drawing commences, Mrs. Hutchinson rushes her husband on when his turn comes to draw with the remark, â€Å"Get up there, Bill.† The reader gets the impression that Mrs. Hutchinson holds little respect for either Mr. Summers or the lottery. The last round of the lottery concludes with Mrs. Hutchinson drawing the slip with the feared â€Å"black spot.† As the town and her own family members move in on her with stones, she cries out several times, â€Å"It isn’t fair, it isn’t right.† Her cries go unheard and we are uneasily left to hope that the villagers were swift with their proceedings. In this story, Shirley Jackson illustrates how traditions are passed down to our children, who tend to do what they are told without asking or knowing why. By the time we are mature enough to question morality, as long as it â€Å"isn’t fair† or â€Å"it isn’t right† to us, we are more willing to accept the condition of our surroundings rather than promote change.

Biography of Nobel Prize Winner Chief Albert Luthuli

Date of birth:  c.1898, near Bulawayo, Southern Rhodesia (now Zimbabwe)Date of death:  21 July 1967, railway track near home at Stanger, Natal, South Africa. Early Life Albert John Mvumbi Luthuli was born sometime around 1898 near Bulawayo, Southern Rhodesia, the son of a Seventh Day Adventist missionary. In 1908 he was sent to his ancestral home at Groutville, Natal where he went to the mission school. Having first trained as a teacher at Edendale, near Pietermaritzburg, Luthuli attended additional courses at Adams College (in 1920), and went on to become part of the college staff. He remained at the college until 1935. Life as a Preacher Albert Luthuli was deeply religious, and during his time at Adams College, he became a lay preacher. His Christian beliefs acted as a foundation for his approach to political life in South Africa at a time when many of his contemporaries were calling for a more militant response to Apartheid. Chieftancy In 1935 Luthuli accepted the chieftaincy of the Groutville reserve (this was not a hereditary position, but awarded as the result of an election) and was suddenly immersed in the realities of South Africas racial politics. The following year JBM Hertzogs United Party government introduced the Representation of Natives Act (Act No 16 of 1936) which removed Black Africans from the common voters role in the Cape (the only part of the Union to allow Black people the franchise). That year also saw the introduction of the Development Trust and Land Act (Act No 18 of 1936) which limited Black African land holding to an area of native reserves — increased under the act to 13.6%, although this percentage was not in fact achieved in practice. Chief Albert Luthuli joined the African National Congress (ANC) in 1945 and was elected Natal provincial president in 1951. In 1946 he joined the Natives Representative Council. (This had been set up in 1936 to act in an advisory basis to four white senators who provided parliamentary representation for the entire Black African population.) However, as a result of a mine workers strike on the Witwatersrand gold field and the police response to protesters, relations between the Natives Representative Council and the government became strained. The Council met for the last time in 1946 and was later abolished by the government. In 1952, Chief Luthuli was one of the leading lights behind the Defiance Campaign — a non-violent protest against the pass laws. The Apartheid government was, unsurprisingly, annoyed and he was summoned to Pretoria to answer for his actions. Luthuli was given the choice of renouncing his membership of the ANC or being removed from his position as tribal chief (the post was supported and paid for by the government). Albert Luthuli refused to resign from the ANC, issued a statement to the press (The Road to Freedom is via the Cross) which reaffirmed his support for passive resistance to Apartheid  and was subsequently dismissed from his chieftaincy in November. I have joined my people in the new spirit that moves them today, the spirit that revolts openly and broadly against injustice. At the end of 1952, Albert Luthuli was elected president-general of the ANC. The previous president, Dr. James Moroka, lost support when he pleaded not-guilty to criminal charges laid as a result of his involvement in the Defiance Campaign, rather than accepting the campaigns aim of imprisonment and the tying up of government resources. (Nelson Mandela, provincial president for the ANC in Transvaal, automatically became deputy-president of the ANC.) The government responded by  banning  Luthuli, Mandela, and nearly 100 others. Luthulis Ban Luthulis ban was renewed in 1954, and in 1956 he was arrested — one of 156 people accused of high treason. Luthuli was released shortly after for lack of evidence. Repeated banning caused difficulties for the leadership of the ANC, but Luthuli was re-elected as president-general in 1955 and again 1958. In 1960, following the  Sharpeville Massacre, Luthuli led the call for protest. Once again summoned to a governmental hearing (this time in Johannesburg) Luthuli was horrified when a supporting demonstration turned violent and 72 Black Africans were shot (and another 200 injured). Luthuli responded by publicly burning his pass book. He was detained on 30 March under the State of Emergency declared by the South African government — one of 18,000 arrested in a series of police raids. On release he was confined to his home in Stanger, Natal. Later Years In 1961 Chief Albert Luthuli was awarded the 1960 Nobel Prize for Peace (it had been held over that year) for his part in the anti-Apartheid struggle. In 1962, he was elected Rector of Glasgow University (an honorary position), and the following year published his autobiography, Let My People Go. Although suffering from ill health and failing eyesight, and still restricted to his home in Stanger, Albert Luthuli remained president-general of the ANC. On 21 July 1967, whilst out walking near his home, Luthuli was hit by a train and died. He was supposedly crossing the line at the time —  an explanation dismissed by many of his followers who believed more sinister forces were at work.