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Identity and Belonging

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Angela Nolan

on 26 May 2013

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Transcript of Identity and Belonging

Writing in Context Identity and Belonging So ... you read the prompt, you UNDERSTAND the prompt ... but you STILL don't know what to write.

Here are some guiding ideas and questions to think about along the way. YOU know that you understand the prompt, but does the EXAMINER?

Your first task is to demonstrate to the reader that you UNDERSTAND the prompt.

-REWORD the prompt
-USE metaphor or simile to demonstrate your deep understanding of the prompt
-WRITE about the first thing that pop into your head once you have read and understood the prompt. I understand the prompt but I STILL don't know what to write .... Organise ideas to put in your body paragraphs. So, I think I've shown that I understand the prompt ... now what? START with YOU!

What do YOU think of the prompt, of Identity and Belonging?
What is important, and what is not?
Find your voice!
Use a personal story, a personal idea or theory. If you are feeling confused, say so, but also EXPLAIN about WHAT makes you feel confused. Like what, exactly? Don't write about the text ...
Write about an IDEA that you find IN the text Address the prompt Use real life examples Remember you are writing to your very intelligent but slightly out of touch grandmother. Answer the prompt in the conclusion. Is identity more important than belonging?
Is belonging to more than one group possible?
How is our identity shaped by the groups we belong in?
How are groups influenced by the individuals within it?
Do we change our identity to belong?
Is identity fixed? or is it constantly changing?
Is it important to 'like' your identity?
Sometimes the simplest ideas are the best because they allow for more depth.
On the other hand, more complext ideas can better demonstrate originality in your writing. President Obama views the painting with Ruby Ridges Being exposed to conflicting values and opinions can weaken a person’s sense of self.
The way in which a person matures is influenced by the actions of others.
Without connections to others there is no me.
The feeling of belonging is more important to human wellbeing than identity. Which prompt? The context study is about making connections In the end, the film confirms that connection does not have to mean a physical or even emotional connection. It can be a spiritual one, and this is what Skin celebrates.
Sandra’s struggle is less about skin colour than it is about knowing that where we find happiness is where we belong. Sandra Kemp
A woman who lives in a world where "gingers" are ostracised from society and is sent to "Russet Lodge"; a refuge for redheads, under police protection. She appears several times in one episode of series two, then in the next series she returns with her campaign group "Gingers For Justice" taking a stand against the public, who eventually decide that gingers are allowed back in to civilisation. The series three sketches guest starred Patsy Palmer, where Palmer dressed as a battery (copper top) and protested with the other "gingers", who were themselves dressed as carrots and ginger biscuits. After the protest, it is revealed that a film is to be made of the "gingers" where Bonnie Langford will play Sandra. The context study is about making connections Prejudice and bigotry — even from her own family — are endemic in those who believe there is something wrong in being different, something to scorn and deride. Billy Elliot’s father doesn’t want his son doing ballet. Shameful. Gattica. Predestination. medieval beliefs underlie much of the (unspoken) justification for prejudice and discrimination against us. Good life, good reincarnation; bad life, bad reincarnation. Not dissimilar to the view held by some Christians that 'the sins of the father are visited upon the children.'" 
Throughout the film, though, there is one place where Sandra finds a connection, and that is with other women. Sandra is supported and empowered by the women in the film, including the black workers on the family property. The bond of motherhood connects them and, regardless of location, women find support in other women. Catherine TATE Gingers Refuge. The context study is about making connections Sandra is constantly moving or being moved to find a ‘‘home’’. Even at the end of the film, when Sandra is shown happily working inside her rainbow-coloured tuck shop, it is a makeshift add-on to her brick unit. Aboriginal nomads. Homeless people.
Sandra wants only to connect. It is those around her who prevent her connection — hence preventing her happiness and sense of belonging. Documentary – finds sense of belonging in her own family and grandchildren. The context study is about making connections Living among the black community, Sandra is confronted with racism from within — a racism created by racism. Japanese buraku community. Zero animation.
One can understand Petrus’ frustration and malaise as he rejects Sandra because she is white. There is truth in his alcohol-infused dirge: ‘‘They treat us like animals ... and we’re supposed to believe we’re human ... ’’ Slavery in the U.S. Jim Crow laws in America’s South. Segregation. Australian Federation 1901 and White Australia Policy. The context study is about making connections The nature-nurture divide is reinforced throughout the film and the idea that ‘‘without connection to others there is no me’’. Stories from Growing up Asian in Australia.
It is skin that causes tension with her father; it is skin that causes her to be humiliated in school  and to gravitate towards the black workers on her farm. It is skin that forms an attachment to Petrus, the black employee and first male to show her any sense of happiness and comfort; it is skin that ultimately causes her to be abused by her husband and  which made her a reference point for the multiracial elections of 1994 and the victory by Mandela’s African National Congress. Boys don’t cry. The context study is about making connections Abraham’s insistence on having Sandra reclassified ‘‘white’’ is not so much for her benefit. He admits he is doing it ‘‘for all of us’’.
Parents denying that their children are intellectually or physically disabled. E.g. banning sign language.
Abraham needs her to be ‘‘white’’  to assuage his own ‘‘black genes’’ and racist philosophy. Mr Opus’s orchestra. He is disappointed his son is deaf and he won’t be able to ‘hear’ music.
Skin is all about identity. Sandra is ‘‘born’’ one thing but ‘‘taught’’ she is another. Children who are raised believing their mothers are actually their grandmothers and are told that their real mother is their sister.
Throughout the film she is ‘‘punished’’ for committing a crime — that of being neither black nor white. Northern Ireland – children with parents who are Catholic and Protestant. Japan kikokushijou. New kids in the neighbourhood 1967 John Steinbeck was there. He wrote about it in “Travels with Charley in Search of America” (1962):
The big marshals stood her on the curb and a jangle of jeering shrieks went up from behind the barricades. The little girl did not look at the howling crowd but from the side the whites of her eyes showed like those of a frightened fawn. The men turned her around like a doll, and then the strange procession moved up the broad walk toward the school. Eye-witness account Norman Rockwell
‘The Problem We All Live With’ 1964
Ruby Ridges Skin colour can be used as a weapon against individuals and their rights as human beings.
Eye of the storm. Jews in Germany. Andrew Bolt case.
the rights of individuals to belong are less valued than the fear of those powerful few. Princess Margaret not marrying a commoner. Asylum seekers to Australia. Federation 1901. White Australia Policy.
Sandra’s question — What did I do wrong? — could also be the question posed by any person rejected and isolated on the basis of ‘‘difference’’. Norman Rockwell painting of girl going to school with tomato being thrown at her. Arkansas 9. New neighbours painting. The context study is about making connections http://www.abc.net.au/abc3/mygreatbigadventure/
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