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https://humanitiesmoments.org/files/original/13/213/the-mother-1505000_960_720.jpg
9f367a9895b129b04975d583cc957053
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Title
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Village road in Vietnam
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Contested Territory: America’s Role in Southeast Asia, 1945–75
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A National Endowment for the Humanities Summer Institute for Teachers
Description
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Taking place from July 16-27, 2018, <a href="A%20National Endowment for the Humanities Summer Institute for Teachers">this National Endowment for the Humanities Summer Institute</a> explored modern Vietnam in order to situate the American War in broader spatial settings and longer historical contexts.
Identifier
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contested-territory
Text
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The National Humanities Center
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Kevin Shuford
Date
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Wednesday, July 18th, 2018
Description
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Until this summer institute, I had never heard of the Vietnamese folk poetry known as ca dao. To be honest, I had never even thought of Vietnamese people having a poetic tradition at all. I, like so many other Americans, had relegated Vietnam to an inert location on a map or a tidy historical category. I could barely conceive of a Vietnam beyond the context of American military intervention. Even as we learned about the legacies of European colonialism in the initial seminars, I still saw Vietnam as an almost passive landscape trodden over by successive waves of foreign invaders. In effect, I had made Vietnam a victim in its own story. That changed for me when I heard professor and poet John Balaban talk about his experience collecting and publishing for the first time the oral poetry of Vietnamese farmers. Balaban spoke of an ancient people, full of history, full of passion, and full of pride, inundated by the monsoons that swept away the architectural vestiges of power that we in the “West” have come to rely on so heavily for our historical identity. What was left was a long, beautiful tradition of oral history preserved in the daily life of simple farmers. As Balaban eloquently writes in <em>Ca Dao Vietnam: Vietnamese Folk Poetry</em>, poetry flourished “in villages where the lone singer can hear his or her voice against the drone of crickets, the slap of water, or the rustling of banana leaves in the wind (p. 2). This line jolted me out of my facile characterization of Vietnam and its people. Long before the French cast their colonizing net over the people of Vietnam, long before the Americans stumbled into their disastrous war, long before there even was a place called Vietnam, a lone singer could hear her voice “against the drone of crickets, the slap of water, or the rustling of banana leaves in the wind.” The theme of our institute was “Contested Territory: America’s Role in Southeast Asia.” At first glance, I assumed that we would be discussing America’s involvement in the so-called Vietnam War of the twentieth century; after two weeks of intense study, I have realized that I fundamentally misread the title of this institute. To study contested territory is not to examine how America and the Viet Cong fought bitterly over this hill or that, but rather to place America in the context of an ancient regional story that is crowded with diversity and life. “America’s Role in Southeast Asia” says nothing of dominance or destiny – it was my enculturation as an American that read into it such a teleological narrative. Contested territory, like so much else, starts, and perhaps ends, in the mind.
Title
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Discovering Contested Territory Through Vietnamese Folk Poetry
Source
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<em>Ca Dao Vietnam: Vietnamese Folk Poetry</em> by John Balaban
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discovering-contested-territory-through-vietnamese-folk-poetry
Colonialism
History
Oral Tradition
Poetry
Vietnam
Vietnam War (1961-1975)
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https://humanitiesmoments.org/files/original/5/148/3BlindMice.jpg
2a617ac51cbbaa7ee943175d21c5224f
Dublin Core
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Title
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Three Blind Mice
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California Humanities: “We Are the Humanities”
Description
An account of the resource
To celebrate its 40th anniversary, California Humanities invited a group of 40 prominent Californians to share what the humanities meant to them, helped shape their lives and their understanding of the world. The complete archive of these recollections is available at http://calhum.org/about/we-are-the-humanities.
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california-humanities
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<iframe width="480" height="270" src="//www.youtube.com/embed/abSgSCoi47Y" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
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Title
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Learning to Sing Stories
Description
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<p>Juan Felipe Herrera, a performance artist, activist, and U.S. poet laureate in 2015, recalls how his third-grade teacher’s compliment on his singing voice led to his lifelong belief in using his voice to encourage the beauty in the voices, stories, and, experiences of others. He goes on to speak about the power of the humanities to warm communities, create peace, and, move hearts.</p>
<p>To celebrate its 40th year anniversary of grant making, programming, and partnerships that connect Californians to each other, California Humanities invited a group of 40 prominent Californians to explore what the humanities mean to them. For more information visit <a href="http://calhum.org/about/we-are-the-humanities" title="California Humanities: We Are the Humanities" target="_blank" rel="noreferrer noopener">California Humanities: We Are the Humanities</a>.</p>
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Juan Felipe Herrera, performance artist, activist, and U.S. Poet Laureate in 2015
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juan-felipe-herrera
Activism
Emotional Experience
Listening
Oral Tradition
Performing Arts
Poets
Poets Laureate
San Diego, California
Singing
Storytelling
Teachers & Teaching
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https://humanitiesmoments.org/files/original/5/146/Hawaii_Filipino_Welcome_Philippine_Navy_Capt.jpg
5b4c6279ddd9407741e1de92b427a809
Dublin Core
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The Hawaiian Filipino community welcomes a Philippine navy captain
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California Humanities: “We Are the Humanities”
Description
An account of the resource
To celebrate its 40th anniversary, California Humanities invited a group of 40 prominent Californians to share what the humanities meant to them, helped shape their lives and their understanding of the world. The complete archive of these recollections is available at http://calhum.org/about/we-are-the-humanities.
Identifier
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california-humanities
Moving Image
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Player
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<iframe width="480" height="270" allowfullscreen="allowfullscreen" frameborder="0" src="//www.youtube.com/embed/9z20jWC0wWY"></iframe>
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
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The Currency of Emotional Intelligence
Description
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<p>Tani G. Cantil-Sakauye is the 28th Chief Justice of the State of California. She recalls her experiences as a student in a humanities class in college, her upbringing in a Filipino community of hardworking women eager to pass on their traditions, and her realization that the humanities teach us to celebrate and respect the stories and uniqueness of people.</p>
<p>To celebrate its 40th year anniversary of grant making, programming, and partnerships that connect Californians to each other, California Humanities invited a group of 40 prominent Californians to explore what the humanities mean to them. For more information visit <a title="California Humanities: We Are the Humanities" href="http://calhum.org/about/we-are-the-humanities" target="_blank" rel="noreferrer noopener">California Humanities: We Are the Humanities</a>.</p>
Contributor
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Tani G. Cantil-Sakauye, 28th Chief Justice of the State of California
Identifier
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tani-gorre-cantil-sakauye
Community Colleges
Cultural History
Families
Filipino Americans
History
Justices
Oral Tradition
Teachers & Teaching