Podcast appearances and mentions of scott ickes

Professor Scott Ickes joins RUF to speak on the topic of perfectionism.Society places a high value on performance, and success-oriented people often have a high intrinsic value on "getting things right" or "knocking it out of the park." While our quest towards excellence has noble roots, the false promises of perfectionism rob us of freedom to take risks and to be ourselves. Through personal narrative and Biblical texts, Kinesiology Professor Scott Ickes will explore the hope for living life outside of the impossible pursuit of doing it perfectly.

This week's podcast focuses on women's empowerment and child nutrition. Special guest Dr. Scott Ickes discusses his work on AidData's working paper 7 Go to AidData.org/blog to read this week's blog post Music from Today's Episode: Q - Inara George Intermission A - Tab

From the sounds of Samba to the spectacles of Carnival, Afro-Brazilian traditions are today seen as emblematic of Brazil and especially of Salvador de Bahia, the northeastern city where many Afro-Brazilian cultural traditions were first established. Salvador’s present status as the “Black Rome” of Brazil marks a shift from the early Twentieth Century, when Afro-Brazilian practices – particularly those associated with the religion Candomble – were denigrated as “primitive” and subject to repression in Bahia. Yet even as Afro-Brazilian culture is celebrated in Bahia and throughout Brazil, Afro-Brazilians themselves remain subject to discrimination, economic marginalization, and negative stereotypes, often directed at those same cultural traditions. In African-Brazilian Culture and Regional Identity in Bahia, Brazil(University Press of Florida, 2013), Scott Ickes explores the emergence of this paradoxical modern attitude towards Afro-Brazilian culture during and after the rule of Getulio Vargas (1930-1945). Ickes describes how during the Vargas era, Afro-Brazilians who sought greater acceptance for their practices found an newly-receptive audience among the white Brazilian elite: progressive intellectuals and journalists who valued Afro-Brazilian culture as folklore; and politicians, both national and regional, who sought the support of the Afro-Brazilian working class. Through government initiatives and the media, these elites elevated certain Afro-Brazilian practices – the martial art Capoeira, Samba music, and Candomble-influenced festival celebrations – and in doing so provided a public cultural and political forum for Afro-Brazilians involved in those practices. But as Ickes notes in every case, the new elite acceptance of Afro-Brazilian culture was limited and conditional. Only those Afro-Brazilian traditions deemed acceptable by elite intellectuals became accepted, and Afro-Brazilian culture never attained the prestige of European cultural traditions in Brazil. Thus, while the acceptance of Afro-Brazilian culture during the Vargas era had real benefits to Afro-Brazilians, it still allowed for Afro-Brazilians to remain marginalized into the modern day. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the sounds of Samba to the spectacles of Carnival, Afro-Brazilian traditions are today seen as emblematic of Brazil and especially of Salvador de Bahia, the northeastern city where many Afro-Brazilian cultural traditions were first established. Salvador’s present status as the “Black Rome” of Brazil marks a shift from the early Twentieth Century, when Afro-Brazilian practices – particularly those associated with the religion Candomble – were denigrated as “primitive” and subject to repression in Bahia. Yet even as Afro-Brazilian culture is celebrated in Bahia and throughout Brazil, Afro-Brazilians themselves remain subject to discrimination, economic marginalization, and negative stereotypes, often directed at those same cultural traditions. In African-Brazilian Culture and Regional Identity in Bahia, Brazil(University Press of Florida, 2013), Scott Ickes explores the emergence of this paradoxical modern attitude towards Afro-Brazilian culture during and after the rule of Getulio Vargas (1930-1945). Ickes describes how during the Vargas era, Afro-Brazilians who sought greater acceptance for their practices found an newly-receptive audience among the white Brazilian elite: progressive intellectuals and journalists who valued Afro-Brazilian culture as folklore; and politicians, both national and regional, who sought the support of the Afro-Brazilian working class. Through government initiatives and the media, these elites elevated certain Afro-Brazilian practices – the martial art Capoeira, Samba music, and Candomble-influenced festival celebrations – and in doing so provided a public cultural and political forum for Afro-Brazilians involved in those practices. But as Ickes notes in every case, the new elite acceptance of Afro-Brazilian culture was limited and conditional. Only those Afro-Brazilian traditions deemed acceptable by elite intellectuals became accepted, and Afro-Brazilian culture never attained the prestige of European cultural traditions in Brazil. Thus, while the acceptance of Afro-Brazilian culture during the Vargas era had real benefits to Afro-Brazilians, it still allowed for Afro-Brazilians to remain marginalized into the modern day. Learn more about your ad choices. Visit megaphone.fm/adchoices