Obama's Right-Wing School Reform
Diane Ravitch
Justin Sullivan/Getty Images
Recently, I wrote a book, The Death and Life of the Great American School System, in which I took issue with a number of currently popular education strategies that I had once supported, and now, seeing their questionable outcomes, challenge. Since then, I have been traveling across the country and have made three dozen speeches. What started out as a conventional book tour—with stops only in Chicago, Los Angeles, and San Francisco—turned into something else: a whistle-stop campaign to warn against some of the education “reforms” currently in vogue. From the day that the news broke that I had turned against No Child Left Behind—the federal law that nationally enforces a heavy emphasis on testing and accountability—and that I’d come out against against market-based ideas of school choice, I have been overwhelmed with invitations to speak in almost every state.
The result has been exhilarating, exhausting, and ultimately disheartening. The exhilarating part was meeting thousands of teachers and hearing their appreciation for my support of their work. Teachers repeatedly asked if I could voice their opposition to what is now called reform. Many described the challenges they face trying to comply with the unrealistic goals of No Child Left Behind. At Stanford, a teacher from Salinas County broke into tears as she described her students, the children of lettuce pickers, most of whom knew no English. When I spoke in Oakland, a group of teachers drove four hours to hear me and to get copies of my book for every member of their school board.
The disheartening part was recognizing, along with my audiences, that the policies I criticize now have not only the unwavering support of Republicans but also the endorsement of the Obama administration. Secretary of Education Arne Duncan has been campaigning with Newt Gingrich to enlist bipartisan support for what I believe is a very conservative agenda. For me, the irony of all this is that I broke ranks with my former colleagues at some staunchly conservative think tanks by writing my book at precisely the moment the Obama administration has embraced their ideas. Again and again, I have been asked by talk show hosts (at least the well informed ones), “How did right-wing ideas become the education agenda of the Obama administration?”
My sense is that it has a lot to do with the administration’s connections to the Gates Foundation and the Broad Foundation. Although both are usually portrayed as liberal or at least Democratic, their funding priorities have merged with those of the very conservative Walton Family Foundation. I explain this curious power elite in a chapter of my book called “The Billionaire Boys Club.”
The Obama administration has dangled $4.3 billion in federal aid before the states in a competition called the Race to the Top. To be eligible to win, the states must increase the number of privately managed charter schools, must agree to evaluate teachers by student test scores, and must commit to “turning around” so-called failing schools (including by closing them or privatizing them). In the first round of this contest, the winning states were Tennessee, which received $500 million, and Delaware, which got $100 million—apparently based on their readiness to enact comprehensive reform along recommended lines. In this time of severe fiscal stringency, 37 other states—-including New York—have applied for funding from the next round of Race to the Top, each promising to reshape its education system around the administration’s priorities in order to win it.
The main ideas embodied in the Race to the Top program and other administration policies were incubated in conservative think tanks. I have argued that none of these “reforms” is likely to improve education, and all are likely to do harm.
Charter schools are the fad of the moment. There are some excellent charter schools, and some dismal ones. They have been around for nearly twenty years, and, to date, the best evidence shows that in aggregate students in them perform no better or worse than students in regular public schools. As their numbers grow under pressure from the Obama administration, their quality is not likely to improve; the history of American education is replete with small-scale demonstrations that became less effective when rapidly expanded to a mass scale. So, if history is a useful guide, charters, which are by definition very thinly regulated, will go from being no better or worse to being a very problematic sector riddled with extreme variability in performance and not infrequent cases of financial mismanagement. It is hard to see this turn to privatization of one of our nation’s basic public services as a route to better education.
Similarly, the strategy of tying teacher evaluations to test scores will have predictably negative consequences. It will promote more time spent preparing students for very inadequate tests and a narrowing of the curriculum (with less time for history, geography, science, the arts, foreign languages, and every other non-tested subject). It will judge teachers for matters over which they have no control, such as student absenteeism and family involvement (or lack thereof).
Everyone asks, how can we stop this misguided and potentially harmful approach? I keep hoping that some elected official, some Governor or Senator, will recognize that millions of discontented parents and teachers—not just the vilified teachers’ unions—are looking for political leadership. They don’t want to lose public education, and they hate the relentless emphasis on testing and punishment. I keep watching for the leader who will mobilize those who now are voiceless and demand that our nation get serious about improving education: making sure that all children have access to a full and balanced curriculum—-rather than just preparation for standardized tests—and taking steps to improve the teaching profession, rather than demeaning and demoralizing it.
I am still looking.
June 10, 2010 3 p.m.
TRINITY ROOTS — MUSIC FROM
AOTEAROA (NEW ZEALAND)
"Home, Land & Sea"
"Little Things"
Angelique Kidjo with Bono and John Legend featuring the Bill T. Jones' FELA! Dancers
angeliquekidjo — May 28, 2010 — Become a Fan http://facebook.com/angeliquekidjo -- Official Website http://kidjo.comMOVE ON UP - Angelique Kidjo with Bono and John Legend featuring the Bill T. Jones' FELA! Dancers. Directed by Kevin J. Custer.Continuing to garner acclaim for OYO, an album of music that inspired her while growing up in Benin, the album's first video for the single "Move On Up" featuring guest vocals from Bono and John Legend as well as the imagery, and appearances by the dancers, of the acclaimed musical FELA!, which is currently nominated for 11 Tony Awards. http://www.felaonbroadway.com/"The success of the FELA! musical on Broadway is the indisputable sign that people are now interested in the true richness, depth and beauty of African culture," said Angelique Kidjo. "I feel that the music from my continent is a universal language that can create a bond between all the different cultures of the world and this is what the musical is about. Collaborating with the FELA! dancers on the 'Move On Up' video has been an amazing experience for me: The Musical and the song carry the same message of joy and hope for the future of Africa and for the future of people everywhere.
Angelique Kidjo - Move On Up (Live on KCRW)
Curtis Mayfield - Move on up (live)
THE SEÁN Ó FAOLÁIN SHORT
STORY COMPETITION
The 8th Annual Seán Ó Faoláin Short Story Competition 2010
Seán Ó Faoláin Short Story Award Winner 2008 Julia van Middlesworth and Frank O'Connor International Short Story Award 2008 Winner Jhumpa Lahiri.Photo ©2009 John Minihan.
First Prize: €1,500 (approx US $2000) and publication in the literary journal Southword.
Second Prize: €500 (approx US $650) and publication in Southword.
Four other shortlisted entries will be selected for publication in Southword and receive a fee of €120 (approx USD $150).
The Seán Ó Faoláin Short Story Competition is an annual short story competition dedicated to one of Ireland’s most accomplished story writers and theorists, sponsored by the Munster Literature Centre.
Judge: For 2010 Short Review founder and editor Tania Hershman.
Tania Hershman, a former science journalist, is the author of The White Road and Other Stories, (Salt Modern Fiction, 2008) which was commended by the judges of the 2009 Orange Award for New Writers. Her award-winning short stories, one of which has recently been nominated for a Pushcart Prize, have been widely published in print and online and broadcast on BBC Radio 4. Tania is founder and editor of The Short Review, a journal dedicated to reviewing short story collections. Her website is www.taniahershman.com and she blogs at TaniaWrites www.titaniawrites.blogspot.com.
SUBMISSION GUIDELINES1. The competition is open to original, unpublished short stories in the English language of 3,000 words or fewer. The story can be on any subject, in any style, by a writer of any nationality, living anywhere in the world. Unfortunately, translated work is not in the scope of this competition.
2. Judging for this competition is ANONYMOUS. The entrant's name and contact details (address, phone number) must be on a separate piece of paper. Manuscripts cannot be returned. Entries should be typed.
3. Each entry must be accompanied by an entry fee of €15, US $20 or £15. You may submit as many entries as you wish. Cheques and money orders must be made payable to THE MUNSTER LITERATURE CENTRE. Paypal link available below for Euro payments. VERY IMPORTANT: We DO NOT accept US Postal Orders as they cannot be redeemed outside of the United States. Pleae do not send cash. No entry form is necessary.
4. Closing date is 31st July 2010. All non-email entries must be postmarked before or on that date (i.e. entries posted before or on the date will be accepted after 31st July provided they are sent via airmail). Entries must be sent to The Seán Ó Faoláin Short Story Competition, The Munster Literature Centre, Frank O'Connor House, 84 Douglas Street, Cork, Ireland (no postal/zipcode).
5. The winners will be announced at the Frank O'Connor International Short Story Festival in Cork in September 2010. The winners will be invited to read their prize-winning stories at the festival.
6. If you require acknowledgement of your entry, you must submit a self-addressed stamped postcard. SASEs for international entries should include money for IRISH stamps. Please do not include SASEs with foreign stamps.
7. The Judge's decision is final. Due to the volume of entries we receive each year, the judge will not be able to reply individually to unsuccessful submissions. However, we will notify all entrants of the longlist via our e-mail newsletter. A shortlist will be posted on our website in September and the winner will be announced at the festival. Shortlistees will be notified individually.
8. It would greatly assist us if you let us know how you heard of the competition (whether through mailshot, word of mouth, advertisements, newspaper, website, etc.) with your entry.
ADDITIONAL SUBMISSION GUIDELINES FOR EMAIL ENTRIESEmail entries should be submitted as follows:
1. Send your entry as a word document (files ending with ".doc"). Please ensure that you do NOT send PDF files or Word files marked '.docx'.
2. Include the story and cover letter as separate documents in the same email.
3. Pay your entry fee through Paypal (see link below). Paypal accepts Mastercard and Visa and guarantees secure transactions. All Paypal payments are in Euro.
4. In the body of the email, list your name, address, short story title and Paypal receipt number. If you have paid using a credit card under a different name, or from a different email address please include this in the body of the email as well.
5. Use the subject header "SOF 2010 Entry".
6. Email submissions to competitions(AT)munsterlit(DOT)ie or by clicking here.
For further information contact The Munster Literature Centre, Frank O'Connor House, 84 Douglas Street, Cork or email the administrator at administrator(AT)munsterlit(DOT)ie.
Guy Owen Prize Contest
$1000 and publication in SPR awarded to the winning poem selected by a distinguished poet. Send 3-5 unpublished poems (10 pages max.), postmarked between March 1 and June 15. Include a self-addressed, stamped envelope for reply only, and a check for $15 payable to Southern Poetry Review. We consider work published online or posted there as previously published. Include all contact information on cover sheet only; do not include name or contact information on poems. Please indicate simultaneous submissions. All entries will be considered for publication. We cannot accept electronic mail submissions, nor can we accept them on disk. Manuscripts will not be returned. The entry fee includes a one-year subscription to the journal.
Southern Poetry Review
Guy Owen Prize
Dept. of Languages, Literature and Philosophy
Armstrong Atlantic State University
11935 Abercorn Street
Savannah, Georgia 31419-1997
SUBMIT
TORCH is published twice a year online. Our reading period is April 15 through August 31. Unsolicited manuscripts received outside of our reading period will not be considered for publication.
TORCH accepts submissions via email only.
Only previously unpublished work will be considered.
Simultaneous submissions are not accepted.
Unsolicited submissions for our Flame section will not be accepted.
Send written work as one attached MS Word document.
Poetry: send three to seven poems. Poems should be typed on separate pages. Email submission with the subject line 'Poetry Submission' to poetry (at) torchpoetry.org.
Prose: send two prose pieces (max 500 words each). Email submission with the subject line 'Prose Submission' to prose (at) torchpoetry.org.
Short Stories: send one short story (max 2,000 words). Email submission with the subject line 'Short Story Submission' to
shorts (at) torchpoetry.org.Photography & Art: We are no longer accepting unsolicited artwork.
Notification of accepted work will be sent by email. There is no payment for publication. All published work will be archived online at www.torchpoetry.org.
Copyright: All work is published with the author's permission. Contributors retain all rights to their work. Additional permission is required for reprints and external publications.
Submission Questions: email to info (at) torchpoetry.org.
Exodus: A blog by Alexis Okeowo
South Africans and Their Bicycles
Stan Engelbrecht and Nic Grobler are both South African and both cyclists in a country that doesn’t have much of a cycling culture. Instead, in South Africa and several other African countries, bikes are prized more for utility than leisure or sport: a good way to get from one place to another, an efficient way to make a delivery, an often dangerous way to crisscross through town, depending on how hectic the traffic is.
But there is still a wide range of reasons why South Africans own and use bikes, and Engelbrecht and Grobler recently set out to find out why. In a project that they hope turn into a hardcover photographic book (help them do so here where you can watch a vivid short film), they photograph and ask everyday South Africans about their relationships to their bicycles. Both the photos and the answers are surprising, visually arresting and a portrait of the new South Africa. The project is called Bicycle Portraits and many more photos can be seen here.
Portraits of Eve: Women of Color Share Their Body/Soul Conversations
Posted by Paul Boakye on Jun 13th, 2010 and filed under Photography. You can follow any responses to this entry through the RSS 2.0. You can leave a response or trackback to this entry
I love photography. Love seeing ‘people of colour’ captured in strong black and white images. Love fearless form and clarity in pictures. Love perfect composition, and seeing thinking outside of the box, photographically speaking, I mean.
I want to see dark-skinned people pictured using impeccable lighting—all shades, shadows and textures lifted in near 3D tone and quality—just as it was once said could never be achieved with black skin in photography. So when I was offered the chance to download and review an electronic copy of Herb Way’s book, Portraits of Eve: Women of Color Share Their Body/Soul Conversations, I was terribly excited.
I’ve never met Herb Way. I know little about him or his work, except what can be found on his Facebook profile. I therefore had no concept of what to expect from his first book of photographic images. But as I flipped through its pages, and read the personal statements accompanying each photograph, I was surprised by the number of women who spoke of their bodies in terms of ‘scars.’ They had been scarred by pregnancy, hormones, stress, diet or illness, many said, or they talked of a need for breast-reduction, as opposed to the normal breast-enlargement that figure so prominently in most male fantasies.
I was immediately drawn to these personal stories, and struck by how much the human body is still just a vessel. Here were women of all ages, shapes, sizes, and shades, revealing and revelling in their nudity for all the world to see. Whereas we are normally encouraged to think of naked female forms as purely sexual objects, particularly in this porn-obsessed Internet age, there was something very different going on here.
One woman spoke of how her scarring had been diminished by the still athletic parts of her body—which she liked, worked on and emphasised—whilst masking those areas that troubled her most. Another was unhappy with an extremely thin frame from childhood but masked her pain with a long synthetic wig that seemed to suggest other issues. Having both positive and negative body parts that were still considered part of each woman’s overall beauty was a recurring theme in many of the personal testimonies.
Among the male friends I showed this book, many commented on one or two images in particular. “Why were some of the good-looking model-types covered up,” when they at least should be used to being photographed or looked at, and presumably, more comfortable showing their flesh in public? I didn’t see it quite that way. It left me thinking about how difficult it must be for some models and ordinary women too in our society; constantly having people critiquing your body, your looks, in a way that most men are never subjected to and would never voluntarily undergo. Of course, men self-critique, but if our perception of self were based largely on our external appearance, most men I know, and certainly many of those in positions of power, would have no self-esteem at all.
With the women featured in this book, there was little direct discussion on how their body image may have been influenced by the men in their lives. These personal stories centred instead on structural, social or cultural influences, and the women’s own perceptions of themselves. Many cited the act of being photographed nude for this 144-page volume as part of their ongoing process of healing.
In this sense, Portraits of Eve has very little to do with the male gaze. For in our society where female nudity is most often about male pleasure, male power and the objectification of women, Herb Way’s book is a brave and enlightening departure from the norm. Yet ‘brave’ is perhaps the wrong word, but ‘empowered,’ which is so much more useful for millions of ordinary women such as those featured here.
Also of note was how the various women self-identified: African American, Native American, Korean, Trinidadian/Italian, Filipino, Brazilian, and so on. My sincere thanks to Herb Way for an opportunity to appreciate the loving and wonderful work that has gone into the preparation of Portraits of Eve: Women of Color Share Their Body/Soul Conversations, and especially to the women themselves for making public the intimate and private photographic sessions that he has so tenderly recorded with them. Herb Way and his camera love real women, just like these women have grown to love themselves.
The self-published, 144-page book, Portraits of Eve: Women of Color Share Their Body/Soul Conversations, containing 120 photographs of semi-nude and nude images of sixty women will be available from September 2010. Production costs are being offset by sales of the e-book version and by advanced sales of the hard copy edition at a special pre-publication price.
Saturday, June 12, 2010
Soledad Brothers::::::DEAD PREZ | Far From Ova!
Dead Prez jump on Drakes “Over” for their latest track off the upcoming mixtape, Revolutionary But Gangsta Grillz, dropping on June 22nd. Check it out below.
Download link here: Dead Prez- Far From Ova (Freestyle)
Burn This Book - edited by Toni Morrison
On June - 19 - 2009Burn This Book, edited by Toni Morrison in collaboration with PEN, is a collection of essays and speeches by writers about “censorship and the power of literature to inform the way we see the world, and ourselves” and could not have been released at a better time. In this day and age, many people around the world take free speech and freedom of the press for granted, however; now, just as in the past, writers around the world are being persecuted and oppressed. Remarkably, somehow, they still wake up every morning, pick up their pens, and continue writing.
Morrison explains in her essay, the first of the book, that:
Authoritarian regimes, dictators, despots are often, but not always, fools. But none is foolish enough to give perceptive, dissident writers free range to publish their judgments or follow their creative instincts. They know they do so at their own peril… Therefore the historical suppression of writers is the earliest harbinger of the steady peeling away of additional rights and liberties that will follow.
Her words ring true as several high-profile cases of writers being persecuted have received attention from the international media over the last several weeks. Only recently was American journalist Roxana Saberi released from prison in Iran, and American journalists Laura Ling and Euna Lee still remain in custody in North Korea. But this kind of persecution and oppression isn’t limited to the east. In Turkey, Nobel laureate Orhan Pamuk, another contributor to Burn This Book, faces trial for his writing and for an interview he gave in 2005. Even more frightening, however, is that fellow contributor Salman Rushdie still has a bounty on his head for a book he wrote over twenty years ago. Even in the United States, where freedom of speech and the press are founding principles of the country and are openly celebrated, Morrison’s book Song of Solomon has recently been banned by a school district in Michigan. The oppression of writers and of the freedom of speech is truly a global epidemic.
Still, it’s not surprising that books are being banned, and that writers are being imprisoned and silenced by other, sometimes violent or even deadly means used by those who sit in power. Luckily, the global community of writers and journalists seems to be aware of the danger that many of their colleagues confront on a daily basis, and also seem determined to stand in solidarity alongside those writers in the most trying of circumstances. For instance, David Grossman writes:
There are times in my workday, after a few hours of writing, when I look up and think: Now, at this very moment, sits another author, whom I do not know, in Damascus or Tehran, in Kigali or Dublin, who, like me, is engaged in the strange, baseless, wonderful work of creation, within a reality that contains so much violence and alienation, indifference and diminishment. I have a distant ally who does not know me, and together we are weaving this shapeless web, which nonetheless has immense power, the power to change a world and create a world, the power to give words to the mute.
In fact, many of the writers that contribute to Burn This Book touch on the sense of camaraderie and community that sustains writers throughout the world. Along the same vein, many of the writers use their essays as opportunities elaborate what they see as the function and responsibility of the dissident writer in his or her society. There seems to be a consensus that to write is to take on the responsibility of speaking the truth in the face of those who would rather not hear the truth be spoken aloud. Russell Banks sums up this sentiment when he writes:
One hopes for as long as human beings tell stories to themselves and to one another, the novelist is at bottom committed to a life of opposition, of speaking truth to power, of challenging and overthrowing received wisdom and disregarding the official version of everything. This is why so many novelists have been censored, imprisoned, exiled, or even killed.
For the novelist does not speak in his books for others; the novelist listens to others. Especially to those who otherwise would go unheard. The novelist does not step forward in public to be seen by others; he sees others. Especially those who otherwise would remain invisible. And by his example, as well as by the work itself, he inspires others to listen and to see.
Still, some of the book’s contributors take a different route when explaining why it is that they write. Paul Auster poses the question of “why write?” to himself and answers simply, yet poetically, that “…it is an odd way to spend your life—sitting alone in a room with a pen in your hand, hour after hour, day after day, year after year, struggling to put words on pieces of paper… Why on earth would anyone want to do such a thing? The only answer I have ever been able to come up with is: because you have to, because you have no choice.” In other words, writing is a calling. It’s not simply a hobby or a leisure activity; instead, writing serves a critical function within the writer himself just as it does within society at large. Writing gives writers the tool that they need to navigate, and at times negotiate (whether for better or worse), the world in which they live. This is why writers often write about what they know from their own lives and simultaneously is why writers often write about what they imagine might have happened to them instead.
Burn This Book is a collection of essays that illuminates for its reader the intimate connection between the writer and his work. It provides a glimpse as to how and why writers around the world, that have helped shape the world, continue to put pen to paper and write. It’s also a wake up call that free speech and freedom of the press are threatened around the world everyday, not just in third world countries or countries under authoritarian control, but in countries where one might have felt that these freedoms would be safe. In countries that claim to revere and celebrate the very same principles their governments often aim to crush by snuffing out the fragile flame of hope and inspiration that writing kindles. It brings to our attention that censorship and oppression are not things of the past nor are they things relegated to far away places. Perhaps E.L. Doctorow said it best recently in a speech given at a PEN gala in New York City honoring Tibetan printer and publisher Paljor Norbu and Chinese literary critic, writer, and political activist Liu Xiaobo, both currently imprisoned by the Chinese government and their whereabouts unknown, when he said, as transcribed by The New Yorker:
We can have global swine flu in one season, or global economic slumps in another, but the global working-over of writers, the strangulation of free expression, is for all seasons, it is constant and unremitting—writers are imprisoned and journalists are murdered whether in countries of the right, or in countries of the left. And even sometimes here the strangulation finds its form as school libraries ban books that have offended someone’s sensibilities, as textbook publishers eliminate from their texts scientific facts that are deemed unpalatable by religious zealots, and as our federal government would assume the right to know, from library records, what we’re reading.
So when we stand against the suppression of writers in China or Uzbekistan, in Serbia or Egypt or Vietnam or Zimbabwe, we are defending ourselves, because this is a disease that is catching. Just as torture as a government policy is catching, just as the secret reading of emails and illegal tapping of telephones is catching, just as dismissing international treaties with contempt, is catching…It is why, I have said “to write about the past is to write about the present.”
Burn This Book, a collection of essays by some of the world’s most prominent and influential authors, thrusts in the face of its readers that oppression is occurring around the world right now without any sense of apology. However, of the hundreds or maybe thousands of writers being persecuted, exiled, or even killed that have yet to gain any notoriety other than the unwanted attention of a government official, the reader is left only to imagine.
Toni Morrison Presses For Writers' Freedoms
After complaints that he used inappropriate language against the Prophet Mohammed, his wives and the Koran in his novel, The Daughters of Allah, the Turkish writer Nedim Gursel was charged with inciting religious hatred. His trial resumes in late June, and, if convicted, he will face up to a year in prison.
Gursel is just one of many authors around the world whose right to free expression is being challenged. The human rights organization PEN is dedicated to helping such writers. Some of the authors who belong to the group have written essays on the power of the word, published in a new collection called Burn This Book, edited by Nobel prize-winning writer, Toni Morrison.
Host Liane Hansen speaks with Morrison about the book and censorship.
>via: http://www.npr.org/templates/story/story.php?storyId=104763625&ft=1&f=1032#