Policy practice essay

1. Describe the non-Western principles or methods you are using, including the goals, procedures, and how these fit with client presenting problems. Provide references to demonstrate the empirical basis for your approach, while recognizing that Western forms of research may not apply.
2. Describe the clients initial response to your integration of non-Western methods, including any alignments or misalignments with cultural worldview. Identify any challenges you are experiencing or anticipate, and how you plan to meet these challenges.
3. Conclude your paper by reflecting on the importance of the principles and/or methods you have chosen to meet the needs of at-risk populations, citing research where possible, and to your own professional development.

Rubric:

Goals, procedures, and underlying principles are clearly described and supported consistently by evidence.

Non-Western principles and/or methods very effectively address client presenting problems at the appropriate ecological levels and are framed thoughtfully in terms of client worldview.

Client responses to non-Western approaches are carefully described and analyzed to generate effective improvements in approach.

Application of non western study:

Use Mindfulness for a child with Anger issues.

I have used mindfulness at the practicum site after learning about it through another course. I have a client who struggles with anger issues. He deals with this anger at home, in school, and in his hobbies like playing video games. We have worked on his anger throughout multiple sessions in learning mindfulness and eventually being able to use it on his own. He learned breathing techniques in meditation when he is frustrated. He learned to understand how his body feels in frustration. He also learned to be aware of his surroundings when he is angry. The basis that I know this intervention is helpful is similar to this ideology. The child is able to express to me that they are very hard on themselves and that is the reason for their anger a lot of the time. He showed me great progress when he was able to utilize the breathing techniques and understand where his feelings come from at times.

Attached Files (PDF/DOCX): Extracted from The American drug scene _ readings in a global context — James A_ Inciardi Karen McElrath — 7 PS 2014 — IRL Press at Oxford University Press — 9780199362080 — f9f810d0af34c7aaf36b493dcc3d58.pdf, Room et al.pdf, 2017 Sarah E Nelson – The mental health of Indigenous peoples in Canada.pdf, Cahill.pdf, Tufford.pdf, MidTerm20.pdf

Note: Content extraction from these files is restricted, please review them manually.

SCS 285 Project Two Guidelines and Rubric

Competency

In this project, you will demonstrate your mastery of the following competency:

• Analyze the benefits and drawbacks of collecting various types of data

Scenario

You have recently applied for another position in the company you work for and have been called in for a second interview! For this round, youve been asked by the interview committee to present an analysis of the collected data from the research you initially reviewed, with a specific focus on data-collection types. This will be presented in a formal interview presentation.

Directions

Second Interview Presentation
You are analyzing studies related to a research topic in your field by discussing different types of data collection, their benefits and drawbacks, and how your chosen research studies utilize different collection methods. In your first project, completed in Module Four, you completed your initial analysis of the methodologies used. In your second milestone, also submitted in Module Four, you finalized your research choices by submitting two of each type of research methodology and flexing your skilled consumer of research skills by looking at your gathered research as a whole in order to identify patterns in data-collection types and some high-level credibility threats to the research. For this project, complete the following:

1. Describe the attributes of a skilled consumer of research. Include the following:
   1. The most helpful perspectives a consumer can utilize
   2. A description of how you know when you have enough information
   3. A description of how you scrutinize the credibility of data
2. Identify multiple potential threats to the credibility of your research results for each of your selected research studies. Include the following:
   • A description of potential biases or perspectives that might threaten the credibility of the results
   • An explanation of ethical issues that might threaten the credibility of the resultsconsider the following:
     1. Disclosure
     2. Blind or double-blind studies
     3. Cultural awareness
     4. Humane treatment of subjects
     5. Unethical structuring of studies (methods, selection, etc.)
3. Analyze the relationship of data-collection types to social science research methodologies. Use your analysis from Milestone Two in Module Four. Include the following:
   • The most commonly used quantitative data-collection types in social sciences based on your analysis of your research articles. Consider why this choice of data collection method might be so common.
   • The least commonly used quantitative data-collection types in social sciences based on analysis of your research articles. Consider why this choice of data collection method might be less common.
   • The most commonly used qualitative data-collection types in social sciences based on analysis of your research articles. Consider: why might this choice of data collection method be so common?
   • The least commonly used qualitative data-collection types in social sciences based on analysis of your research articles from Consider: why might this choice of data collection method be less common?
4. Explain the relevance of various data-collection types to research question(s). Include the following:
   • A classification of the data in each studyis it quantitative, qualitative, or mixed methodology? Be sure to include an example of each methodology.
   • An explanation of why this data-collection type fits well with the research question from your chosen studies from Milestone Two in Module Four

What to Submit

Every project has a deliverable or deliverables, which are the files that must be submitted before your project can be assessed. For this project, you must submit the following:

Interview Presentation
This interview presentation, on a research topic of your choosing in your field of study, should include the information given in the directions to meet rubric requirements. Your project should be presented in Microsoft PowerPoint and must include visual representation in addition to talking points. Make sure to utilize the speaker notes function in the presentation if you do not include a video or voiceover.

Supporting Materials

The following resource(s) may help support your work on the project:

Reading:
This site gives helpful tips for creating a professional presentation.

Reading:
This site gives tips for making sure your presentation slides are readable, which is an important aspect of creating a professional presentation.

Reading:
This site gives specific tips on how to perform public speaking well.

The following rubric will be used to assess Project Two. Familiarize yourself with this rubric as you work on the project, and return to this rubric before you submit Project Two to make sure you’ve included everything you need to be successful.

respond to freddy with 150 words please no palgiarism no a i. no chat bots original work please

Traditionally male professions

Women entering male dominated music professions face added barriers. You see this pattern clearly in orchestral conducting. The symphony orchestra values continuity, its structure has changed little over time, and institutions protect long standing traditions. Programming often favors familiar works, and new approaches face resistance. Women operate inside systems shaped by historical authority. Leaders such as William Schuman influenced Juilliard and Lincoln Center, their models emphasized stability and control, and these values still guide decision making. Leadership roles reflect established norms, and those norms favor people who match past expectations. Economic pressure intensifies these limits. Orchestras struggle to fill seats, financial strain drives caution, and administrators avoid choices viewed as risky. Hiring follows familiar paths, and women face greater scrutiny in this climate. Conducting signals authority, tradition links authority with male experience, and women must prove competence more often and more publicly. Modern traditionalists aim to advance music while preserving structure, and this balance affects leadership access. Institutions promote modest and accessible programming, familiarity reassures audiences, familiar leadership reassures boards, and diversity moves slowly under these conditions. Change develops through visible action. Women work within the system rather than outside it, men in established roles support inclusion through advocacy, and their support reduces resistance. Institutions expand leadership standards over time, women establish authority through consistent performance, public success builds trust, and repeated engagement reshapes expectations. These efforts connect innovation with tradition. Observers see progress through gradual shifts, leadership norms evolve without rejecting the mainstream culture, and access increases through sustained evidence of skill and authority within contemporary concert music institutions shaped by tradition and innovation.

please respond to delores with 160 words no plagiarism no a i no chat bots original work

Do You ImaginE

You know if we were to look at the world of orchestral conducting, it would be so obvious that women often face challenges, and obstacles that their male colleagues don’t. Conducting music has definitely been a male dominated profession for a very long time, even today it’s as though people carry old assumptions about who looks like a leader. People often don’t or won’t look at women as Leaders. A male conductor can walk onto the podium, and people automatically trust his authority, but if a woman walks onto the podium the same way the man did and even stood in the same spot, she will have to prove herself before people would even think about her lifting the Baton. One of these major obstacles for a woman I believe is Stereotyping. Ther are quite a few people who still believe That Leadership has to look loud, and feel loud, people still believe it should be forceful or traditionally masculine, and they judge a woman much more harshly for the same behaviors as the man. Women conductors also have to deal with rude comments about certain things they wear, also what they look like, their overall appearance. If that’s not bad enough people talk about their personality, they poke fun at their gestures, the same gestures their male coworkers use. To top all these things off, there’s a lot less women mentors in that field, leads to fewer role models, without role models people will not open their door to women conductors. People that do the hiring are very bias, which to me is the biggest obstacle inn a woman’s way. There are a few orchestras that will try to be fair, but unconscienced bias can affect who will be invited to the auditions, who gets recommended and also who gets chosen for the big opportunities. I’m sure women feel extra pressure on them to balance a very demanding travel schedule, which come with expectations about family responsibilities. I’m thinking, in order to get these issues addressed, we would need both men and women to play a very big role in this plan. Women can continue pushing forward, also supporting one another during this time. Women need to start claiming their space, or place in the field. Men can be a big help to the women, by big help I mean mentoring these women. Men can call out the bias; they can treat a woman’s leadership as a completely normal thing to do while out in the field. When everybody works together, and has respect for one another, the field becomes more open, and fair. People will definitely be more focused on the actual talent, and not on the person’s gender.

by Dolores Villalobos

please respond to delores with 160 words no plagiarism no a i no chat bots original work

Do You ImaginE

You know if we were to look at the world of orchestral conducting, it would be so obvious that women often face challenges, and obstacles that their male colleagues don’t. Conducting music has definitely been a male dominated profession for a very long time, even today it’s as though people carry old assumptions about who looks like a leader. People often don’t or won’t look at women as Leaders. A male conductor can walk onto the podium, and people automatically trust his authority, but if a woman walks onto the podium the same way the man did and even stood in the same spot, she will have to prove herself before people would even think about her lifting the Baton. One of these major obstacles for a woman I believe is Stereotyping. Ther are quite a few people who still believe That Leadership has to look loud, and feel loud, people still believe it should be forceful or traditionally masculine, and they judge a woman much more harshly for the same behaviors as the man. Women conductors also have to deal with rude comments about certain things they wear, also what they look like, their overall appearance. If that’s not bad enough people talk about their personality, they poke fun at their gestures, the same gestures their male coworkers use. To top all these things off, there’s a lot less women mentors in that field, leads to fewer role models, without role models people will not open their door to women conductors. People that do the hiring are very bias, which to me is the biggest obstacle inn a woman’s way. There are a few orchestras that will try to be fair, but unconscienced bias can affect who will be invited to the auditions, who gets recommended and also who gets chosen for the big opportunities. I’m sure women feel extra pressure on them to balance a very demanding travel schedule, which come with expectations about family responsibilities. I’m thinking, in order to get these issues addressed, we would need both men and women to play a very big role in this plan. Women can continue pushing forward, also supporting one another during this time. Women need to start claiming their space, or place in the field. Men can be a big help to the women, by big help I mean mentoring these women. Men can call out the bias; they can treat a woman’s leadership as a completely normal thing to do while out in the field. When everybody works together, and has respect for one another, the field becomes more open, and fair. People will definitely be more focused on the actual talent, and not on the person’s gender.

by Dolores Villalobos

please respond to delores with 160 words no plagiarism no a i no chat bots original work

Do You ImaginE

You know if we were to look at the world of orchestral conducting, it would be so obvious that women often face challenges, and obstacles that their male colleagues don’t. Conducting music has definitely been a male dominated profession for a very long time, even today it’s as though people carry old assumptions about who looks like a leader. People often don’t or won’t look at women as Leaders. A male conductor can walk onto the podium, and people automatically trust his authority, but if a woman walks onto the podium the same way the man did and even stood in the same spot, she will have to prove herself before people would even think about her lifting the Baton. One of these major obstacles for a woman I believe is Stereotyping. Ther are quite a few people who still believe That Leadership has to look loud, and feel loud, people still believe it should be forceful or traditionally masculine, and they judge a woman much more harshly for the same behaviors as the man. Women conductors also have to deal with rude comments about certain things they wear, also what they look like, their overall appearance. If that’s not bad enough people talk about their personality, they poke fun at their gestures, the same gestures their male coworkers use. To top all these things off, there’s a lot less women mentors in that field, leads to fewer role models, without role models people will not open their door to women conductors. People that do the hiring are very bias, which to me is the biggest obstacle inn a woman’s way. There are a few orchestras that will try to be fair, but unconscienced bias can affect who will be invited to the auditions, who gets recommended and also who gets chosen for the big opportunities. I’m sure women feel extra pressure on them to balance a very demanding travel schedule, which come with expectations about family responsibilities. I’m thinking, in order to get these issues addressed, we would need both men and women to play a very big role in this plan. Women can continue pushing forward, also supporting one another during this time. Women need to start claiming their space, or place in the field. Men can be a big help to the women, by big help I mean mentoring these women. Men can call out the bias; they can treat a woman’s leadership as a completely normal thing to do while out in the field. When everybody works together, and has respect for one another, the field becomes more open, and fair. People will definitely be more focused on the actual talent, and not on the person’s gender.

by Dolores Villalobos

please respond to delores with 160 words no plagiarism no a i no chat bots original work

Do You ImaginE

You know if we were to look at the world of orchestral conducting, it would be so obvious that women often face challenges, and obstacles that their male colleagues don’t. Conducting music has definitely been a male dominated profession for a very long time, even today it’s as though people carry old assumptions about who looks like a leader. People often don’t or won’t look at women as Leaders. A male conductor can walk onto the podium, and people automatically trust his authority, but if a woman walks onto the podium the same way the man did and even stood in the same spot, she will have to prove herself before people would even think about her lifting the Baton. One of these major obstacles for a woman I believe is Stereotyping. Ther are quite a few people who still believe That Leadership has to look loud, and feel loud, people still believe it should be forceful or traditionally masculine, and they judge a woman much more harshly for the same behaviors as the man. Women conductors also have to deal with rude comments about certain things they wear, also what they look like, their overall appearance. If that’s not bad enough people talk about their personality, they poke fun at their gestures, the same gestures their male coworkers use. To top all these things off, there’s a lot less women mentors in that field, leads to fewer role models, without role models people will not open their door to women conductors. People that do the hiring are very bias, which to me is the biggest obstacle inn a woman’s way. There are a few orchestras that will try to be fair, but unconscienced bias can affect who will be invited to the auditions, who gets recommended and also who gets chosen for the big opportunities. I’m sure women feel extra pressure on them to balance a very demanding travel schedule, which come with expectations about family responsibilities. I’m thinking, in order to get these issues addressed, we would need both men and women to play a very big role in this plan. Women can continue pushing forward, also supporting one another during this time. Women need to start claiming their space, or place in the field. Men can be a big help to the women, by big help I mean mentoring these women. Men can call out the bias; they can treat a woman’s leadership as a completely normal thing to do while out in the field. When everybody works together, and has respect for one another, the field becomes more open, and fair. People will definitely be more focused on the actual talent, and not on the person’s gender.

by Dolores Villalobos

please respond to mariah with 160 words no plagiarism no a i. no chat bots

As I think thoroughly about the early 20th C periods in the development of modern art, it becomes clear to my knowledge that they are alike our social and creative time period today in technique because of the fact that many North American artists had experimented with diverse modern styles. Whereas these artists had gained patrons and recognition. Additionally, the vibrant and creative environment of music, theater, visual art, fiction, poetry and dance are still significantly relevant to our social and creative time period today regarding the technique that accompanies the creativity and purpose(s) when using these techniques. On the other hand, I think the content is alike our social time period today as well regarding the African past to present day Americas despite enslavement and discrimination faced during those times. Specifically, Jacob Lawrence’s “The Migration Series,” emphasizes the experience of Black Southerners who moved North during the Great Migration which is extremely relevant to our history in art and despite the relevance of this time in our history, the creative technique and content used to emphasize the experience of this migration can also be used to emphasize the experience of other things within art history as it’ll give the viewers and audience an emotional understanding alongside narrative context altogether. Furthermore, North American art of 1920s and 1930s shows a sense of place which depicts local scenery and people which is alike our creative time period today in both technique and content regarding the sculptures, landscapes, and abstract forms that can be used/made which are usually inspired by nature and/or the realistic scenery of one’s (an artist’s) perspective on the world around them. Overall, there are various techniques that are alike our social and creative time period today which can be visually seen and/or represented through the use of painting, sculpting, and using found objects while reinventing the techniques and contents of early modern art that are still being used presently today despite reinventions.