#diaspora paragraph download

[friendtechbd]

A diaspora paragraph 8-10, SSC, HSC and all students 100-500 words

A diaspora paragraph 8-10, SSC, HSC and all students 100-500 words. Go through the below written paragraph carefully, hope you will be able to appear in any exam by reading it. A diaspora paragraph 120 keywords Diaspora refers to the dispersion of a community of people from their homeland, often across different regions or countries. It is a term that encompasses the rich tapestry of cultures,…

[andotherstoriespublishing]

Raising the Visibility of Black British Publishers.

Kadija George on the history of Black publishers in the UK

photo: Victor DIamini

‘The bravery and endurance of these Black and Asian publishers must be understood if we are to present a true image of British publishing and its impact on our society. It is also vital, if we are to encourage more BAME publishing professionals and writers, that British publishing is inclusive and welcomes all comers.’

‘Let’s Not Forget’ by Jazzmine Breary in Writing The Future report, published by Spread The Word 2015.

The history of Black publishers in Britain, much like other areas of Black history is at best invisible, or worse, misrepresented and misunderstood. The irony is that, although Black publishers tell the stories of Blacks in Britain, their own stories have until recently remained untold, even within the growing body of work on Black history.  For example, in one of the most highly regarded texts of Black history in Britain, Staying Power by Peter Fryer, the mention of pioneering Black publishers amounts to one paragraph

However, 2015 was a turning point as two exhibitions in London featured the work and legacy of New Beacon Books (founded by Trinidadian John La Rose in 1966) and Bogle L’Ouverture Press, (founded by Eric and Jessica Huntley in 1967). ‘No Colour Bar’ at the Guildhall Gallery and ‘A Dream to Change the World’ at the Islington Museum (yes, John La Rose believed that the world could be positively changed through the publishing of works that spoke to justice and equality) were mounted with significant support from the Heritage Lottery Fund.

Their work is now increasingly recognised as having a major impact on Black history in Britain from the 1960s as they created space in print and protest to accurately reflect Black life in Britain from a Black informed bias rather than from a white speculative one.  The work they published was primarily poetry, non-fiction and literary criticism in books, pamphlets, and journals. It is true however, that novels by Black writers were being published at this time by UK based publishers. In 1962 OUP had started Three Crowns and Heinemann had started the African Writers Series, but the latter was started as and remains an educational imprint, not intended for the UK market.

Although Allison and Busby was not a Black publishing house per se,  the books they published, particularly in their early years (from 1966), mean that Margaret Busby is known as a stalwart publisher of those times. They published groundbreaking writers such as Nigerian author Buchi Emecheta, whose trilogy Ada’s Story told the story of a single mother of five struggling to survive and write in London. Emecheta is still heralded as a heroine, continuing to inspire women of all ages and ethnicities.

Hansib Publications was started by Arif Ali in 1971, initially to publish newspapers and journals, but gravitating to the publishing of books.

The first titles of all these publishers spoke out loudly against anti-capitalism and anti-colonialism, setting the trend for the titles that followed, some of which, such as How Europe Underdeveloped Africa continue to have significant sales today. Throughout the years, particularly until the mid-1980s, these publishers, along with others, worked together on various projects and campaigns.

One of the main challenges today then, for new Black publishers is to be visible within the publishing industry in an environment where impact and economic sustainability matter in a highly technical creative industry, yet the community still have expectations for them to be socially conscious too.

Within the past ten years, new black publishing houses that have emerged have clearly taken this on board. Crystal Mahey-Morgan, for example, promotes her publishing company, Own It! as a ‘lifestyle brand’. Established in 2015, she publishes fiction and non-fiction. Most of her experience in publishing is in marketing and she uses all of the elements at her disposal to enable her to fill a 1000-seater venue for an event focused on the book launch. She combines the traditional approach, announcing the hardback title in advance, alongside manipulating social and digital media to reach her various audiences. Similarly, the name of another press Jacaranda Books Arts Music, shows that they are aware of the importance of selling across products. Founded by Valerie Brandes in 2012, their aim is to ‘Celebrate cultural, ethnic and social diversity in literature.’

Limehouse Books, established in 2009 by Bobby Nayyar have taken a slightly different direction in that they commission books, rather than taking on the time-consuming manuscript submission and acquisition process. They have also partnered with organisations to produce books. Although Cassava Republic Press was established in Nigeria in 2006 by Bibi Bakare-Yusuf, she set up a branch in the UK ten years later to publish African writers in the diaspora. The rationale behind her selection comes from her belief that it’s the right time to ask challenging questions of African writing, ‘where have we come from, where are we now, where are we going?’ Their mission is to ‘change the way we all think about African writing’.

The founders of all of these publishing houses hold degrees in the field of publishing or and have worked in more than one mainstream publishing house as an employee, or paid internship, often through a training scheme for people from ethnically diverse backgrounds. They can also be seen at trade fairs such as the London Book Fair alongside their peers from other publishing houses. These are the main difference between them and their radical, activist predecessors, yet all acknowledge and are aware of the history of black publishing in Britain that has gone before them, the achievements made and the path that was paved for them by these publishers and of their responsibilities to the community, particularly to the community of readers that they want to reach and represent.  

Black publishers, then and now, represent a specialised area of publishing. What could be considered, alongside increasing the diversity of human resources within mainstream publishing houses, is to place young white trainees within Black companies as part of their training, in order to gain knowledge that they would not otherwise access in a larger corporate entity. Leicester University, for example, run a transcultural publishing module for undergraduates in their final year. The module is always oversubscribed. Most of the students are not Black, yet it trains a future workforce to understand that cultural diversity is the norm rather than an exception.

Routes into publishing are gradually becoming more open to those who may previously only have seen closed doors. In the UK we are fortunate enough to have professional writer development programmes, partly funded by Arts Council England. The programmes offer advice and can point people in the direction of opportunities and further information if needed.  Some of these, such as Inscribe and Commonword, have Black staff members with skills, knowledge and experience in various areas of publishing and writing.

For more information on these programmes around the UK, see the following links:

Spread The Word (London) – https://www.spreadtheword.org.uk

Inscribe (Yorkshire) – http://www.peepaltreepress.com/inscribe

Writing East Midlands – http://www.writingeastmidlands.co.uk

Commonword / Cultureword (North West) – http://www.cultureword.org.uk/

New Writing North – http://www.newwritingnorth.com/

New Writing South (South East) – https://www.newwritingsouth.com/

Scottish Book Trust – www.scottishbooktrust.com/

Literature Wales – http://www.literaturewales.org/

Other useful links:

Download Spread the Word’s Writing the Future report

Visit the Hackney Museums exhibition page

Link to 50th anniversary celebrations for the George Padmore Institut

The Radical Lives of Eric & Jessica Huntley – No Colour Bar: http://huntleysonline.com/f-h-a-l-m-a/bbaa-art-exhibition/

By Kadija George

@kadijattug

Doctoral Researcher at Brighton University on Black British Publishers

AAAP (All About African Publishers) blog

[ginnyzero]

Copypaste Cris, Plagiarism, and Fandom

(Originally Posted April 2019)

Recently, there has been a very large controversy in writer twitter. A woman who I’d rather not name outside of Cris, has plagiarized a very long list of books and authors by stitching them together like Frankenstein and then passed the books off as their own. We’re talking taking paragraphs directly from other books and using them in their books. Paragraphs!

This isn’t what anyone ever meant when they said “good authors steal.” Or “taking from many authors is research.” This is out and out theft of other writer’s words. And it’s not cool. And I think most authors in original IP and in fandom spaces would agree about that.

However, what has come out of it is a very informative thread about how authors can search through google if their words have been plagiarized and put up on places like Wattpad or AO3. But in the thread, I noticed that there was no difference being paid to original work and fan works. It’s as if the creator of the thread didn’t know there legally is a difference between the two creations.

Quickly, fandom works are works both written and drawn in a specific book/movie/television universe created by people (fans) not the original author and may or may not use the same characters/settings/world building as the original author. (I have to accommodate for extreme alternate universes here.) They are posted on sites such as fanfiction(net), AO3(org), deviantArt(com) and so on.

Fan fiction has a very long history that includes the Iliad, Dante's Inferno, Shakespeare, etc. Basically, it's older than dirt and not about to go away. The concept of "completely" original work didn't arise until the early 1900s and before then was looked upon with disdain. You couldn't make money off an original work! Le gasp! With the rise of copyright and other such laws, there has become a legal separation between original IP and fan transformative works. (And also the abuse of copyright law.)

And in recent times, it feels that younger authors who are not part of the fandom scene don't know or aren't educated in the difference.

I blame Wattpad.

Wattpad has made a very iffy decision IMO to host both fan fiction and original fiction. There are also a lot of baby authors out there with no context of fandom history and fandom diaspora after the demise of LJ hasn’t created a new “community” to educate.

The closest thing that fandom has now to a history site is fanlore. There are a lot of fandom authors/creators who hate fanlore with an abiding passion. Yes, there are posts on tumblr about fandom history, but its shouting into a void. Because of this, fandom history has been lost or has been shrouded in the veils of hearsay. This hearsay has been spread to original authors making them afraid of things that would most likely never happen.

But simple etiquette things like: Put Disclaimers on your work that you don’t own it. Don’t send your fan fiction to the authors. Don’t try to make money off of fan fiction. And don’t talk about fandom to actors/creators. OMG. No. Have been lost. In fact, a lot of baby fandom authors either don’t care or don’t know they need to know things about disclaimers or why you don’t tell original creators your head canons. This can cause a lot of frustration between original creators and their fans. Not to mention some really awkward moments with actors/creators at Con panels. The meta fiction books about fandom make fandom cringe and froth the way the BDSM community cringes and froths about 50 Shades.

At the same time, the old code of fandom silence and trying not to attract the attention of original creators for fear of being sued has caused this schism between the two writing communities. The schism comes from both communities having 2 sets of rules and each community not knowing the other set unless they’ve come from that community in the 1st place. Not that anyone writes these rules down either.

Each side eyes each other with disdain. (Unless an author has come from fandom into original.)

So, now Wattpad has created this community where original IP authors are mixing with fandom authors. Neither know each other’s etiquette rules and each resents the other for existing in the same space. The reason I call Wattpad’s decision iffy is because when fanfiction(net) realized its authors wanted to post original work, they created fictionpress with a different TOS. As far as I’m aware, Wattpad is posting fan fiction and original fiction under the same TOS.

Legally, I’d call this very squishy and not a good idea. Not a good idea, as in, “Have you been sued today?” Especially as Wattpad is trying to transition from a free platform to a paid platform. If a baby author starts trying to sell fan fic, well, it’s a good way to end up being sued. There is going to come a point where Wattpad is going to have to make a choice. Do they continue posting fan fic and deal with legal repercussions? Or do they ban it entirely and piss off a big chunk of their user base? I predict banning.

Whereas, Archive Of Our Own or AO3, was created by the Organization of Transformative Works expressly for the purpose of hosting and legally protecting fanfiction. AO3 does have original works on it. A tiny fraction of a percent of the millions of work on AO3 are labelled as original work. There are some (57K) original works on AO3. That’s smaller than the number of Tolkien fanworks (61K). Because most authors who post on AO3 know that original isn’t the point of AO3 and they’re posting fandom works under the same pseudonym.

And once again, Fanfiction(net) handled the problem of writers wanting to step out of fan works and into original works by creating an entirely new website with the same user interface. Thus keeping the works legally separated and everyone in the happy space of “this is someone else’s IP I can’t make money off of” and “this is my IP, I’m building a reader platform, and I can make money off of it eventually.”

Fictionpress is probably why you can’t copy/paste or download fan fiction off of fanfiction(net.) Having one user interface means protecting the words of the original IP also means protecting the words of the fandom IP.

On top of this, there are indie and traditional authors that either don’t know or don’t like the concept of fan fiction. They don’t want other people to play with their characters. Those are perfectly valid feelings and ffnet will accommodate certain authors to a point. By to a point, I mean usually under a threat of lawsuit from a very big name author who has asked politely for their works not to be included in the site. FFnet also banned song fics and NC-17 because they rely on ADS.

I don’t know about AO3, because AO3 rose up after some of the bigger authors relented about fanfiction and I don’t have an account there. I stopped posting fanfiction for the most part around 2010 due to severe burnout. It wasn’t until 2012 or so that I worked through some issues and started writing… original.

I still keep a toe in fandom spaces to keep track of the controversies and what’s going on there because it may show up in original spaces later and vice versa. We of fandom often don't realize how small we actually are and how many people don't know about fandom. We're a global community. It's fairly common to have friends in Europe and Asia and Australia. (This makes getting together difficult.) Twitter is now doing this for the original writer community.

If your work becomes popular, say with a related comic or a television show or you get a movie or you write romance in a series that gets a lot of readers. (Yes, book fandoms are a thing.) Fan works, transformative works protected under the rights of fair use, are inevitable. People (fans) that aren't you, the original creator, are going to create stories, make art, put together song lists with, of, and about your characters, that you, as the original creator, will have no control over. And to an extent, in the case of fan fiction, legally shouldn't read in case you're working on a similar idea at the same time due to the universal consciousness of mankind.

Fan works aren't the same as original works. Fandom people know this. They know they can't make money off of your ideas. They aren't even trying to make money off of your ideas, at least the ethical knowledgeable fandom writing creators aren't. (Fan art is different.) They have many other reasons, mostly love, for borrowing your characters to tell their stories with for a time.

Please, don't mix this up with authors plagiarizing your works. There is a legal definition of plagiarism and most fan fiction doesn't fall under it.

Here is the thing, most fandom authors aren’t going to be copying your work word for word into their fic. It’s not really the point of fan fic. They may drop a line or two for reference if they’re doing a canon divergent scene, but paragraphs are off limits. In fact, most the time when fandom authors are caught plagiarizing. They’re plagiarizing works that have nothing to do with the original IP. Or are plagiarizing other fandom authors by reposting those works and claiming them as their own.

9 times out of 10, fandom is your friend. Fandom creating transformative works of your things is free publicity for your work. Granted, fandom usually only swirls around things that become big and popular. Twilight, the Hunger Games, MCU, SuperWhoLock. Fandom is also fickle. The creator and fandom divide has gotten extremely thin with the rise of social media and the demand that creators be on social media. The lines between original and fan fiction have also become blurred. Example, the “omegaverse” controversy.

Fandom can quickly become an enemy. More and more, fans feel entitled to tell creators exactly how they feel about a work when it doesn’t go the way they want it to do so. See Star Wars and a half a dozen cartoons. Fandom has a long memory and an unparalleled capacity for grudges. See James Gunn and GotG. This isn’t cool as because it's the internet and there is "anonymity" it can devolve or escalate into doxxing, swatting, and death threats fair quickly.

Doxxing being when a fan outs where another fan or an original creator lives in order for people to move out of cyber bullying and into the realm of stalking or physical death threats. Swatting is more common in the gaming community where on gamer calls in a fake report to their local police and the police come to raid their house. This is hugely illegal!

In fact, probably within the next 2 decades, those writing fandom stories now are probably going to start being original IP authors peers as more and more YOUNG fandom authors transition from fan fiction into original fiction. There are more traditionally published authors than many are aware of that started out as fan fiction authors to hone their skills or as a hobby that turned into a passion. They’re very attached to fan fiction and quite defensive about it.

(And many self-published authors also started out in fandom circles. However, traditionally published authors like us less than fandom authors.)

They also know the rules of fandom. Disclaim your work. Don’t talk about fandom. Don't send creators your ideas. Especially, don’t talk about your RPF fan work to the actors of a certain series. Don’t email death threats to their spouses. Don’t dox people. Don’t take writing commissions for fan fic. (This doesn’t apply to fan art and thus the arguments rise in fandom spaces about that!)

With the rise of social media and things like AO3, the need for disclaimers have fallen out of fashion. More and more people are willing to stand up and say “we are fandom!” We hear more about the bad things than the good things. Good things are, “fandom keeps me from suicide.” and “I got a job through fandom!” (More artists than writers because of the whole legal issue of original IP writers reading fan works.) “Fandom makes me happy,” is prolly my fave.

Because of copypastecris, there are now a lot of original authors out there afraid that their works are being taken and used elsewhere. They're now googling or using software where they upload passages of their books and try to find similar passages on places like Wattpad or AO3 (if they know AO3 exists.) They don't know there is a difference between original work and fan work.

They just see "oh, people are using my characters. I don't like that. That's stealing! Stealing is wrong!" Then they send a DMCA. When that's not what plagiarism is legally.

And fandom doesn't know that this is happening. Not a peep has come up about copypastecris in the fandom spaces I know about. If an author hits them with a DMCA for plagiarism on a fandom story that is clearly labelled fan fic, they're going to be blindsided. Since many fandom writers are young, they're going to be terrified!

(A DMCA for a stolen photograph/artwork for a cover is different. DMCA away. Too many people think that anything art wise posted to the internet is free for the taking. They also know how to remove watermarks. And yes, this attitude falls upon books too, thus piracy. But that's a different issue than fan works!)

So, please don’t punish fandom for copypastecris. Fandom doesn’t know about copypastecris. They don’t care about copypastecris. And they’d be as pissed as you are about it if they did know because most of them have ethics and that’s not cool.

(I’d compare the copypastecris to their Cassie Claire controversy back in the late 2000s. But even Cassie Claire didn’t have THAT much chutzpah to plagiarize close to 100 books. I have no idea how much editing went into her books to make them publishable as original fiction. Most fandom authors will tell you unless it's an extreme AU, taking a fan fiction and trying to make it original fiction isn't worth the bother. It's too much work.)

Please, check the work before you DMCA and if it is a fan work and labelled as a fan work, take a moment to breathe and not hit that button. Count the words. Make sure it legally fits the definition of plagiarism before hurting someone who loves your stories. Fandom isn’t your enemy. They aren’t trying to claim your IP and make money off of it. Thank you.

[jazzworldquest-blog]

USA: World Music Star GERARD EDERY releases his critically acclaimed double album “Best of Gerard Edery” in America.

World Music Star GERARD EDERY releases his critically acclaimed double album “Best of Gerard Edery” in America.

The “Best of Gerard Edery” features one of the world’s most renowned musical polyculturalists’ music. He uncovers the synergistic and haunting dimensions of a broad repertoire of traditional music imaginatively arranged for contemporary audiences.

By weaving folk songs, chants, and prayers from across centuries and across Europe and the Middle East, he shows that the human need for a spiritual dimension defies all boundaries of time and place. This ecumenical program uncovers the surprising synergies between Eastern-European (Jewish and Christian) and Middle Eastern (Jewish and Arabic) musical faiths. Join him for a unifying experience as his voice blend in devotional and secular songs from the far-reaching Sephardic Diaspora and Eastern Europe.

Download  or purchase Best of Gerard Edery on:

Amazon.com: https://www.amazon.com/Best-Gerard-Edery/dp/B006LNLAGS

iTunes: http://ift.tt/2is4G1w

GERARD EDERY (Vocals/Guitar) has at his command a remarkable range of ethnic folk styles and traditions. He regularly uncovers and preserves songs, stories and melodies from Europe and the Middle East, and energizes these repertoires by interpreting them for contemporary audiences. One of the world’s foremost experts in the wide-ranging music of the Sephardic Diaspora, he is a recipient of the Sephardic Musical Heritage Award and a Meet the Composer grant for his original songs. A performer in great demand throughout the US, Canada and Europe, he has performed at prestigious venues and festivals throughout the world. In addition to his busy concert schedule, he has released 17 CDs on the Sefarad Records label as well as a much-acclaimed Sephardic Songbook. www.gerardedery.com

REVIEWS:

"An ecumenical celebration that honours both Christianity and Judaism!" The editors, MANN ABOUT TOWN

"'Two Faiths, One Voice' just might be the most culturally eclectic item in Edery's already diverse catalog."  Alexander Gelfand, THE FORWARD

"A very exciting recording… remarkable material!" Irene Backalenick, ALL ABOUT JEWISH THEATRE, JEWISH POST & OPINION

"With the great Lithuanian ethnomusicologist, Edery embarked on a global series of concerts.  (…) If audience reaction is any indicator, the musical collaborators have succeeded in this endeavor, with huge ovations after every song." George Robinson, JEWISH WEEK 

Media Contact:

THE CULTURE NEWS

news@theculturenews.com

http://ift.tt/29uRogU

via Blogger http://ift.tt/2AQGnkI

[100prompts]

1. Show the video footage of former Israeli Ambassador to the U.S., Michael Oren, being heckled by pro-Palestinian activists at U.C. Irvine. Ask students: How does this make you feel?

 2. Throw a bagel to every person in the room. Ask: In what ways does this bagel represent and embody the Jewish experience and in what ways not? Consider in chevrutah.

 3. Give every student $7. Challenge them to donate a dollar a day for one week. Come back a week later and discuss.

 4. Read the Bereshit account of Jacob wrestling with the “angel”. Ask students: In what ways has Jewish history embodied or reflected this origin as “wrestlers”?

 5. Read the morning prayer, “Elohai HaNeshama”. Ask students: What comes up for you when you read this prayer? What might it mean to say that the soul is “pure”?

 6. Give everyone a copy of “Modeh Ani” and have folks recite it upon arising every morning for one week. Come back together and discuss.

 7. Watch the Israeli band A-WA’s single “Habib Galbi”. Discuss.

 8. Watch a quality version of Bob Marley’s “Exodus”. Ask students: To what extent is this a “Jewish” song – To what extent does it present the tropes and themes of the Jewish story – both historically and spiritually? To what extent not?

 9. Study a map of the Land of Israel that includes both major Jewish and Arab population centers as well as clearly delineates the “Green Line”. Ask students if they have any questions.

 10. Invite students into a private Facebook group entitled “Gratitude Reflections” and challenge each member of the group to post three “things” they’re grateful for each day.

 11. Bring a group of students to a rally or protest. Have them create signs and posters based on values from their Jewish tradition. Following the rally, go get pizza and discuss.

 12. Bring a group of Muslim students to meet a group of Jewish students. Have dinner and then have each group generate as many questions as they’d like to ask the other. Come back together and take turns going back and forth, answering as many of the questions as possible.

 13. Watch the Curb Your Enthusiasm episode, “Palestinian Chicken”. Ask your students to explain the last scene.

 14. Invite Erika Davis (author of the “Black, Gay, and Jewish” blog) to visit a group of students.

 15. Purchase every student a copy of Heschel’s “Moral Grandeur and Spiritual Audacity”. Read any essay. Discuss.

 16. Find an online description of the Chofetz Chaim’s stringent rules around gossip and Lashon Hara. Ask students what role gossip plays in their lives and if they can understand the rabbi’s stringencies?

 17. Host a Tu B’Shvat seder. Download the Hazon “haggadah” for the occasion. Real wine is a must.

 18. Pass around a lulav and an etrog. Discuss.

 19. At the start or end of a semester, study the midrash of Nachshon ben Aminadav. Ask students in what ways that embodied the chutzpah of Nachshon over the past semester and in what ways they wish they had embodied his chutzpah.

 20. Watch the short (30 min.) Israeli movie “Barriers”. Ask students to name ten different types of barriers represented in the movie. Discuss widely.

 21. Read the entirety of the Shema. Ask students: How would you relate to the 2nd paragraph if you were a Cambodian sustenance farmer? How would you relate to it if you were “ancient man”? How do you (might you) relate to it as you yourself?

 22. Borrow a handful of sets of tefillin and a bunch of tallitot and gather a bunch of students for whom these ritual items are not familiar. Have everyone take turns “wrapping and donning”. Discuss.

 23. Gather ten students in an open space for the sunset. Recite the evening “Ma’ariv” prayer. Sit in silence.

 24. Look at a collection of hanhagot from various Jewish writers. Have students compose their own hanhagot – based on the language and style of the historical ones.

 25. Open up the claf of a mezuzah. Ask students to explain this ritual technology. Have students compose their own mezuzah scroll – give them pushpins to affix these original scrolls to their doorposts.

 26. Gather a small group of really intellectually intense students. Purchase each of them a copy of Buber’s “The Way of Man”. Gather on several occasions to read a chapter from this small book.

 27. Read the original “10 Commandments” and then read Archie Gottesman’s “New Ten Commandments for the Jewish People”. First discuss. Then have the students compose their own individual ten commandments. Discuss.

 28. Cut up a whole lot of little slips of paper. On half of them write, “The entire world was created for me”. On the other half write, “I am nothing but dust and ashes”. Give one of each to 10 students. Ask them to pull out the former when they’re feeling glum and to pull our and read the latter when they’re feeling overly proud. Have them do that for a week. Gather and discuss.

 29. On Erev Shabbat, have students go around and fill in the following blanks: This Shabbat I want to unplug from ________. This Shabbat I want to plug into ________.

 30. Introduce the Kabbalistic practice of gerushin (wanderings). Take a handful of students and walk aimlessly around campus for an hour trying to get in touch with the exile of the Shekhinah. Discuss.

 31. Give a tutorial on various online Israeli and Jewish news culture websites. Let students survey them on their own for a while. Present favorite articles.

 32. Read the first chapter of Bereshit – slowly. Discuss as you read.

 33. Study Rav Yosef’s statement in the Talmud (Ketubot 48a) that “There must be close bodily contact during sex…” Ask students why Rav Yosef insists on two people being naked? What’s up with nakedness?

 34. Study the midrash’s story of Noah planting a vineyard with Satan. Prepare to answer questions about the Jewish Satan. Ask students: What’s this midrash trying to communicate to us about the complexity of getting drunk and being stoned?

 35. Get a bunch of siddurim and have students flip through the section of Birkat Nehenin. Tell them they are on a “Brachot Scavenger Hunt”. Can they identify one blessing that is surprising? One that they have recited at some point in the past? One that they find beautiful? Etc.

 36. Cut up the weekly parsha verse by verse. Place all the verses in a hat. Pass it around – everyone randomly selects a verse. Have students go a sit alone for 15 minutes reflecting on how the verse speaks to them and “where they’re at” in life. Come back together and share in chevrutah.

 37. Study the very first mishnah of Mishnah Berachot.

 38. Read A.B. Yehoshua’s critique of diaspora life published in Ha’aretz several years ago. Discuss.

 39. Print copies of the summary of “the PEW poll”. Give students 15 minutes to peruse and discuss in small groups. Come back together. Discuss.

 40. Give students 30 minutes to answer the question “Why be Jewish?” Answers must be fewer that 50 words. Do the same exercise but require answers to be 20 words or less. Do one more time – 5 words. Then 1 word.

 41. Read Matisyahu’s Twitter post (along with accompanying photo) from 12/13/11. Discuss.

 42. Gather a group of students. Ask them how we might understand and relate to the idea of angels. Chant “Shalom Aleichem” (as a niggun, without the words) for 15 minutes. Discuss.

 43. Print out copies of the Rambam’s enumeration of the 613 commandments. Give students 15 minutes to explore the list. And give them a set of scavenger hunt questions to guide their exploration. A commandment that’s surprising. One they already were familiar with. One they’d like to find the time to perform. One that is morally troubling.

 44. Watch the “Double Rainbow” Youtube classic. Pair this with a Heschel text on “wonder”. Discuss.

 45. Invite a Jewish LGBT activist to visit with your students.

 46. Invite a young Orthodox Jew to meet with your students for a session entitled, “What’s going on in the mind of a young Orthodox Jew?”

 47. Sometime around Hannukah, read David Brooks’ piece, “The Hannukah Story,” in the NYTimes from 12/10/09. Discuss.

 48. Look at the commandments prohibiting tattoos. Ask students: What right does the Torah have to tell you how to live your life?

 49. Place a bacon cheeseburger in the center of a group of students. Discuss.

 50. Play Omer Avital’s song, “New Middle East”. Ask students: What does this song mean?

 51. Read Allen Ginsberg’s poem, “Jaweh and Allah Battle”. Read it again. Discuss.

 52. Have students try and retell the Purim story.

 53. Ask students about the personal significance (or lack thereof) of fasting on Yom Kippur.

 54. Ask students to make sense of the fact that many Jews who eat cheeseburgers all year long abstain from bread during Pesach.

 55. Have students consider Kaplan’s statement: “The ancient authorities are entitled to a vote, but not a veto”. Discuss.

 56. Consider the mitzvah of Kibud av v’em / Honor your father and mother. Break students into chevrutot to talk about the depth and possible limitations of this commandment. Have students write letters to their folks.

 57. Have students look at the calendar of Jewish months and holidays. Answer questions.

 58. Have students read the liturgical text for Amelioration of Bad Dreams. Ask students: What power (of lack thereof) might dreams have in your life? Get into chevrutot and share a dream that has “stuck with you”. Why?

 59. Read the Rambam’s “13 Principles of Faith”. Discuss.

 60. Bring a Sefer Torah into a room with a group of students. Allow them to hold it and sit with it. Kiss it. Open it up and roll it from start the finish – pointing out unique “typographic” and narrative moments in the text. Answer questions.

 61. Bring in falafel – with all the “salatim” fixings. Have a student facilitate a “Felafel Tutorial” demonstrating how to properly stuff a pita.

 62. Read the Torah’s narrative about Moses not being permitted to enter the Land of Israel. Ask them to reflect on a time in which they too were not able to make it to a long desired “destination”.

 63. Invite a Russian Jewish immigrant to tell his/her story.

 64. Ask students if the institution of Bar/Bat Mitzvah should be nixed – or significantly altered. Should it be postponed until the age of 21?

 65. Ask students: What does the title “Birthright” mean? Do you have a “Birthright” to the Land of Israel? Discuss.

 66. Have students attend Friday night Kabbalat Shabbat davening as “Religious Ethnographers”. Over Shabbat dinner, discuss findings.

 67. Watch “Kourtney and Kim Take New York” episode, “True Colors” in which Scott Disick has a mini Jewish awakening. Ask students: What’s going on for Scott? Discuss.

 68. Watch Alicia Keys’ music video, “No One”. Ask students: What is this song about? About a relationship between two people? Or about a relationship between a person and God? What evidence in the music video might suggest the latter? Bring in some Kabbalistic poetry. Ask students: What’s the relationship between spirituality and eroticism?

 69. Consider several cases of medieval Jewish martyrdom. Ask students: Would you choose death rather than “forsake” your Jewish identity?

 70. Find an interesting analysis of “Jewish American Princess”. Have students read it together. Ask students how they feel about this terminology and its function.

 71. Have students consider the injunction in Vayikra, “Reprove your neighbor”. Bring in some commentary from interesting sources. Break students into chevrutot and have them think about whom in their lives deserves careful reproach of this sort?

 72. Take students to a mikvah. Allow them to immerse (privately) if desired. Discuss.

 73. Read the Israeli Declaration of Independence. Discuss.

 74. Read George Washington’s “Letter to the Hebrew Congregation at Newport”. Ask students: Do they identify primarily as Jewish Americans or American Jews?

 75. Ask students to talk about their “Hebrew Names” – their origins, etc. Lead a discussion about any subject, where students must refer to one another by using their Hebrew names.

 76. Have students tell each other their “Jewish stories” by describing a 1) person, 2) experience, and 3) Jewish idea that have had major impacts on their lives.

 77. Play a good version of the “Hora” and have students lift each other one by one up in chairs. Discuss.

 78. Using their cellphones, have students take portraits of one another with different facial expressions for a variety of Jewish “things” – including, Yom Kippur, Israel, the Shoah, Bnei Mitzvah, etc. Post pictures on Facebook.

 79.  Have students explore Ritualwell.org. Break students up into groups of 4 and have them design new rituals for “Upon a Hard Break Up”, “Upon Acceptance into College”, and “Upon Leaving Your First Year Dorm room”.

 80. Watch an interview with Rabbi Menachem Froman z”l. Ask students: What does Rav Froman mean when he says he lives in “the state of God”?

 81. Ask students: Are Jews white?

 82. Watch a collection of recent videos showing police abuse of people of color. Ask students: Considering the injunction in Devarim, “You must not remain indifferent”, what actions have they considered taking to address the injustices that continue to surround race in America?

 83. Watch the video of two Israeli police officers beating a Jewish Israeli of Ethiopian decent. Watch videos of the ensuing Ethiopian protests in Tel Aviv. Discuss.

 84. Have students turn to one another in chevrutot. Ask them to discuss their relationship with and experience of God.

 85. Have students write a list of “10 Contemporary Plagues” that impact our global society. Have them read this list at their family seders.

 86. Have students read Rebbe Nachman’s short tale, “The Turkey Prince”. Discuss.

 87. Ask students if they’ve received particular “messaging” from parents or grandparents about the need to marry a Jew. Discuss.

 88. In a group of students, read selections from Jean Amery’s essay, “On the Necessity and Impossibility of Being a Jew”. Discuss.

 89. Ask students: Is it cool to be Jewish? Discuss.

 90. Have students interview their oldest living relative about what being Jewish “means to them”. Each student will present.

 91. Have students perform a “Welcoming Assessment” for a selection of campus Jewish organizations and institutions. Students present findings.

 92. Read “The Epistle of the Baal Shem Tov” with a group of students. Discuss.

 93. Instruct students to light a menorah (during Hannukah) in a public space in order to “publicize the miracle”. Come back together and process the experience.

 94. Watch the Israeli movie, “Sallah Shabati”. Discuss.

 95. Watch “Fiddler on the Roof”. Discuss.

 96. Consider how the Torah describes all generations of Jews as having stood at Sinai at the giving of the Torah. Read Merle Feld’s poem, “We all Stood Together”. Ask students to envision what they would have been doing, how they would have been feeling, where they would have been standing – at Sinai.

 97. Teach students how to give a “Dvar Torah”. Then give them all various short selections from Torah. They have 10 minutes to develop “Divrei Torah”. Present.

 98. Facilitate a “Lechayim Tutorial”.

 99. Have students compose their “Jewish Soul Resumes”. Present.

 100. Teach students the lyrics of “Hatikva”. Sing together as a group. Discuss.