The Existence of Jane Addams’ Social Justice Ideologies in ...



“Nothing could be worse than the fear that one had given up too soon, and left one unexpended effort that might have saved the world.” Jane Addams-

Introduction- Jane Addams –Mentoring an Educator on the Importance of Humanity

Being an educator in multiple school districts has provided me with the opportunity to compare the dynamics of affluent and low-income academic environments. I have witnessed first-hand the inequity that exists within our schools, and I have observed how socio-economics, class, ethnicity, race, religion and politics influence individuals’ abilities to learn. Moreover, it has become clear to me that if I wish to preserve true democracy, one that protects the interests of all human beings, not just a select few, then my mission as educator extends far beyond teaching traditional academic skills to students.

This newly acquired introspection, and my commitment to social justice have led me on a personal and professional quest to find mentors who can inspire me when the feeling of defeat is at hand. I realize that if I wish to promote Horace Mann’s concept that education is the great equalizer of all men, then I must familiarize myself with what my community actually needs. An important aspect of educating myself on how to be effective in the world is to review the actions of others who have achieved social and political reform. Jane Addams serves as one of my role models. Her role as a pioneer of social justice and the co-founder of the Hull House in Chicago has created a legacy of contribution worth emulating. Jane Addams’ educational philosophy is outlined by her belief in pragmatism, which “unites cooperation, caring and community with theories of democracy and inquiry consistent with the spirit of scientific investigation” (Shields 2005, p. 371). This philosophy, coupled with her genuine understanding of the struggles that immigrant communities face in society, is the basis of her mission as an activists, suffragist, philosopher and educator. I have adopted her ideology and hope to contribute to society in much of the same way.

Recognizing the value of people’s cultural capital, Jane created the Hull House to be an agency for formal and informal learning. Elaborating on the progressive educational ideologies she shared with John Dewey, Jane Addams understood that exposing immigrants, both children and adults, to a variety of literature, art, music, play, and, at the same time, honoring their ancestry, could assist in elevating the minds of individuals beyond the drudgery of day-to-day menial industrial work. Addams and Dewey shared the ideology that curriculums constructed out of occupations, such as growing crops, cooking food, building furniture and weaving clothes, “formed a bridge between the home, and the school and integrated the school into the larger world” (Farrell, 1967, p. 88). Jane Addams’ political and social activism paved the way for monumental reforms in immigration, in child labor practices, and in women’s rights in the United States.

To this day, Jane Addams’ theories on education, specifically focusing on immigrant needs, are evident in the types of classes available to the community at the Hull House. You will find that cities across the United States that have developed organizations which provided educational classes, life skills, food, clothing, and job training that are similar to the ones started in the Hull house in 1895.

Jane Addams’ educational theories recognized the impact that ethnicity, race, gender, socio-economics, social class, and religious orientation have in influencing individual achievement.

Although an understanding of best practices has yet to fully emerge, programs can be responsive in many ways, from hiring teachers and staff who speak the languages of the parents or who are from the same country, to creating formal roles for parents and others to act as cultural liaisons, to honoring and respecting cultural and religious practices that may differ from those of the mainstream American society (Karoly, & Gonzales, 2011, p 93).

Appreciating immigrant heritage, Jane Addams insisted that educational and social institutions recognize diversity as cultural capital that benefits the whole of society. Her inclusive approach to immigrant education is applicable in today’s academic challenges. Moreover, her philosophy that vocational and/or life skill courses should be integrated into mainstream curriculums, is central to many current debates on educational reform.

Jane Addams identified that social cohesion and communal collaboration were central factors that influence the success of immigrant assimilation into American life. Her belief system is still evident in many social advocacy groups’ objectives, which aim to provide appropriate services to its citizens and to build bonds among all communities.

Jane spent her life advocating for civil, social, and political reform that demanded that the dominant culture valued diversity, protected under-represented communities and honored multiple ancestries. She “believed that democracy required true reciprocity and free accommodation between different individuals and groups, and she was convinced that this could only be achieved in a society where social goods like freedom could be guaranteed to all” (Lagenmann, 1985, p. 2). Jane Addam’s commitment to a life of activism that fights for the equal rights of all people has become my own.

Popular Culture Lens

Jane Addams’ theories on social justice which establish society’s responsibility to protect the rights of all human beings, especially immigrants in the United States, can be seen in 21st century popular culture artifacts. Incorporating Jane Addams’ ideology that socio-and ethnic diversity is cultural capital and should be valued by the dominant culture, I will analyze six popular culture artifacts. Through close examination, I intend to provide evidence that the selected popular culture artifacts perpetuate Jane Addams’ philosophies on social justice through words, music, and art.

The six popular culture artifacts we will deconstruct are:

1. The Hull House-Zines-Girls in The System (self published online-collaborative mini book-promoting Juvenile Justice reform)

2. The Hull House immigrant voices. Poetry About My Rights-

3. YouTube Music Videos- by Sweatshop Union

4. YouTube-Dream Act Song- Call to Action

5. Film- The Empire’s New Clothes- Immigrant labor documentary

6. Extra criterion- Book- Gregory Boyle- Tattoos on The Heart

The criteria by which these artifacts were chosen are as follows:

o Does the artifact promote social justice and the protection of all human being rights?

o Does the artifact emphasize society’s responsibility in preserving multiculturalism as a part of assimilation into American life?

o Does the artifact highlight hegemony and demographic inequalities as root problems in society?

o Does the artifact represent Jane Addams’ ideologies on social cohesion and communal collaboration to build a better democracy?

o Can this artifact be integrated into educational curriculums to promote a sense of humanity?

o Is the artifact created creatively, and with quality, to impart the information being presented?

Artifact # 1- Zines- “Girls in The System”-Stories About Young Women in the Juvenile Justice System- By Rachel Marie-Crane Williams- The Hull House Museum website-



Continuing Jane Addams' commitment to civic engagement and political reform, the Hull House Museum, in collaboration with Cook County Juvenile Temporary Detention Center and the Chicago Freedom School, created five zines, or do-it-yourself minibooks, to create critical awareness of the issues surrounding incarceration, custody, and the treatment of adolescent women in jail. Discussing the overwhelming disproportion of low income to high-income female inmates, the zine exposes the unethical abuse and disregard our juvenile justice system has towards minority women. Illustrating juvenile Hall protocols, through art and narration, that zine examines how, strip-searches, body restraints, prescription drugs, and isolation controls incarcerated adolescent women, perpetuating existing trauma that prohibits the possibility for rehabilitation. Providing qualitative and quantitative research through graphic art, the zine does not give a voice to incarcerated minority women who have become victims of a society that does not value their cultural capital, nor does it take responsibility for providing them with the fundamental skills needed to succeed. Additionally, the zine elaborates on the fact that without sufficient and compassionate change within the juvenile justice system, the cycle of criminality among young women will continue as a result of the necessity to survive on the outside:

Girls who run away are often being sexually abused or neglected. They are forced to engage in survival strategies for food, shelter, and clothing that are linked to criminal activity such as, trading sex for money, stealing, and panhandling. The national runaway switchboard estimated that in 2006 there were between 1.3 and 2.8 million runaway and homeless youth is America. (Williams, 2011, p.18).

Jane Addams’ understood the importance for young women to live in a safe environment, free of abuse and neglect. The Jane Club, established at the Hull House, which was an “experiment in cooperative housing,” and provided affordable rooms for single factory girls, is an example of the kind of programs that Jane Addams developed to support the independence of women, and which led to organized women’s labor in America (Kittredge, 1988 p. 58; Simmon, 1997, p.38).

The social justice work that Rachel Marie- Crane Williams, The Freedom School, and the juvenile justice participants, are accomplishing through the zine, mirrors Jane Addams’ ideology of political and social reform. This popular culture artifact is representative of the social action that Jane Addams herself promoted, and supports much needed awareness about a juvenile justice system that disparages under-represented minorities. The explicit messages of the zine are that we have a responsibility to safeguard those who have been victimized by poverty and to provide rehabilitation with compassion. In Reforming our Expectations About Juvenile Justice, Reclaiming Children and Youth, Pamela Rodriguez and Daphne Baille cite:

Treating a youth and returning him or her to a toxic environment will not create sustained change in the lives of young people. To give the youth of today and tomorrow a chance, we cannot leave it to geography or happenstance for them to get the services they need. We must have a full scale continuum of care available to every community, and fund them accordingly (2010, p 43).

Implicit in the zine’s theme is the concept that we must approach incarcerated youths’ offenses with humanity, knowing that they, like us, desire to be safe, loved, and self-sufficient. In the words of Jane Addams, “poverty and the lack of opportunity breed the problems of the ghetto. Ignorance, disease, and crime are the result of economic desperation and not the result of some flaw in moral character. ” aboutus/mission.html

The zine, Girls in The System-establishes that our juvenile justice system is neglecting to address the socio-economic issues that influence crime. This painfully honest narrative insists that the hegemonic perspective on incarcerated youths is that they are “flawed,” and underscores how the status quo perspective hinders any positive reform.

Artifact #2- Immigrant Poetry- The Hull House Museum website

uic.edu/jaddams/hull/immigrantcitychicago/poems/fernandez_poemaboutmyrights.html

Poem About My Rights

Stephanie Gentry-Fernández

657 words 
[tags: Queering Identity, Poems]

Even tonight I know better than to park too far from the party in East Oakland


Because of the fear that comes from walking anywhere at night alone


Or with my girlfriend.

And in spite of what you think


East Oakland is not the point.


It doesn't matter if it's East Oakland or Boystown or the South Side or Mexico City or Egypt or Fiji or Timbuktu


The knot between my shoulders does not come undone


But loosens a little when I see love like my own.

I cannot do what I want with my body


Because I am the wrong sex the wrong people the wrong history


Because I love the wrong gender.

I suppose it's all right here in the city


But in the woods she tells me she could never walk alone.


And I think of Jane Doe


Her teen body found in a dumpster in Hayward


Her brown eyes and skin remind me of my lover my mother my best friend


It took them two years to find out her name.

I could cry about the past but it changes nothing.


Does not erase scars like the one on my thigh from when I fell, four years old

My uncle stitched me back together where the stone had sliced my skin.


It didn't make sense for my mother to let me play in a dress but I looked so pretty and


What Would The Family Say if they saw me in pants?


When I told my mother how much he hurt me


She told me he didn't actually rape me so it couldn't have been that bad and


It's time to move on.


I wonder why 10 years later I am still afraid.

The ghosts of the daughters and sisters and mothers of Juarez rise from the dust


Rise from the desert angry and gone


Not being given the dignity of letting their bones rest of calling their deaths "murder."


Is Juarez close enough to the U.S. to call them Jane Doe I, II, III, IV,


Five hundred, one thousand?


Do those women remain nameless


Whispers on the desert wind


In the factory smog


In the dried-out riverbed of where the Rio Bravo once stood?

Hundreds


Thousands of us


Die every year in that same desert


Deadly bridge to a better world


Vampire sun sucking away life


Our dried remains delicate ash


Evaporated salt rings of tears round eyes


Mouths

Still we are wetbacks


Illegals


Go home


It doesn't matter


The years spent carefully


Unlearning accent


It doesn't matter


The grammar lessons


The precariously constructed sentences


The meticulously chosen fashion


And behavior


And words


And hair dye


And contact lenses


It doesn't matter


The stacks of degrees


And awards


And medals


It doesn't matter


That this is my home.

If my English is scarred then my Spanish is a festering wound.


Still I hear the loud message in southern-tinged English


To Go Back To Where I Came From.


Because I am the wrong people the wrong history the wrong language

The wrong nationality the wrong nose the wrong grammar

The wrong side of the tracks the wrong side of the border.


I am the one who wipes your kid's ass, mows your lawn, picks up your mail, grows and cooks your food.


I am your doctor, your lawyer, your best friend, your senator, your congresswoman, your President.


I am the problem you try to deport,


Whisk away and pretend isn't here.


But let this poem say loud and clear that I do not consent


I do not consent to these fences these prisons these borders these wars


I am not wrong: wrong is not my name.


My name is long and inconvenient and mine, mine, mine, mine.


I challenge you to try to build a fence to the sky


Not only will I jump it, I will learn how to fly.

The Poem About My Rights, by Stephanie Gentry-Fernández ,is a popular culture artifact that exemplifies the persecution and alienation experienced by immigrants in America. Underlining hegemonic perspectives that devalue Latino/a culture, the poem acts as a counter-narrative that reinforces Jane Addams’ ideology that we must advocate for the social and legal rights of all people. Citing personal examples of a female immigrant’s life, the poem deconstructs how immigrants experience discrimination and alienation in a place they call home. Furthermore, the poem evaluates how the status quo projects distain for Latin names, employment, language and appearance, while, at the same time, relying on that same population to exist. Beautifully crafted, Poem About My Rights, gives voice to existing immigrant issues, and is a valuable educational tool that can be incorporated in a language arts lesson on poetry and social justice.

In essence, this poem reiterates Jane Addams’ belief that “ Civilization is a method of living and an attitude of equal respect for all people” (Addams- The Hull House- ). Honoring immigrants’ cultural capital, Jane Addams understood that democracy must protect people’s heritage during assimilation into American society. The poet’s anger towards society for rejecting her cultural capital gives evidence that hegemonic perspectives continue to transmit anti-ethnic and anti-racial sentiments. As described in Educational Attainment in Immigrant Families, social scientists understand the interrelationship between society’s attitudes towards immigrants and their ability to thrive in society:

A favorable context of reception allows an immigrant community to build social networks and maintain its internal solidarity, and, thus facilitates its members’ accumulation of greater social capital. There is evidence that a favorable governmental and societal reception leads to a faster socio-economic mobility, a more positive self-image, and to better integrate immigrant communities (Gonzales, 2005; Baily & Waldinger, 1991, p 59).

Advocating for laws that protected immigrants from exploitation and validated their cultural capital, Jane Addams used the Hull House as a place in which immigrants could express their diversity without discrimination or harm. Unlike some hegemonic perspectives, which marginalize multicultural communities, Jane Addams believed in accentuating the contributions that diverse populations bring to society.

Today, proponents of multicultural education who share Jane Addams’ ideology believe that “ cross-cultural interactions through bilingual/bicultural education programmes will help to guarantee the survival of minority language and minority culture (Banks, 1981, p. 36). Thus, the Poem About My Rights, which is displayed on the Hull House Museum website, epitomizes a popular culture artifact that promotes social justice and equality.

Artifact # 3-YouTube Music Videos- By Sweatshop Union

- Thing About It

- Thing About It –(Lyrics Only)

-Human Race

- Oh My

- Union Dues

Sweatshop Union is a Canadian hip-hop band whose lyrics feature social justice issues. Musical themes range from the war in Iraq, the plight of the poor and working-class, to the negativity and misogyny of mainstream hip-hop. Urging society to become active participants in the fight against poverty, inequality, and commercialism, Sweatshop Union serves as a popular culture artifact whose messages reach large portions of the population through YouTube Videos. Utilized as an educational tool, these music videos promote Jane Addams’ ideology of social justice and democracy. Sweatshop Union’s music transcends socio-economic and socio-ethnic barriers and attempts to bring cohesion to fractionalized communities.

As described in Youth Culture, Education and Resistance: Subverting the Commercial Ordering of Life:

Hip-hop as form of popular culture can offer knowledge that is of necessity for teachers and students who are concerned with the moral and political ends of education and schooling in relationship to forms of injustice and inequality. It is also of importance for educators who seek alternative curricular and pedagogical spaces that open up new dialogical and material spaces for urban youth to resist oppression (Porfilio, & Carr, 2010, P 2).

Sweatshop union uses their music to foster awareness about current local and global inequalities. The band’s lyrics symbolize the countercultural movements’ desire to free society from institutional oppression. Emphasizing the importance of society to focus on the needs of humanity over capitalism, admonishing our neglect of the ecological world, and urging its listeners to take action, Sweatshop Union creates a sense of solidarity among marginalized people in society. Their accessibility via the Internet makes their standing as an influential popular culture artifact monumental. One could argue that Sweatshop Union’s music promotes Jane Addams’ belief that “ we all have dreams for our individual improvement. We all have our family life and we should endeavor to live a life that will bring us into a larger existence, and connect us with society as a whole” (Addams- The Hull House).

Artifact #4- Dream Act Music Videos

-remix

- GueroLoco & Alyssa B at Fiesta Indianapolis

Jane Addams’ dedication to social justice is evident in her involvement with The Women’s International League for Peace and Freedom, The American Civil Liberties Union (ACLU), the National Women’s Trade Union League, and her role as a suffragist who fought for the Nineteenth amendment to the United States Constitution (Tims, 1961,p. 52). Advocating for political reform that supported immigrant needs, Jane Addams understood that the robustness of democracy depended on a reform that protected the rights of all people.

The Dream Act-Development, Relief and Education for Alien Minors Act- is a bill that would provide conditional permanent residency to undocumented immigrants who graduate in good standing, from United States high schools, and who complete two years in the military, or, alternatively, two years at a four year institution of higher learning. Eligibility requires that individuals who are applying must be less than thirty-five years of age, do not have any felony convictions, and have lived in the country continuously for at least five years prior to the bill's enactment. Ratifying the Dream Act bill in the United States of America would provide opportunities for immigrants to continue their education and to obtain legal status. The Dream Act is a crucial piece of legislation that has the power to improve the lives, not only of immigrant populations, but to improve our society as a whole.

The Dream Act music videos listed above are popular culture artifacts that can be integrated into mainstream curriculums to promote Jane Addams’ ideology of social justice. The music videos are a compelling way to entertain students and engage them in dialogue that elicits critical thinking skills and awareness of the inequities that exist in America.

Artifact # 5- Film- The Empire’s New Clothes- Immigrant Labor-Sweatshop documentary.



The Empire’s New Clothes is filmed by Greg Shapley and Chris Ho in collaboration with WITNESS. The film is narrated by Susan Sarandon and includes music by Peter Gabriel ©2000, Chris Ho & Greg Shapley / WITNESS.

The popular culture artifact, The Empire’s New Clothes, is a film about the mistreatment of immigrant sweatshop employees and the unsafe working conditions in the garment factories of New York City. This WITNESS Rights Alert feature documents the virtual enslavement of individuals and exposes our government’s decision to turn a blind eye on this problem. Furthermore, the film illustrates the long-term implications of immigrant abuse, which often lead to permanent disability, psychological exhaustion and even death. The Empire’s New Clothes embodies Jane Addams’ original political action and asks society to fight against injustice. Reminiscent of the days when Jane Addams and her colleagues “began working for state laws to regulate child labor” (Kent, 1992, p.20), the film urges constituents to value human life over capitalism. It asks us to conscious consumers who take an active role in abolishing immigrant exploitation.

Lori Nessel, like Jane Addams, is a civil rights activist who focuses on immigration law. In her Law Review, Undocumented Immigrants in the Workplace: The Fallacy of Labor Protection and the Need for Reform, Lori Nessel states:

I argue that meaningful labor rights for all workers and less INS regulation of the workplace would make undocumented workers less vulnerable to exploitation and ultimately less desirable to employers. Making undocumented workers harder to exploit and less appealing to employers would advance the goals of both labor and immigration laws” (2001, pg 345).

Lori Nessel’s premise parallels Jane Addams’ sweatshop activism. Both women realize that the issues surrounding immigration reform, specifically in regards to sweatshop regulations, are complex. The Empire’s New Clothes captures the complexity of these issues on film and represents popular culture artifacts that promote change.

Extra Criterion- Artifact # 6- book- Tattoos on The Heart, by Gregory Boyle.

Homeboy Industries

Homeboy industries 2

I chose the book, Tattoos On The Heart by Gregory Boyle, as my extra criterion popular culture artifact because I believe it substantiates that Jane Addams’ legacy lives on through other people’s actions. Gregory Boyle is a Jesuit priest and the founder of Homeboy Industries. He has worked with gang members in the Boyle Heights neighborhood of Los Angeles for over twenty years. Putting into practice Jane Addams' ideologies on social cohesion and communal collaboration to build a better democracy, Gregory Boyle created Homeboy Industries to provide gang members with opportunities to create self-sufficiency. His book, Tattoos on The Heart, recounts the personal and professional experiences that make up his community. The unconditional love and cultural capital that Jane Addams professed, is layered throughout each story. Tattoos on The Heart is a book, a bible, and an educational tool that reveres humanity above all else. It establishes that if we wish to eradicate the inequalities that plague society, we first must “seek a compassion that can stand in awe at what the poor have to carry, rather than stand in judgment at how they carry it” (Boyle, 2010, p 67).

Additionally, this popular culture artifact validates that like Jane Addams and her contemporaries’ ideologies on social justice, “ The most genuine expression of democracy in the United States would combat forces tending to produce social distinctions and classes…(and) strive for genuine equality of opportunity among all races, sects, and occupations” (Counts, 1959, p. 49). Tattoos on the Heart asks our society to redefine its moral values surrounding immigrant and gang life. The book’s message is clear: shifting our objectives from creating policies that marginalize the poor to advocating for opportunities for upward mobility and dignity, is central to the health of society.

Tattoos on the Heart interrogates the social problems that cannot be solved by education alone. Nel Nodding's statement that “all people need adequate medical insurance, livable and affordable housing, safe neighborhoods, and non-poverty wages for honest work” (2003, p. 432), is reflected in the Homeboy Industries objectives within the community. Cautioning that “Mexican youth continue to be subjected on a daily basis to subtle, negative messages that undermine the worth of their unique culture and history” (Valenzuela, 2005, p 340), the book encourages readers to have compassion.

In conclusion, I have learned that Jane Addams’ ideologies on social justice are present in today’s popular culture artifacts. In reviewing the examples I have provided, there is evidence that the social cohesion and communal collaboration Jane Addams promoted to build a better democracy, do, in fact, exist. Framed throughout the popular culture artifacts’ art, music and narration, is society’s ethic and moral responsibility to preserve multiculturalism as a part of the assimilation process into American society. Highlighting the negative hegemonic perspectives, and demographic inequalities that act as barriers to social change, the popular culture artifacts urge political and cultural reform, especially regarding immigrant life. Reviewing the popular culture artifacts, I am reminded that I am not alone in my desire for democracy that cherishes solidarity. Integrate the popular culture artifacts into my curriculum, I have an opportunity to support the development of students’ critical thinking skills, which in turn, may, elicit the social activism necessary for change.

Works Cited

Addams, J., & Lagemann, E. C. (1985). Jane Addams on education. New York: Teachers College Press.

Baily, T. & Waldinger, R. ( 1991). Primary, secondary, and enclave labor markets: A training system approach. American Sociological Review, vol 56, 386-398.

Banks, J. (1981). Multiethnic education: Theory and practice. Boston, Allyn & Bacon.

Boyle, Gregory. (2010). Tattoos on the heart. New York. Free Press.

Counts, George, S. (1932) . Dare the school build a new social order. New York: John Day. Chapters 3 and 4.

Farrell, J. C. (1967). Beloved Lady: A history of Jane Addams' ideas on reform and peace. Baltimore, Maryland: The John Hopkins Press

Gonzales, G. (2005). Educational attainment in immigrant families: Community context and gamily background. New York: LFB Scholarly Publishers.

Karoly, L. A., & Gonzales, G. C. (2011). Early care and education for children in immigrant families. Future of Children, 21 (1), 71-101.

Kent, D. (1992). Jane Addams and Hull House. US: Childrens Press.

Kittredge, M. (1988). Jane Addams. New York: Chelsea House.

Nessel, L. (2001). Undocumented immigrants in the workplace: The fallacy of labor protection and the need for reform. Harvard Civil Rights-Civic Liberties Law review, 36 (2), 345-405.

Noddings, N. (2003). The aims of education. Cambridge: Cambridge University Press, 74-93.

Porfilio, B. J. and P. R. Carr (eds.), Youth culture, education and resistance:

Subverting the commercial ordering of life. 1–18. © 2010 Sense Publishers. All rights reserved.

Rodriguez, P. F. & Baille, D. M. (2010) Reforming our expectations about juvenile justice. Reclaiming Children and Youth, 19 (2), 43-46.

Shields, P. M. (1996). Pragmatism: exploring public administration policy imprint. Administration & Society, 28 (nov), 390-411.

Simon, C. (1997). Jane Addams: pioneer social worker. Canada: Children's Press.

Tims, M. (1961). Jane Addams of Hull House, 186-1935; a centenary study. Hobart: G. Allen & Unwin.

Valenzuela, A. (2005). Subtractive schooling, caring relations, and social capital in the schooling of U.S.-Mexican youth. State University of New York Press.

Links to resources:

aboutus/mission.html aboutus/newsroom/index.html

Artifact # 1- The Hull House Museum- Zines



Artifact # 2-Poems- From the Hull House Museum

uic.edu/jaddams/hull/immigrantcitychicago/poems/fernandez_poemaboutmyrights.html

uic.edu/jaddams/hull/immigrantcitychicago/poems/carlin_ladyliberty.html

uic.edu/jaddams/hull/immigrantcitychicago/poems/tsai_familyphoto.html

Artifact # 3-YouTube Music Videos- By Sweatshop Union

- Thing About It

- Thing About It –(Lyrics Only)

-Human Race

- Oh My

Artifact #4- The Dream Act song

-remix

- GueroLoco & Alyssa B at Fiesta Indianapolis

Artifact # 5- Film- The Empire’s New Clothes- Immigrant Labor-Sweatshop documentary.



Extra Criterion- Artifact # 6- book- Tattoos on The Heart, by Gregory Boyle.

Homeboy Industries

Homeboy industries 2

Bonus Social Justice Popular culture artifacts-YouTube videos

Youtube-Video on Dream Act -



Swetahops

Hieroglyphics

Swetashops- Nike-

Carwash-

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The Existence of Jane Addams’ Social Justice Ideologies in Popular Culture

Jennifer Parsons-Pritchard

EDCT 585- Dr. Marker

Sonoma State University

December 1, 2011

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