Uncovering Stereotypes

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We live in an era of unprecedented and continuously increasing diversification of the workforce. At the organisational level we observe fast adoption of Diversity Management Programs, which aim to establish a heterogeneous workforce that performs to its potential in an equitable work environment where no member or group of members has an advantage or a disadvantage (Cascio, 2016). At the individual level, the challenge we still face is stereotypes or the tendency of people to judge others on the basis of their perception of the group to which the individual belongs (Robbins & Judge, 2018). Stereotypes are widespread generalizations about groups of people that are built under a number of stimuli in our surroundings, the most powerful of which is the media. In this assignment you will explore the media coverage of a specific diverse group for the purpose of uncovering existing stereotypes presented through data analytics.

Summary
For this assignment you need to do a news media search for data on the diverse group of your choice – this is the diversity group for your team project too. Look for both quantitative and qualitative statistics. Choose a minimum of four data presentations on the diversity group in minimum four different media sources. Display the data you found as an infographics, specifying the source of the data and analytically describing the data. This is an individual assignment that will serve as a foundation for your team project.

Step-by-step Directions
1. Do a web search on the diverse group of your choice. Find articles, which present either quantitative data (e.g. survey results, experiments, regressions, descriptive statistics, etc.) or qualitative data (e.g. interviews, observations, focus groups, etc.) on that group. You can look at any type of sources – business magazines, professional journals, newspapers, social media, blogs, etc.
2. Choose a minimum of four data presentations on the diverse group.
2.1. The data presentations should be a mix of qualitative and quantitative data.
2.2. The data should come from a minimum of four different sources.
3. Copy paste the data you select in your infographic project and cite its source. Piktochart is the recommended tool for this project but you can use any other tool you are familiar with. (For a list of free Infographics web tools see Week 2 Resources.)
4. Assess briefly the reliability of each data focusing on whether the source follows the standards to clearly describe the data:
4.1. Why is the data collected?
4.2. Who the data refers to?
4.3. What variables are recorded, if any?
4.4. Where is the data collected?
4.5. When was the data collected?
4.6. How was the data collected?
5. Summarize in one sentence the main message or messages you receive on the diverse group based on the data you presented.

References:
Cascio. W.F. (2016). Managing human resources: Productivity, quality of work life, profits (10th ed.). New York, NY: McGraw-Hill.
Robbins, S. P., & Judge, T. A. Organizational Behavior (18th ed.). Essex, England: Pearson Education Limited.

 

To be sure, the trades of the artists and the rappers among them and with people in general change the ceremonial battles of locale into stages arranged by breakers idealizing their style in a few moves.

Hip bounce has created itself as the years progressed. To be sure, to truly comprehend in which setting the hip-jump’s way of life was conceived, it is important to know, the unstable monetary and social circumstance of the Afro-American and Latin American classes in New York City. While after the Second World War, the areas, for example, Harlem, Brooklyn or the Bronx speak to the expectation for the African-American, Puerto Rican, Irish, Italian and Jewish families, during the 60s, the modern employments leave the regions to amass in the north rural areas. Whites follow and the estimation of the land breakdown. The land theorists like to shave their old structures instead of to reestablishing them. In 1989, we can say that hip-bounce moved on from its modest, exciting sources as inventive gathering music in the Bronx in the late 1970s. As individuals know, hip-jump began as a stage for African-American youth to voice their disappointment and to fell free. This year wasn’t generally the year where hip-jump began shinning; it was still observed as a kind of underground and came up short on the huge pop beginnings of sorts like R&B or rock.

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The indistinguishable developments structure and are quelled: murder of Martin Luther King in April, 1968, and of Malcolm X. The people group of huge urban communities, specifically New York, pull back on themselves in ghettos where posses take an increasingly more checked social significance. The frailty, the wrongdoing and the medication are then a piece of the regular day to day existence.

In the areas of Harlem, Brooklyn and of Bronx, it is the fervor, despite the incapability, even constants brutalities of law authorization, the uproars are visit and the savagery is ubiquitous in these New Yorker ghettos.

From 1970, each house’s road of each ghetto has its own group which shields itself from vendors and from different packs; crises and even the police don’t set out to wander into these rural areas where the disorder rules and where just these savage groups set some hard boundaries.

Later on, Young African Americans and Puerto Ricans associated unlawfully their sound systems on the civil streetlights. The gathering started. Taking vinyl records for allotments, two platinum’s, blending work area and speaker as instruments.

Around then, a foreigner circle racer from Jamaica, Kool Herc, is gradually having a notoriety in the Bronx because of the “break moves”.

These musical clasps become the genuine representations of opportunity. Another melodic sexual orientation pulled by the funk, by the disco, by the stone, by the jazz, by the afro beat or by the reggae permits new types of gymnastic move, which we will call breakdance or b-kid.

 

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