Skip to main content

Mohammed Elmasry - The Roof is On Fire

1. CONTEXT: Poverty and abuse of the African American youth in Oakland. 
2. CONTENT: The terrible lifestyles they are forced to live, systematic racism from police, richer communities, white people. 
3: FORM: Film/Documentary. 
4. STAKEHOLDERS: African American communities within Oakland, CA - specifically the youth. 
5. AUDIENCE: The more privileged areas of Oakland, CA but potentially the whole of United States. 
6. ENGAGEMENT STRATEGIES:They watched this on the top of a parking structure rooftop. 
7. GOAL: To raise awareness within the community and hopefully receive some kind of aid from more privileged, undeserving communities.  
8. VALUES: This actually differed from person to person, although there seemed to be a general discontent towards  the police, gun violence, educational systems, and other government operated institutions that continuously oppress the African American community of Oakland, CA.   
9. RESOURCES: The people themselves were the resources, which ultimately became the film. Some intangible resources were their experiences, or the memory of it at least.  
10: OUTCOMES: I'm honestly not sure. The audience seemed interested and concerned afterwards, they were definitely educated on the topic. 
. ​

Comments

Popular posts from this blog

Mind Map

What a Riot - Bri Pattillo

   I like the Theater of the Oppressed methodology of the Joker. It sort of reminded me of El Pachuco in “Zoot Suit”, like this narrator commenting on all the action. I thought the Joker methodology was a good way to introduce a Theater of the Oppressed tactic into the piece. A lot of the Theater of the Oppressed options that we read about last week have an element of questioning within in them, but I think the Joker was a good one to use with young people. It was nice and cool that she was able to include the students’ actual questions into the play.     I did think her approach was rather problematic. She highlighted the problem herself and posed the question, “To whom and to what is the author beholden when writing a play for a specified population that has been invited to contribute to the playwriting process?” My problem was her answer, when she said that the students didn’t understand all of the references or language in the play. I don’t...

Assimilation Mind-Map by Jade Robinson