Search

—potentially vulnerable populations (see below for specific precautions to be taken for these groups):+ Children and adolescents (under 18)Children (and anyone under 18 years of age) can participate as research subjects only if the research meets certain standards, defined in the federal regulations [45 CFR 46(d)]. Specifically, the research may not be greater than minimal risk unless it provides a direct benefit to the child. Written parental/guardian permission is required for studies involving children

perceive as possible … we as journalists can magnify a dream.” Noujaim’s afternoon concluded with a conversation with students in a Women’s and Gender Studies course, where she discussed how she chooses the subjects of her films, her multicultural identity, the pace of systemic progress and even parenthood (at the time of her visit, Noujaim was six months’ pregnant, and she talked jubilantly throughout the day about her unborn child). It doesn’t take an entire nation to change the destination of a

comfort zone, and it’s a great reminder to trust God and be courageous in all I do whether it be for church, school, friends or family. In her spare time, Kaylee hosts a Christian small group meeting for PLU students at her off-campus house. Meet KayleeOne of 3,067 PLU students supported by donors like you!Kaylee Bauer Fast Facts Hometown: Puyallup and Snohomish, WA Class Year: 2018 Majors: English and Hispanic Studies Scholarship Received: PLU Women’s Club Scholarship and Faculty Scholarship Favorite

generalize between all of the Lobi peoples and some villages will have different meanings and uses for their bateba. (Rand African Art) – Brock Martin ’18, Environmental Studies Sources: Bacquart, Jean. The Tribal Arts of Africa. New York: Thames and Hudson, 1998. Bascom, William Russell. African Art in Cultural Perspective: an Introduction. New York: Norton, 1973. “Collections.” Burkina Faso; Lobi Peoples. http://uima.uiowa.edu/burkina-faso-lobi-peoples/. “Lobi Bateba Figure.” RAND AFRICAN ART. 2004

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades

intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades