Seraikela Chhau And Purulia Chhau Drama Essay

Seraikela Chhau And Purulia Chhau Drama Essay India is a country with a rich range of various cultures and traditions. Each part of India has different ways to preserve those cultures traditions such as folk and classical dances. Folk and classical dances play a big role in the Indian culture as a way of communication. One of the dance-drama folk art that is performed in India is the Chhau dance-drama of Eastern India. There are three types of Chhau dance-dramas but this essay will focus on only two types: the Seraikela of Bihar and the Purulia of West Bengal. Both Chhau styles are masked dance-drama forms that are unique. To understand the significance of this folk art for the Indian community, it is important to first understand the elements and the origins of the Chhau. The Chhau is very significant to the Indian culture because it is both a religious and mythological practise that has been passed on thought many generations. Not only is the Chhau dance-drama used for festive celebrations but is also used as a way to communic ate moral message by the portrayal of stories from the Indian mythology. The portrayal of stories is where the theatrical aspect comes in the picture. The Chhau characters are mute so therefore, movements and masks are used instead of dialogues to show certain emotions and feelings to bring the story forwards. The study of the origins, history, costumes, music, staging, music and performers brings to the conclusion that indeed, the Chhau dance-drama is a folk art that is very significant to the Indian culture and the Indian people. 1) Introduction- Folk dances in India India is one of the very few countries in the world to possess a rich range of different cultures and traditions. Each and every region of India has a unique culture that has passed through many generations for centuries. What I find really interesting about India is that they have well preserved their cultures and that even today, they are still practising certain traditions compared to other countries that have lost their cultures by evolving into a more modernized civilisation. Cultures and tradition can be passed on through generations by many ways like paintings, written scripts, music, theatre and dance. Folk dances and folk theatre play a big role in the Indian culture as they are art forms that are a very efficient way of expression to the community. Folk dance is an art used to convey the local culture, legends, myths and religious beliefs of a specific region and as India has many different cultures, the folk dances vary from one region to another. Indian folk dances are th e products of a variation of socio-economic classes in India. They are usually performed by ordinary people rather than professional dancers in small towns or villages where people gather together to celebrate special occasions such as harvesting, marriages, religious holidays, festivals, birth of a child etc Since in India all those festivities are celebrated quite often if its not every day, folk dances have become an essential part for the Indian culture. Some folk dances which are performed in India also incorporate theatre in their dances. Those dance-drama forms are a rural extension of the ancient theatrical tradition found in the Nathya Shastra . The Nathya Shastra is known as the oldest surviving text on stagecraft in the world written by Bharata Muni between 200 AD and 200 BC. The Nathya Shastra covers stage-design, music, dance, and makeup which are important components for the folk dances in India and also for musicians as it is the only text that provides details about the music and instruments used in that period. One of the folk dance-drama forms that has survived past several centuries and that is still being performed today despite the movement of modernization is the Chhau of Eastern India. The word Chhau is believed by certain people to come from the Sanskrit root Chhaya meaning shadow and since masks forms an important feature of this dance, it is thence called Chhau, which means mask. Among other dance-drama traditio ns in India like Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali and a few more, Chhau is a rare and unique colourful masked dance-drama form. There are three types of Chhau named after their geographical locations; the Seraikela of Bihar, the Purulia of West Bengal and the Mayurbhanj of Orissa (Figure 1). This Essay will focus on the elements and the origins of the dance-drama form of Seraikela Chhau and Purulia Chhau and to what extent they are significant to the Indian Culture as a folk art. Why did I choose this rare form of dance-drama among others? Simply because I thought that my temporary stay in India would be the perfect occasion to discover a totally new and unknown form of art for me that is directly related to the Indian culture. Since I am a theatre student, I think that exploring a rare form of art is an excellent way to broaden my knowledge of theatre through different cultures. I chose to write an in-depth essay about the Chhau dance-drama of Eastern India among many others also because I find the Chhau very interesting in the way it combines dance and theatre together to tell a specific story or mythology by using rhythms, movements and masks instead of dialogues like most of the theatrical forms use. Figure 1: The orange shaded area of this political map of India represents the Eastern part of India where the three types of Chhau dance-drama originated from. 2) The history and origins of Chhau: The origins of the Chhau dance-drama are still not certain as is the origin of the word Chhau. The dance is known as Seraikela Chhau in Jharkhand, Mayurbhanj Chhau in Orissa and Purulia Chhau in West Bengal. If we look at the basic differences between the three different styles of Chhau, the Chhau dancers of Purulia wear highly stylized masks, in Seraikela the masks are smaller, while in Mayurbhanj the dancers do not always use masks. The word Chhau is interpreted in different ways by different quarters and persons. Most of the people say that the word Chhau arises from the Sanskrit root Chhaya which means shadow and that the art originated in West Bengal. On the other hand, some people disagree and think that it had arisen from the word Chauni which means camp for soldiers and that it originated from the state of Orissa. The reason being the hypothesis that the word chhau derived from the word Chauni is that the Chhau originated in the mock fights of the Oriya paikas (warriors) who fought rhythmically to the accompaniment of indigenous music instrument . Chhau dance is then believed to have originated as a martial art that contains vigorous fight and acrobatic movements. Since the period of time the Chhau started to be performed, many of the main rulers of the region of Orissa worked for the development and conservation of the art. The Chhau is a dance-drama performed only by men. The Chhau dance-drama barely evolved and today follows the basic principles of the Natya Shastra text and has become closely connected to religion. For several centuries, the Chhau dances have been used in association with the religious festival Chaitra Parva also known as the Sun Festival which is celebrated every year starting from the Chaitra month of the Hindu calendar which is around March-April in the Gregorian calendar. During this time of the year, the different social and economical classes used to come together, from the royal family to the local farmers, to celebrate the C haitra Parva. India is a country where religion takes an important part among the lives of the people. The aim of the Chhau dancers is to worship different Gods and Goddesses like for example Lord Shiva and Goddess Parvati for the goal of acting to call for their blessings to stay protected from evils. Besides being performed for religious purposes, the Chhau dance-dramas are also mythological as they are mainly based on the episodic epics Ramayana and Mahabharata. The Hindu mythology consists of stories of Gods, Devas and Asuras. In Hinduism, Deva is the Sanskrit word for a God or a supernatural being, normally resident in one of the numerous heavens and reborn there as the result of good karma. The Asuras are a group of power-seeking deities who are sometimes referred to as demons or sinful souls and are opposed to the Devas. Basically, there is a confrontation between the good and the bad and this confrontation is portrayed by characters in the Chhau dance-drama. However, with pa ssing of time the dance-drama started being used for many other occasions and celebrations through the year in the different states. 3) Masks and Costumes: a. Masks: Characters from the Indian mythology such as Lord Shiva or Ganesh are mythological and therefore, superior to the human being. It was not easy playing such characters using only the human facial expressions and features and that is the reason why in the early periods, different shapes and symbols were used as facial painting or body painting by the dancers to emphasize the characteristics of the different mythological characters .The practise of covering the face and the body with painting gradually gave birth to masks and bright coloured costumes in the dance performances to personify the God and Goddesses of the Hindu mythology. The mask is made not to hide or to conceal, but to expose. As an instrument of metamorphoses, the mask permits man to lose his identity, and allows the gods to manifest themselves with an uncovered face. To mask oneself is to give life to a superior being Masks have been used for many centuries throughout the world for both ritual purposes and traditional theatres especially for the expressivity they add in a characters performance. Masks are often used in folk arts because they are a part of a costume that adorns the whole body and embodies a tradition important to the religious and/or social life of the community. Unfortunately, I was not able to watch an actual Chhau dance-drama performance but I got to experience I quite similar style of dance during my trip in the island of Bali in Indonesia. As the community from Bali follow the Hindu religion, they have mythological stories resembling the Indian ones. The performance Ive seen in Bali was a dance-drama style of performance as the characters were telling a story using dance, movements and gestures to act a story. The dance-drama constituted five acts telling a story using the good ones and the evil ones which is till now very similar to the Ramayana and Mahabharata epics. In the Balinese dance-drama, the characters were wearing masks as well but not all of them compared to the Chhau dancers of Purulia and Seraikela where it is compulsory for all the characters to wear masks. In the Balinese dance-drama, only the superior characters wore masks to express their power and their high status while the other characters were only covered with colourful full-face makeup. As a member of the audience, I can say that the masks helped a lot in creating an epic style of atmosphere on the stage and also in creating a connexion between the characters and the audience which is the reason why I think that masks are used by all the characters in the Chhau dance-drama. The performance that I have seen in Bali helped me a lot in understanding the purposes of the use of masks in the Chhau dance-drama as the Balinese dance is performed for religious and mythical purposes as well. Figure 2 shows an image of the characters in the Balinese dance taken during a performance while Fig ure 3 shows the characters of the Chhau dance-drama. The similarities in the masks used to portray superior beings can be noticed between both dance-drama forms. Even though both forms use masks, the masks are different in the way they are made and the way they look. Figure 2: Masks in the Balinese style of dance-drama. Figure 3: Masks in Chhau dance-drama of Eastern India The Chhau dance-drama enters in the category of poor theatre as all the materials, costumes, masks and accessories are made out of small expenses. . The Chhau masks are made with low priced ingredients such as river soil, newspapers, thin pieces of clothe, little bit of lime and paint. The facial masks are mostly manufactured by the artisans of the villages of the regions of West Bengal or Jharkhand as the Seraikella and the Purulia are the only styles of Chhau that uses masks as a compulsory part of their costumes in their performances. In Seraikela for example, the craft of mask making is an art that is handed down from father to son through many generations. The techniques and the fundamental nature of the Seraikela and Purulia Chhau dance-drama are based on the use of masks. Not only does it add beauty, color and life to the dance but it also evokes bhava (mood) and rasa (aesthetic sentiments) in the audience. Masks have a big role to play in the relationship between the performe r and the audience. In Chhau, every performer has specific masks according to their characters. The Gods and Goddesses usually wear small pieces of decorative glittering materials in the facial masks accompanied with feathers and jewels while the evils or demons like the characters Ravana or Mahishasura wear grotesque masks. The masks used in the Chhau dance-drama are also used to interpret expressions. As the Chhau dance-drama is a speechless form of performance, the expressions given by the masks becomes essential. As the use of masks eliminate any form of facial expressions, the Chhau dancers use head gestures and neck movements to express any sort of feelings or emotions. I think it is really interesting how the portrayal of a story can be done using only body language and masks instead of spoken language and facial expressions. From a theatrical point of view, it is not common and that is what forms the uniqueness of the Chhau dance-drama in the world. The figures 4, 5 and 6 be llow illustrates example of Chhau masks used for different characters. Figure 4 Figure 5 Figure 6 b. Costumes: Like the masks, the costumes are made out of inexpensive local materials. The costumes that the Chhau performers used at the time the dance-drama started being performed are not known so therefore, we cannot tell if the costumes they are using today have evolved or stayed the same since the early years of the performances. Today, the costumes that are used in the Chhau performances are from various bright colors and designs as it is a performance that is supposed to evoke joy during festive periods. The costumes for the lower part of the body differ for the performers playing the Gods and the ones playing the demons. The artists that play the Gods (Devas) characters usually wear pajamas of light colors like green, yellow or red or a mixture of colors to make the characters look more attractive and alive; whereas those playing the role of the demons (Asuras) wear loose trousers of darker and deeper colors such as black. The costumes for the upper part of the body are made out of vario us designs and are as attractive and colourful as the costumes of the lower part of the body. For the performers that play characters such as animals or birds, suitable types of masks and costumes are used to portray the specific types of animals or birds. For example the character of Lord Shiva will be displayed by a tiger skin costume and his son Ganesh with a dhoti (Figure 7). The costumes also consist of many jewelleries and anything that look extravagant as those costumes are supposed to portray inexistent mythological characters. Figure 7: Dhoti Figure 8: Colourful costumes used in Chhau. 4 ) Music and staging: Staging: As the Chhau dance-drama is performed on festive occasions with a gathering together of a whole village community, there is no raised platform or dais being settled down for the performance. With the aim of keeping the traditionalism of the event, the Chhau dance-drama usually takes place in an open air ground where the spectators are divided into sections of women and men and sit in a circle surrounding the area where the Chhau is performed. The stage used for the Chhau performances is decorated in a colourful and joyful style to create a festive atmosphere among the villagers and is usually lit by torches or oil lamps that serve as lighting which once again are made to adhere to the traditionalism of the event. The staging of the Chhau is organized in a style that encourages people from any social or economical class to gather together and celebrate. The fact that the Chhau dance-drama remains a local and traditional event after so many years is fascinating to me as many other danc e or theatrical forms evolved to become more of an entertainment or money based purpose practise than a traditional one. It is very interesting how the Chhau is staged in a way to form a joyful atmosphere in a folk environment. Music: Like other ritual dances, the music accompaniment is a really important part for Chhau. The music style and the rhythm produced by the accompanying instruments are one of the key factors that characterize the uniqueness of the Chhau dance-drama. As the Chhau dancer is mute, the music and the lines sung by the orchestra are really important to introduce the performance. They create the right kind of mood and atmosphere for the scene to be enacted. The most important instrument accompanying the Chhau performances is the use of drum. The two main kinds of drums that are used in the Chhau performances are the Dhol ( Figure 9) and Dhamsa (Figure 10) which are played by local drummers of the area who also dance as they play. As for the tradition, the drummers themselves make the instruments and the tones used for the Chhau dance-drama based on the Hindustani Ragas wish is a Hindustani classical music concept. Ragas have a particular scale and specific melodic movements; their sound should bring delight and be pleasing to the ear. Reed pipes such as Shehnai (Figure 11) are also used by the orchestra along with the drums. The drum beats are important in the Chhau performances because they are used in the beginning of the dance-drama as an invocation to Lord Ganesha sung by a singer from the orchestra. As soon as the invocation to lord Ganesha is over, the drummers and musicians walk in to create an environment prior to the dance before the Lord Ganesha makes his entry followed by the other characters. Figure 9 : Dhol Figure 10: Dhamsa Figure 11: Shehnai 5) Performers and techniques: Even though the Chhau dance-drama is a folk form of dance, it also includes some elements from the classical form of dance of India like the navarasas. The navaras are basically nine emotions that are used in the Indian classical dances and dramas to make both the dancers/actors and the audience appreciate the meaning of the lyrics and the movements that are being portrayed by. The nine rasas goes as follows: hasya (happiness), krodha (anger), bhibasta (disgust), bhayanaka (fear), shoka (sorrow), veera (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity). These nine emotions have been mentioned in Nathya Shastra and all dance and theatrical forms in India use these emotions extensively. As there are no spoken dialogues in most of the Indian dances including the Chhau, the navarasas are usually portrayed by using the eyes, the face, the muscles and the body shifts as a whole. In the case of Purulia and Sereikela Chhau, the movements of the eyes and the face are not possible as it is compulsory for all the characters to wear masks so the focus is on the body movements more than anything else to portray the nine different rasas. Since the Chhau dance-drama evolved from martial arts, the movements are very specific and important. The mask movements usually show anger while the shoulder and chest movements show joy, depression or courage depending on the way the dancer portrays it. The movements of the lower part of the body of the Chhau dancers are very quick and strong while the upper part of the body barely moves and the head rests in a slanted position. Jumping in the air is a movement that is often used in the Chhau performances because they serve as a gesture of at tack in war scenes between the good ones and the evil ones. The kind of jump seen in the Chhau performances is known as ulfa which is an indicator of the physical power and acrobatic skills of the performers. As we can see, the body language plays an essential role in the folk dance-drama Chhau. In relation to the theory of knowledge, Chhau is very interesting in the way that it uses body language as a way to communicate with people. 6) Interview with Chhau master Chandi Mahato: Chhau dance-drama is a very rare and not commonly known form of folk art. Published books and web sources are not enough to properly study this art form in depth and therefore, I thought that an interview with an actual Chhau dance master would be ideal and effective to pursuit my exploration on the topic. As I live in Bangalore, a city in the state of Karnataka in the south part of India, a face to face interview was not possible so I sort this problem out by having a telephonic interview with the Chhau master Chandi Mahato. Chandi Mahato is a middle aged Chhau master residing in the remote village named Baghmundi in the Purulia district of West Bengal. He comes from a long lineage of Chhau dancers and teachers and has trained a lot of modern Chhau dancers including his son Lalit Mahato. An otherwise almost illiterate person, Chandi Mahato has learned a lot from his experience with Chhau dancing and at 67 years old, Mahato has performed in all major cities in India several times. Ma hato is a farmer for most part of the year but he also engages himself in training theatre troupes in India working with the methods propounded by Jerzy Grotowsky. After asking Mahato nine questions about his experience with Chhau and the Chhau art in general, I felt more enlightened about the Chhau dance-drama form. The answers I got from Mahato are very interesting (See Appendix 1). Like most of the Chhau practitioners, Mahato learned Chaau from his father Gurupada Mahato who also learned it from his father and Mahato also taught it to his son Lalit Mahato which confirms that the Chhau is a tradition transmitted from father to son through many generations. Chhau is usually learned form a young age because when one grows older, the flexibility of the body becomes weaker. Mahatos training techniques are very specific and challenging because dancing and acting using acrobatics is certainly not easy. Chandi Mahato persisted on the fact that the specific training is essential for Chhau practitioners and that consequences such as injuries of the performer or misinterpretation of the character could follow after a bad training. Drama is incorporated in the Chhau by the acting of a story without the use of any spoken language but instead body language. Mahato says that he uses a lot of typical exaggerated actions, movements, and gaits accompanied by music and rhythms which are easily recognised by the audience to carry the story forward. The Chhau master Mahato agrees on the fact that Chhau dance-drama as a folk art is very important to their community and cultural identity. Most of the people from those villages are farmers living in poor conditions. Therefore, they stick to this art form to bring joy and colors to their daily routines and they also use it as a way to express their emotions either the positive or the negative ones in a creative way. Chhau is also very important to their community because it is used to convey eternal moral messages. They use mytholo gical stories to convey these moral messages for goal to educate people from those villages. Mahato is therefore stating that Chhau as a folk art is important to the Indian culture and is very significant as well. 7) Conclusion: After an in-depth study of the elements and origins of the Chhau dance-drama, it is therefore evident that this folk art is based on traditional and cultural elements. Chhau is an integral part of the culture heritage of India and its an indigenous dance form created with a typical Indian psyche which is deeply rooted in the scriptures that are followed by all major Indian dance and dramatic forms. The Chhau is an art that is not only used for festive purposes but also as a way of communication with the community to convey certain messages using mythological stories. The Chhau is mostly performed for an audience that is typically Indian including sons and daughters of Indian soil, brought up with typical Indian values. As explained in the film by Vikrant Kishore Dancing for themselves, the states where the Chhau originated from are states in where poverty is a big problem and that is one of the reasons the residents of those states are very attached to the Chhau and work hard on pres erving it. Lalit Mahato who is the son of the Chhau master Chandi Mahato features in the film Dancing for themselves and explains through the movie how important Chhau is for him and his culture. Lalit Mahato said Whatever it takes Ill teach my son Chhau Dance, no matter if Ive to just eat boiled rice; this quote shows the importance of Chhau as a cultural aspect for the lives of those villagers. The Chhau dancers do not practise this art only to entertain an audience but they also use it as a creative way to express their feelings and emotions. It is incredible how the different states of India Including the ones practising the Chhau dance-drama preserved their cultures intact. What we also have to take into consideration is the fact that those areas have not yet been touched by the fast movement of modernization. What would happen once modernization touch those areas? Will it affects their culture? Will they still perform the Chhau dance-drama as it is performed today and would it still be as significant for their culture? Those are questions that one should have in mind. I personally hope that those states dont lose their culture because I think that the Chhau dance-drama is a unique and fantastic form of folk art that should be preserved the way it is. 8) Bibliography: Interview: Mahato, Chandi Chhau dance-drama. Telephone interview translated by Tamojit Ray. 24 Feb. 2010. Published work: Devi., Ragini. Dance dialects of India. Delhi: Motilal Banarsidass, 1990. Print. Gajrani, S. History, Religion and Culture of India. Vol. 4. Dehli: Isha, 2004. Print. Schechner, Richard. Between Theater and Anthropology. New York: University of Pennsylvania, 1985. Print. Video: Chhau Dance Performances : The Ramayana:Love and Valour in Indias Great Epic. Google Video. Web. 09 Dec 2009. Chhau dance promo. Youtube. Web. 05 Dec. 2009. . DANCING FOR THEMSELVES A film by Vikrant Kishore. Dir. Vikrant Kishore. Youtube. 16 May 2007. Web. 11 Dec. 2009. . Web Sources: Chhau dance. Orissa Government Portal. Web. 11 Dec. 2009. . Chhau , Indian Folk Dance. Indianetzone. Web. 10 Dec. 2009. . Chhau. India.gov. Web. 10 Dec. 2009. Courtney, David. FOLK DANCES. Chandrakantha. Web. 09 Dec. 2009. . Courtney, David. Natya Shastra. Chandrakantha. Web. 10 Dec. 2009. . Folk Dances of India. Iloveindia. Web. 09 Dec. 2009. . Folk Dances of India. Web. 11 Dec. 2009. . Kamat, K.L. The Chhau dance. Kamat. 08 Sept. 2001. Web. 11 Dec. 2009. . Masks in Serikella Chhau Dance. Acharyaseraikellachhau. Web. 11 Dec. 2009. . Origin of Indian Folk Dances. Indianetzone. Web. 10 Dec. 2009. . Seraikella Chhau: An Introduction. Acharyaseraikellachhau. Web. 11 Dec. 2009. . Ponmelil, V.A. India Introduction to folk dances. Web. 09 Dec.2009. . West Bengal Chhau. Indialine. Web. 12 Dec. 2009. .

Physical Security Principles Essay

Safety in numbers has always been a deterrent method when leaving or traveling through places that are not safe. But without proper physical security measures set in place when leaving any facility or building the need for a crowd will be of no use. Proper physical security requires accessing the risk that may cause threats, vulnerabilities, and attacks when certain principles are not implemented. Physical security also refers to tangible impediments to attack or unauthorized entry. Safety involves having the building, grounds, access to and from the parking area, and other hidden locations secure by lighting, monitoring, and physical patrol. Physical security should include the inside of the building as well as the outside and adjoining perimeter. Building Security There can never be too much security for a business, corporation, school, or home owner. The threat of an individual causing bodily harm or taking personal belongings without permission are very high if proper equipment and safety precautions are not taken. Proper lighting and cameras should accommodate buildings for the safety and protection of employees, staff, and students. Securing the facility and the type of risk that is ssociated with each building will need analyzing and assessed for protection. Each facility is different when providing security for their site. Federal buildings will not require the same type of protection as a bakery. Security for Building Occupants and Assets (2009) states â€Å" that it may require addressing certain situations such as unauthorized entry/trespass (forced and covert), insider threats, explosive threats, stationary and moving vehicle-delivered, mail bombs, package bombs ballistic threats, small arms, high-powered rifles, drive-by shootings, etc. weapons of mass destruction (chemical, biological, and radiological) disruptive threats (hoaxes, false reports, malicious attempts to disrupt operations) cyber and information security threats† (WBDG, 09). Each business building structure will determine the basic requirements for securing the safety and well being of staff and personnel. One size do not fit all but according to Katz and Capsi, 2003, states â€Å" Prior to running out and ordering millions of dollars of protective equipment, professionals should evaluate the overall security of your facility and a detailed report of the results should be prepared†. Ground Security Another key issue that complements the safety of any building is the lighting of that building. Lighting inside and outside of a building can help deter physical mishaps and attacks The lighting should be situated at every entry and exit and also throughout the building and also positioned correctly for better angles and views of open areas and spaces. Perimeter security lighting should also be available for long corridors and parking garages. Correct lighting in these places can give patrons a better visual of their surroundings and also allow them to see what may be obstructing their path. Having proper lighting and cameras may not be enough to keep out unwanted activity. Employing trained security professionals to patrol the facilities can add to deterring criminals. Hired security guards by a reputable company can add to the buildings safety and that of the patrons coming and going. How likely a crime target any specific building is, depends on the perceived gain to the perpetrator, balanced against his perceived risk of apprehension or defeat (Witherspoon, 2002). The presence of a trained guard can limit the amount of loitering or negative behavior outside and offer a feeling of safety to staff and employees who are ntering or leaving the building. Technology Advancement Physical security for any facility is a major factor for keeping safe and having modern technology on site is a greater addition. Protecting the facilities assets requires the company to stay ahead with modern day upgrades and devices for ensuring that whatever or whomever is gaining access to the property is suppose to be there. Monitoring the individuals who enter through facility access control and perimeter fences or installing video and closed circuit television surveillance can eliminate trespassers and those with no prior business on the property. Personal identification systems can also be established that use fingerprints and biometrics to gain access into any facility for staff and personnel. The amount of technology to use for physical security is unlimited depending on the facility and what needs protecting. Conclusion Physical security involves many components such as location, configuration, size, shape, and many other vital attributes that comes with a standing structure. Keeping people safe on the inside as well as those on the outside requires security principles that go beyond what just the normal eye can see. Applying the correct physical equipment to lower the risk of unwanted behaviors and attacks depends on how well the perimeter is guarded. Advanced technology including cameras and monitoring systems add to the insurance of physical security and if used properly can lower the possibility of threats. There is never an answer for what system works best but using a variety of methods is sure to make leaving work a little safer.

Political Philosophy Essay

Barber (1999) refers to strong democracy as one of the democratic responses to contemporary political condition. The author clearly distinguishes the strong democratic type from unitary democracy, pluralist democracy, authoritative, and juridical democracy. All these types of democracy are idealistic, and are never applied to real political conditions in their pure forms, but they represent the five different visions of the democratic order which deserve attention and should be objectively reviewed. Barber (1999) defines authoritative democracy in centralized executive terms. Authoritative democracy exercises the principles of differential citizenry; although authoritative democracy is fully accountable to the democratic community which elects it, this type of democratic order relies on the excellence of elites (Barber, 1999). The two major deficiencies are characteristic of authoritative democracy: first, it tends towards hegemony; second, it tends to camouflage its political representation under the cover of political wisdom. As a result, individuals risk confusing the political virtue with the political excellence (Barber, 1999). Juridical democracy is based on the principles of protecting human rights. Arbitration and adjudication are the necessary preconditions of juridical democracy (Barber, 1999). In juridical democracy, the principle of differential citizenry is expressed through excessive reliance on courts, which resolve and mediate political issues and substantially limit the power of the democratic government. Barber (1999) writes that â€Å"juridical democracy is deficient because it subverts the legislative process†. The author is confident that juridical democracy initially distorts the notions of the natural right and the higher law, using them as the disguise for political reintroduction and representation (Barber, 1999). Pluralist democracy is the most ideal democratic form of all Barber describes in his work. Pluralist democracy is based on the principle of the social contract which free political markets use in the process of political exchange (Barber, 1999). In distinction from the two previous forms of democracy, the pluralist form relies on active (not differential) citizenry. All conflicts and issues are arbitrated with the help of bargaining in which free equal individuals are involved. The pluralist democracy is deficient because the power of the social contract and bargaining is very weak. In Barber’s (1999) view, pluralist democracy is too innocent, and cannot lead to formation of any public thinking. Unitary democracy could initially become the political representation of certain norm as the central element of democratic order. Although unitary democracy promotes the unanimous character of political decisions, it tends to undermine the principles of individual autonomy. The role of citizenry in unitary democracy is vague (Barber, 1999). The problem is in that the unity of political deliberation requires that individuals merge with the rest of the political community. As a result, they risk losing their political individuality, and promote collective political thinking. Unitary democracy cannot foster self-realization; in massive forms, unitary democracy borders on coercion and malevolence (Barber, 1999). In many aspects, unitary democracy is synonymous to â€Å"conformist† type of political order, which mixes tyranny with terror and views community consensus through the prism of collectivity and collective political interests. Barber (1999) is confident that strong democracy is the political order of the future. The author views this type of democratic order as a community which will never be collectivistic, and which is the most compatible with the contemporary society. The core of strong democracy is the self-government, in which citizens govern themselves (Barber, 1999). The conflict resolution is based on self-legislation, and the creation of the political community. The mentioned political community is the key element of strong democracy, and it is the necessary condition for transforming the political conflicts into the useful epistemological tools of public thinking (Barber, 1999). Simultaneously, Barber fails to define the criteria for the creation and existence of the already mentioned political community. If strong democratic community exists to transform political conflicts or implement political decisions (Barber, 1999), it is unclear whether this community will keep its previous form as soon as it achieves its political goals. One can’t but agree with Barber (1999) in that in strong democracy community is invariably linked to the notion of citizenship, but there are striking disparities between the notions of community and participation. Although strong democracy claims striking the misbalance between participation and community, it does not offer any reliable criteria for achieving the democratic world of the common ends, in which conflict serves the dialectical means of turning the masses into the democratic citizenship. Conclusion Strong democracy is viewed by Barber (1999) as the best and the most realistic type of democratic order. Barber (1999) emphasizes the deficiencies which authoritative, juridical, unitary, and pluralist democracies display. Simultaneously, Barber (1999) fails to provide the criteria for creating and supporting the strong democratic community and participation. The relation between community and participation remains misbalanced, and strong democracy will hardly strike it.

Critical Writing Standardising Arguments - Free Essay Example

Sample details Pages: 1 Words: 309 Downloads: 4 Date added: 2019/10/10 Did you like this example? Henson’s work should be perceived as an art because the artists relied on the contemporary art form of photography. His films are influential, and the artist produces dark expensive art films that can be compared to the films of the 20th century. Questioning the moral purpose of Henson’s art may not seem effective because his films target on discouraging immoral behaviors that exist within a society. His films create a public criticism on the different types of behavior that occurs in a region. Don’t waste time! Our writers will create an original "Critical Writing: Standardising Arguments" essay for you Create order Moral panic lacks a direct impact on the pedophilic condition.   The moral purpose of Henson’s art is to discourage people from undertaking activities that do not support the required norms of the society. On the other hand, pedophilia is an individual problem that emanates from a personality disorder or an abuse of the childhood by the adults.   Therefore, although the Henson’s art is associated with issues of moral panic, it does not expose an individual to issues of pedophilia. The audience should focus on the moral impact of the artworks as opposed to the negative influence of the art to the society. The production of films on wealthy and elite people creates a perception that Henson’s art always targets an elite art audience. He uses prints that are considered as expensive materials because his gallery contains pictures only for wealthy art elite.   Henson believes wealthy people as the real people that recognize the need for growth. However, Henson’s work is not strictly meant for the wealthy people, but all the individuals can access and use the films. Despite the use nude children photos, Henson’s work has nothing to do with corporate pedophilia.   His work aims at discouraging sexual behaviors in children as opposed to the corporate Pedophilia that entails the sale of products to children using a sexualized way.