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Scorpion4ik [409]
3 years ago
12

Declaration of independence and religious freedom

Social Studies
1 answer:
algol133 years ago
4 0
The Declaration of Independence gave all people unalienable rights. One of these rights included the freedom of religion. 
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Please help! I’ll make brainliest!! From Captain Preston's point of view what happened during the Boston Massacre
Sergeu [11.5K]

Answer:

I saw the people in great commotion, and heard them use

the most cruel and horrid threats against the troops . . . They

immediately surrounded the sentinel posted there, and with clubs

and other weapons threatened to execute their vengeance upon

him. I was soon informed by a townsman, their intention was to

carry off the soldier from his post, and probably murder him . . .

I immediately sent a non-commissioned officer and twelve men

to protect both the sentinel and the King’s money, and very soon

followed myself, to prevent, if possible, all disorder . . . They soon

rushed through the people, and, by charging their bayonets in half

circle, kept them at a little distance . . . The mob still increased,

and were more outrageous, striking their clubs or bludgeons,

one against the other and calling out, ‘Come on you rascals, you

bloody backs, you lobster scoundrels; fire if you dare

Explanation:

5 0
3 years ago
Give 3 differences between federalist and deemocratic-republican parties in regards to their beliefs.
Alex73 [517]
<span>The Federalists believed that American foreign policy should favor British interests and strongly supported the Jay Treaty with Britain, the Democratic-Republicans wanted to strengthen ties with the French, who they saw as more democratic after its recent revolution.
</span>
6 0
3 years ago
Assess the role of artists as political activists
labwork [276]

Answer:

Explanation:

Several years ago we had the good fortune to ask the renowned activist artist Hans Haacke a

question:

How can you know when what you’ve done works?

He thought for a moment, and then replied,

I’ve been asked that question many times, and that question requires one to go around it

before one really avoids it.

Haacke’s response was meant to be humorous, but beneath it lay a serious problem: a general

aversion to conceptualizing the relationship between art, activism and social change. To be fair,

on the spectrum of artistic activism Haacke’s place is more toward the pole of the artist, and thus

his refusal to be pinned down by such a question merely conforms to the modern tradition that

valorizes art’s autonomy from society. Yet, even as we slide down the scale from expressive

artist to the more instrumental activist, the answer to the questions of how artistic activism works

to bring about social change and how to assess that impact remains elusive.1

This is a shaky foundation upon which to construct a rapidly growing field. Art schools have

devoted whole programs to the practice of arts and activism. Since Portland State University

launched the first of such programs, Art & Social Practice in 2007, the School of Visual Arts in

New York has added a department of Art Practice; CalArts: Social Practice & Public Forms; and

Queens College: Art & Social Action. New York University has two graduate programs devoted

to the intersection of arts and activism: Arts Politics in its performing arts school, and Art,

Education and Community Practice in its school of education and fine arts. Regardless of

program and department, university courses on arts and politics abound. In the Fall of 2010

alone, NYU offered over twenty courses, across four schools and colleges, exploring the

interconnections between arts, politics and social activism. This academic interest has prompted

a slew of recent books on arts and activism, with a cursory search on Amazon.com under “art

and activism” returning a staggering 1,345 results.

Museums curate entire exhibitions around the practice. In recent years, in New York City alone,

the Brooklyn Museum staged their monumental AgitProp show, the Whitney Museum, offered

up An Incomplete History Of Protest, and the Museum of the City of New York hosted AIDS at

Home, Art and Everyday Activism. Over the past decade, the Queens Museum has centered their

curatorial and educational mission around socially engaged arts, while Creative Time, the

1

“Artistic Activism,” a term first popularized in scholarship by Chantal Mouffe and in the field by the Center for

Artistic Activism, goes by many names: political art, creative activism, activist art, artivism socially engaged arts,

social practice arts, community based arts, artivism, arte útil, etc., each with slightly different emphases, and a

different place on the art/activism spectrum. What unites them all is the mobilization of both affect and effect.

2

ambitious NYC-based arts institution, organizes yearly “summits” which bring together artistic

activists from around the world. Around the world, from the Disobedient Objects show at the

Victoria and Albert Museum in London to The Art of Disruptions at Iziko South African

National Gallery, arts and activism has become an integral part of the arts scene. No global

Biennale is complete these days without its “social interventions” and the requisite controversy

surrounding the place of activism in the art world.

More important than academic and artistic institutions, however, is the attention turned to the

artistic activism by NGOs and philanthropic funders. Large organizations like the Open Society

Foundations have created new programs like the Arts Exchange to integrate arts into all levels of

their social programming, and smaller foundations like A Blade of Grass, Compton,

Rauschenberg, Surdna, et al. have made the support of arts and activism central to their mission.

Research groups like Americans for the Art’s Animating Democracy, and The Culture Group

produce reports and user guides for a range of actors in the field. Training institutes like the

Center for Artistic Activism, Beautiful Trouble, The Yes Labs, Intelligent Mischief, Center for

Story-Based Strategies, Backbone Campaign, to list just a few US examples, work with activists

who aspire to create more like artists and artists who would like to strategize more like activists.

But probably most critical of all is the attention paid to the practice by activists themselves. It is

now common in global activist NGOs like Greenpeace to local grassroots groups working on

immigration reform such as the New Sanctuary Coalition in NYC to develop “creative

strategies” alongside more traditional legal, electoral and mobilization approaches

5 0
3 years ago
What should be done to stop brain drain from nepal? ​
gogolik [260]

Answer:

Provide better job opportunities irrespective of caste, creed, race or nationality

Promote people on merit alone

Provide attractive salaries to highly qualification people on the basis of their qualifications and experience

Improve the quality of our universities

Provide adequate research facilities,

etc(hope this answer helps you)

4 0
3 years ago
You are responding at emergency status to a vehicle collision in your ambulance. As you approach an intersection with a red ligh
MaRussiya [10]

Answer:

Follows are the responses to the given question:

Explanation:

During an emergency, we respond to the ambulance vehicle crash. Whenever you reach the junction with a red traffic light, your approach cautiously, halt only at the intersection, check that all the other vehicles be with you, and carefully ease your approach across the trying to cross. Those activities reflect your capacity to guarantee the safety of all road drivers.

6 0
2 years ago
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