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blondinia [14]
3 years ago
6

What was the real Native American name of Pocahontas?

Social Studies
2 answers:
KATRIN_1 [288]3 years ago
6 0
The correct answer is A .
ohaa [14]3 years ago
3 0

Ive read in several history books that the real name of Pocahontas was A.) Sacajawea so I do believe thats the answer

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19. True or False: Families are more likely to participate in community activities when they feel connected to the community. In
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Answer:

<em>I</em><em> </em><em> </em><em> </em><em> </em><em>think</em><em> </em><em> </em><em> </em><em>that</em><em> </em><em> </em><em> </em><em>the</em><em> </em><em> </em><em> </em><em> </em><em>answer</em><em> </em><em> </em><em> </em><em>is</em><em> </em><em> </em><em> </em><em> </em><em>true</em><em>.</em>

3 0
2 years ago
What branch of<br> government controls<br> the federal courts?
ikadub [295]
<h3>Answer:</h3>

The Judicial Branch

<h3>Explanation:</h3>

The judicial branch decides the constitutionality of federal laws and resolves other disputes about federal laws. However, judges depend on our government’s executive branch to enforce court decisions. Courts decide what really happened and what should be done about it.

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2 years ago
B. F. Skinner would argue that ""getting a paycheck on Friday"" reinforces a person for coming to work on Friday but would not r
leva [86]

Answer: The correct answer is <em>Law of Immediate Reinforcer</em>: this law states that any reinforcer is presented immediately, in this case the paycheck is that immediate reinforcer.

Explanation:

When reinforcement is provided immediately, individuals can more easily identify the behaviors that lead to reinforcement and those that do not. This type of reinforcement Ieads to a desired behavior being commited. Another factor that can facilitate discrimination is the clear specification of environmental conditions, or stimuli, under which reinforcement will be provided

8 0
3 years ago
In the late 1950s and early 1960s, the British music industry was dominated by: a. large companies and major labels b. weekly ra
GuDViN [60]

Answer:

a. large companies and major labels

Explanation:

In the late 1950s and early 1960s, the British music industry was dominated by large companies and major labels.

In the 1950s  the British Music industries and its  market place was increasingly dominated by  big four record companies: EMI, Decca, Phillips and Pye( in which EMI and Decca had the largest share) By the early 1960s the British had developed a viable national music industry and began to produce adapted forms of American music which lead to creation of independent labels.

8 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
2 years ago
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