INTERCULTURAL RESPONSIBILITY. Manuela Guilherme Clara Keating Daniel Hoppe

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1 INTERCULTURAL RESPONSIBILITY Manuela Guilherme Clara Keating Daniel Hoppe

2 INTERCULTURAL RESPONSIBILITY Recognition of difference; Awareness of beliefs, values and principles; Establishing relationships; Active recognition of the identifications, limits and potentials; Plural notion of social justice; Commitment to the democratic ideals of human emancipation; Advocacy of the liberating role of critical thinking and of a language of critique;

3 INTERCULTURAL RESPONSIBILITY Concepts on which we base the notion of IR: VOICE (a( possible representation of the self and/or of the group); SOLIDARITY (including( in the range of us people who are wildly different from ourselves [Rorty 1991:192]); GLOBAL ETHICS (openness( to different sets of principles, both observant of universal human rights and attentive to particular stories located in specific contexts); INTERCULTURAL ETHICS (mutual( respect and reciprocal trust, active responsibility at workplace to foster an inclusive climate and cultivate a respectful vision for members of diverse walks of life [Ting-ToomeyToomey and Chung, 2005:353]);

4 INTERCULTURAL RESPONSIBILITY Challenges in material design and professional development: making theory practical; using generalisations/stereotypes without relying on them; dealing with complexity in a simple, organised, clear way; grasping the moment, that is transitory, changeable, relative, not slipping into the humanitarian, patronising, demagogic tone. not taking an anything goes approach; giving voice, options and freedom of choice; questioning without shaking or offending basic and essential principles; crossing borders without going astray

5 INTERCULTURAL RESPONSIBILITY Challenges in material design and professional development: stimulating links with particular individual experiences, needs and interests; providing a safe context to deal with uncomfortable issues; questioning without threatening; acknowledging the various cultural representations as well as the underrepresented and the unrepresentable; challenging common-sense and taken-for for-granted assumptions without causing offence; stimulating a sense of detachment without preventing a sense of belonging; generating reflection-in-action without damaging spontaneity and emotional involvement; exploring the implicit as well as the explicit implications of oneo ne s cultural behaviours; promoting the challenge of ongoing relations of power but making trainees aware of the possible consequences of their attitude; discussing one s s moral/ethical principles without disrespecting them; encouraging solidarity and ethical responsibility without contributing to intrusion and imposition.

6 BLACK IS NOT WHITE Who/What I am Who/What What I am not

7 BLACK IS NOT WHITE When we think of ourselves as individuals, and our individual identity, the basic question we ask is Who / what am I? However, we can also turn this question around and ask Who / what am I not? Again, name three things you think you are not: Is it possible that not being the items you named means that you are certain other things?

8 BLACK IS NOT WHITE «Contamination is always at work in establishing the sequence of oppositions that shape our political imaginary as well as our identities, collective and individual ones. Our idea of being a man implies the sense of not being a woman; our sense of belonging to the West, to civilization, to democracy, depends on acknowledging at the same time that we are not Eastern, savage or politically irrational and unruly. The determination of o these positive identities relies therefore on the simultaneous production of a set of oppositional concepts. The emergence of these positive identities to which we lay claim involves an operation of what Derrida terms violence ;; it is based on the suppression and denigration of one set of terms for the sake of the elevation of the other. But this mechanism also involves another type of suppression a forgetting of the fact that our own identity and sense of belonging is premised on a lack, on not being somebody else, but also, perhaps, on simultaneously desiring that otherness which we do not have or maybe even comprehend, but which we attempt to make fit into our own conceptual spectrum.» ZYLINSKA, Joanna (2005) The Ethics of Cultural Studies. New York: Continuum: 8.

9 BLACK IS NOT WHITE The author refers to that otherness which we do not have or maybe even comprehend, but which we attempt to make fit into our own conceptual spectrum. What do you think the author means by this? Although this process is not very evident, it is present in everyday life. Can you think of an example? What may be the consequences (positive as well as negative) of this process of fitting otherness into our own conceptual spectrum?

10 HIDDEN AGENDA D (asks A) Where are you from? A What do you mean? You know I come from Portugal. Why, do you think, does D ask A this question even though he knows he comes from Portugal?

11 HIDDEN AGENDA B is talking with C and he tells her that their Director was not as black as he was painted, meaning that he was not as bad as he was generally viewed. He suddenly realised that he might have offended her. - Why do you think he might have offended her?

12 HIDDEN AGENDA A has proved to be a natural leader. However, when they join a bigger team to go to South Asia, D, who is also a very competent and committed social worker, is appointed coordinator of the team while A is appointed sub-coordinator. There are several reasons why D might have been preferred to be the coordinator. Can you point out some possible reasons why A was not appointed coordinator of the big team?

13 HIDDEN AGENDA Can you find a common thread throughout the situations presented above? What are the various forms of its impact in the workplace?