A Quote by Cynthia P. Schneider

Measuring success in cultural diplomacy - the use of education, creative expression in any form, or people-to-people exchange to increase understanding across regions, cultures, or peoples - is challenging. How does one quantify changes in attitude, abandoning stereotypes, or feeling empathy as a result of a performance, a film, a book?
Across all U.S. intelligence agencies, there is a lack of cultural respect and a poorly tuned attitude toward foreign peoples and cultures.
If you can use songs as a tool, vehicle for empathy and a deeper understanding of how people are feeling and how people's emotions work, there's a lot of good that can come from that.
I don't think of compassion as sympathy but rather as empathy. An understanding of how people are feeling, which often translates into action.
The most successful cultural diplomacy strategy integrates people-to-people or arts/culture/media-to-people interactions into the basic business of diplomacy. The programs in Afghanistan, Egypt, and Iran all contribute to core goals of U.S. policy in those countries.
My background is in arts education and we know, absolutely for a fact, that there is no better way for kids to learn critical thinking skills, communication skills, things like empathy and tolerance. This is true across every boundary, across cultural boundaries, across socioeconomic, it's a great leveler in terms of unifying our world.
This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.
As soon as you start asking what education is for, what the use of it is, you're abandoning the basic assumption of any true culture, that education is worth while for its own sake.
I founded the King Hussein Foundation after my husband's death in 1999, to build on his humanitarian vision and legacy in the country and abroad, through programs promoting education and leadership, economic empowerment, tolerance, cross-cultural dialogue, and media that enhances mutual understanding and respect among different cultures across conflict lines.
Success on the front of women's rights will look like a world not only with obvious advances - where no girl is denied access to education, for instance - but also one with more subtle changes in how we regard gender and gender stereotypes.
I have learnt to deal with the box office result. Whatever happened to any film, thankfully, people always appreciated my performance.
Fashion really does change the world. It changes how people feel about themselves. It changes what people are comfortable with sexuality-wise. It changes how people accept themselves.
Stereotypes, they're sensual, cultural weapons. That's the way that we attack people. At an artistic level, stereotypes are terrible writing.
'The Leftovers' takes place three years after 2% of the population has gone missing. And it's about how that changes society. Cults form as a result, and it drastically changes home life for a lot of people, including the Garvey family, which is the family I belong to.
The film [the white Ribbon] does try to use German Fascism as an example, but not specifically Fascism... the results of German Fascism. It shows how people are prepared or indoctrinated for an ideology... people who are already in a state of repression who have been humiliated by society and who clasp at a straw that's offered to them. And how that's then developed into a form of indoctrination.
People in Tibet have an expression. When you reach a certain degree of venerableness and age, and people ask, "How are you?," there is an expression that people use that means, "Just barely not dead." Some people might be frightened by it but I think it's quite funny.
Singles are for people that want to chart - I'm measuring my success by how well I connect with people.
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