Aboriginal people and the Canadian justice system Essay

Aboriginal people and the Canadian justice system - Essay Example Section 35 of the constitution of Canada defines aborigines as 'aboriginal people in Canada include the Indian, Inuit, and metis people of Canada And further sect 35 sub sec 4 states 'notwithstanding any other provision of this act, the aboriginal and treaty rights referred to in sub section 1 are guaranteed equally to male and female.The Federal government of Canada and the provincial government are committed to the principle that, before amendment to class 24 of section 91 of the constitution act 1867 to section 25 of this act or to this part.The Ottawa project for restoration and sentencing is said to be the pilot project .it is said also to one of the several justice projects across Canada that have garnered support of the department of justice.The numerous studies, reports and justice inquires across Canada, and growing body of statistical information, confirmed that aboriginal people experience disproportionately high rates of crime and victimization are over represented in the court and the correctional system, and further, feel a deep alienation from justice system that is to them foreign and inaccessible and reflects both human and fiscal terms are seen to be exhorbitant, but also spiraling.Through persistent dialogue with various levels of government, aboriginal communities across Canada have gradually begun to explore the possibility of administering various components of the criminal justice system. Various difficulties confronting Aboriginal people within the Canadian judicial system have been addressed over the past twenty years but, unfortunately, many problems still exist. High levels of Aboriginal incarceration, one of the most serious problems, are aggravated by inadequate government funding and limited rehabilitation options and resources, and the overall justice system still does not address the cultural needs of Aboriginal peoples. JURISDICTIONAL REACH OF THE INTIATIVES Besides the fact that the restorative and sentencing community projects is a national wide issue which has been deeply entrenched in the constitution via the constitution act 1867,provincial governments have been given the a larger part to play in initiating projects within their provincial jurisdiction to address the issue. Overall, the Program helps Aboriginal people who are in conflict with the criminal justice system to obtain fair, just, equitable, and culturally sensitive treatment. Specifically, the Aboriginal Court work Program seeks to: 1. In the event of as aborigine being accused of a criminal offence and eventually put in custody, the project has devised a way of organizing for bail terms, which in most cases are denied to them. assist Aboriginal people to understand their right to speak on their own behalf or to request legal counsel, to better understand the nature of the charges against them and the philosophy and functioning of the criminal justice system. 2. Also the project is assisting in ensuring that the time spent in pre-trial detention by aboriginal people is reduced. 3. Afford them legal representation in court. 4. Disproportinate level of aboriginal incarceration -the Canadian criminal justice system is rooted in a strong reliance on incarceration and as a result, Canada is placed among the highest users of imprisonment in the world .the emphasis an incarceration as punishment had a detrimental effect on offenders, particularly aboriginal offenders on whom confinement places particularly onerous pressures, given the traditional relationship with the land

Avente Garde Essay Example | Topics and Well Written Essays - 1750 words

Avente Garde - Essay Example It is also art or theatre at its most radical form, hostile to other artistic or conventional forms. It rejects the accepted social values and beliefs and condemn traditionally accepted artistic forms, ridicule the social order for which the society is used to and to put it succinctly, it believes in shocking its viewers. It is always searching for new arenas, and never satisfied with what is already accepted. "However, beneath this diversity there is a clearly identifiable unity of purpose and interest (at least in the theatre) which has all the characteristics of a coherent trend, since its principles can be shown to be shared quite independent of direct influence," Innes (1993, pp2-3). Avant garde is recognized with the postmodern theatre. Postmodern theatre is considered to be the recent phenomenon in the theatre world, connected with the European post-modern philosophy of the 1960s, naturally, which created many radical movements almost in every field. "The radical movement of the sixties constitute one of the most interesting social phenomena of this century; by insiders and outsiders, and what emerges is a confused picture in which elements of pacifism, civil rights agitation, anti-Vietnam sentiments, sexual liberation, feminism, and other forms of antiauthoritarianism are chaotically thrown together," Erwin (1988, p.15).It is different, revolutionary, unprecedented, a movement away from everything that is already established in the theatre. It has completely unconventional and subverted ways of seeing and portraying the world, and each performance becomes a dramatic spectacle of the so called Chaos Theory, and audience invariably find themselves participating in it, improvising it and bettering the dialogues. This can be called the avant-garde theatre movement of our times, far removed from the usual mainstream theatre. Postmodernists would be horrified at any such suggestions that they are even remotely connected with it! The aesthetic experience of the theatre, even though it is avant garde, does not diminish, only for the simple reason that it is unconventional. It has the power of holding the attention of its audience, and many times, the audience directly participate in it, creating an unreal situation, where they are transported into another era and back to the present era with a rude jerk and this way their experience is more authentic, compared to the one they would have had as mere spectators. It is impossible to believe that as ordinary spectators, they could have experienced the total identity with the play any better. Theatre, under postmodernism, is neither objective nor passive. It is crying for the audience participation and new experiences as part of the play. One such ensemble, the Wooster Group, consisting of modern artists working with Elizabeth LeCompte as their director, have cultivated new forms of production, presentation, and theatrical expression, dance and movement, and has created many pieces of production, which have earned appreciation, though not initially. It has also shown that however outrageous the new forms look in the beginning, slowly, it would create an audience of its own, and the new generation, whether they have logical reasons for appreciating it or not,