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Speaking: De-Stigmatizing Hawaii’s Creole LanguageWhy the decision to recognize Hawaiian Pidgin English in U.S. census surveys matters

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Speaking: De-Stigmatizing Hawaii’s Creole LanguageWhy the decision to recognize Hawaiian Pidgin English in U.S. census surveys matters

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This article presents the importance of acknowledging dialects.
The inclusion of Hawaiian Creole as a language by the U.S. is important because it represents acknowledgement of a group of people that have been stereotyped and put down because of their dialect. This can help with the negative connotation around the language and how it is perceived by Hawaiians. It will also improve communication for the general population of Hawaiians because the speakers of the dialect will be able to communicate with institutions and the government will be able to communicate with a large population.

A prime example of the aforementioned is exhibited by the use of Hawaiian Creole by educators with students. It is being used as a tool to improve connection and communication between teachers and students. Teachers are attempting to create a better environment by using a language that is most commonly used by their students. This will better the teacher student relationship and improve learning.

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The Consequences of Teaching Exclusively in ‘Standard English’

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The role of creoles and other vernaculars in the classroom

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Reading: THE SPACE BETWEEN:An analysis of code-switching within Asian American poetry as strategic poetic device by Carlina Duan

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Reading: THE SPACE BETWEEN:An analysis of code-switching within Asian American poetry as strategic poetic device by Carlina Duan

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The article by Duan highlights the importance of celebrating dialects that are not commonly found in American literature. In Duan's article, it is emphasized that a code-switcher does not confuse languages. Code switching is presented as intentional and a tool used to emphasize or distinguish context, tone, and meaning. There is adversity in mixing two languages in professional settings of education and writing.Writers make a point to not filter their language to push society and readers to accept code switching as a valid form of expression.

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Dialects can often be identified by the heavy use of jargon. In the file attached, I am using legal jargon as part of a statement I made in a Mock Trial court. When explaining the concept to others, I would use less formal or law-specific words and simpler pronouns to identify the subjects. But because I am stating these facts in a professional law environment, I must use jargon and speak a dialect specific to that field in order to the make the best impression. This shows again that dialect can be changed in order to create an impression that satisfies the audience so that one can be linguistically profiled in a positive manner. In this scenario, the use of jargon would establish credibility with my audience so that they would believe I am qualified to make a case.

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Reading: Language, Dialect, and Register: Sociolinguistics and the Estimation of Measurement Error in the Testing of English Language Learners by Solano-Flores

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Reading: Language, Dialect, and Register: Sociolinguistics and the Estimation of Measurement Error in the Testing of English Language Learners by Solano-Flores

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From this article by Guillermo Solano-Flores, I learned how dialect and language can affect the quality of one's education. Because an English Language Learner may not be familiar with some English terms or colloquial phrases, their lack of familiarity with the language may be misinterpreted as lack of familiarity with the subject material. The education system can fail a student based on the misinterpretation of their dialect. While dialect can be affected by educational status, it can also affect education, as shown by the article.

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Language%2C Dialect%2C and Register- Sociolinguistics and the Estimation of Measurement Error in the Testi (2) (1)

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Listening: The Village Grown Dialect Film Festival

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Listening: The Village Grown Dialect Film Festival

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In countries with a large number of dialects, it is not uncommon for some of them to die out. In this region of China, the civilians of the area have taken steps to preserve, celebrate, and remember dialects through a Dialect Film Festival. This film festival shows the audience the wide range of dialects spoken so as not to mistake Mandarin as the only one. The article details how films are interpreted differently based on the dialect in which they are made. Though the writers do not believe that the dialect has any impact on the concepts or plot of the movies themselves, the fact remains still that the audience better interprets the film when it is presented in their own dialect. I believe this shows the importance of preserving dialects. Though one may be familiar with a different one, it is important to keep the one they are most comfortable with alive because there are certain words, expressions, and connotations with the dialect that they may not find anywhere else.

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GUANGDONG, South China - For three centuries, quiet Zurong Village at the southernmost tip of China's mainland hasn't had much to offer visitors, aside from tropical fruit. But that all changed when a local businessman decided to make the small town the center of a nationwide film festival.

For the past three years, the village has hosted the Zurong Dialect Film Festival, China's first to celebrate the country's dialects. The country is host to over 130 languages with countless regional variants, according to the Ministry of Education. However, dialects differ so greatly that Chinese speakers often cannot even understand them. In Zurong itself, the residents speak Min, a variety of Chinese spoken along China's southern coast.

The festival began thanks to Chen Yu, a businessman with a background in real estate and food manufacturing. For him, the dialect film festival is a way to promote tourism and develop the local economy. "My hometown doesn't have a rich history or anything else that can be put on a billboard," says Chen, who also plans to open a dialect-film museum. "We needed to introduce cultural resources from outside the village."

A still from 'The Foolish Bird,' a Best Feature Film in the 2018 Zurong Dialect Film Festival. From Douban

The Zurong Dialect Film Festival has grown from having nine winners out of just 279 candidates, to 17 out of 956. This year's Best Feature Film was a tie between two works: "The Foolish Bird," a story of sexual awakening filmed in central China's Hunan dialect, and a Tibetan-language film "River." The films are judged by a nine-person jury made up of directors, movie critics, and language experts. At the award ceremony, which was held this October in a suburb of nearby megacity Guangzhou, A-listers were few and far between. The festival instead has tended to attract famous dialect-lovers, such as TV hosts Cui Yongyuan and Wang Han, who are listed as festival co-founders.

Despite the large numbers of Chinese who speak other dialects or languages, films in non-standard Mandarin have sometimes struggled to find success. In the 1950s, the central government began bringing in policies to promote standard Mandarin, meaning that for decades, dialects were absent from China's silver screens. But that began to change with director Zhang Yimou, who later became internationally recognized for directing the opening ceremony for the 2008 Summer Olympics in Beijing. In 1992, he won a Golden Lion at the Venice Film Festival for "The Story of Qiu Ju," which tells the story of a village woman who speaks a Northwestern dialect seeking justice through the bureaucratic legal system.

A still from Zhang Yimou's 1992 film 'The Story of Qiu Ju.' From Douban

Zhang's film became a turning point. In the 1990s, a flourishing movie market and China's increasingly open economy saw other independent productions and commercial companies using dialects in their films. In 2000, an official document stated that dialects could be used in artistic expression when required.

But even now, it can be hard for such films to win over audiences who seem to have a love-hate relationship with dialects. The audience's reception also seems to depend on the dialect in question: Some dialects are easier to understand for the average Mandarin speaker, while others are arguably a different language.

Dialects aren't necessarily obstacles for understanding, says Qin Xiaoyu, the director of award-winning 2015 documentary " The Verse of Us " which depicts the lives of migrant-worker poets from around the country speaking in their native tongues. "Even if we can't fully understand Sichuanese, we can still be amused by some of the dialogue," he says.

As the chairman of Zurong Dialect Film Festival's jury, Qin Xiaoyu talks to Sixth Tone about the festival's three-year history and his views on dialects in Chinese cinematography. The interview has been edited for brevity and clarity.

Qin Xiaoyu gives a speech at an event in Beijing, May 1, 2018. Zhan Min/VCG
Sixth Tone: You've been the chairman of Zurong Dialect Film Festival's jury for three years. What's changed this year?
Qin Xiaoyu: There have been more feature-length entries in general. Those works are quite high-quality. One has been shortlisted for Canada's Montreal World Film Festival, and one has won an award at the Berlin International Film Festival.

A more significant change is that the festival has become a platform to help support and develop young filmmakers. Young talents have entered the competition every year. Their first-year entry might have been a short film that lacked maturity, but their third-year entry would be a well-developed feature film.
Sixth Tone: As a film festival dedicated to works in which the dialogue is in dialect, what does the nine-person jury look for? Is it different from what other film festivals value?
Qin Xiaoyu: Being a film judge is very difficult, since you have your own set of standards and aesthetics. The reason we have so many judges is so that there's no one correct opinion. When we're together, we have a balanced discussion between film directors, linguistic experts, and film critics.

We don't only give out awards for visual and artistic qualities. We have an award called "The Most Beautiful Village Voice" and other awards that recognize films that express love for the filmmakers' hometowns, or make strides toward dialect preservation. With the award for hometown-appreciation, we want [filmmakers] to root their stories in the places [they're] from and record their way of life. For this particular award, we place more value on [the filmmakers'] enthusiasm. In short, we don't have a single standard for all awards.
Sixth Tone: As a filmmaker, what role do you think dialects should have in Chinese films?
Qin Xiaoyu: The history of Chinese dialect films began in the reform and opening-up period. In the 1980s, there was a very small number of works about the revolution [during the 19th and 20th century] that featured political figures speaking in dialect. In the 1990s, there were several classic films that used dialects. The first commercial masterpiece was "The Story of Qiu Ju." Later, Jia Zhangke [a prominent Chinese director] presented a monumental series on Fenyang, his hometown in [the northern province of] Shanxi.

A still from Jia Zhangke's 1997 film 'Xiao Wu,' or 'The Pickpocket.' From Douban

In this century, there have been major things pushing dialect films forward. One is the prosperity of China's film market. Another is the popularity of video-recording gadgets. These factors will boost the number of dialect films. Dialect films can be from any genre: science fiction, realism, martial arts, or comedy. Dialects can sometimes add humor to the films.
Sixth Tone: The festival aims to boost local tourism and protect dialects. How successful do you think it has been so far?
Qin Xiaoyu: I think [the festival's] effects won't be immediately noticeable. But dialects need a carrier - a medium to bring them into the public eye. [The films] cannot be exhibited in an isolated museum or a research facility. If we don't build up this kind of film as a brand, people won't know how beautiful, rich, and evocative our dialects can be.

Films can gradually transform people's mindsets. It's not hard to establish this kind of film festival, but it is hard to keep it going - especially since [the festival] requires so much labor and financial investment but doesn't have a direct return.

A still from 'River,' a Best Feature Film in the 2018 Zurong Dialect Film Festival. From Douban

I think it's also a nice way to help rebuild villages. Migrant workers from villages provide cities with a labor force, but this hollows out the villages themselves and leaves them to deal with the pollution brought on by urban development. Dialects live and grow in villages. Using dialects and organizing film festivals [to celebrate them] can inspire villages to embrace their own cultures.

This festival isn't just about films. Young people are key in protecting dialects, and they happen to be the main audience of films [in general]. Dialects in films can help ignite a passion for their own language or prompt them to think about social issues surrounding dialects.
Sixth Tone: How is the market responding to dialect films?
Qin Xiaoyu: The use of dialects can be a way to create different [types of] characters. Dialects can give characters a sense of authenticity, and sometimes filmmakers can use Sichuanese and Tianjin dialects to create comedic effects. Dialects are [often] spoken languages used in daily conversation, such as in quarrels with neighbors. There are so many subtle underlying meanings in dialects.

A still from 2018 film 'Dying to Survive.' VCG

Dialect films aren't necessarily a niche art. Zhang Yimou uses old-school Nanjing dialect in "The Flowers of War," which was a box office success. In " Dying to Survive," which screened earlier this year, the hero speaks some Shanghainese. From a business perspective, it's wise to use Mandarin, because it will gain wider market acceptance. But there's still space for dialects to exist and be successful.

Correction: This story has been updated to reflect that Fenyang is in Shanxi province, not Shaanxi province as previously reported.
Editor: Julia Hollingsworth. (Header image: A still from 'River,' a Best Feature Film in the 2018 Zurong Dialect Film Festival. From Douban)

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GUANGDONG, South China - For three centuries, quiet Zurong Village at the southernmost tip of China's mainland hasn't had much to offer visitors, aside from tropical fruit. But that all changed when a local businessman decided to make the small town the center of a nationwide film festival.

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Dialects encompass a wide range of ways of speaking. I speak Bangla, in addition to English, and some say I have four dialects in the language. My parents come from two different regions in Bangladesh that have their own dialects, which I learned. I am not familiar with those dialects as they are far from standard Bangla. These dialects are taught to me from relatives because my parents want me to practice standard Bangla. I am most comfortable with formal Bangla, which is associated with being proper, but it can also be associated with unfamiliarity with the language. The fourth "dialect" would be my mix of English and Bangla, which is often misinterpreted by others who think that I am unfamiliar with Bangla when in reality, this is how I best express myself.

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Speaking: We’re Terribly Sorry, but You Sound a Bit Too British for Britain

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Speaking: We’re Terribly Sorry, but You Sound a Bit Too British for Britain

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The Wall Street Journal points out two heavily spoken dialects in England: Queen's English and Cockney. Queen's English is associated with power, authority, high status, class, and strict breeding. Americans often portray British people who speak Queen's English with wealth and power. Cockney, on the other hand, is associated with the opposite. When Americans view British dialect, they associate Cockney with the lower class and with being less educated or "proper." While Americans heavily linguistically profile speakers of the two dialects, it is not so common in Britain where speakers understand that Cockney is more popular. Dialect can be interpreted differently by those that do not speak the dialect at all.

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We're Terribly Sorry, but You Sound a Bit Too British for Britain

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The Queen's English is out of vogue. Many of the U.K.'s biggest brands are ditching commanding, elite-sounding voices; complaints about 'shed-jul.'

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In English, I believe I have a dialect specific to the region I am from, Prince George’s County. There are some slang words that are used mainly in this county which my friends from other places will not understand. Marylanders also apparently have an accent, which of course we find absurd but inhabitants of other states are quick to agree with. I learned this dialect from my peers, classmates, friends, and people I grew up with. This dialect is important to my identity as it includes certain vocabulary that mean things to me that I cannot find anywhere else. It gives me a uniqueness from my region.

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Linguistic profiling, as founded by John Baugh, is exemplified in the movie "Sorry to Bother You" in which a black telemarketer loses his audience on every call before he started using his "white voice." This act is seen as comedy in the movie and is commonly referenced as a joke on social media and among youth. Many minorities joke about the advantages of speaking with an employer or company representative over the phone and being treated better because they sound Caucasian. The person they speak to makes assumptions about race, education, and economic status, all based on the sound of one's voice. This is the epitome of linguistic profiling.

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In the film "Sorry to Bother You," a black telemarketer finds success only after he starts speaking in a "white voice."

The movie is rooted in science - linguists have long known that minorities face discrimination based on the sound of their voice.

One linguist tried responding to local apartment listings using three accents - white, black, and Latino - and was offered more appointments when the landlord thought he sounded white.

In the upcoming movie " Sorry to Bother You," a black telemarketer named Cash can't finish a single call without getting hung up on.

But Cash's fortunes change after a colleague instructs him to start calling customers using his "white voice." Suddenly, by changing his accent to that of a white man, he achieves unheard-of levels of telemarketing success.

While "Sorry to Bother You" may be a comedy, its premise is rooted in science. Language experts have recognized for years that people face discrimination not just based on their race but the sound of their voice - especially when they sound like a minority.

John Baugh, a linguist at Washington University in St. Louis, was the first to document the "linguistic profiling" some minorities face over the phone. It started in the late 1980s when Baugh, who is black, said he was discriminated against while searching for apartments in Palo Alto, California, where he was living as a fellow at Stanford University.

Baugh launched an experiment in which he made hundreds of phone calls to landlords who had listed apartments in the San Francisco area. He greeted each landlord with the same line: "Hello, I'm calling about the apartment you have advertised in the paper." But he didn't always say it in the same accent - he alternated between using an African-American accent, a Mexican-American accent, and his natural accent, what he called professional standard English.

He found that in white areas, landlords were far less responsive to him when he used his black or Latino accent. In one predominantly white community, landlords offered to show him the apartment 70% of the time when he used his standard-English voice, but less than 30% of the time when he spoke in a black or Latino dialect.

Baugh's research proved that racism extends further than just face-to-face interactions.

"For people who felt that they had been the victims of linguistic discrimination, they were happy to see it," he told Business Insider. "And it was the kind of affirmation of like, well, we knew this all along. We knew it. We just didn't know that it could be proved scientifically."

Can you really tell someone's race based on their voice?

Although language and ethnicity are closely intertwined, the notion that one can "sound white" or "sound black" has stirred controversy in the past. It came up in the OJ Simpson murder case, when Johnnie Cochran memorably argued that it was inherently racist to assume someone's race based on the sound of their voice.

But as Baugh explains, we make inferences from people's voices all the time. We can usually tell when a speaker is a man or a woman, for example, and we can get a sense if they're old or young. Guessing someone's race is the same thing.

"It's not necessarily racist to draw an inference about a person's race from their speech," Baugh told Business Insider. "What is potentially racist is if you act on that inference in a discriminatory way."

Although Baugh's research uncovered a harsh reality for minorities, he said it did little to wipe out housing discrimination for good. Instead, it simply motivated the real estate industry to change its tactics.

Minorities still face discrimination in the housing market, as the Urban Institute think tank has shown. But now, instead of rejecting them over the phone, Baugh said brokers will often go through the process of having them fill out applications and granting them appointments before ultimately rejecting them, making it harder to take legal action.

"One of the unintended consequences of the research was that for those that wanted to discriminate, they realized, 'Oh, I'd better be a little more sophisticated than just simply telling people no.'"

For Baugh, the issue goes far beyond fair housing - it cuts to the heart of the American identity.

"Many of the people who engage in linguistic profiling and linguistic discrimination are descendants of people that came from someplace where English is probably not spoken. And some of their ancestors at one point in time, whether they came from Italy, Germany, Vietnam, or the Philippines, were subject to a form of linguistic discrimination," Baugh said.

"Accepting others who speak different than you do can potentially be a step toward healing divisions in the country."

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'Sorry to Bother You' is right - minorities are judged by the sound of their voice, and there's science to prove it

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In the new film "Sorry to Bother You," a black telemarketer finds success only after he starts speaking in a "white voice." The movie is rooted in science - linguists have long known that minorities face discrimination based on the sound of their voice.

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The article discusses America's linguistic diversity created by a variety of racial and ethnic groups. There are a number of other factors that affect dialect America, such as immigration, history, and geography. I found it interesting how mountains had an effect on people's accents but not bodies of water that separated people.I selected Varieties of New Orleans dialects because I find it interesting how people from the same area can have such varying dialects and accents. I learned about how heavily accents are associated with class. It creates a divide between those who live uptown and the rest of the area. People who live uptown do not realize they have an accent and find the accents of those who live not too far from them "foreign" and "amusing." Accents are heavily associated with socioeconomic class and can make it hard to gain jobs and live a normal life.

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Finally, a map that explains the complex reasons you're probably not pronouncing "chowder" right, and why we should all start saying "y'all."

As much as the United States may be unified by/ its popular culture, American culture is actually an amalgamation of numerous ethnic and historical influences.

The below map, created by Long Island University reference associate and library webmaster Robert Delaney, is designed to show the considerable linguistic diversity of the United States, which shapes both the way that we communicate and the discourses that we have.

In the map, which is based on the book Success With Words: A Guide to the American Language, Delaney divides the country into three main dialect groups: General Northern in blue, Midland in purple, and General Southern in red. Those groups, in turn, contain 25 regional dialects, each of which has a distinct accent, lexicon, and grammar.

(If you want to see where your accent falls, try pronouncing the list of words found .)

Delaney's work makes several things apparent. The map shows that linguistic groupings clearly have little to do with the administrative divisions that we're so used to seeing imposed on the map, as cultural divisions transcend state lines, as in the sprawling, Scandinavian-influenced Upper Midwestern area. In fact, distant areas can have more in common linguistically than the regions between them. The "General Northern" region stretches across the Canadian border and down the West Coast, pointing toward the fact that California and the Maine have more in common linguistically than they do with, say, the Gulf Coast.

When it comes to individual dialects, geography plays an important role in isolating and dividing populations. While large bodies of water seem to have little effect - the location of the Mississippi River, for instance, isn't at all evident - mountains often play a role in creating distinct language groups.

While Appalachia is well known for its distinct culture, Delaney identifies a 30-by-60 mile are of the Smoky Mountains as containing uniquely "archaic features in its pronunciation, vocabulary, and grammar." The are similarly divided from the Pennsylvania Dutch and Scotch Irish inflected South Midland area.

While some of Delaney's dialects span several states, he identifies a number of American cities as having prominent local speech patterns.

New Yorkers and Bostonians have long been mocked for their thick local accents, both of which are prone to dropping the letter R, much as Chicagoans are known for their love of . However, Delaney identifies the San Francisco Bay Area as distinct from surrounding Northern California thanks to the accents of the Midwesterners and Easterners who have flocked there over the years.

Historical cultural migrations are also responsible for some of the smaller linguistic blobs on the map, as in the South, where not all drawls are created the same. In Louisiana, the influence of French-speaking settlers resulted in Cajun culture, and the Southeast Atlantic coast, where descendants of slaves from disparate regions of Africa speak Gullah.

Delaney points out that further linguistic divisions are, of course, possible. Immigrants bring their own accents, and patois, to the cities in which they settle. And even native speakers in individual cities can have highly distinct accents. In New Orleans, for instance, you can hear multiple accents, from the lower- and middle-class white "Yat" (which is oddly similar to Broolynese), to the highfalutin enunciation of the uptown white population, to the dialect of the African American community, each of which defines the cultural and class background of the speaker. Which is not even to address the wide regional variations in African American Vernacular English.

While Americans may be shaped by different cultural influences, speak different dialects, and have distinct political leanings, our expansive country still has plenty of room for discourse. More attention should be paid to how we communicate, and the importance of cooperating across cultural boundaries - whether or not you say "pop" or "soda," and no matter how you pronounce the word

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Which American English Do You Speak? This Map Shows the Dialects Of the USA

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Finally, a map that explains the complex reasons you're probably not pronouncing "chowder" right, and why we should all start saying "y'all." As much as the United States may be unified by/ its popular culture, American culture is actually an amalgamation of numerous ethnic and historical influences.

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For the following video and others, I listened to the following video along with other ones before watching it and made assumptions about the speaker based on their accent and dialect. For this particular video, I associated things such as setting, region, socioeconomic status, and education with his dialect. Viewing the video could not confirm any of my assumptions except the region, which I was unable to make an accurate assumption about since the speaker's dialect is common in my area and in the media. The act of just listening to the speaker's dialect and making assumptions about their background and identity helped me further define linguistic profiling, as that is what I was doing in the activity myself.

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Accent Challenge --Mid-Atlantic American Accent

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In this email, I am emailing a coworker for printing. When writing my the message, I use a subject line and formal greeting that addresses my coworker. These are part of the formalities of the workplace. I make sure to use proper grammar and mechanics and identify myself at the end of the email. Because this is a professional environment, I made sure to change my way of speaking to make a good impression as am employee.

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The Dialect Map exemplifies how one's dialect may be influenced by more than geography. When I took the Dialect Map Quiz, I answered a series of questions in regards to my dialect such as which words I use to identify certain objects and how I pronounce different words. I was born and raised in Virginia and Maryland but according to the quiz, my dialect is most similar to that of speakers from Boston, MA or Long Beach, CA. This may be so due to several factors that prove that dialect is influenced by more than geography. I may have learned my dialect from educators, peers, or figures that spoke in dialects from those regions. It may have been the influence of media such as books or television. Many different factors affect how one speaks.

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You're viewing another reader's map. Click here to take the quiz and see your own.

Your Map

See the pattern of your dialect in the map below. Three of the most similar cities are shown.

These maps show your most distinctive answer for each of these cities.

About This Quiz

The data for the quiz and maps shown here come from over 350,000 survey responses collected from August to October 2013 by Josh Katz, a graphics editor for the New York Times who developed this quiz and has since written "Speaking American," a visual exploration of American regional dialects.

Most of the questions used in this quiz are based on those in the Harvard Dialect Survey, a linguistics project begun in 2002 by Bert Vaux and Scott Golder. The original questions and results for that survey can be found on Dr. Vaux's current website.

The colors on the large heat map correspond to the probability that a randomly selected person in that location would respond to a randomly selected survey question the same way that you did. The three smaller maps show which answer most contributed to those cities being named the most (or least) similar to you.

Additional work by Eric Buth.

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You're viewing another reader's map. Click here to take the quiz and see your own. Your Map See the pattern of your dialect in the map below. Three of the most similar cities are shown. These maps show your most distinctive answer for each of these cities.

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When writing someone, dialect can depend on a number of factors including who you're writing, the context and your relationship with the person. Two different emails regarding the same matter are displayed. In both emails, I need items printed. In this post, I am asking my mom for printing, since we are family, I am able to write an informal email without a subject line, greeting, or proper grammar and mechanics. When emailing formally, as shown in the other part, I must change my style.