Why Did Hatshepsut Become King Why Stay in Power

In about 1473 BCE, a woman, Hatshepsut, took the unprecedented step of becoming king of Egypt with full kingship powers and a male identity. She thus displaced, for about two decades, her stepson and nephew Thutmose III, assumed heir of her husband. And she did this in a time of relative peace and considerable economic prosperity and stability in Egypt; most women who ruled as regents or solely did so in chaotic times. Heres a summary of some of the current thinking about Hatshepsuts motivations for becoming—and remaining—the Pharaoh of Egypt. Initial Rule as Regent: A Tradition Hatshepsuts initial rule was as the regent for her stepson, and though she was depicted as a senior ruler and he as the junior partner in their rule, she did not initially take on full kingship. In ruling as a regent, protecting the throne for her husbands heir, she was following in some recent footsteps.  Other women of the 18th Dynasty had ruled  in that relationship. The Trouble With Titles Women rulers before Hatshepsut had ruled as the mother of the next king. But Hatshepsuts regency was a bit different, and thus her legitimacy in ruling may not have been quite so clear. For kings of ancient Egypt, we often use the title Pharaoh—a word derived from an Egyptian word that came to be used for individuals only with the New Kingdom, about the time of Thutmose III. The meaning of the word is Great House and earlier may have referred to the government or, perhaps, the royal palace. The more generic king is probably more accurate a title for describing the royal rulers of ancient Egypt. But later usage has made the title Pharaoh common for any king of Egypt. No Queens? Theres no word in ancient Egypt equivalent to the English word queen—that is, a female equivalent of king. In English, its customary to use the word queen not just for women who ruled as fully equivalent of kings, but also for the  consorts of kings. In ancient Egypt, and more to the point in the Eighteenth Dynasty, the titles of consorts of kings include such titles as Kings Wife or Kings Great Wife. If she was eligible, she might also be designated Kings Daughter, Kings Mother, or Kings Sister. Gods Wife The Kings Great Wife might also be called Gods Wife, probably referring to the wifes religious role. With the New Kingdom, the god Amun became central, and several kings (including Hatshepsut) depicted themselves as divinely conceived by the god Amun, coming to the Great Wife of their (earthly) father in the guise of that father. The disguise would have protected the wife from allegations of adultery—one of the most serious offenses against marriage in ancient Egypt. At the same time, the divine parent story let people know that the new King had been chosen to rule, even from conception, by the god Amun. The first kings wives to be named as Gods Wife were Ahhotep and Ahmos-Nefertari. Ahhotep was the mother of the founder of the Eighteenth Dynasty, Ahmose I, and the sister/wife of Ahmose I, Ahmos-Nefertari. Ahhotep I was the daughter of the previous king, Taa I, and wife of her brother, Taa II. The title Gods Wife has been found on her coffin, so it may not have been used during her lifetime. Inscriptions have been found as well naming Ahmos-Nefertari as Gods Wife. Ahmos-Nefertari was the daughter of Ahmos I and Ahhotep, and wife of Amenhotep I. The title Gods Wife was used later for other Great Wives, including Hatshepsut. It was also used for her daughter, Neferure, who apparently used it when performing in religious rites alongside her mother Hatshepsut after Hatshepsut had assumed the power, title, and image of a male king. The title fell largely out of use by the middle of the Eighteenth Dynasty. No Title for Regent? There was also no word in ancient Egyptian for regent. When women earlier in the Eighteenth Dynasty ruled for their sons during their sons minority, they were described with the title Kings Mother. Hatshepsuts Title Problem With Hatshepsut, the title Kings Mother would have been problematic. Her husband, Thutmose II, died when his only known surviving son was probably quite young. Thutmose IIIs mother was a minor, presumably non-royal wife named Isis. Isis had the title, Kings Mother. Hatshepsut, as the Kings Great Wife, half-sister to her husband, Thutmose II, had more claim on royal descent than Thutmose IIIs mother, Isis. Hatshepsut was the one chosen to be regent. But Thutmose III was her stepson and nephew. Hatshepsut had titles of Kings Daughter, Kings Sister, Kings Great Wife, and Gods Wife—but she was not Kings Mother. This may be part of the reason it became—or seemed at the time—necessary for Hatshepsut to take another title, one unprecedented for a Kings Wife: King. Ironically, by taking the title King, Hatshepsut may also have made it difficult for her successors to carry on any public memory of her co-rule with or regency for Thutmose III. Wicked Stepmother Theory Older versions of Hatshepsuts  story assume that Hatshepsut seized power and ruled as a wicked stepmother, and that her stepson and successor got his revenge after her death by removing her memory from history. Is this what happened? Soon after evidence of the existence of a female pharaoh,  Hatshepsut, was recovered in the 19th century, archaeologists figured out that Hatshepsut had ruled as a king, and not just regent for her stepson and nephew, Thutmose III;someone, presumably Thutmose III, had defaced inscriptions and statues, attempting apparently to remove evidence of such rule; andHatshepsut had an unusually close relationship with a commoner, Senenmut. The conclusion many drew was whats now referred to as the wicked stepmother story. Hatshepsut was assumed to have taken advantage of the true heirs infancy or youth, and seized power from him. Hatshepsut was also assumed to have ruled alongside Senenmet, or at least with his support, and to have taken him as her lover. As soon as Hatshepsut died, in this story, Thutmose III was free to exercise his own power. Out of hatred and resentment, he carried out a vicious attempt to erase her memory from history. Questioning the Story Although traces of this story can still be found in many reference sources, especially older ones, the wicked stepmother story eventually became suspect. New archaeological finds—and, perhaps, changing cultural assumptions in our own world that influenced assumptions of Egyptologists—led to serious questioning of the Hatshepsut the wicked stepmother myth. Selective Removal of Images It became apparent that the campaign to remove Hatshepsuts inscriptions had been selective. Images or names of Hatshepsut as queen or priestess were far less likely to be defaced than images or names of Hatshepsut as a king. Images unlikely to be seen by the public were far less likely to be attacked than those that were obvious. Removal Was Not Immediate It also became apparent that the campaign didnt happen immediately after Hatshepsut died and Thutmose III became sole ruler. One would expect a hate-filled campaign rooted in deep resentment would take place more quickly. It was thought that the wall around the bottom of Hatshepsuts obelisks was built by Thutmose III to cover images of Hatshepsut. The date of the wall was put at about twenty years after Hatshepsuts death. Since images on the lower covered part of the obelisks werent defaced and represented Hatshepsut as king, this led to the conclusion that it took at least twenty years for Thutmose III to get around to this literal cover-up of Hatshepsuts kingship. At least one group, a French archaeology team, conclude that Hatshepsut herself had the wall built. Does that mean that Thutmose IIIs campaign could have been immediate? No—because new evidence shows statues with cartouches naming Hatshepsut as king were built over about ten years into Thutmose IIIs sole reign. So, today, Egyptologists generally conclude that Thutmose III took at least ten to twenty years to get around to removing the Hatshepsut-as-king evidence. Thutmose III Not Idle To read some of the older sources, youd think Thutmose III was idle and inactive until after the death of his wicked stepmother. It was commonly reported that  after  Hatshepsuts death, Thutmose III embarked on a series of military campaigns. The implication: that Thutmose III was powerless while Hatshepsut lived, but that he was so militarily successful afterwards that some have called him the Napoleon of Egypt. Now, evidence has been interpreted to show that, after Thutmose III was old enough, and before Hatshepsuts death, he became head of Hatshepsuts army, and actually carried out several military campaigns. This means that its highly unlikely that Hatshepsut held Thutmose III as a virtual prisoner, helpless until her death to take power. In fact, as head of the army, he was in a position to seize power and depose his stepmother during her lifetime, if he were—as the wicked stepmother story would have it—festering with resentment and hate. Hatshepsut and the Egyptian Theology of Kingship When Hatshepsut took power as king, she did so in a context of religious beliefs. We might call this mythology today, but to the ancient Egyptian, the identification of the king with certain deities and powers was essential for the security of the unified Egypt. Among these deities were Horus  and Osiris. In ancient Egypt, including in the time of the Eighteenth Dynasty and  Hatshepsut, the kings role was tied up with theology—with beliefs about the gods and religion. By the time of the Eighteenth Dynasty, the king (pharaoh) was identified with three separate creation myths, all of which featured a male exercising generative creative power. As with many other religions, this identification of the king with generativity was assumed to be the foundation of the generativity of the land. The kings power, in other words, was believed to be at the base of Egypts survival, thriving, strength, stability, and prosperity. Ancient Egypt was comfortable with human/divinity duality—with the idea that someone could be both human and divine. A king had both a human name and a crown name—not to mention a Horus name, a golden Horus name, and others. Kings played parts in the rituals—but to the Egyptians, the identification of the person and the god was real, not play. Kings took on the identity with different gods at different times, without diminishing the power and truth of the identification within the Egyptian theology. Religious rituals involving the king were believed to recreate the land. When a king died and the male heir was too young to take the role of the creative male gods in the rituals, the question was opened: whether Egypt could prosper and be stable during this time. One wonders if the reverse might also be true: if Egypt turned out to be strong and stable and prosperous without those male-king-centered rituals, might not there be questions about whether the king was necessary? Whether the temple and its rituals were necessary? Hatshepsut began to exercise a co-rulership with her stepson and nephew, Thutmose III. If she were to adequately protect Egypts strength and power for the time when Thutmose III would be old enough to exercise power on his own, it may have been deemed necessary—by Hatsepsut? the priests? the court?—for Hatshepsut to take on these religious roles. It may have been deemed more dangerous to neglect those rites than to have Hatshepsut assume the maleness that was assumed to be needed to perform them properly. Once Hatshepsut took the step of becoming fully king, she went to great lengths to justify that this was the right thing to do—that all was right with the universe even with a woman taking on a male and kingly role. Heiress Theory Many of the royal kings (pharaohs) of ancient Egypt were married to their sisters or half-sisters. Many kings who were not themselves the son of a king, were married to the daughter or sister of a king. This has led some Egyptologists, since the 19th century, to post an heiress theory: that succession was through inheritance in a matriarchal line. This theory has been applied to the Eighteenth Dynasty, and thought to explain the justification  Hatshepsut  might have used to declare herself a king. But in the Eighteenth Dynasty, there are a number of instances where a kings mother and/or wife is known or suspected not to be royal. Amenhotep I, predecessor of Hatshepsuts father, Thutmose I, was married to Meryetamun who may or may not have been his sister, and thus royal. Thutmose I was not the son of a royal woman. Thutmose Is wives, Ahmes (mother of Hatshepsut) and Mutneferet, may or may not have been daughters of Ahmose I and sisters of his son, Amenhotep I. Thutmose II and III were not sons of royal women, as far as is known. Both were born of minor, non-royal wives. Amenhotep IIs mother and Thutmose IIIs wife, Meryetre, was almost certainly not royal. Clearly, royalty could be seen in the Eighteenth Dynasty as passing through either father or mother. In fact, Thutmose IIIs desire to emphasize the legitimacy of the descent of his son, Amenhotep II, through the patrilineal line of Thutmose I, II, and III, may have been a major motive for removing images and inscriptions that documented that Hatshepsut had been a king. Why Did Hatshepsut Stay King? If we think we understand why Hatshepsut or her advisors felt it necessary to take on the full kingship, theres one question left: why, when Thutmose III became old enough to rule, didnt he seize power or Hatshepsut step aside voluntarily? The female pharaoh Hatshepsut ruled for more than two decades, first as a regent for her nephew and stepson, Thutmose III, then as full Pharaoh, assuming even a male identity. Why didnt Thutmose III become the pharaoh (king) as soon as he came of age? Why didnt he remove his stepmother, Hatshepsut, from the kingship, and take power for himself, when he was old enough to rule? Its estimated that Thutmose III was very young at the time his father, Thutmose II, died, Hatshepsut, wife and half-sister of Thutmose II, and thereby stepmother and aunt of Thutmose III, became regent for the young king. In early inscriptions and images, Hatshepsut and Thutmose III are shown as co-rulers, with Hatshepsut taking a more senior position. And in year 7 of their joint reign, Hatshepsut took on the full powers and identity of a king, and is shown dressed as a male king from that time. She reigned, it seems from the evidence, for more than 20 years. Surely Thutmose III would have been old enough to take over by the end of that time, whether by force or with Hatshepsuts cooperation? Does the failure of Hatshepsut to step aside speak for her usurpation of power against the will of Thutmose III? For his weakness and powerlessness, as in the no-longer-widely-accepted wicked stepmother story? In ancient Egypt, the kingship was tied up with several religious myths. One was the Osiris / Isis / Horus myth. The king was identified, during life, with Horus—one of the kings formal titles was a Horus name. At the kings death, the king became Osiris, father of Horus, and the new king became the new Horus. What would it do to this identification of the deities Horus and Osiris with the king, if the previous king did not die before the new king took on full kingship? There are some co-ruling kings in Egyptian history. But there is no precedence for a former Horus. There was no way to become un-king. Only death could lead to a new king. Religious Reasons Thutmose III Could Not Take Power It was most likely in Thutmose IIIs power to overthrow and kill Hatshepsut. He was general of her army, and his military prowess after her death attests to his skill and willingness to take risks. But he did not rise up and do so. So if Thutmose III did not hate his stepmother, Hatshepsut, and out of hate want to overthrow and kill her, then it makes sense that for the sake of Maat (order, justice, rightness) that he cooperated with her remaining as king, once shed taken the step of declaring herself king. Hatshepsut had already apparently decided—or the priests or advisors had decided for her—that she must take on the role of king and a male identity, as there was also no precedence for a female Horus or Osiris. To break with the identification of the king with the myth of Osiris and Horus would have also been to question the identification itself, or to seem to open Egypt to chaos, the opposite of Maat. Hatshepsut may have been, essentially, stuck with the identity of the king until her own death, for the sake of Egypts prosperity and stability. And so also was Thutmose III stuck. Sources consulted include: James H. Breasted.  A History of Egypt from the Earliest Times to the Persian Conquest.  1905.Kara Cooney.  Interview, July 3, 2007.Aidan Dodson and Dyan Hilton.  The Complete Royal Families of Ancient Egypt.  2004.W. F. Edgerton.  Thutmosid Succession.  1933.Zahi Hawass.  The Realm of the Pharaoh.  2006.John Ray. Hatshepsut: the Female Pharaoh.  History Today.  Volume 44 number 5, May 1994.Catharine H. Roehrig, editor.  Hatshepsut: From Queen to Pharaoh. 2005. Article contributors include Ann Macy Roth, James P. Allen, Peter F. Dorman, Cathleen A. Keller, Catharine H. Roehrig, Dieter Arnold, Dorothea Arnold.Secrets of Egypts Lost Queen. First aired: 7/15/07. Discovery Channel. Brando Quilico, executive producer.Joyce Tyldesley.  Chronicle of the Queens of Egypt.  2006.Joyce Tyldesley.  Hatchepsut the Female Pharaoh.  1996.

Ethical And Legal Boundaries Of Wells Fargo - 1355 Words

Wells Fargo is an American bank that was created in 1852 by Henry Wells and James Fargo. It is the second largest bank in the USA in terms of market cap, operates in over 42 countries around the world, and has over 260,000 employees. In 2016, federal regulators caught Wells Fargo, creating millions of fake bank and credit card accounts; over 1.5 million bank accounts were created. Furthermore, federal regulators also said that 565,443 credit cards were created, and 1400 of those accounts had been charged over 400,000 dollars in fees. Wells Fargo employees broke many ethical and legal boundaries and engaged in counterproductive work behavior. Counterproductive work behavior has a negative impact on the company, it’s employees and†¦show more content†¦This practice was so common that Wells Fargo employees had several methods for doing this. The first method is sand bagging. Sand Bagging involves failing to open accounts by customers at their requested date, instead accumulating accounts to open in the next sales period to inflate profits. Another practice was called Pinning which was creating pin numbers without customer’s authorization, and attaching them to credit cards. Then employees would impersonate customers on Wells Fargo’s computers and use these pin numbers to create online banking and bills for customers. Finally, a practice called bundling was done where Wells Fargo employees would mislead customers saying that certain banking products were only available in bundles which forced customers to add more products than they wanted. So, one wonders, how could this have happened? Why di d high expectations of sales lead to unethical, almost criminal behaviour? This is tied to Goal Setting theory. Goal setting theory, created by Edwin Locke, states that employees are motivated by clear goals, and appropriate feedback. Individuals that were given clear, specific and difficult goals had greater performance than individuals given general and easy goals. However, research has shown that setting unattainable and challenging goals can lead to risky or even unethical behaviour. A study done byShow MoreRelatedOur Paper Today Will Be On Wells Fargo. Wells Fargo Is1354 Words   |  6 PagesOur paper today will be on Wells Fargo. Wells Fargo is an American bank that was created in 1852 by Henry Wells and James Fargo. It is the second largest bank in the USA in terms of market cap, operates in over 42 countries around the world, and has over 260,000 employees. In 2016, federal regulators caught Wells Fargo creating millions of fake bank and credit card accounts; over 1.5 million bank accounts were created. 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Application of Music Intervention-.com

Question: Conduct a Critical Literature Review to identify research gap regarding a significant public health problem, and present the findings of this review. Answer: Proposal topic Application of music intervention for the treatment of Attention deficit hyperactivity disorder among 14-17 year aged children in Australia. Background Attention deficit hyperactivity disorder ADHD is a neurodevelopmental disorder, primary found in children, characterised by inattention and impulsivity or hyperactivity that interferes with their development and functioning. It was initially known as Hyper Kinetic Disorder. The most common characteristic features of HKD were overactivity, restlessness, distractibility and short attention span while completing a particular task Cahill et al., 2012. ADHD was specifically characterised by the DSM-R criteria during the late 1980s and considered hyperactivity as the most consistent feature (Polanczyk et al., 2014). ADHD can be categorised into three types that are mentioned below: Predominantly inattentive type Combined type Predominantly hyperactivity and impulsive type The common symptoms of ADHD create subsequent difficulties for children to learn, socialise, maintain interpersonal relationships and manage behaviour. Disagreements exist regarding the number of people who are affected. Globally, ADHD is reported to be present among 4.6 million children, belonging to the age group of 4-17 years (Efron, Davies Sciberras, 2013). It is thought to be prevalent among 6.8% children in the Australian community (Al-Yagon et al., 2013). Furthermore, data from the National Survey of Mental Health and Wellbeing suggest an 11% prevalence of ADHD among adolescents in Australia. Approximately 0.5% children belonging to that age group had been prescribed stimulant medications during 2006-2007, for treatment of the disorder (Whitely, 2012). Repeated manifestation of aggressive behaviour reduces self-esteem, increases chances of academic failure and school dropouts among such children. Recent studies provide evidences that suggest the effectiveness of music therapy in increasing attention, focus, strengthening of social skills and reducing hyperactivity among ADHD children (Moffitt et al., 2015). Recent data suggests that volume and musical distractions exhibit enhancing effects on development of cognitive skills among those children (Smith et al., 2013). The studies suggest that music therapy leads to an increase in the dopamine levels of the brain owing to shared networks with essential cognitive processes (Jang et al., 2013). This results in enhancement of attention, memory, and executive functioning. Therefore, it can be deduced that music therapy affects the physical, mental, emotional, social, spiritual and aesthetical aspects of a person and helps in improving their mental health. Goal of the project The purpose of the grant proposal is to support children and adolescents with ADHD, who face behavioural and mental issues at home settings or schools that impacts their self-confidence and learning capabilities. The proposal intends to increase attention, improve cognitive skills and reduce hypersensitivity with the use of musical therapy among children aged 4-17 years, suffering from ADHD in Australia. Literature review This review of literature will discuss about the prevalence, cause and symptoms of ADHD along with the effectiveness of the proposed intervention to reduce the symptoms and bring about positive behavioural changes among children. Numerous studies have been conducted on ADHD in order to understand the effects of music on the cognitive performance of hyperactive children. Several randomised controlled trials have found music therapy to be an effective intervention for ADHD. An RCT recruited 235 children of whom 114 were subjected to music therapy and 121 formed the control group. An analysis of the Complier Average Causal Effect estimation method (CACE), showed promising effects among the sample in regards to rate of reading correct words per minute, phonological awareness and secondary outcomes (Cogo-Moreira et al., 2013). Another study randomly assigned 29 children, aged 4 years to visual art and music classes and determined the effects of music education on development of cognitive skills. A partial replication attempt that compared no-treatment control to groups where music training had been conducted showed no significant improvements in cognitive skills (Mehr et al., 2013). The positive effects of music therapy on social interaction improvements were supported by another study that recruited 23 children with severe cognitive disabilities of whom, 12 children received family-centered music therapy. An improvement in social interaction was observed among the children who were subjected to the therapy. However, there was lack of improvement in general social responsiveness or language skills (Thompson, McFerran, Gold, 2014). Another systematic review also investigated the impact of musical experiences on the neural structures associated with emotional regulation and found that activation patterns in the brain when subjects listened to preferred and familiar music (Moore, 2013). Thus, it can be stated that several evidences exist that confirms the effectiveness of musical intervention. This forms the basis of the grant proposal. Research gaps The research conducted by Cogo-Moreira et al., (2013) used a randomized control trial to evaluate the effectiveness of music intervention on development of cognitive skills among ADHD children. However, the research gaps are associated with the fact that some children who formed the sample population had been enrolled in music sessions from early childhood. Therefore, the effects of cognitive improvement could not be contributed to the intervention. The research conducted by Mehr et al., (2013) had gaps in the observation of cognitive benefits due to music classes that had been conducted for a longer period of time. The absence of general IQ measure and the lack of direct effect assessment were other gaps associated with the study. The most important limitation of the study conducted by Thompson, McFerran, Gold, (2014) was a small sample size and utilization of parent-report assessments. The parents were non-blinded, which could have resulted in biased outcomes. The lack of specific information on the type of music intervention included in the systematic review was a major research gap. Other gaps lie in the inclusion criteria and use of western music as the stimulus (Moore, 2013). Therefore, further investigation is required to assess the effects of music intervention on improvement of cognitive skills and behavior among children with ADHD. Target population The target population that this grant proposal will aim to serve is children aged 4-17 years who attend school in the Australian Capital Territory (Canberra). There are more than 50,000 children belonging to that age group. All children who have been diagnosed with ADHD (according to the DSM-IV criteria) will be considered as eligible participants for the program (Fayyad et al., 2017). Around 50 participants will be selected across 10 schools from the region. Strategies used to select a funding source The funding source was selected by researching online sources. Key search terms included children, ADHD, funding, disability research, and mental health grants for children. The National Disability Insurance Scheme (NDIS) was selected as the funding option owing to the fact that its mission was congruent with the purpose of the research proposal (Ndis.gov.au, 2017). Although, the Department of Families, Housing, Community Services and Indigenous Affairs(FaHCSIA) initially controlled funding of research studies for disabled children, it is now controlled by the Department of Social Services (DSS). Funding is required in order to ensure effective functioning of the operations. Locating proper funding is a tedious task. Therefore, it was essential to have a well-defined idea about the research proposal. Program summary After selection of the prospective participants from 10 schools, they will be randomly divided into 2 groups, each containing 25 students. The students in the focus group as well as the control group will attend a 1 hour academic session, conducted by the teacher. The focus group will be subjected to music and videos as distracters or interventions. On the other hand, there will be no distraction in the control group. The children and staff will get adapted to the program in the first week. The music and video sessions will be introduced in the second week and will be continued through the remaining weeks of the program. The General Radio Sound Level Meter will be utilized to make the teacher turn on the video or the music when the children will be instructed to begin their class work. The distracter will be turned off at the end of the work period. The study will be conducted throughout by using behavioral intervention strategies. The program will encompass several aspects such as, point systems with response coast components and rewards, social reinforcement, classroom rules, time out, contingency privileges, and home-based regular report programs. The participants in the control group will not be subjected to any musical intervention therapy and they will continue the prescribed medications for ADHD throughout the study. The academic performance and behavioral patterns will be assessed based on the same test that will be employed in the focus group. This will help the research to ascertain the effectiveness of music therapy on cognitive skill development of ADHD patients. Evaluation The research process will be based on a survey and the participants (focus and control group) will be made to fill up the survey questionnaires thrice during the entire duration of the research. The initial survey will be conducted before commencing the intervention in order to evaluate the initial cognitive skills and behavioral ability of the participants. They will be made to respond to the questions in between the intervention in order to evaluate the short-term effects of music and video therapy on their cognitive development. A final survey questionnaire will be distributed at the end of the research that will assist in analyzing the attention paying skills, cognitive functions, general intelligence and behavioral improvements among the participants. The evaluation will also consider feedbacks form the teachers who used the intervention strategy and that of the parents of the respective participants. On comparing the feedback with other cohorts, changes will be accordingly made in the presentation. Time frame The research will be carried out over a time period of 8 weeks. The surveys will be conducted during the first, fourth and eight week of the intervention program. Outcomes The proposal aims to measure the following outcomes: Is music therapy associated with low impulsivity among children with ADHD? Does music intervention improve classroom behaviour? Does music intervention improve class performance? Sustainability This is a short term project as it will be conducted for a period of 8 weeks during which the effectiveness of music therapy on cognitive skill improvement among ADHD children will be evaluated. This project will be sustainable as a positive research outcome will help in implementing music therapy as an effective intervention to improve the quality of life of ADHD patients (Hahn Khnen, 2013). Thus, it would greatly benefit the mentally disabled children. Collaboration with the Department of Social Services and the schools will help to continue outreach and informational services for Australian children suffering from hyperactivity disorder. Proposed budget range and categories Personnel Amount ($) Non-personnel Amount ($) Program Director 8640 Office supplies 700 Social worker (Behavioural therapist) 6720 Office equipments 1500 Administrative Assistant 4320 Gas reimbursement costs 600 Teachers (4) 19200 Training 1000 Independent evaluators 1000 Miscellaneous 1000 Total cost 39880 4800 Overall expense $44680 The program director, a part-time employee will be paid $90 per hour, for 8 weeks (12 hours per week). He will hold a graduate certificate in social work and will have minimum 5 years of experience in the field. He will implement the daily management and operations of the research program. The behavioural therapist will be a full-time social worker who will have experience in working with children who suffer from ADHD. He will help in the presentations and feedback evaluations, and will be paid $70 per hour. The administrative assistant will help to conduct the screenings, telephonic interviews, surveys, and data entry (Chen, Lin Zhou, 2013). Each of the 4 teachers, who will implement the therapy on the selected students, will be paid $50 per hour for 8 weeks. Office supplies would include pens, papers, notebooks, paper clips, folders, tape and markers. The budget for office equipment will be fixed for laptops, projectors and copy machines. Gas mileage reimbursements will help the social workers to reach the different schools in order to conduct the interventions. Miscellaneous costs would include unexpected expenses such as, snacks, shipping, postage, and presentation materials during the 8 week period. The total costs would approximately be around $44680. Therefore, the budget would be approximately fixed at $49000. Lessons learned The initial step was writing the grant proposal to identify the needs of the target population. This was done by consulting with the teachers, students and their parents. An online search helped to identify the funding agencies available in the community. The literature review further helped to determine the effects of music therapy, which was the proposed intervention. Challenges The initial challenge was identifying the social need and developing a program to address the need. Challenges were faced in searching for funding organisations and locating them. In addition, developing an economically fair budget was difficult. Implications for social work This grant proposal will benefit the wellbeing of the community and will enhance the quality of life among children suffering from ADHD. This will eventually work towards facilitating changes once the funding gets approved by the agency (Larkin, Felitti Anda, 2014). It is essential to identify the indicators of ADHD and develop early intervention strategies that facilitate positive outcomes among the children. 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