What the stories in this collection have in common is insight into the scheme of things, with emphasis on beginnings, adorned with a fairy tale aura that keeps the smiling overtones from turning into smirks, It also induced me to name the entire collection by an invocation of parental blessings for tentative steps in unexplored realms. The selection of contributor names reflects my mixed Romanian Israeli heritage, and will be appreciated by connoisseurs of local idioms.
"Look Ma We Made It", is an amusing and moving tribute to the author's parents. Her childhood is fondly recalled, with plenty of heart-warming episodes to chuckle over. Thelma writes with humor and paints vivid portraits of herself and of many colorful personalities she encountered along the way.
On Saturday, June 27th, 2020, after 105 days of Covid-isolation alone in my tiny, single-souled apartment in Toronto, I took off on my old Raleigh bicycle, packing nothing but some bike tools, camping gear, and a change of clothes. In search of some personal sanity amidst a global pandemic, I headed for Vancouver, by myself, nearly five thousand kilometers away. The day after I left, however, my mother died. My relationship with my mother had been complicated. Her sudden death was completely unexpected and left me with many unsaid words, unanswered questions, and unfinished business. Mom, how do I write our final chapter and find peace for us without your help or input? I hadn't a clue. However, with her ashes in tow (mom riding VIP up front on the handlebars), somehow I was - we were - going to have to figure it out. And this is how my solo journey from Toronto to Vancouver became a bicycle ride for two. But could I, at the age of forty-five, after not having been on a bike for four years, just get up and ride thousands of kilometres across the country and then up the skyscraping mountain range of the Canadian Rockies? Especially after only three training rides to prepare? There was only one way to find out. Ready, Mom? Let’s go...
The workshops in Look Ma,"Hands" on Poetry are designed to help teachers and poets familiarize elementary through high school students with a variety of creative and fun ways to engage their imaginations and write poetry They do so by encouraging teachers and students to explore, together, the art of poetry; i.e., the art of employing the five senses to capture experience in language. The workshops also introduce young writers to a wide range of poets and the poetic techniques and styles that they have incorporated in their writing. As a result when students complete a series of workshops from this book, they will know how to write a poem They may enjoy reading more poetry, too, because they will have a solid understanding of how poetry works. Finally, there are exciting ideas in Look Ma, "Hands," on Poetry for ways in which young writers can exhibit and perform their poetry. The workshops in this book run from 45-60 minutes with the time divided into three segments. In the first, the teacher reads and discusses poems that are examples of the types of poetry students will be writing. In the second, the teacher introduces the writing assignment and has students begin writing. Finally, students who finish poems are invited to share them in the remaining class time. Because poetry is the art of capturing experience in language, the workshops are structured around sight, smell, taste, touch, and sound. Each of the workshops in the first five chapters is geared toward exploring one of these senses, and the two later chapters contain workshops that require students to use all five to write their poems. As a result, workshops from each chapter may be used individually or in sequence to create one or twoweek poetry units that teachers and students can enjoy. Workshops in the book include the Sleight-of-Hand and Animal Mask Workshops wherein students use metaphor, simile, and personification to create imagery in poems. They use music and musical instruments to help them create sound and rhythm in the Native American, Chant, and Rap Workshops, and then they literally play with words to write Bingo and Multiple Voice Poems. Young people have opportunities to express their feelings through poetry in the Blues, Love Potion, and Ode Workshops; and finally, they use their five senses simultaneously when writing Bubble and Rainbow Poems and when they interpret paintings, sculpture, and music in Echphrastic Poems. The book's final section presents creative ideas for poetry readings, books, and displays. Suggestions for readings include the Poetry Cafe, which can incorporate any of the Coffee House, Tea Room, 1950's Diner, and/or Greco-Roman Garden venues discussed in this section. Student poetry books and chapbooks complete with student art and photos are described here, too, along with plans for poetry rainbows, sidewalks, mobiles, and poetry word collections.
When Kent Bell was born on Valentine's Day in 1965, he was not expected to live even twenty-four hours. Now, forty-nine years later, he just keeps going and going. In Look Ma, No Hands, No Legs Either, he narrates his life story, beginning with being born without arms or legs. In this memoir, Bell tells what it's like living and thriving with a disability. From his birth, to moving regularly with his military family, to attending school and college, to accomplishing more in life than an average person, he shares the ups and downs of almost fifty years. Look Ma, No Hands, No Legs Either details how Bell, a sports enthusiast, became a scorekeeper for many activities, from Little League to the pros, including being the first disabled person to be an official scorekeeper in the 2004 USA Olympic basketball event. Bell's story shows how everyday he faces insurmountable obstacles to the most simple of activities. Through fortitude and perseverance he has achieved his dreams, and he has also been proactive in working on committees and task forces to change the laws for people with disabilities. With detail and emotion, Look Ma, No Hands, No Legs Either communicates Bell's determination of courage, passion, strength, endurance, integrity, and most of all, a positive attitude.
As Vail's Bob Parker tells the story, the only difference between the early days of Vail and those of the mining towns in Colorado nearly a hundred years earlier was that Vail's gold was white. Otherwise the scene was similar-the streets were dirt covered, the bars were rowdy, buildings were being constructed everywhere, and the same self-starting and chance-taking spirit prevailed. If you are new to Vail this book should serve as a guide to the trails and special features that you'll find here. If you've been to Vail before, it's possible that you've missed a run that might be perfect for you or a special feature that will help complete your skiing day. If you're an old timer, there may be new programs you're not aware of or perhaps a secluded part of Vail Mountain you haven't discovered.
Languages: English with extended summary in Spanish, Spanish with extended summary in English The works included in this volume offer a comprehensive approach to the updating of theories, methodological innovation and empirical application in relation to the most central problems in the educational process, in three sections: adult-child interaction in family and experimental contexts; teacher-pupil interaction in the school context; and learning and development in peer interaction. This volume is a clear exponent of the vigour of the sociocultural approach, from which it emphasises the cultural, social and communicative nature of learning, development and the construction of knowledge. Idiomas: Inglés, con resumen extenso en español, Español con resumen extenso en inglés Los trabajos recogidos en este volumen ofrecen un equilibrado compendio de actualización teórica, innovación metodológica y aplicación empírica a los problemas más centrales del proceso educativo agrupadas en tres secciones: La interacción adulto-niño en contextos familiares y experimentales, la interacción maestro-alumno en el contexto escolar, y el aprendizaje y el desarrollo en la interacción entre iguales. Este volumen es un claro exponente de la pujanza de la aproximación sociocultural, desde la que se enfatiza el carácter cultural, social y comunicativo del aprendizaje, el desarrollo y la construcción del conocimiento.
It's a beautiful, clear spring day, and soon the cherry blossoms will fall from the trees and blanket the ground like snow. This season promises to be extraordinary, but it won't be the same without Da, who passed away at Christmastime. Finn O'Brine stares out the window, taking it all in. He can't believe his father will never spend time with him again. And he can't believe there's a bat at his window-talking to him. Before his death, Mr. O'Brine told Finn many stories about colossal dragons, sorcery, and the magic of Wickum Mannor in Ireland-but they couldn't possibly be real, right? Wrong! Magic runs in the O'Brine family; it's part of their heritage. Now thirteen, Finn will begin to show signs of his magical inheritance any day now. It's time for Finn; his twin sister, Neave; his younger brother, Jack; and his mother, Ailish, to leave the comfort of their home in America and journey to Wickum Manor themselves. They expect a summerlong adventure, but the O'Brine children may not be as ready as they think. With all the fantastic things to experience and discover on the four-hundred-acre estate, will Finn want to enroll at the magical Wickum Academy, or will he choose to return to his friends and classes in America at summer's end?
"Musical theatre dance is an ever-changing, evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists and requiring dramaturgical understanding, character analysis, knowledge of history, art, design and most importantly an extensive knowledge of dance both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis: derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theatre and dance, belies and ignores the historic role it has had in musicals as an expressive form equal to book, music and lyric. The standard adage, "when you can't speak anymore sing, when you can't sing anymore dance" expresses its importance in musical theatre as the ultimate form of heightened emotional, visceral and intellectual expression. Through in-depth analysis author Liza Gennaro examines Broadway choreography through the lens of dance studies, script analysis, movement research and dramaturgical inquiry offering a close examination of a dance form that has heretofore received only the most superficial interrogation. This book reveals the choreographic systems of some of Broadway's most influential dance-makers including George Balanchine, Agnes de Mille, Jerome Robbins, Katherine Dunham, Bob Fosse, Savion Glover, Sergio Trujillo, Steven Hoggett and Camille Brown. Making Broadway Dance is essential reading for theatre and dance scholars, students, practitioners and Broadway fans"--
