Educational: Arts, general

Book SynopsisCREATIVE ACTIVITIES AND CURRICULUM FOR YOUNG CHILDREN, Twelfth Edition, is written for anyone who wants to deepen their understanding of creative and aesthetic development, the importance of arts experiences in childhood, supporting creativity in children, expanding creative approaches to teaching and integrating creativity across the curriculum. Whether you're an early childhood teacher, caregiver or administrator or a pre-service or in-service pre-K to Grade 5 teacher, this text is an invaluable resource you can turn to again and again. Covering a wide range of content areas encountered in early childhood and elementary classrooms, the text promotes creativity in children and encourages you to exercise your own creativity. The research-based theoretical foundation is applied through hundreds of practical activities. Updated throughout, the Twelfth Edition features research into theories of brain development and their application to daily practice, new topics in the Spotlight and Think About It features, recommendations for children's books that support activities and exploration and current information regarding the use of digital technology. The authors have more thoroughly integrated culturally responsive practice throughout the text, including broader consideration of how to accommodate and adapt activities and experiences for children with special needs or non-typical development. In addition, chapters have been reorganized to reflect a more natural sequence of topics to help you master even complex concepts more readily.Table of ContentsPART I: Creativity, Aesthetics, Art, and Development. 1. Creativity: Theories, Definition and Importance in the Early Childhood Environment. 2. Aesthetics: Theories, Definition and Importance in the Early Childhood Environment. 3. Arts and Physical-Cognitive Development. 4. Arts and Creative Development. 5. Arts and Social-Emotional Development. PART II: Considerations for Art and Creativity in Early Childhood Program Development���Curriculum, Goals, Strategies and Materials. 6. Foundations of Creative Activities. 7. Foundations of Creative Environments. 8. Play and Creativity. 9. Technology and Creativity. 10. Creativity and Program Basics. PART III: Creative Activities Integrated Throughout the Early Childhood Environment. 11. Two-Dimensional Activities. 12. Three-Dimensional Activities. 13. Performance Activities: Dramatic Play, Music and Movement. 14. Creative Language Experiences. 15. Creative Science. 16. Creative Mathematics. 17. Creative Social Studies. APPENDICES. A. Gross- and Fine-Motor Skills. B. Language Development Objectives and Activities for Infants and Toddlers. C. Art Talk Summary. D. Exhibitions and Displays. E. Recycled Materials. Glossary. Index.

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Book SynopsisMore Dance Improvisations builds on the success of its predecessor, Dance Improvisations, and offers 78 brand-new activities that have been tested and refined by author Justine Reeve, a veteran dance instructor and choreographer. This text offers a wealth of creative ideas that instructors can use to help their dancers explore and experience movement. The 78 improvisation tasks and exercises support all portions of a dance class, from improvisation lessons, warm-ups, and games that stimulate creativity to choreographic tasks for creating movement material. These new activities will provide an invaluable source of creative ideas for all dancers, including those who are exploring their own professional practice.More Dance Improvisations offers expert instruction in planning, teaching, and assessing students’ improvisations; a choreographic toolkit and glossary of dance and choreographic terms; step-by-step instruction and teaching tips that will save instructors preparation time; and extensions of each improv to aid further exploration and development of the improvisation skills. Instructors can use the improvs for individual lessons or in developing an entire lesson plan. “The improvisation tasks and exercises will encourage dancers’ imaginative responses to a varied selection of stimuli, whether alone or in groups,” says author Justine Reeve. “These improvisations will give dancers the keys to unlock ideas that they will find useful on their choreographic journey.” After an introductory chapter that covers many important topics on conducting safe and effective practices and workshops and on how to use the book, the text moves into its first set of improvisations: warm-up games. These games develop quick thinking, group thinking, movement communication, and an awareness of the needs and movements of others. The next two chapters explore solo and duo improvisations as well as group creative tasks. Each improvisation task has a brief description, an image, numbered tasks for clarity, a teaching tip, and ideas to take the task further or develop the dance idea as appropriate. Chapter 5 explores how the physical and aural setting can lead to creating interesting and considered dance. Chapter 6 encourages dancers to use movements, phrases, and sequences created in previous tasks to develop and structure the movement material into something new. “These games, tasks, ideas, stimuli, and developments are here to give instructors and students a little push to find creative vision, explore movement, and discover how these ideas can be developed, adapted, and structured,” says Reeve. “Instructors will find new ways to help their dancers create original movements through both individual and group activities, and students will gain inspiration through using these improvisations.”More Dance Improvisations promotes creativity that leads to innovative breakthroughs for students from middle school through college. It is the perfect resource to help dancers enjoy their exploration of movement and dance as they gain greater awareness of the capabilities they possess.Table of ContentsChapter 1. Introduction and How to Use This Book This chapter explores how to use this book, warming up and safe practice, effective planning, top tips for dance improvisation, planning your workshop, inclusive practice, and finding the right music, musicality, phrases and a table of improvisations.Chapter 2. Warm-Up Games and Tasks This chapter explores the concepts of play and spontaneous movement as stimuli for warming up the body and preparing the mind for new experiences. The games and improvisations within will prepare dancers for the creative tasks ahead, improve reaction times and explore key features of movement.Chapter 3. Solo and Duo Improvisations This chapter explores the movement responses dancers can generate on their own and with partners. Through these tasks, they’ll discover spontaneous movement answers that will develop, challenge and refine their creative responses, solo or in duos.Chapter 4. Group Creative Tasks This chapter explores the movement responses dancers can generate in groups. By working with others, they can explore and discover new movement ideas. The tasks within aim to develop, challenge and refine creative responses and the feeling of working as a team that comes with making group decisions in the moment.Chapter 5. Moving Beyond the Kinaesthetic: Using Physical and Aural Improvisation Tasks This chapter explores how starting with elements of physical and aural settings can lead students to create interesting dance. It acts as a taster for being inspired by external stimuli and will hopefully inspire an abundance of future ideas.Chapter 6. Developing Improvisations This chapter encourages dancers to use the movements, phrases and sequences created in previous tasks to play with development and structuring to manipulate the movement material. They can also develop ideas using existing material and repertoire. These are only a few suggestions to inspire additional ideas on how to develop movements into dance pieces or works.

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Book SynopsisArt Lab for Kids is a refreshing source of wonderful ideas for creating fine art with children. This step-by-step book offers 52 fun and creative art projects set into weekly lessons, beginning with drawing, moving through painting and printmaking, and then building to paper collage and mixed media. Each lesson features and relates to the work and style of a contemporary artist and their unique style. The labs can be used as singular projects or to build up to a year of hands-on fine art experiences. Grouped by medium, the labs are set up loosely to build skills upon the previous ones; however, you can begin anywhere. Have fun exploring: drawing by creating a whimsical scene on a handmade crayon scratchboard. painting by using watercolors and salt to create a textured landscape. printmaking by using lemons, celery, mushrooms, and other produce to make colorful prints. paper by creating an expressive self-portrait using pieces of colored tissue paper. mixed media by making insects from patterned contact paper and watercolor pencils. Color photos illustrate how different people using the same lesson will yield different results, exemplifying the way the lesson brings out each artist’s personal style. Art Lab for Kids is the perfect book for creative families, friends, and community groups and works as lesson plans for both experienced and new art teachers. The popular Lab for Kids series features a growing list of books that share hands-on activities and projects on a wide host of topics, including art, astronomy, clay, geology, math, and even how to create your own circus—all authored by established experts in their fields. Each lab contains a complete materials list, clear step-by-step photographs of the process, as well as finished samples. The labs can be used as singular projects or as part of a yearlong curriculum of experiential learning. The activities are open-ended, designed to be explored over and over, often with different results. Geared toward being taught or guided by adults, they are enriching for a range of ages and skill levels. Gain firsthand knowledge on your favorite topic with Lab for Kids.Trade Review"Written by a couple who run a successful combination art gallery and art school for children, this book presents the authors’ most popular art projects for youngsters, covering an ambitious range of materials and techniques. This guide offers a greater-than-average number of open-ended and inventive projects that can be taught to younger children and teens alike. Each project is paired with an example of a work by a modern master or living artist. Many photographs illustrate techniques and show children deeply engaged in creativity. VERDICT: Recommended particularly for teachers and parents." - Library Journal"I love Susan's Art Lab series and reference them in the Art Studio often. They're easy to follow, full of images, and directed at open-ended exploration - exactly the kind of reference I need for my own busy home." - Meghan Burch, Art Studio Educator, The Eric Carle Museum of Picture Book Art, Amherst, MA

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Book SynopsisSeven key principles from Finland for building a culture of trust in schools around the world.

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Book SynopsisThis is an exciting, and unsettling, time to be teaching world literature," writes David Damrosch. Because the range of works taught in world literature courses has expanded enormously, both historically and geographically, the task of selection—and of teacher preparation—has grown more challenging. Teachers of this field must grapple with such issues as coverage, cultural difference, and the role of translation in the classroom. Should one emphasize masterpieces or traditions, concepts or themes? How does one avoid making a work bear the burden of representing an entire tradition? To what extent should anthologies be used? Can a course be global in scope and yet focus on a few works, authors, moments?This collection of thirty-two essays in the MLA series Options for Teaching offers an array of solutions to these challenges, reflecting the wide variety of institutions, courses, and students described by the contributors. An annotated bibliography is provided, with a listing of useful Web sites.

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Book SynopsisProvides important insights for educators in music, the arts, and other subjects on the role that music can play in the curriculum as a powerful bridge to cultural understanding. The author documents key ideas and practices that have influenced current music education, and examines some of the promises and pitfalls in shaping multicultural education through music.

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Book SynopsisJoan Packer Isenberg is Professor Emerita of Education at George Mason University, where she also served as associate dean in the College of Education and Human Development from 2003-2011 and as the founding director of the Advanced Studies in Teaching and Learning (ASTL) program from 1999-2003. She is past president of the National Association of Early Childhood Teacher Educators and was the 2006 recipient of the Early Childhood Teacher Educator of the Year Award from NAECTE/Allyn & Bacon. Isenberg also served as the first visiting scholar for the National Board for Professional Teaching Standards (NBPTS) from 2002-2003. For most of her academic career she has studied and written about early childhood curriculum, play, and arts integration, particularly as they affect children's learning and development. She has taught children from preschool through grade four in both public and private settings. Among her numerous authored or co-authored publications are Table of Contents Part I: Exploring Creativity and the Arts Chapter 1: Creativity and the Arts Chapter 2: Facilitating Creativity and the Arts Chapter 3: Designing Environments for Creativity and the Arts Part II: Teaching the Creative Arts: What Does It Look Like? Chapter 4: Visual Arts and Children’s Development Chapter 5: Creative Materials and Activities for the Visual Arts Chapter 6: Creative Materials and Activities for Drama Chapter 7: Creative Materials and Activities for Music, Movement, and Dance Part III: Creative Materials and Activities in the Content Areas Chapter 8: Language, Literacy and the Creative Arts Chapter 9: Mathematics and the Creative Arts Chapter 10: Science and the Creative Arts Chapter 11: Social Studies and the Creative Arts Part IV: Planning and Assessing Creative Experiences Chapter 12: Assessing Creative Learning Chapter 13: Planning Effective Arts-Based Lessons Chapter 14: Integrating the Curriculum through Arts-Based Units

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Book SynopsisJere Gallagher is an associate professor and serves as Associate Dean in the School of Education at the University of Pittsburgh.  Dr. Gallagher graduated from Louisiana State University with a doctorate in motor development and motor learning with minors in developmental psychology and experimental statistics.  She has extensive experience in the physical activity of children. For over 25 years she developed and directed the Kinder Kinetics Program, a program for children with and without disabilities between the ages of 3- to 12-years of age.  The program received the 2008 United Cerebral Palsy's 2008 Humanitarian Award.  Jere has also been the Chair of the Council on Physical Education for Children, the Motor Development Academy and the Youth Sport Coalition.  More recently she was a consultant for Head Start Body Start. All these organization are part of the American Alliance for Health, Physical Education, Recreation and Dance.Table of Contents Chapter 1: Movement and Music Working Together to Create a Healthy Child Chapter 2: Developing Curriculum and Environments for Music and Movement Chapter 3: Music Provides the Rhythm for Movement and Healthy Lifestyle Chapter 4: Matching the Individual, Task and Environment to Enhance Learning Chapter 5: Movement Content During the Early Childhood Years Chapter 6: Dance and Music Healthy Lifestyle Partnership Chapter 7: Development of Gross Motor Skills for a Lifetime of Movement Chapter 8: Fitness and Nutrition Create a Healthy Lifestyle Chapter 9: Movement and Music Broadens Learning Chapter 10: Assessment, Evaluation and Engagement

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Book SynopsisTable of ContentsChapter 1 Beginning the Journey Chapter 2 Understanding the Creative Process Chapter 3 Exploring Feelings and Images Chapter 4 Introducing Music and Movement Chapter 5 Celebrating the Visual Arts Chapter 6 Encouraging Play and Creative Drama in the Classroom Chapter 7 Experimenting with Three-Dimensional Art Chapter 8 Planning for Literature Chapter 9 Beginning a New Adventure Appendix 1 Literature Appendix 2 Music Appendix 3 Fingerplays Appendix 4 Additional Guided Imagery Scripts and Extension Activities

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Book SynopsisJohn Dewey is known as a pragmatic philosopher and progressive architect of American educational reform, but some of his most important contributions came in his thinking about art. Dewey argued that there is strong social value to be found in art, and it is artists who often most challenge our preconceived notions. Dewey for Artists shows us how Dewey advocated for an art of democracy. Identifying the audience as co-creator of a work of art by virtue of their experience, he made space for public participation. Moreover, he believed that societies only becomeand remaintruly democratic if its citizens embrace democracy itself as a creative act, and in this he advocatedfor the social participation of artists. Throughout the book, Mary Jane Jacob draws on the experiences of contemporary artists who have modeled Dewey's principles within their practices. We see how their work springs from deeply held values. We see, too, how carefully considered curatorial practice can addr

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Book SynopsisJohn Dewey is known as a pragmatic philosopher and progressive architect of American educational reform, but some of his most important contributions came in his thinking about art. Dewey argued that there is strong social value to be found in art, and it is artists who often most challenge our preconceived notions. Dewey for Artists shows us how Dewey advocated for an art of democracy. Identifying the audience as co-creator of a work of art by virtue of their experience, he made space for public participation. Moreover, he believed that societies only becomeand remaintruly democratic if its citizens embrace democracy itself as a creative act, and in this he advocatedfor the social participation of artists. Throughout the book, Mary Jane Jacob draws on the experiences of contemporary artists who have modeled Dewey's principles within their practices. We see how their work springs from deeply held values. We see, too, how carefully considered curatorial practice can addr

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Book SynopsisMusic, Education, and Religion: Intersections and Entanglements explores the critical role that religion can play in formal and informal music education. Trade ReviewThe book serves as a study volume for all those who are active in this field and provides both systematic reflections and useful empirical studies. A further impressive feature is the regional and religious breadth of the content presented and examined. -- Wolfgang W. Müller * Reading Religion *Table of ContentsIntroduction / Alexis Anja Kallio, Heidi Westerlund, and Philip AlpersonPart I: Tensions and Negotiations1. On the Role of Religion in Music Education / Estelle Jorgensen2. Selective Affinities: Concordance and Discordance at the Intersection of Musical, Educational, and Religious Practices / Philip Alperson3. The Performativity of Performance: Agency at the Intersection of Music and Religion in School / Heidi Westerlund, Alexis Anja Kallio and Heidi ParttiPart II: Identity and Community4. Shaping Identities in and through Religious Music Engagement: A Case Study of an Australian Catholic Girls' School / Janelle Colville Fletcher and Margaret S. Barrett5. Religion and the Transmission of Thai Musical Heritage, in Thailand and the United States of America / Pamela Moro6. The Believing-Belonging Paradigm: Music, Education, and Religion in Contemporary Serbia / Ivana Percoviç and Biljana Mandiç7. Religious Repertoire in General Music Education: Spiritual Indoctrination or Cultural Dialogue? / Lauri VäkeväPart III: Navigating New Worlds8. Mysterium Tremendum et Fascinans: Spiritual and Existential Experience and Music Education / Øivind Varkøy9. The Sacred Sphere: Its Equipment, Beauty, Functions, and Transformations under Secular Conditions / Maria B. Spychiger10. Music Education as Sacred Practice: A Philosophical Exploration / Frank Heuser11. Advocatus Diaboli: Revisiting the Devil's Role in Music and Music Education / Alexandra Kertz-WelzelPart IV: Emancipation, Regulation, and the Social Order12. The Humanist Defense of Music Education in Civil and Religious Life: The Praise of Musicke (1586) and Apologia Musices (1588) / Hyun-Ah Kim13. The Curious Case of "Good Morning Iran": Music and Broadcast Regulation in the Islamic Republic / Erum Naqvi14. When Hell Freezes Over—Black Metal: Emancipatory Cosmopolitanism and/or Egoistic Protectionism? / Ketil Thorgersen and Thomas von WachenfeldtPart V: Agency and Social Change15. Radical Musical Inclusion in Higher Education: The Creation of Foundation Music at the University of Winchester / June Boyce-Tillman16. Religious Identities Intersecting Higher Music Education: An Israeli Teacher Educator as a Boundary Worker in an All-Female Ultra-Orthodox Jewish Context / Laura Miettinen17. Religion and Music in an Education for Social Change / Iris M. Yob18. Dancing on the Limits: An Interreligious Dialogue Exploring the Lived Experience of Two Religiously Observant Music Educators in Israel / Belal Badarne and Amira EhrlichMusic, Education, and Religion: An Invitation / Alexis Anja KallioIndex

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Book SynopsisQuick Hits for Teaching with Digital Humanities is an edited collection of 24 articles that aims to introduce faculty, administrators, and staff to ways in which digital techniques from the arts, humanities, and social sciences can be incorporated in the classroom.Trade Review"At this moment when all of us, suddenly, have become teachers in the digital space, this volume provides the kinds of hands on, practical advice educators need to navigate the complexities of teaching in the digital humanities. Ten years ago, half of the topics covered in these essays wouldn't even be topics of discussion, but today are part of our regular teaching practices. None of us will ever master all aspects of DH teaching, but taken together, the essays in this volume come close."—Mills Kelly, Executive Director of Roy Rosenzweig Center for History and New Media and Professor of History, George Mason University"I'm not sure I can". "I'm not sure my students can."I don't think I'd know where to begin"I don't really see the point, to be honest". Decades after the emergence of digital humanities, the field can still seem daunting to outsiders and integration to teaching projects remains uneven. That's where this book comes in, presenting a variety of ambitious yet accessible, real-life projects to inspire and embolden. A stepping stone to a new dimension."—Géraldine Castel, Lecturer in English LEA (Applied Foreign Languages), Grenoble Alpes University"Featuring a wide variety of examples from educators from across higher-ed, this Quick Hits volume is as useful to educators looking to develop digital humanities classes as it is to more advanced practitioners interested in integrating the latest tools and approaches. By highlighting field-tested methods in digital humanities teaching, the essays collected here will greatly enrich scholars' ability to enhance their curricular interventions, both conceptually and methodologically."—Marisa Parham, University of Maryland, Director of irLhumanitiesTable of ContentsEdward L. Ayers / ForewordMichael Morrone / FACET Director's WelcomeChristopher J. Young, Michael Morrone, Emma Annette Wilson, and Thomas C. Wilson / IntroductionI. Overview of Ways to Teach with Digital Humanities1. Elizabeth Matelski / Social Network Analysis: Visualizing the Salem Witch Trials2. Camden Burd / Close Reading and Coding with the Seward Family Digital Archive: Digital-Documentary Editing in the Undergraduate History Classroom 3. Robert Voss / Teaching with Digital Humanities: Engaging your Audience4. Mary Alexander, Connie Janiga-Perkins, and Emma Annette Wilson / Teaching Text Encoding In The Madre María de San José (México 1656-1719) Digital Project5. Adam Clulow, Bernard Z. Keo, and Samuel Horewood / Teaching with Trials: Using Digital Humanities to Flip the Humanities Classroom6. Brian Kokensparger / Corpus Visualization: High-Level Student Engagement on a Zero Budget7. Lisa McFall / Metadata in the Classroom: Fostering an Understanding of the Value of Metadata in Digital Humanities8. Mary Angelec Cooksey / Teaching the Philosophy of Computing Using the Raspberry Pi9. Robert Voss / Teaching Digital Humanities with Timeline.js 10. Katherine Wills and Robin D. Fritz / Authentic Instruction through Blogging: Increasing Student Engagement with Digital HumanitiesII. Supporting Teaching and Learning11. Armanda Lewis / Capacity Building for DH Pedagogy Supports: An Ecological Approach 12. James Roussain and Silvia Vong / From Researcher to Curator: Reimagining Undergraduate Primary Source Research with Omeka13. Hélène Huet and Laurie N. Taylor / Teaching Together for the Digital Humanities Graduate Certificate14. Serenity Sutherland / Graduate Training in the Digital Archive15. David Ainsworth / Digital Humanities and Undergraduate Research for Undergraduates16. Kirsta Stapelfeldt, Christine Berkowitz, Chad Crichton, Anne Milne, Alejandro Paz, Natalie Rothman and Anya Tafliovich / Pay it Forward: Collaboration and DH Capacity Building at the University of Toronto Scarborough17. Scot A. French / VisualEyesThis: Using Interactive Visualization Tools to Engage Students in Historical Research and Digital Humanities R&D 3. Mapping and Augmented Realities18. Clifford B. Anderson and Joy H. Calico / The Digital Flâneur: Mapping Twentieth-Century Berlin19. Stephen Buttes / Digital Maps as Content and Pedagogy: Alternative Cartographic Practices in the Humanities Classroom20. Jacqueline H. Fewkes / Fieldtrips and Classrooms in Second Life: A Few Realities of Teaching in a Virtual Environment21. Sofiya Asher and Theresa Quill / Narrative Maps for World Language Learning22. Julia M.Gossard / Digitally Mapping Space and Time in History General Education Surveys: Google Maps & TimelineJS23. Molly Taylor-Poleskey / Charting Urban Change with Digital Mapping Tools24. Justin B. Makemson / Shifting Frames of Interpretation: Place-Based Technologies and Virtual Augmentation in Art Education25. Lisa Siefker Bailey / Using Podcasts to Teach Short StoriesIV. Public Scholarship and Community Engagement 26. J. Michael Francis, Hannah Tweet, and Rachel L. Sanderson / Building La Florida: Rethinking Colonial Florida History in the Digital Age27. Zach Coble and Rebecca Amato / (Dis)Placed Urban Histories: Combining Digital Humanities Pedagogy and Community Engagement28. Rhonda J. Marker / Digital Exhibitions: Engaging in Public Scholarship with Primary Source Materials29. Samantha J. Boardman / Oral History In The Digital Age: The Krueger-Scott Collection30 Carmen Walker / The Infusion of Digital Humanities in an Introductory Political Science Course at an HBCU: Lessons Learned31. Juilee Decker / No More 'Dusty Archive' Kitten Deaths: Discoverability, Incidental Learning, and Digital Humanities32. Mary R. Anderson and William M. Myers / Global Engagement and Digital Technology33. Patricia Turner / Using Digital Humanities to Re-Imagine College Writing and Promote Integrated and Applied Learning34. Shawn Martin and Carey Beam /Early Indiana Presidents: Incorporating Digital Humanities, Public History, and Community Engagement35. Evan Roberts/ Measuring the ANZACs: Exploring the Lives of World War I Soldiers in a Citizen Science Project36. Lauren S. Cardon/ Global Foodways: Digital Humanities and Experiential LearningList of ContributorsIndex

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Book SynopsisThis engagingly written, research- and practice-based book defines how art teachers can build on students' creative initiatives without depending on adult-imposed lesson plans and school requirements. In doing so, art educator and author George Szekely explores the role of the arts in developing children's creativity and sense of purpose, and reminds readers that students in the art classroom are unique artists, designers, and innovators. Against the backdrop of a school culture that over-emphasizes compliance and standardization, Szekely recognizes the importance of the role of the art teacher in supporting the artistic independence and creative flare that occurs naturally in students of all ages in the classroom. Providing real-life examples of classrooms and schools that work towards championing child artists, this text arms teachers with the skills necessary to listen to their students and support them in presenting their ideas in class. Ultimately, Szekely challenTrade Review“Teaching to Support Children’s Artistic Independence: How Children’s Creativity Can Inform Art Education, is a qualitative study of children’s personal stories, experiments and experiences. It describes for teachers the importance of teaching children artistic independence and the power of developing thinking, emotional growth and learning to value the importance and power of a child’s thoughts and how this has a foundation in the art class room. This book is especially important because it’s a testament to children and their development and that they are the stars in the art classroom. The book gives a perspective on the importance of young artists as thinkers, and inventors. It goes further to discuss how young artists should be encouraged to develop their primary thoughts and be encouraged to search for meaning and ways to materialize their thoughts. Ultimately, Szekely states young artists need to value themselves and while doing this they will develop cognitive skills such as the ability to perceive and react, process and understand, store information, make decisions and produce visual images. The book gives rich examples of how making art in the art room can lead to a lifetime of unlimited rich thoughts and creative inventions.” -- Bernard Young, Professor, Arizona State University, USA“George Szekely’s writings and teachings radically challenged my beliefs about Art Education by simply reminding me what it felt like to play, to imagine, to create - not in a way that pleased adults, but in a manner that honored my eight-year-old self. This book pushes me yet again. Szekely's conviction that learners are independent thinkers and makers worthy of respect and support is in conflict with much of the normative thinking that dominates art classrooms across the country. So many young artists have been left behind. When our notions of art conflict with their curiosities, wonderings and aesthetic preferences, we send a clear message: art is not for you. In a Szekely classroom, we don’t teach, per say, but rather, collaborate. We are granted a gift of insight. Through the artists in our midst, we experience the world not as it is, but as it can be.” -- Cindy M. Foley, Executive Assistant Director, Director of Learning and Experience, Columbus Museum of Art, USA“Drawing on a lifetime of experience in engaging young learners, Szekely shows a profound respect for children as competent, imaginative visionaries who are ready, with strategic prompts from their teacher, to joyfully explore and manipulate their own worlds. Anyone entrusted with the creative development of children will appreciate his lively practical guidance and insightful pedagogical tips.” -- Richard Siegesmund, Professor Emeritus, Art and Design Education, Northern Illinois University, USA“The publication a new book by George Szekely is cause for celebration in the community of art educators who support student choice and agency. He writes passionately about the gifts, abilities and ideas of even the youngest students. He challenges teachers and schools to notice and embrace these gifts so children can grow as independent makers. Incorporating play and surprise to engage his students he offers them the stage to share what fills their pockets and their imaginations.”-- Katherine Douglas, co-founder Teaching for Artistic Behavior (TAB), Massachusetts College of Art and Design TAB Institute, Massachusetts, USATable of ContentsSection 1: Reimagining Art Teaching 1: A New Mindset2: Finding the Artist in Every Student3: Qualities of an Independent Artist4: Creating the Art Class5: A Different Kind of Art ClassSection 2: Relationships in the Classroom6: The Unknown and the Individual in the Art Class7: Building Relationships with Art Students8: Students Seeing Themselves as Artists9: When Art Becomes DifficultSection 3: Home and School Art10: Separating Art from School11: Students Beyond the Art Class12: Bridging the Gap Between School and Home Art13: Adults United14: Art Lessons as Life Lessons

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Book SynopsisThis volume problematizes the historic dominance of Western classical music education and posits culturally sustaining pedagogy (CSP) as a framework through which music curricula can better serve increasingly diverse student populations. By detailing a qualitative study conducted in an urban high school in the United States, the volume illustrates how traditional approaches to music education can inhibit student engagement and learning. Moving beyond culturally responsive teaching, the volume goes on to demonstrate how enhancing teachersâ understanding of alternative musical epistemologies can support them in embracing CSP in the music classroom. This new theoretical and pedagogical framework reconceptualizes current practices to better sustain the musical cultures of the minoritized.This text will benefit researchers, academics, and educators with an interest in music education, multicultural education, and urban education more broadly. Those specifically interested iTable of ContentsPart I: Culturally Sustaining Pedagogy, 1: The Importance of Theory, 2: Why Culturally Sustaining Pedagogy for Music Education? Part II: Historical Overview of Today’s Music Classroom 3: Music and the ‘Civilizing’ Mission, 4: Music and the ‘Civilizing’ Mission in the United States, 5: Character Improvement and Music Education in the United States, 6: Music Education Standardization and Codification Part III: Today’s Music Classroom 7: How do our Normalized Practices Impact Children Today? 8: Two Music Teaching Approaches 9: How do Students describe a Meaningful Music Classroom? Part IV: Culturally Sustaining Pedagogy in Music Education 10: Musical Epistemology and Music Education Part V: Moving Forward Toward Culturally Sustaining Music Pedagogy 11: Practical Implications for the Music Classroom 12: Towards a Framework for Culturally Sustaining Music Pedagogy

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Book SynopsisBringing together scholars from English literature, geography, politics, the arts, environmental humanities and sociology, Imagining Apocalyptic Politics in the Anthropocene contributes to the emerging debate between bodies of thought first incepted by scholars such as Mouffe, Whyte, Kaplan, Hunt, Swyngedouw and Malm about how apocalyptic events, narratives and imaginaries interact with societal and individual agency historically and in the current political moment. Exploring their own empirical and philosophical contexts, the authors examine the forms of political acting found in apocalyptic imaginaries and reflect on what this means for contemporary society. By framing their arguments around either pre-apocalyptic, peri-apocalyptic or post-apocalyptic narratives and events, a timeline emerges throughout the volume which shows the different opportunities for political agency the anthropocenic subject can enact at the various stages of apocalyptic moments. Featuring Table of ContentsIntroduction: ... these unprecedented times Earl T. Harper and Doug Specht 1. They say "our house is on fire" – on the climate emergency and (new) Earth politics Edward H. Huijbens and Martin Gren 2. Do not go gentle into that good night: contested narratives and political subjectivities in the Anthropocene Carlos Tornel and Aapo Lunden 3. The end of worlding: indigenous cosmologies in the Anthropocene Mariana Reyes-Carranza 4. Apocalypse repeated: the absence of theindigenous subject in George Turner’s The Sea and Summer (1987) Charlotte Lancaster 5. Apocalyptic Literary Geographies: The Tempest’s ‘brave new world,’ Frankenstein’s ‘modern Prometheus,’ and Cloud-Atlas’ ‘ furthest-eeein’ eye’ Charles Travis 6. A world without bodies: geotrauma and the work of mourning in Jorie Graham's Fast Philip Jones 7. Meaningful life at the end of times: ageism and the duty-to-die in Logan’s Run James A. Tyner 8. The catastrophic drive Lucas Pohl and Samo Tomšič 9. The self(ie) in the Anthropocene Doug Specht and Cat Snyder 10. Urbicide in the Anthropocene: imagining Miami futures Stephanie Wakefield 11. Triggering the apparitions: spectres of chemical seascapes María Soledad Castro Vargas and Diana Barquero Pérez 12. Study for "Memories of the apocalypse" Carl Christian Olsson 13. Variegated environmental apocalypses: post-politics, the contestatory, and an eco-precariat manifesto for a radical apocalyptics Tristan Sturm and Nicholas Ferris Lustig

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Book SynopsisThis third edition is an ideal teacher development text for pre-service and in-service EFL/ESL teachers, as well as a guide for those who find themselves teaching English overseas but who do not have a master's in TESOL. This edition has the same three major sections as the previous edition: Self-Development, Exploration, and Settings; Principles of EFL/ESL Teaching; and Teaching Language Skills.

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Book SynopsisWhat is the role of the arts in American culture? Is art an essential element? If so, how should we support it? Today, as in the past, artists need the funding, approval, and friendship of patrons whether they are individuals, corporations, governments, or nonprofit foundations. But as Patronizing the Arts shows, these relationships can be problematic, leaving artists patronized--both supported with funds and personal interest, while being condescended to for vocations misperceived as play rather than serious work. In this provocative book, Marjorie Garber looks at the history of patronage, explains how patronage has elevated and damaged the arts in modern culture, and argues for the university as a serious patron of the arts. With clarity and wit, Garber supports rethinking prejudices that oppose art''s role in higher education, rejects assumptions of inequality between the sciences and humanities, and points to similarities between the making of fine art and the making of good science. She examines issues of artistic and monetary value, and transactions between high and popular culture. She even asks how college sports could provide a new way of thinking about arts funding. Using vivid anecdotes and telling details, Garber calls passionately for an increased attention to the arts, not just through government and private support, but as a core aspect of higher education. Compulsively readable, Patronizing the Arts challenges all who value the survival of artistic creation both in the present and future.Trade ReviewOne of Choice's Outstanding Academic Titles for 2009 "The title of Garber's erudite, incisive study contains the crux of her persuasive proposal: though financially supported by foundations, corporations and wealthy individuals, the arts are also deemed 'nonessential.'... Her stimulating analyses, both highly informed and refreshingly unpedantic, will be of great interest to the scholar and general reader who appreciates a salient cultural critique."--Publishers Weekly "Patronizing the Arts ... offers useful information graced with intermittent insight."--Jonathon Keats, Washington Post Book World "In this captivating book, Garber considers the alternative meanings of 'patronize' in reference to artistic endeavors and raises many interesting questions along the way. The central question regards the relationship between patron and artist that most effectively enhances the creative environment... Garber addresses these issues and more in a lively style that takes the reader from a consideration of government funding, to private philanthropy, to a reexamination of the nature of art and how it is created, powerfully arguing art's linkages with science. She finally advocates greater university support of artists, where visions can theoretically be realized in a setting of academic freedom and exploration."--Choice "Although replete with endnotes and intended for academics, Patronizing the Arts is no dry study. Garber peppers her work with literary passages, enlightening etymologies of key words, and derision. Garber is fighting an uphill battle in this book, advocating first for the arts' centrality to the research-driven university and second for their increased priority on university budgets already overwhelmed, especially as the current economic crisis deepens."--David Kaye, The Common ReviewTable of ContentsPreface xi Chapter 1: The Paradox of Patronage 1 Chapter 2: Governing Assumptions 42 Chapter 3: Minding the Business of Art 97 Chapter 4: Arts or Sciences 140 Chapter 5: The University as Patron 178 Notes 197 Index 221

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Book SynopsisIn this fun, instructional graphic novel, follow the creative journey of aspiring manga artist Lemon-chan to learn how to draw the fundamentals of the manga style.Learn alongside Lemon-chan as she’s guided by her cousin Momji, a professional artist who teaches her all about:  Making your first attempts at drawing Building consistent drawing skills Tools for drawing, including an overview of digital drawing options Perfect for beginning artists and fans of anime and manga, Learn to Draw Manga Basics for Kids shows you how to build the skills you need to draw and create your own manga characters and stories.The Drawing Manga for Beginners manga series offers kids ages 8 and up fun, easy lessons in how to draw manga characters, from the basics, to figures and poses, to faces and expressions. Table of ContentsPrologue Introduction of characters Chapter 1 Try Drawing First Let’s draw faces Let’s draw hair How do you draw bodies Sketching Let’s draw clothes People have different expressions Drawing masc and femme Drawing people of different ages How to draw poses Let’s color Chapter 2 How to level up Drawing and researching Checking out different genres Clothes and hair styles How to draw hats, glasses, and accessories How to draw portraits How to draw difficult hand postures How are wrinkles made? Let’s find out what you are good at drawing! Chapter 3 Let’s draw digital illustrations Pros and cons of analogue and digital Pen tablets and LCD tablets Draw on smartphones and tablets Chapter 4 How to use digital tools How to use digital tools Layers Resolution Color mode Save formats Clipping Chapter 5 Get out there and get to it! Show it to people and keep drawing

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Book SynopsisA vibrant and colorful history of Crayola crayons, from the company''s origin story, the birth of the Crayola crayon, the evolution of the iconic crayon packages, and profiles of every Crayola color from Sky Blue to Carnation Pink. Everyone has a relationship with color. If you think back to your first memories of exploring color, there is a very good chance that crayons were involved. And when it comes to crayons, Crayola is king.This book explores the history of a beloved childhood art supply, while also delving into our relationship with color: how we use and create with color, and how we name colors. It looks at the history of the 120 iconic colors of Crayola and where they came from, and how Crayola itself has helped shape our understanding of color over the last century and a half. Finally, this book explores how people -- adults and children alike -- have and continued to turn to Crayola to inspire and manifest their creativity. Filled with hundreds of

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Book SynopsisIn How Artists See: The Weather children can see how Vincent van Gogh used bright patches of paint to show the hot sun rising over a field; how Vasily Kandinsky blended many colours to evoke a rain-drenched landscape; how Edouard Manets'' vigorous lines create wind-filled sails; and how Paul Signac used tiny dots of paint to capture the aura of a city street blanketed with snow.Each volume in the How Artists See series presents sixteen diverse works of art, all devoted to a subject that every child already knows from personal experience. Author Colleen Carroll''s engaging, conversational text is filled with thought-provoking questions and imaginative activities that spark children''s natural curiosity both about the subject of the artwork they are looking at and about the way it was created.This direct, interactive approach to art - and to the world - promotes self-exploration, self-discovery, and self-expression.Trade ReviewPraise for the How Artists See series: "Carroll's series...eclipses the competition...How Artists See has the makings of a classic--a core experience for budding art enthusiasts to build on." -- Publishers Weekly "Wow! If you have been looking for a way to get children interested in art, call off the search, it just doesn't get any better than this." -- Children's Literature Choice List "...These are first-rate art appreciation guides for adults and young children together, or older readers alone." -- Children's Literature ReviewTable of ContentsTable of Contents from: How Artists See The Weather Sun Wind Snow Rain Note to Parents and Teachers Artists' Biographies Suggestions for Further Reading Where to See the Artists' Work Credits

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Book SynopsisCompleting the translation of Derrida''s monumental work Right to Philosophy (the first part of which has already appeared under the title of Who''s Afraid of Philosophy?), Eyes of the University brings together many of the philosopher''s most important texts on the university and, more broadly, on the languages and institutions of philosophy.In addition to considerations of the implications for literature and philosophy of French becoming a state language, of Descartes'' writing of the Discourse on Method in French, and of Kant''s and Schelling''s philosophies of the university, the volume reflects on the current state of research and teaching in philosophy and on the question of what Derrida calls a university responsibility.Examining the political and institutional conditions of philosophy, the essays collected here question the growing tendency to orient research and teaching towards a programmable and profitable end. The volume is thereTrade Review"From each of these punctual documents, supplemented by numerous helpful translator's notes, emerges the clear profile of Derrida's principled and relentless commitment to the teaching of philosophy as a right in any democracy worthy of the name."—The Year's Work in Critical and Cultural Theory"Some books recommend themselves by what is written therein; others are to be recommended for what they may inspire their readers to think, say, and do. Few books fall into both categories; the collection of pieces that is Eyes of the University does. But here, near the end, I have chosen my words carefully: "what they may inspire." The rest is up to us."—Philosophy and Rhetoric

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Book SynopsisCompleting the translation of Derrida''s monumental work Right to Philosophy (the first part of which has already appeared under the title of Who''s Afraid of Philosophy?), Eyes of the University brings together many of the philosopher''s most important texts on the university and, more broadly, on the languages and institutions of philosophy.In addition to considerations of the implications for literature and philosophy of French becoming a state language, of Descartes'' writing of the Discourse on Method in French, and of Kant''s and Schelling''s philosophies of the university, the volume reflects on the current state of research and teaching in philosophy and on the question of what Derrida calls a university responsibility.Examining the political and institutional conditions of philosophy, the essays collected here question the growing tendency to orient research and teaching towards a programmable and profitable end. The volume is thereTrade Review"From each of these punctual documents, supplemented by numerous helpful translator's notes, emerges the clear profile of Derrida's principled and relentless commitment to the teaching of philosophy as a right in any democracy worthy of the name."—The Year's Work in Critical and Cultural Theory"Some books recommend themselves by what is written therein; others are to be recommended for what they may inspire their readers to think, say, and do. Few books fall into both categories; the collection of pieces that is Eyes of the University does. But here, near the end, I have chosen my words carefully: "what they may inspire." The rest is up to us."—Philosophy and Rhetoric

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Book SynopsisCatullus, Horace, Ovid, Cicero, and Vergil are standard reading for college and advanced secondary students of Latin. This book provides accessible information about recent scholarship on these authors to show how an awareness of current academic debates can enhance the teaching of their work.

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Book SynopsisShows how asking questions and posing problems spark curiosity and encourage learners to think deeply and make meaningful connections across the curriculum. At the centre of this approach is creativity, with contemporary visual art as its inspiration.Table of Contents Foreword by Connie Stewart Preface Acknowledgments PART I: Foundations of Creative Inquiry 1 Learning Through Creative Art-Based Inquiry Creative Art-Based Inquiry Learning The First Grade Community Inquiry Other Key Aspects of the Creative Inquiry Approach 2 Curriculum Integration Through Creative Inquiry The Disciplines: Overlaps, Intersections, and Hybrids Curriculum Integration Art as an Integrative Discipline Art and Integrated Creative Inquiry PART II: The Academic Disciplines and Related Art 3 The Natural Sciences: Understanding the Natural World Four Dimensions of the Natural Sciences Comparing Science and Art Examples of Art That Explore Cross-Cutting Concepts Examples of Art Inspired by Science Integrating Science and Art in the Classroom 4 Mathematics: Logic and Abstraction Meets Application and Aesthetics Four Dimensions of Mathematics Intersection of Math and Art Examples of Art Inspired by Concepts in Math Integrating Math and Art in the Classroom 5 Social Studies: Understanding Ourselves and Others Four Dimensions of Social Studies Intersection of Social Studies and Art Examples of Art Exploring Concepts in Social Studies Integrating Art and Social Studies in the Classroom 6 Language Arts: Creative Writing and Storytelling Four Dimensions of Creative Writing Kinds of Stories Art That Tells Stories Literacy Through Visual Art PART III: Art-Based Strategies for Creative Inquiry 7 Learning Strategies for Creative Inquiry Kinds of Creative Thinking Creative Strategies in Contemporary Art Strategies for Thinking, Inquiry, and Learning The Research Workbook 8 Frameworks and Strategies for Curriculum and Pedagogy Utilizing the Project Zero Frameworks Creative Curriculum Development 9 Inquiry Trails: Examples of Creative Inquiry-Based Art Integration Patterns and Mathematics in Natural Forms Animal Structures and Architecture An Imaginary Island World Medicinal Plant to Treat a Social Issue or Problem Me and My World Concluding Remarks References Index About the Author and the Contributors

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Book SynopsisBrings together scholars who have contributed to the field of fairy-tale studies since its origins. This collection offers information on materials, critical approaches and ideas, and pedagogical resources for the teaching of fairy tales in one comprehensive source that will further help bring fairy-tale studies into the academic mainstream.

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Book SynopsisETHICAL DECISIONS FOR SOCIAL WORK PRACTICE will help you recognize ethical issues and dilemmas, reason carefully about ethical issues, clarify your ethical aspirations at the level demanded by the profession, and achieve a more ethical stance in your practice. It places ethical decision making within the context of professional ethics and provides guidelines, including two ethical screens, to help you identify priorities among competing ethical obligations.Table of Contents1. Ethical Choices in the Helping Professions. 2. Values and Professional Ethics. 3. Guidelines for Ethical Decision Making. 4. Guidelines for Ethical Decision Making. 5. Client Rights and Professional Expertise. 6. Value Neutrality and Imposing Values. 7. The Professional Relationship: Limits, Dilemmas, and Problems. 8. Confidentiality and Informed Consent. 9. Social Justice, Limited Resources, and Advocacy. 10. Organizational and Work Relationships. 11. Social Work With Selected Client Groups. 12. Changing World, Changing Dilemmas. 13. Whose Responsibility Are Professional Ethics?

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