Weaving From a Draft Pattern
Grades/Subjects: 4-8 Art Education
Related Subjects: Social Studies and Math
- Referring to the coverlets section of the Craft Revival project website, teachers can set the tone of the Craft Revival period.
- Students will be introduced how a weaving was usually initiated by sketching a draft of the pattern, just as artists create a sketch, before making a final work.
- Students will personalize their draft and then go on to weave their drafted pattern on a simple loom constructed from the frame.
- Once the pattern emerges, students can give their pattern a name based on what it looks like.
Teacher will visit the Craft Revival Period website to examine the coverlets and examples of weaving in the database, noticing how patterns were often given names. Images and information may be viewed for preparation of the discussion of the use of drafts. It will be necessary to prepare the wooden frames with the same number of holes, evenly placed from the left and to the right sides.
- Graph Paper
- Colored Pencils
- Wooden frame such as old painting frames w/holes added for warp thread
- Pale colored thread for warp
- Skeins of various colored yarns all the same thickness for wefting
- Teacher will lead a discussion on the weavings based on drafts during the Craft Revival.
- Students will write down highlights of the discussion that will lead into a teacher demonstration.
- Teacher will demonstrate how to make a draft using graph paper.
- Have students make a draft pattern on graph paper, and color it. For younger ages, use only 3 colors; use more for older grades.
- Students will string warp onto their looms.
- Teacher can demonstrate how to apply yarn (weft) to the warp. Then instruct students to weave.
- Students can begin weaving onto their warped loom.
- They may name their pattern and write it on the top of the paper.
- After completed, students can display their weavings and explain the meaning behind their title of the weaving.
Students of Ms. Bates’s math class created and named their own
draft patterns on graph paper
After creating a draft, each student wove with
colored yarn to best match their draft pattern.
Teacher can assess how well students attempted to replicate their drawn pattern, and whether they gave their pattern a unique name. Students may put the finished weaving on display and talk about their experience with the project.
For 7th -8th graders, have them build their own loom frame and maybe have a large one that several can work on. Study the website for further information on weaving, particularly coverlets.
North Carolina Curriculum Alignment
- Visual Arts Objectives 2.02, 5.05
- Math Competency Goal 5
- Social Studies Objective 5.02
- Bruland, Kriston M., www.handweaving.net Contains drafts and refers to books with drafts; Search: Griswold, Ralph E, Collection of Appalachian weaving drafts.
- Eliza C. A Book of Hand Woven Coverlets. (Boston, MA: Boston Press, 1931)
- Eaton, Allen. Handicrafts of the Southern Highlands. (New York: Russell Sage Press, 1937) p118, Preserving old mountain drafts.
- Monaghan, Kathleen & Joyner, Hermon. You Can Weave! Projects for Young Weavers. (Worcester, MA: Davis Publications, 2000)
- Jada Hansen.
This lesson was inspired by one similar lesson taught by Ms. Kris Bates as an 8th grade Math project, Cullowhee Valley School, Cullowhee, NC.


How to Bring Kids to a Museum Without Losing Your Mind
Lots of parents want to expose their children to art as early as possible. But taking kids to a museum or gallery can be challenging, to say the least. Kids want to touch everything, run around, and shout, all which are frowned upon in most art spaces.
The key to a successful museum visit with children is to plan ahead with activities that will keep their interest and make sure the visit doesn’t exceed more than an hour and a half, at most. Visit the museum store before walking through the galleries and have each child pick out three post cards from the collections. Then make a game out of trying to find each artwork. The kids will stay entertained because it is like an art treasure hunt.
Another trick is to ask children to point out colors, patterns, shapes, textures, materials and recognizable images in paintings to encourage discussion and critical thinking. Try to engage your kids in conversation about what you will be seeing before you go to the museum and continue discussing it afterwards. It is never to early to get your kids excited about art, the most important ingredient is your own enthusiasm.
Filed under: education, museums | 5 Comments
Tags: kids, kids art education, museums, visiting museum with kids


Music Writing Resources
Ambrose, J. (1987). Music journals. In T. Fulwiler (Ed.), The journal book (pp. 261- 268). Portsmouth, NH: Heinemann.
Brittin, Ruth V. and Jaynem M. Standley (1997). Researches in Music Education/Therapy: Analysis of Publications, Citations, and Retrievability of Work. Journal of Research in Music Education 45 (1): 145-160.
Hamann, Donald L. and Keitha V. Lucas (1998). Establishing Journal Eminance in Music Education Research. Journal of Research in Music Education 46 (3): 405-413.
Irvine, Demar (1956). Writing About Music. 2nd ed. Seattle, WA: University of Washington Press.
Larson, C. M., & Merrion, M. (1987). Documenting the aesthetic experience: The music journal. In T. Fulwiler (Ed.), The journal book (pp. 254- 260). Portsmouth, NH: Heinemann.
LeBlanc, Albert and Jan McCrary (1991). Acquiring Criteria of Excellence for Scholarly Journals in Music. Journal of Research in Music 39 (3): 206-215.
Popoff, L. A. (1986). In-class writing to facilitate learning in music theory courses. In K. O'Down & E. Nolan (Eds.), Learning to write, writing to learn (pp. 27- 31). Livonia, MI: Madonna College Humanities Writing Program.
Redmon, J. (1986). If music be the food of thought, write on: Writing in the general music class. In K. O'Dowd & E. Nolan (Eds.), Learning to write, writing to learn (pp. 72- 74). Livonia, MI: Madonna College Humanities Writing Program.
Rodriguez, Carlos Xavier (1998). Childrens' Perception, Production, and Description of Musical Expression. Journal of Research in Music Education 46 (1): 48-61.
Wingell, R. J. (1990). Writing about music: An introductory guide. Englewood Cliffs, NJ: Prentice Hall.


Our annual celebration of Arts Education Month, which has just concluded, gives us a great opportunity to remind ourselves why art is so essential for everyone and why it deserves to be supported.
When school budgets get very tight, art and music education tend to be among the early casualties. That is exactly what has happened in recent years as school districts faced tough budget decisions, given draconian state funding cuts.
What is difficult to understand is a political arena and a social context that make such a choice necessary in the first place. It is shortsighted and counterproductive. The arts are not frills — they are essential elements of a complete education, and they often provide the very skills and motivation required for school and career success.
We’re fortunate that most schools in Santa Barbara County still provide music and arts education at the elementary level, plus theater and more advanced art at the secondary level, thanks to strong community support and districts that understand the value of a strong arts education program. And the reasons to include the arts in a school curriculum are compelling.
The arts represent a form of thinking that is both sensory and intellectual, one that requires the use of imagination and judgment. What’s more, the arts provide unique ways of reaching students who may not learn as well through language and mathematics alone. In addition, studies point to higher levels of involvement and educational achievement among students taking advanced arts courses.
The arts are a form of expression and communication that is essential to the human experience, and they truly deserve a regular place in our classrooms.
Several years ago, when I co-chaired a state task force on the arts, our report called for a renaissance in K-12 arts education and made clear that every child in school should have equal access to high-quality education in the visual and performing arts. We emphasized the critical need to incorporate the arts into the core curriculum for all students; provide state standards that specify the competencies that students should demonstrate in each of the arts; provide career awareness and preparation experiences; and provide every student with an arts education program that includes access to the arts through technology.
Fortunately, most Americans agree. A Harris Poll found that 90 percent of respondents considered the arts vital to a well-rounded education for all students. Parents recognize that the arts provide a heightened appreciation of beauty and cross-cultural understandings, and that the arts enhance creativity, thinking skills, and discipline. Many young people find great joy in artistic expression. For some, it is an outlet and a source of inspiration. It helps them keep connected to their teachers and their schools.
The state Board of Education, in declaring Arts Education Month, stated that arts education is an essential part of basic K-12 education for all students, and a way to develop the full potential of their minds.
Arts education is essential. On behalf of all the children we represent and serve, we should support arts education with all our efforts and resources. Otherwise, we will have drained from our schools the humanity, the creativity, the discipline, and the joy that arts can provide to all our children.
— Bill Cirone is Santa Barbara County’s superintendent of schools. The opinions expressed are his own.


Note: To protect the privacy of our members, e-mail addresses have been removed from the archived messages. As a result, some links may be broken.
Curriculum Issues: Inquiry
[ Thread ][ Subject ][ Author ][ Date ]Eldon L. Katter
Mon, 7 Apr 1997 10:34:20 -0400 (EDT)
I've seen several definitions of inquiry-based instruction. It's like
DBAE; now we will spend five years defining the term, only to find that
what we thought we were doing was not what we were really doing or suppossed
to be doing and now have to learn new approaches because the definition
has been changed but nobody knows to what. And so in that context, I can
only say that I THINK I use an inquiry approach that is based on what I
THINK is a workable definition -- "meaningful involvement". This includes
hands on involvement, exploring and delving into data, seeing the
relevance and payoff of learning, being active in learning, possessing
the means and processes for interacting with the environment both inside
and outside the school. Questions are central to meaningful involvement
in learning. Teachers need to be effective exemplars of good questioners
so that students can plan their own questions and strategies, carry out
thier plans, and assess their own effectiveness in utilizing these
strategies. In a nutshell, that's my belief. Does it work? Yes.
Wehre do you do for help? Well, in addition to the bibliography Mary
Erickson provided in her Seminar posting, I'll add some oldies:
Hunkins, Francis P. (1976). Involving Students in Questioning.
Boston: Allyn and Bacon.
Wilen, William. Editor (1987). Questions, Questioning Techniques,
and Effective Teaching. Washington, DC: National Education Association.
also Karen Hamblem had at least one article on construction questions for
art dialogues in the NAEA journal - Art Education, perhaps ten years ago,
but it's valuable reading.
Also I recommend the new NAEA publication by Elizabeth Delacruz --
Instruction: Design for Inquiry (1997) -- order from National Art
Education Association, 1916 Association Drive, Reston, VA 20191.
I want to say more on this topic, but I've been told it's best to keep
messages short. I'll be back later.
Maybe reply: jendixon: "Re: Curriculum Issues: Inquiry"


Bachelor's Degree in Mathematics
Baldwin City Campus
As a major in mathematics, you will use logical reasoning, problem solving and complex situational analysis as you develop the skills to succeed in a variety of fields. Mathematics provides tools used by scientists to explore the universe, used by engineers to design devices that shape our society and used by scientists and engineers to describe their results and designs.
To understand our society and help shape its future, one must understand the influence of science and technology. This requires understanding mathematics and its uses.
A fundamental component of a liberal arts education, mathematics is an important ingredient of many careers in science, engineering and technology. You can also work closely with advisers from the Department of Computer Science, Mathematics and Physics and the Department of Education to pass on this necessary skill to future generations. Baker offers teacher licensure in math at the middle and secondary levels, and math composes a portion of the elementary education degree.


CARL ORFF (1895 - 1982)
The German composer Carl Orff is widely known for his work in music education, particularly in exploration of the connections between music and movement. In his compositions he found a similar connection between the dramatic and the musical, couched in his very personal style of writing, with its insistent, repeated patterns of notes and compelling rhythms.
The best known of all Orff’s works is Carmina Burana, a large scale work making use of the medieval Latin and Old German lyrics found at the monastery of Benediktbeuern. The work has become even more familiar to unmusical audiences by use of elements from it in advertising and in films. Carmina Burana is generally performed only as a form of secular oratorio, in the concert hall, rather than on the stage, as is Catulli Carmina (Songs of Catullus), again intended for theatrical use.


A Guide to the Texas Music Teachers Association Records, 1886-1937
In 1886, Professor J. Alleine Brown of Chappell Hill, vice president of the Music Teachers National Association, called for a meeting of Texas music teachers to form a statewide professional organization. The meeting, which took place concurrently with the annual conference of the Teachers Association of Texas at Austin, resulted in the organization of the Texas Music Teachers Association (TMTA). Brown served as the TMTA’s first president from 1886 to 1891, while William Besserer of Austin became its first secretary and treasurer. The TMTA, an affiliate of the Music Teachers National Association, incorporated in 1927 and began accepting student affiliate organizations in 1951. The TMTA founded the Texas Music Teachers Educational Foundation in 1980 to support the development of music education in Texas. The TMTA serves as a professional organization for Texas music teachers and works to promote the value of music in society.
Texas Music Teachers Association. “Mission Statement.” Texas Music Teachers Association. http://www.tmta.org/ (accessed July 30, 2010).
Texas Music Teachers Association. “Historical Data.” Texas Music Teachers Association. http://www.tmta.org/about_tmta/historical_data.php (accessed July 30, 2010)
Correspondence, receipt books, minutes, and a scrapbook comprise the Texas Music Teachers Association Records, 1886-1937, and document the association’s early history. The bulk of the collection consists of correspondence from 1888 to 1929 and relates to the association’s general business activities as well as the organization of its yearly meetings. The minutes, a printed official report of the first meeting, and a handwritten draft of the original constitution pertain to the TMTA’s formation and early conferences, 1886-1891. The scrapbook, 1936-1937, consists of photographs and printed materials, such as programs, invitations, and ticket stubs.
The collection is open for research use.
Texas Music Teachers Assoiciation Records, 1886-1937, Dolph Briscoe Center for American History, The University of Texas at Austin.
Basic processing and cataloging of this collection was supported with funds from the National Historical Publications and Records Commission (NHPRC) for the Briscoe Center’s "History Revealed: Bringing Collections to Light" project, 2009-2011.
Detailed Description of the Papers


Teaching in inclusive classrooms: General elementary educators' learning experiences
Date of Award
Doctor of Philosophy (PhD)
Teaching and Leadership
Inclusive, Elementary educators, Learning experiences, General educators
Disability and Equity in Education | Elementary Education and Teaching | Special Education and Teaching
Many school districts have made it a priority to fully include students with disabilities in general education classrooms alongside their non-disabled peers (Harrington, 1997). This purpose of this qualitative study was to examine how ten general elementary educators from one such school district learned to teach students in inclusive classrooms. This study took place in Bundaberg School District where students with mild, moderate and severe disabilities are educated with their non-disabled peers throughout the school day. Data were collected throughout a four-month duration. Teachers participated in four in-depth interviews that were supplemented with classroom participant observation. Data analysis was conducted by developing a coding schemata that revealed themes that suggested answers to the following research question: How have general elementary educators who are currently teaching in inclusive settings perceived that they learned to teach the wide heterogeneity of students in their classrooms? Answers to this research question revealed that teachers (a) initiated their own independent reading and research; (b) learned from their students; (c) reflected on their teaching practices; and (d) learned from special educators. Findings also suggested that as teachers learned information about inclusion, they experienced an adult learning process defined by Mezirow (1997) as Transformative Learning Theory.
Surface provides description only. Full text is available to ProQuest subscribers. Ask your Librarian for assistance.
Rombach, Kimberly Ann, "Teaching in inclusive classrooms: General elementary educators' learning experiences" (2002). Teaching and Leadership - Dissertations. Paper 61.


by Harry Currie
Listening to music of any kind is a very subjective experience. We must factor in our total life experience, including our childhood, the influence of family, friends, mentors, teachers, our level of education, our work experience, our nationality, the degree of aesthetics we understand and appreciate, our socioeconomic status, and also, since we’re talking about music, the level of music education we’ve been exposed to, if any, plus the type and level of music we’ve actually participated in, again, if any. Even age is a factor. Some of these influences we accept, some we reject.
All of this and more, however, determines what our emotional reactions to various types of music will be, and will certainly affect our level of expectation of every musical experience. Sometimes those expectations are met, occasionally they are exceeded, but too often the experience falls short.
If you were to pick 100 people at random on the street and play various types of music to them you would find that similar levels of background and experience would elicit similar responses to the proffered musical samples. But even this is not absolute, for feelings and moods can alter the responses at any time. A.L. Sopchak (1955) stated that “the affective states experienced are due to learning and projection as well as to the music itself.”
Taking all this into consideration it comes down to gut level – personal preferences – and our whole lives determine what those preferences will be. We are all different, and our unique aesthetic standards display those differences. As the old saw goes, one man’s meat is another man’s poison, and that is more than true about music, especially in this modern age.
Most aesthetic philosophers consider music to be the highest form of aesthetics, for as the late John Dewey explained, (music) “has the power of direct emotional expression.” This places music in a pre-eminent position, for the late American poet and critic Eli Siegel, founder of the philosophy of aesthetic realism, considered one of the fundamental causes of strife at all levels in the world to be one of contempt. “The only true combatant of contempt,” Siegel wrote, “is aesthetics.” And of the act of creating works of art in all fields “. . . can we not find here the just purpose of life itself?”
The highest standards of music are critical. A study done in England showed that adolescents who preferred heavy metal and rap had a higher incidence of below-average school grades, school behavior problems, sexual activity, drug and alcohol use, and arrests.
The transference of learning from music to virtually every other subject is well known, none more exemplified than with Albert Einstein, a superb violinist. When asked about the thought process leading to his Theory of Relativity, Einstein replied, “It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception.”
John F. Kennedy said it well: “The life of the arts is close to the center of a nation’s purpose, and is a test to the quality of a nation’s civilization.”
And Einstein must have been able to read the future when he philosophized “The intuitive mind is a sacred gift and the rational mind is a faithful servant. We have created a society that honors the servant and has forgotten the gift.”
The 20th century saw the world in a continuous downward spiral which seems to have no end in sight. Perhaps if our politicians, CEOs and educators could come to a true understanding of “the just purpose of life” we might be able to halt the slide before we annihilate ourselves.
Listen to good music – whatever appeals to you.


DIET means District Institute of Education and Training. National Policy on Education has suggested an overhaul of teacher education as the first step towards national organisation. It has suggested Strengthening of teacher training institutions at the district level and giving them the role of identifying and responding to the teacher training requirements of the area of their coverage.
The DIETs have been opened at district level in all States. The functions of these institutes may be described as under:
(i) To organise pre-service courses for elementary school teachers. They are trained to teach primary and middle classes.
(ii) To organise in-service training for elementary teachers. There are short-term training programmes such as workshops, refresher courses, seminars etc. for elementary teachers.
(iii) To review curriculum and learning materials. One of the wings of the DIET deals with curriculum and learning materials for elementary teachers
(iv) To train teachers in non-formal centres. Non-formal centres have been opened to educate drop-outs in the age group 6- 14 years; the teachers are educated to do their job well.
(v) To look after the material equipment in the elementary schools, Most of the elementary schools are short of needed learning materials.
(vi)To promote literacy programmes. DIETs adopt certain blocks in a district and undertake programmes for adult literacy.
(vii) To organise research programmes to improve the quality of education in elementary schools. (viii) To develop competency in the universalization of elementary education (UEE).
(ix) To work for early childhood care and education (ECCE).
(x) To pay special attention to girls' education in the age group 6-14.
(xi) To improve evaluation procedures for elementary education.


High school math is the next step in a child’s life where they are taken out of the basic principles of mathematics and ushered into a world of greater depth, learning skills that they will carry with them into adulthood and hopefully exercise their critical thinking skills in a way that will help them in their career field of choice. Starting with the first year of high school, 9th grade math builds upon the basics and also introduces new components of practical math application, such as consumer math and finances.
An example of a typical 9th grade math course will include the following :
- Consumer Mathematics
- Applied Business Math
- Algebra 1
Some students may excel beyond the required courses in their first year and go on to study Algebra 2, Advanced Algebra, and perhaps even venture into calculus. Every student is different and now is the time for them to truly understand and put into practice all of the equations they were taught up to transitioning from elementary education, to high school.
An important element of approaching 9th grade math, is to consider the student and what interests they have, and the goals they have for themselves in the future. If they have plans to attend a college, and what degree they wish to achieve can affect the course material they pursue while working toward their high school diploma. When looking at 9th grade math the entire four years of high school should also come into focus and contribute to what and how the student studies.
Along with learning new math expressions students will begin to learn how to use a variety of problem solving strategies. They will learn how to determine what information is needed while problem solving, and how to use multiple representation to explain situations ( numerically, algebraically, graphically, etc.) They will begin to understand how to reason, prove their reasoning mathematically, and then communicate their reasoning to others.
It is important for teachers to take the time to connect with their students on this subject. Young people who are struggling in grasping basic concepts, or did not fully learn foundational principles in elementary and middle school will have a much more difficult time transitioning into higher math. Algebra in particular can become a source of frustration without basic understanding. Parents should also be aware of where their child is at, and what they should be working on. Having teachers and parents who are willing to be involved can help a student feel more comfortable with asking questions and less inhibited in the math world.
9th grade truly is a transition from child to young adult. Diving into the world of higher math is one step closer to equipping the next generation with the tools they need to succeed. With proper support from teachers, parents, and a school that facilitates an atmosphere of learning through asking questions and hands on application, 9th grade math is one more brick in the foundation of a child’s education that they can build upon for the rest of their lives.


Three English courses comprise the Rhetoric and Composition Program at the University of Southern Indiana. Choose a course to view its description in the USI Academic Bulletin:
English 100 is a developmental class designed to provide students who are not yet ready for English 101 with additional help in focusing, organizing, developing, revising and editing their writing. However, English 100 is also a course that must help students improve as readers as well. Many of the students placed in English 100 have had very little direct and pleasurable experience in reading on their own.
In order to offer students tools to succeed in writing, revising and editing, they are introduced to computer-assisted writing, and one regular class period a week is scheduled for student writing in the Liberal Arts computer labs. Thus, students are expected to have basic keyboarding skills prior to enrollment.
Students in this course should also be expected to write at least three, two- to three-page typed essays with at least one revision of each. These essays plus midterm and final self-evaluations should be included in a class portfolio.
English 101 is the regular first-year course in rhetoric and composition. This course is specifically designed to support the University Core 39 goals of expanding foundational skills in communication and critical thinking. John Chaffee in Thinking Critically defines critical thinking as "an active, purposeful, organized cognitive process we use to carefully examine our thinking and the thinking of others, in order to clarify and improve our understanding" (51). This is also what we might call "the art of rhetoric." That is, rhetoric and critical thinking are synonymous to the degree that they are both about the relationship between claims and evidence, what's possible and why, what folks are generally willing to believe as true and how they've come to believe it.
English 101, then, focuses on thinking as a process of examining and developing knowledge and as a process that can be improved through reading, writing, speaking and listening. Students in this course should also be expected to write at least four, three- to four-page essays, with at least one revision of each.
English 201 is a course in research writing with a focus on argumentation. The course is required to complete the University Core 39's Foundational Skills category. In this course, students investigate questions that are at issue for themselves and their audience and for which they do not already have answers. In this sense, the course should help student write about what they've learned through their research rather than simply write arguments supporting one side of an issue over another. "Argumentation" in this context, then, should be understood to mean "the study and analysis of claims and evidence" rather than "writing to win."
Students should compose at least three essays in this class with at least one revision of each. One of these essays should be an eight- to ten-page research paper.


ord Madox Brown was significantly older than the members of the Pre-Raphaelite Brotherhood which formed in 1848, but despite this difference of generation and experience he was a most important figure in the wider context of Pre-Raphaelitism, and one who was revered by each of the P.R.B. protagonists, Rossetti, Holman Hunt and Millais. Brown was born in France and brought up in Belgium. He received a conventional academic art education in various studios and subsequently at the Antwerp Academy. His knowledge of painting, both past and contemporary, was considerable; in this respect he was different to most other British painters of the Age.
Brown settled in London in 1844 and gradually his style changed in favour of a realistic representation of figures and landscape, with the use of clear, strong colours and effects of daylight. In 1848 Rossetti approached Brown for instruction and from this point on friendly relations and mutual exchange of influence occured between Brown and each of the Pre- Raphael ite s. Brown's two paintings Work and The Last of England were both begun in 1852 and were each worked on by him for very long periods. As well as being his personal masterpieces they are both amongst the greatest paintings of the nineteenth century. In the 1860s Brown worked as an illustrator and as a designer of furniture and stained glass. He was involved from its inception in 1861 with the decorating firm of Morris, Marshall, Faulkner and Co.
As a man Ford Madox Brown was prone to moods of despondency brought on in part by his lack of commercial success. in the 1860s he found a readier market for his work and in 1878 he was commissioned to paint a series of murals for Manchester Town Hall. This project was his major preoccupation throughout the last years of his life.
- “Curious crotchets:” Ford Madox Brown's disappointments and character
- Ford Madox Brown becomes a Pre-Raphaelite convert
- Hunt on Brown's mistreatment by the art establishment and his final years
Newall, Christopher. A Celebration of British and European Painting of the 19th and 20th Centuries. London: Peter Nahum, nd [1999?].
Last modified 25 October 2012


There is no other time of the day quite like writing workshop. The alternating periods of excited conferencing mixed with the frenzied scratching of pencils on paper gives me goose bumps every time. I’ve found the key to keeping this delicate balance is authentic writing and student choice.
To get the most out of our time and meet all of the standards, I’ve grouped all of my reading and writing workshop units into genres. This gives students a better understanding of the genres and helps boost both reading comprehension and writing stamina. While students are required to write in my chosen genre, the form their writing takes is really up to them. Our autobiography unit is a perfect example of how this process works.
While students are studying biographies in guided reading, they are also creating their own autobiographies in writing workshop. After we’ve created anchor charts, my students are free to select the path their autobiographies will take. I love teaching this unit each year because I always learn new things about my students. Even reluctant writers have stories to tell when the unit is all about their special memories. For this reason, you might choose to use this unit as a back-to-school activity, especially if you are just focusing on the writing component. Not only will you get to know your new students, but you’ll also allow them to slip back into writing workshop with a familiar topic—themselves! If this project is too challenging for the beginning of the year, save the information to use later as your students explore autobiographies in reading.
I’m excited to share my bundle with you so you can create your own autobiographies with your class. Click to download this freebie from my store on TeachersPayTeachers.com. I’d love to hear how it goes!
Christi Fultz is a third grade teacher in Indiana with a master’s degree in elementary education and a reading specialist license. Reading and writing are her favorite subjects, but she loves creating hands-on math lessons too. Follow her blog, Ms. Fultz’s Corner, for classroom organization tips, literacy resources, reading strategies, writing mini lessons, math games, freebies, and more.


4515 Willard Ave. #2210
Chevy Chase, MD 20815
eniko.basa at verizon dot net
E-Journal of the American Hungarian Educators Association
The Kodály and Rajkó Methods: Voices, Instruments, Ethnicity, and the Globalization of Hungarian Music Education in the Twentieth Century
Music is one of the fields in which Hungary has distinguished itself around the world, and music education is an arena in which Hungarian methods have had a profound impact. The basic principles of Hungarian music-pedagogical methods, developed by Zoltán Kodály (1882–1967) and his disciples and thus known as the Kodály method, are systematic instruction in sight-singing using “movable-do” solfège and rhythmic syllables, with the ideal of developing music literacy in all children through high-quality music, mainly classical and folk repertoire for choirs. Another type of well-known Hungarian music, so-called “Gypsy music,” is specifically denied legitimacy both in Kodály’s writings and those of some of his students, for two reasons: much of it is primarily instrumental instead of vocal, and it is considered “bad.” Yet Romani (Gypsy) musicians from Hungary have also become famous internationally, some from quite a young age. The Rajkó Ensemble, established in 1952 as the Gypsy Orchestra of the Young Communists’ League, brought Hungarian and Hungarian-Gypsy music to over a hundred countries over the years. Interviews with Rajkó members, some conducted by the author and some previously published, reveal those musicians struggling to claim the legitimacy not only of their music but of their music pedagogy, implicitly comparing the Rajkó method to the Kodály method. After a brief discussion of the Kodály method and its history, this essay gives some examples of how that method has dealt with talented Romani youth in Hungary; compares the Kodály method to methods of teaching instrumental music in Roma communities and in the Rajkó Ensemble; and considers how American ideals of multicultural education challenge some of Kodály’s tenets.
Keywords: music pedagogy in Hungary, Zoltán Kodály, Rajkó Ensemble, Romani (Gypsy) musicians
Hooker, Lynn M. “The Kodály and Rajkó Methods: Voices, Instruments, Ethnicity, and the Globalization of Hungarian Music Education in the Twentieth Century.” AHEA: E-Journal of the American Hungarian Educators Association, Volume 6 (2013): http://ahea.net/e-journal/volume-6-2013/14
Lynn M. Hooker is Associate Professor of Hungarian Studies and Adjunct Associate Professor of Music (Musicology) and Ethnomusicology at Indiana University, where she teaches courses on Béla Bartók, Hungarian and Roma (Gypsy) history and culture, and the folk music, art music, and popular music of Central and Eastern Europe. She received her PhD in the History and Theory of Music from the University of Chicago in 2001. Her book Redefining Hungarian Music from Liszt to Bartók was published by Oxford University Press in 2013. Her current research explores the roles of Romani musicians in Hungary as artists, workers, and citizens since the nineteenth century.


SINGING ALPHABET PACK
29 beautifully illustrated cards (large)
a music CD and blackline masters...
This ever-popular resource is used in many schools across Australia.
It's a the perfect resource for introducing pre-schoolers to letters and sounds as well as those starting school.
Use it in the preschool setting, the classroom or at home.
*The music CD - containing 29 songs on separate tracks. The songs are repetitive and interactive, encouraging children to make the sound and try and write the letter.
* 29 full colour A4-sized cards that show a fun picture that help children link each sound to a letter.The teacher holds up the card and together the corresponding song is sung. For example, "Ugly Uncles u-u-u..."
* A *CD-ROM containing the 29 newly illustrated cards as blackline masters, so they can be printed, photocopied and coloured in.
*A 4 page instruction booklet.
USES: The cards are an excellent pre or early literacy resource suitable for a whole class or for individuals.
SUITABLE FOR: The Singing Alphabet is suitable for children in the early stages of literacy development and some older children in need of revision, depending on developmental levels, needs and interest. It is a great resource for parents to use with preschool-aged children.
FOLLOWING REQUESTS, YOU CAN NOW PURCHASE AN EXTRA SET OF CARDS along with your purchase of the full Singing Alphabet Pack. Use one as a wall frieze and one as a set of teaching cards/flashcards EXTRA SET OF CARDS $38.00 (inclusive of GST)
HOW TO PURCHASE:
*SINGING ALPHABET PACK $68.00
* COMPLETE SINGING ALPHABET PACK + extra set of cards $68.00 + $38.00


Safford, Kimberly and Barrs, Myra
Creating contexts for talk: the influence of school-based creative arts projects on children's language.
English in Education, 41(2) pp. 44–56.
The article draws on data from two research studies of children’s language and literacy development in the context of their work in school-based creative arts projects. Using observations of children (ages 3 to 11) and teachers at work, the article examines the ways in which the activities in such projects open up opportunities for children to talk with each other and with adults by generating a workshop atmosphere. Children’s authentic and wide-ranging talk in creative arts projects encompasses personal, social, imaginary and real-world themes which, the article argues, is rage in other curriculum contexts. As school are encouraged to develop ‘creative partnerships’ with artists and arts organisations, the article highlights the role of the teacher in observing and promoting these experiences as occasions for children’s language development.
Safford, K. and Barrs, M. (2005) Many routes to meaning: children’s language and literacy development in creative arts work London: CLPE/Creative Partnerships ISBN 1872267459
Safford, K. (2008) Many Routes to meaning: children's language and literacy learning in creative arts projects Section 4, Partnership Between Artists and Teachers: Structures and Processes. Evaluating the Impact of Arts and Cultural Education: a European and International Research Symposium Centre Pompidou, Paris: Documentation Francaise, Ministries of Education and Culture
Ellis, C. and Safford, K. (eds) (2005) Animating Literacy: inspiring children’s learning through teacher and artist partnerships London: CLPE/Creative Partnerships ISBN 1872267416
Safford, K. and O’Sullivan. O. (2007) Their learning becomes your journey: parents respond to children’s work in creative partnerships London: CLPE and Creative Partnerships http://www.clpe.co.uk/pdf/their_learning_becomes_your_journey.pdf
O’Sullivan, O, and Safford, K. (2008) Creative projects: getting parents involved London: Creative Partnerships and Centre for Literacy in Primary Education http://www.clpe.co.uk/pdf/getting_parents_involved.pdf
Actions (login may be required)


|Name: _________________________||Period: ___________________|
This test consists of 5 short answer questions, 10 short essay questions, and 1 (of 3) essay topics.
Short Answer Questions
1. Where does Lodovico want Michelangelo accepted?
2. What is Michelangelo's response when his father tells him he cannot afford to have pride?
3. Eventually, what does Lodovico hope for that will help his family?
4. Who is perfectly content to keep house and cook for Michelangelo?
5. What does Savonarola preach about the de Medici family?
Short Essay Questions
1. Describe Michelangelo's meeting Clarissa.
2. Why does Michelangelo not close up his brothers' unprofitable shop?
3. Describe how Michelangelo gets his start in art education.
4. What happens when Michelangelo finally gets to speak with Cardinal Riario about starting on the large block of marble?
5. What family problem does Michelangelo attempt to solve with his brothers?
6. How does Michelangelo's father add stress to his son while he is working on Pope Julius' tomb?
7. Describe briefly the way friendship develops between Michelangelo and the contessina.
8. Explain the risk Michelangelo takes for his art.
9. Describe Michelangelo's strong opinions about art.
10. How does Michelangelo learn about the block of marble that will eventually become one of his greatest works?
Essay Topic 1
Write an essay about the will to succeed. Using Michelangelo as an example, discuss how people who achieve great things in their lives are focused and driven to succeed. Include some modern day examples as well.
Essay Topic 2
Write an essay on competition. Refer to Michelangelo's securing the commission to paint the second wall next to da Vinci as a good example of competition. Discuss in your essay how healthy competition brings about greater achievements.
Essay Topic 3
Write an essay on character assassination using the innuendo about Michelangelo's relationship to Tomasso and other men. Discuss in your essay how such tactics are used as hate mongering to turn public opinion against another person.
This section contains 1,457 words
(approx. 5 pages at 300 words per page)


Carnegie Mellon University, a private research institution, offers more than 75 distinct opportunities to improve the education process, and to increase content and skills knowledge for teachers and students in southwestern Pennsylvania. Although the university does not have a school or department of education, Carnegie Mellon has unique resources, perspectives and expertise to help our society revitalize education by providing experiences that lead to enhanced in-depth content knowledge for teachers and students.
Here, individuals and groups with innovative ideas and strong commitment have sparked an intellectual revolution among thousands of children - from pre-school students through high school seniors. Carnegie Mellon students tutor primary, middle and secondary school students in academic subjects and the fine arts, and mentor young children seeking a successful future through education. Teachers work alongside campus researchers who are solving modern-day problems such as how to create new tissue to repair a damaged organ, or how to safely intervene when biological hazards threaten to harm thousands. Elementary, middle and high school students are made aware of cutting-edge technology in the fields of chemistry, computer science, robotics, engineering and mathematics. Individuals complete requirements for Pennsylvania certification in Music Education, Educational Leadership, and Educational Technology Management.
The dedication of human and technological resources to create and disseminate knowledge through research, artistic expression, teaching and learning, and to transfer this new knowledge to society is the mission of our institution.
Talented and Energetic University Students
Hundreds of Carnegie Mellon graduate and undergraduate students participate each year in school outreach initiatives, serving as tutors, mentors, lab assistants, group leaders and instructors. They testify that experiences in outreach programs are often their most meaningful educational experiences on campus.
A Thank You from Carnegie Mellon to our Sponsors
Our institution is proud to report about so many worthwhile pre-K -12 programs and to be able to highlight the numerous ways these efforts can improve the educational experience for so many children and adults in the region. The benefits of these programs are mutual. Not only do we see important advancements for our school partners, but we enjoy rewards from these efforts as well. We benefit by:
- Helping Carnegie Mellon students serve their community, develop interpersonal and leadership skills, and learn from the experiences of people from different environments and cultures;
- Allowing many Carnegie Mellon staff and faculty members to find new perspectives and insights into their own disciplines and explore new ways to transfer knowledge to today's society in real and meaningful ways;
- Preparing future college students for the types of challenges they will face studying at universities like ours;
- Attracting prospective undergraduate students through participation in pre-college and other demanding programs;
- Enabling the university to prepare minority students for more successful college careers and helping enrich Carnegie Mellon's diverse campus community.
Without the generous funding provided by numerous organizations, such significant work would not be possible. Carnegie Mellon school outreach efforts are supported through the generosity of:
- Local and national foundations
- Local, state and federal government
- School Districts
- Individual contributors
This website highlights some of the programs that are currently serving teachers and students in the region. Each entry contains contact information for the project director or coordinator, and Internet addresses where available.


Influenza (flu) is a contagious respiratory illness caused by influenza viruses. It can cause mild to severe illness. - Read More...
The Department of Defense Education Activity (DoDEA) will participate in the 2015 National History Teacher of the Year (NHTOY) competition. - Read More...
Kaiserslautern Middle School provides a student-focused learning environment that is standards-based and differentiated to empower students to reach their maximum potential. KMS promotes a safe climate for students to grow as healthy, caring and ethical citizens of a diverse world.
Educate, Engage and Empower each student to succeed in a dynamic world.
Goal 1: Students will improve their problem-solving skills with an emphasis on math foundational skills.
Goal 2: Students will increase performance on critical reading skills.
Goal 3: KMS will diminish bullying or the perception of bullying.
There are no news items at this time.
Unit 3240 P O Box 450
APO, AE 09021
It is the responsibility of the parents or guardians to notify the school every time a student is absent.


UMD's Jean Stevenson Researches
the Life and Work of Arnold Lobel
Jean Stevenson digs for treasure in the specially designed underground caverns of the Elmer L. Anderson Library. Stevenson conducts research for the Anderson Library's Kerlan Collection at the University of Minnesota. It is one of the world's great children's literature research collections and it includes books, original manuscripts, original illustrations, and related materials.
This summer, in celebration of the UMD play, A Year with Frog and Toad, directed by Chancellor Kathryn A. Martin, Stevenson did some research on the children’s book author, Arnold Lobel.
“I was sitting alone in the Kerlan, with all my stuff around me,” said Stevenson. “I pulled out a folder, and inside was a manuscript written by Arnold Lobel." This is what she read:
One day in summer
“I burst out laughing,” said Stevenson. “It is such wonderful writing — so simple and childlike. In a way, I felt like I was sitting next to Arnold Lobel as he was writing it. You can hear that he wrote in breath spaces, so it sounds right when it is read aloud.”
The manuscript was only one of the incredible treasures of Lobel’s in the Kerlan Collection. Stevenson brought copies back to UMD and they can be viewed in a display case in the hall near the UMD Library. Stevenson found a facsimile of a black and white Lobel drawing that depicts Toad in his bathing suit and animals laughing at him. It’s from the chapter, “A Swim” in the book Frog and Toad are Friends. "You can see that the publishers added color and made two illustrations out of one," Stevenson said.
She also found a holograph, which is the handwritten text of the manuscript. The holograph is from the chapter “Spring,” the first chapter of the same book. “It was like I could see Lobel writing and revising the work,” said Stevenson. "He wrote with a sure hand. They are hardly any corrections.We know that Lobel wrote and drew every day and it is evident in the holograph."
Another of Stevenson’s finds was a corrected typescript of the same chapter. This one had corrections in another person’s handwriting, possibly the publisher’s.
Research of this kind is familiar territory for Stevenson. She prepares portfolios, which are resources for teachers, to bring to grade-school classrooms. The portfolios contain facsimile copies of original manuscripts and illustrations by well-known children’s book authors. "I show kids what came first,” said Stevenson. “I often have a manuscript. Then I show them what came second. Most often that is materials from the publisher. Then I show them the published books.” When Stevenson can show the students an illustration, it makes the session a special event.
Stevenson’s life work is the study of children’s literature. Her doctoral dissertation, “The Writing Processes of Theodore Taylor and Jane Yolen,” is influencing her current projects. She is preparing a Kerlan portfolio on Theodore Taylor, author of The Cay. She is also preparing a Kerlan portfolio on Myra Cohn Livingston, children's poet, anthologist, and author of many books including I Like You If You Like Me and Celebration.
This spring, Stevenson was asked to make the presentation as the renowned artist and children’s book illustrator Louis Slobodkin was posthumously awarded The Kerlan Award in Children's Literature.
Stevenson teaches Language and Literacy and Children's Literature & Integrating Arts in the Education Department at UMD. She is an assistant professor and the elementary education program coordinator. This spring, she received an Outstanding Faculty Adviser Award.
"I teach the college students to bring reading and writing into the classroom," she said. Stevenson tells her UMD students about one experience she had in a third grade classroom. The third graders wrote every morning as part of a daily writing workshop. "The kids would come in, grab their folders and and write. They had actually started writing as they walked to school or as they rode the bus," she said. "You learn to write by reading. You learn cadence and how to convey ideas. There is a connection."
Stevenson teaches the UMD students something else through her example. She teaches them to be passionionate about reading, writing, and literature.
— written by Cheryl Reitan
UMD Homepage 2007
Did you find what you were looking for? YES NO


Letterland was created in the Special Needs setting and grew from teaching, observing and talking with children aged 3 to 10 who were persistently baffled by print. Through their imagination a child-friendly language about how the English language works was born.
Letterland is used in special needs environments worldwide to aid early literacy development in children with a range of complex conditions including.
- Cerebral Palsy
- Down's Syndrome
- Speech and Language Deficits
All of the Letterland resources are used in the Special Needs area though certain items are more suited to different learning difficulties. If you would like advice on any aspect of using Letterland in the Special Needs area you can contact Lara Stiller via the following link firstname.lastname@example.org.


Earn your Special Education Degree from Grand Canyon University
Do you enjoy working with children and adolescents who have special needs or disabilities? Special education is a field that continues to seek out extraordinary individuals to positively impact and teach students with special needs. Special Education is a rewarding field that includes many specializations such as learning disabilities, emotional and behavioral disabilities, and other physical and cognitive impairments. SPED teachers assist students who have a spectrum of different needs in implementing individualized education plans. These teachers are the vehicles to meet all IDEA requirements and support students in setting, meeting and exceeding IEP/504 goals.
Growth in the Field of Special Education
According to the Bureau of Labor Statistics, in the field of special education, "excellent job prospects are expected due to rising enrollments of special education students and reported shortages of qualified teachers." This growth is due in part to earlier diagnoses of special needs issues, as well as legislation placing more importance on training and employing individuals with disabilities. As a result, an increased number of positions are available for special education teachers. According to the Bureau of Labor Statistics, "The number of special education teachers is expected to increase by 17 percent from 2008 to 2018, which is faster than the average for all occupations."
GCU's Special Education Degree Programs
Earning a special education degree can lead to a rewarding career in this high-demand field. Grand Canyon University offers a bachelor's in elementary education and special education dual degree, as well as a master's in special education designed for those individuals who would like to transition into the special education field. Additionally, the master's in special education for Certified Special Educators is an advanced program for those educators who work in the field of special education and want to increase and improve their skills.
Special Education Course Topics
Both our dual degree bachelor's in special education as well as our master's in special education: cross categorical focus on a variety of topics including: classroom management for students with special needs, structured English immersion, diagnosis and assessment in special education, characteristics of learning disabilities and strategies to teach individuals with learning disabilities, characteristics of emotional/behavioral disabilities and strategies to teach individuals with learning disabilities, characteristics of intellectual disabilities and strategies to teach individuals with learning disabilities, and educational implications for students with physical and health impairments.
The master's degree in special education for certified special educators has a focus on topics including: Special education program development and funding, inclusion and collaborative practices, assistive technology in special education, assessment in special education, strategies to teach individuals with learning disabilities, strategies to teach individuals with emotional and behavioral disorders, strategies to teach individuals with intellectual disabilities, strategies to teach individuals with physical and health implications, and management and strategic instruction practices for students with special needs.
Ed.D. in Special Education
Grand Canyon University also offers an Ed.D. in Organizational Leadership with an Emphasis in Special Education program, designed for educators and consultants who wish to advance the study of leadership within the field of special education. This program uses an in-depth research-based approach to prepare students with the leadership skills necessary for the role of a strategic professional. Learners study the current and emerging trends in special education and focus on special education law and legal compliance.
Convenient Learning Formats
Our dual degree bachelor's in elementary education and special education degree is offered both at GCU's main campus as well as in an online format. GCU's master's in special education programs are offered online as well as in an evening cohort format, where students conveniently attend class one evening per week. Our online special education degrees allow students to study at the times and places most convenient, without interrupting their time spent teaching.
Student Teaching Requirements
The bachelor's and master's degree programs in special education leading to teacher licensure include a full-time student teaching component at the end of the program. The master's in special education designed for certified special education teachers does not include a student teaching component.


Agua SALud: Partner Organizations
Engineers for a Sustainable World - Berkeley is an organization at the University of California at Berkeley interested in engineering issues surrounding appropriate technologies in development. To that end, ESW-B has three primary goals:
The National Council for the Promotion of Education (Consejo Nacional de Fomento Educativo, CONAFE) is the organization in charge of elementary education at small rural communities in Mexico. In the state of Baja California Sur, CONAFE has a cadre of 15 Supervisors and 160 Community Educators. These educators teach a total number of 1,000 preprimary and elementary students who live in 150 communities located in places of difficult access or with migrant population.
The Community Educators, who are responsible for the pre-primary and primary education at the CONAFE schools, are students who have finished high school and who are doing a social-service of 2 years. This social-service will qualify them to receive a scholarship from CONAFE that will give them the opportunity to carry through with their studies.
Apart from fulfilling its educational goals, CONAFE has often been a driver of community-development programs such as PV rural electrification. In these programs, CONAFE has assisted development agencies by serving as the community’s voice and by introducing educational kits that promote sustainable paths.
Currently, with funds from the Inter-American Development Bank, CONAFE plans to introduce sanitary facilities, latrines and solar panels to its educational facilities that require so. Again, these efforts will be reinforced with educational packages discussing the importance of sustainability and proper health practices in the community.
CONAFE has reported the lack of access to potable water suffered by the instructors and students of most of the communities where it operates. Water contaminated with microorganisms is one of the leading causes of instructors’ and children’s absentee in rural schools. Water with high salinity levels may produce chronic health effects that reduce the individuals’ future quality of life. The access to microorganism-free and low salinity water both have potential to increase the time-in-school of instructors and students, and the quality of life of CONAFE communities.
The main role of CONAFE in the project is to promote, via educational programs especially targeted to children, the basic sanitation practices and the importance of drinking water from adequate sources. CONAFE instructors also play a key role in the dialogue between the community members and the Agua SALud team.
The National Water Commission (Comisión Nacional del Agua, CNA) goal is to: Manage and preserve the national water assets with the participation of society in order to achieve their sustainable use.
The Agua SALud team worked with the staff from CNA’s Water Quality Lab (Laboratorio de Calidad del Agua). The lab provided space and equipment necessary to run the Sodium analysis; as well as sample bottles, distilled water and an incubator needed for the microbial analysis. The staff’s experience was of extreme importance for the optimal development of the project.
Niparajá is a non-profit organization, established in 1991 in La Paz, Baja California Sur, that is focused on conserving the natural capital of Southern Baja California through collaborative, science-based actions for the present and future benefit of local communities.
Future website: www.niparaja.org/


Teaching Discipline in Elementary Schools: Responsive Classroom Provides New Professional Development Resource
October 19, 2011
FOR IMMEDIATE RELEASE
For further information, contact:
Turners Falls, MA—Positive behavior enables maximum student learning, and positive behavior can be taught. That is a key principle of the Responsive Classroom approach to elementary education. Now, with Teaching Discipline in the Classroom, the newest professional development kit from Northeast Foundation for Children, Inc., schools and districts can conduct their own structured, multi-session, school-based study of how to teach discipline and positive behavior. Using the classic book Rules in School: Teaching Discipline in the Responsive Classroom, teachers learn practical strategies and study videos of real teachers using the strategies in their own classrooms.
Mary Beth Forton, Rules in School co-author, says, "Discipline is a subject that can be taught just as we teach reading, writing, and math."
Using the professional development kit, teachers learn to:
- Establish a calm, orderly, and safe learning environment
- Help children develop self-control and self-discipline
- Teach children to be responsible, contributing members of a community
- Promote respectful and kind teacher-student and student-student interactions.
Forton adds that "teachers need professional development resources to use in their own school or district so they can learn with colleagues. The kit provides a structure that encourages teachers to go into more depth than an informal book study group typically allows."
The new multimedia kit, third in a series, is modeled on the Morning Meeting Kit, a 2009 winner of the Association of Educational Publishers' Golden Lamp Award. Judges commented, "You can take the kit right off the shelf and use it. Excellent reproducible materials." Priced at $695, Teaching Discipline in the Classroom is a reusable resource that enables school teams to learn the principles of effective classroom management together.
Northeast Foundation for Children, Inc. (NEFC), a not-for-profit organization, was established in 1981 by elementary school educators who envisioned a way of teaching that would bring together academic and social learning throughout the school day. That way of teaching, called the Responsive Classroom approach, is now being used in schools across the country.
Return to the Responsive Classroom Media Room


Bill Ayers: How To Use Comics In The ClassroomPosted by Claire Daniel on February 06, 2012
On Saturday, February 4, over 60 educators braved the first snowstorm of 2012 to participate in The 12th Annual Language Series opening workshop, The Language of Sequential Art: Comics in the Classroom.
Throughout the day, Bank Street alum Bill Ayers and cartoonist Ryan Alexander-Tanner led dual-language, bilingual, Special Ed., and monolingual teachers through a theoretical and practical exploration of comics (which is, as they said time and again, a medium—and not a genre) as a powerful tool for literacy and social justice in the classroom.
Ayers began by sharing his own introduction to comics, skillfully illustrating his own “aha moment” through the introduction of his classic book, To Teach, where, for the third edition, Ayers partnered up with Alexander-Tanner to reinterpret the text as a graphic novel.
Over five panels, Ayers’ cartoon character comes to the realization that by combining words and pictures, “a third, all-new form” is created.
Where at first he thought he was simply employing Alexander-Tanner to illustrate his words, what he discovered through the process was, in his words, “a dazzling dance of the dialectic”—a collaboration “where reader’s imaginations are called upon to make connections and invent meaning” in a much more accessible and democratic way.
Literacy, for Ayers, goes beyond the usual skills of reading, writing and speaking. For him, literacy is access to the culture. It’s access to meaning making.
“In a complex culture such as ours,” he said to the audience, “being a democratic person requires engagement with different media and different ways of interpreting and making sense of the world. We need to think of literacy as something that gives everyone access to everything.”
A tall order, he admitted, but one that visual literacy makes easier to serve.
Locating Possibility: Sequential Art in Teaching
For hands-on practice using comics as a teaching tool, Alexander-Tanner and Ayers had the audience participate in an interactive exercise on the theme of ‘snow.’ Using an empty six-paneled comic block template, each person started a narrative in the first block and then passed the paper to the right to continue the story through illustrations and words by the next person.
As they completed the exercise, the audience discussed with each other their own thoughts and experiences with sequential art. Student teacher Claire Hiatt, who enjoys working with 3rd grade students as they make the transition from learning to read to reading to learn, commented: “During my student teaching last semester, I noticed that my students struggling with that transition had a lot more success with image-based text.”
“That’s how social justice fits into it,” 3rd grade teachers Melanie Macioce and Denise Oehl mused. “There’s an entry point for everybody. In that everybody is able to enter in and understand it.”
Later in the day, participants broke into groups according to their classroom level to construct a panel that told a story about ‘bullying.’ Dual-language 5th grade instructor Marisol Parra divulged that her group plans to use the one they created when they cover Western Expansion to motivate her students.
“We wanted to look at this from the pioneer and Native American point of view,” she explained as she held up her paper. “I feel that this method is very beneficial for students in a dual-language setting. Fluent and basic students can convey the same ideas whether through illustration or with illustration and text. It helps both groups come through with the same message.”
Luisa Liliana Costa, coordinator of the Language Series, concurs: "Comics is a medium for all grades. It's an enjoyable way of accessing information that can be used effectively in our classrooms with a diverse group of learners. I will continue searching for experts on the use of comics to invite them to Bank Street!"
Other events in the Language Series:
January 28, 2012 8:30 am – 1:30 pm: Supporting Language and Literacy Development in Content Area Classrooms with Dr. Nancy Cloud
February 4, 2012 8:30 am – 1:30 pm: Exploring Diversity in Our Lives and in Our Classrooms with Kelvina Butcher and Melissa Bernardin
Bill Ayers portrait sketched by cartoonist Cody Pickrodt during the workshop.


3rd Grade: Need for Teacher Assistance Beyond That Typically Provided in General Education 3rd Grade Classrooms for Language and Literacy Development by Former Preschool Special Education Services
The more integrated the preschool special education service, the less extra assistance was required from general education teachers on 3rd grade language and literacy tasks.
Students not classified until school age have needs for assistance very much like those of students formerly served in preschool special class programs.
|Related Services Only||SEIT Services Only||Related Services and SEIT||Special Class in Integrated Setting||Special Class Program||No Preschool Services|
|No Extra Assistance Required||0.49||0.38||0.17||0.31||0.25||0.25|
|Requires Periodic Assistance||0.29||0.38||0.49||0.31||0.24||0.26|
|Requires Frequent Assistance||0.11||0.23||0.29||0.27||0.34||0.29|
|Requires Continuous Assistance||0.12||0||0.06||0.11||0.17||0.2|
Preliminary summary of findings
Source: independent research by MGT of America, Inc.
NYSED VESID, DVJ
Oct. 3, 2007


Constitution as of 5 October 1988.
Portuguese is the official language of the Federative Republic of Brazil.
2. Regular elementary education shall be given in the Portuguese language and Indian communities shall also be ensured the use of their native tongues and their own learning methods.
Indians shall have their social organization, customs, languages. creeds and traditions recognized, as well as their original rights to the lands they traditionally occupy, it being incumbent upon the Union to demarcate them, protect and ensure respect for all of their property.
Note: The complete
text of the Constitution of Brazil is provided by the International
Constitutional Law Project at the University of Wuerzburg.
To MOST Clearing House Homepage


YEAR-END ACCOMPLISHMENT REPORT
In support to the non-formal education program of the DepEd, the City Schools Division of Dasmarinas provides Basic Education in terms of Alternative Learning System through the implementation of the major literacy programs cum livelihood namely: Basic Literacy Program (BLP), Accreditation and Equivalency Program (A & E) for Elementary and Secondary Level. Basic Education has been implemented through the collaboration of LGU, IMs, Mobile Teachers, ALS Coordinators, Principal Consultant and District Supervisor. The Alternative Learning System (ALS A&E) Test response to providing alternative learning to Out of School Youth (OSY) and adults (OSA) to earn educational qualification to enable school leavers and adult to gain more through reading, writing and numeracy skills to meet their learning goals. It aimed to eradicate illiteracy, help lessen poverty, and unemployment by providing them necessary certificate equivalent to an Elementary or Secondary Diploma. They could use it as a mainstream to formal education to enhance their capabilities by raising their basic and functional literacy skills to be able to pursue higher learning or get better jobs. The ALS programs and activity in the City of Dasmariñas are committed of helping the people to attain the quality of life, to uplift the conditions of the people in the community and help to find direction as people perform their roles and functions guided with the support of implementers, facilitators, promoters and providers.
ALS is also geared for the acquisition of basic knowledge, attitudes, values and skills that will serve as a powerful tool in combating illiteracy and opens great opportunities for all individuals. The curriculum for the ALS must given full attention, if it has to be developed and at the same time strengthened.
Alternative Learning System should be a common...


Teaching Math Through the Visual Arts, K-5
Caren Holtzman and Lynn Susholtz
When Caren Holtzman and Lynn Susholtz look around a classroom, they see "a veritable goldmine of mathematical investigations" involving number, measurement, size, shape, symmetry, ratio, and proportion.
- Author: Caren Holtzman and Lynn Susholtz
- ISBN: 978-157110-796-1
- Media: 228 pp/paper + CD-ROM
- Grade Range: K-5
- Item No: WEB-0796
When Caren Holtzman and Lynn Susholtz look around a classroom, they see "a veritable goldmine of mathematical investigations" involving number, measurement, size, shape, symmetry, ratio, and proportion. They also think of the ways great artists have employed these concepts in their depictions of objects and space -- for example, Picasso's use of geometric shapes in his Cubist still lifes or contemporary artist Tara Donovan's room-sized sculptures of everyday items.
In their new book, Object Lessons, Caren (a math educator) and Lynn (an artist and art educator) use a highly visual approach to show students and teachers the art in math and the math in art. Integrating visual arts into math experiences makes the lessons accessible, engaging, and meaningful for a wide range of students.
In each chapter, the authors use everyday objects to create rigorous, hands-on activities that address key mathematics standards and concepts. Each lesson provides:
- an introduction to the featured object that explains how it connects to key mathematical concepts;
- a discussion of the artists, art styles and techniques featured;
- activities organized by grade level and math content area;
- the basic materials required to prepare and teach each lesson;
- a clear picture of what the lesson will look like in a classroom; and
- a list of resources.
The book and its accompanying CD feature a wonderful gallery of images—including art photos and student work—and a collection of links to art education organizations, museums, and websites that focus on the work of forty major artists.
Table of ContentsPreview the book online!
Chapter 1: The Face
Chapter 2: Food
Chapter 3: Grids and Graph Paper
Chapter 4: The Rock
Chapter 5: Paper
Chapter 6: The Shoe
Chapter 7: The Flag
Chapter8: The Journal
Chapter 9: The Classroom
Visual Art General References
About the Authors
Caren Holtzman began her teaching career with Oceanside Unified School District. She was a classroom teacher (grades 2-6) for ten years. She subsequently began her work as a faculty member at the University of California San Diego's Education Studies Program (EDS). >more
Lynn Susholtz has been involved in art and education for the last twenty-five years. She has developed curricula for and taught in private and public schools, community centers, and social service organizations, with people of all ages and backgrounds, throughout the county of San Diego. >more


Issues in Art and Design Teaching
Edited by Nicholas Addison, Lesley Burgess
Routledge – 2003 – 256 pages
Series: Issues in Teaching Series
Issues in Art and Design Teaching draws together a range of pedagogical and ethical issues for trainee and newly qualified teachers of art and design, and their mentors in art and design education. Arguing for a critical approach to the art and design curriculum, the collection encourages students and teachers to consider and reflect on issues in order that they can make reasoned and informed judgments about their teaching of art and design.
Among the key issues addressed include:
Introduction: core debates and issues Part 1. Transitions and shifts in teaching and learning Paradigm shifts 1. Recent shifts in US art education 2. Art and design in the UK: the theory gap Cross-phase transitions 3. Changing places? 4. In and out of place: cleansing rites in art education Part 2. Curriculum Issues Research in art education 5.Concerns and aspirations for qualitative research in the new millennium 6. Productive tensions: residencies in research Interdisciplinary 7. The role of language within a multimodal curriculum 8. The role of art and design in citizenship education 9. Thinking out of the box: developments in specialist art and design teacher education and ICT 10. Does visual literacy demand a head for heights Doubts and fears 10. Monsters in the playground: including contemporary art 11. Iconoscepticism: the value of images in education 12. Measuring artistic performance: the assessment debate and art educationThe principle of collaboration 13. Temporary residencies: student interventions in the gallery 14. Creative partnerships or more of the same? Moving beyond 'it reminds me of' 15. Challenging orthodoxies through partnership: PGCE students as agents of change Part 3. Towards an Ethical Pedagogy 16. Do hope and critical pedagogy matter under the reign of neoliberalism? 17. Loaded canons 18. Forming teacher identities in initial teacher education 19. Reflections on multicultural art history


Instrumental music education was in its infancy during the first decades of the twentieth century. Hale A. VanderCook and Hubert E. Nutt founded the VanderCook College of Music, pioneering a curriculum and instructional methods for preparing the music teacher. VanderCook articulated the approach in monographs on musical expression and teaching the high school band, correspondence courses in cornet performance and conducting, and annotated musical compositions. His pupil, colleague and, eventually, "adopted son" Hubert E. Nutt (nicknamed "H.E.") amplified upon the method and was responsible for weaving the approach into a four-year college curriculum in undergraduate music teacher education, and a four-summer graduate curriculum that was taught at the VanderCook College of Music for much of the twentieth century.
H.E. Nutt was also very active with band camps and clinics throughout the United States, for which he created over 100 unpublished worksheet-type presentations ranging from one to several pages in length. The variety of topics in these worksheets includes in-depth coverage of conducting technique with a systematic approach for developing conducting mastery; extension of VanderCook's ideas on musical expression; principles for organization and classroom discipline; a process for vocal development; a process for string development; diagnostic tests to be used with the various instruments; a published set of articles dealing with high school student leadership; theory and arranging worksheets; music library organization; philosophical "thought questions" pertaining to a myriad of issues in music education; and discussions on various components of musical basics such as a "half-truth" series; musical values; a system of understanding musical scales; chordal exercises; fundamental ideas for mastering musical instruments. His work even includes a detailed system on baton twirling and dance band style drumming.
Of particular note is H.E.'s work in conducting. Known for the outstanding quality of his own ability to work with ensembles, he was dedicated to the process of teaching others to be conductors. Like VanderCook, Nutt provided a precise task analysis of the process of conducting, what he called "semiotics," the language and science of gestures. This included detailed instructions on the function of the director, how the director achieves results, meaning of motions, holding the baton, details of starting positions, and motions through various patterns, style and its relationship to pattern, volume, left hand work, starting notes, holds, cues, phrasings, metronome markings, facial expression, body posture, subdivided beats, score study, and stage routine and appearance. The denseness of his worksheets sometimes suggests a crib sheet for study - and in many respects that is what they were - concise, thorough, capturing the essential elements of a complex task in a simple yet thorough and relatively uncomplicated manner.
H.E.'s original worksheets, notebooks, and other papers now reside in the H.E. Nutt Archives at VanderCook College of Music.
- Adapted from "The H.A. VanderCook - H.E. Nutt Collaboration: Seventy - Five Years of Partnership in Music Teacher Education" by Roseanne K. Rosenthal, Presented at the 13th National Symposium for Research in Music Behavior, Montreal, Quebec, April 1999


Why Are Things Shaped the Way They Are?
David Whiten, Phyllis Whiten
Important geometric concepts embedded in the shape and design of natural and manufactured objects. The Whitins first describe fourth graders exploring why manhole covers are circles. Then the authors offer a range of activities to demonstrate how inquiring about shape in botany, geology, biology, and industry can effectively integrate science and mathematics and foster a life-long spirit of inquiry.
More than Just Number
To build on and encourage children’s natural curiosities about shapes and their connection to the real world, early childhood learning environments should be constructed to support geometric thinking. Adults can provide opportunities for children to explore materials, engage in activities, and work in collaboration with peers and teachers to construct their own knowledge of the world around them.
The Goal of Long Division
John Martin Jr.
Martin describes student thinking that should be developed to facilitate their understanding of answers resulting from division. Keys to this understanding include the role of place value in the quotient and the power of multiples of ten in determining the quotient.
Using Student Work to Learn about Teaching
Marilee Cameron, Jenine Loesing, Vickie Rorvig, Kathryn Chval
Analyzing student work can help teachers improve the teaching and learning of mathematics. This article describes professional development activities related to examining students’ addition strategies in grades K–5.
Laura McLeman, Heather Cavell
The creation and implementation of a module in a mathematics-for-teaching course that was centered on children’s written work and verbal explanations. The goal of the module was to support the development of preservice elementary teachers’ mathematical knowledge for teaching fractions (MKTF).


Yaacov Agam (Israeli, b.1928) is a renowned sculptor. He was born in Mandate Palestine, and lived there until 1949, the year after the establishment of the State of Israel. While living in Mandate Palestine, Agam studied in Jerusalem at the Bezalel Academy of Arts and Design. Following his 1949 move to Switzerland, he studied at Eidgenossische Technische Hochschule and the Zurich University. He moved to Paris in 1951.
Agam is considered one of the founders of kinetic art. Kinetic artworks typically contain moving elements and rely on motion provided by natural forces, motors, or human intervention in order to achieve their visual effects. In a twist on the classic model of kinetic art, Agam's sculpture Peaceful Communication with the World is painted in such a way that children's growth will change how the work appears to them as they get taller. In a more traditional vein, his Fire and Water Fountain uses mechanically driven parts to help achieve the visual effects.
Agam works almost entirely in sculpture, with many of the sculptures on a massive scale. One of his more famous pieces called Hanukkah Menorah is located in New York City, stands 32 feet high, and can function as a menorah. His sculptures appear in numerous cities around the world, including Jerusalem, Paris, Tel Aviv, Los Angeles, and the Bahamas. He has held exhibitions and retrospectives at both museums and galleries. His work has been shown in retrospectives at the Guggenheim Museum in New York, the Musee National d'art Moderne in Paris, and the Tel Aviv Museum. His solo exhibitions have appeared at Marlborough-Gerson Gallery in New York, the Museo de Arte Modemo in Mexico, and the Jewish Museum in New York. In addition to artistic work, Agam routinely involves himself in art education, with lectures delivered at universities and conventions. In 1968, he served as a guest lecturer at Harvard University, where he taught a course on visual communication. Some of his educational ideas for enhancing the cognitive and creative skills of children have been implemented in Israel. The artist currently lives and works in Paris.


For students in kindergarten through high school, Texas requires that they receive instruction in the Texas Essential Knowledge and Skills (TEKS) and participate in the statewide assessment system. For preschool children receiving a public education, Texas does not require prekindergarten curriculum. Since research clearly demonstrates the value of early education for young children, TEA designed a document to help educators make good decisions about what to teach their prekindergarten students.
To prepare children for academic success, it is important that prekindergarten programs employ effective teaching practices that help children grow intellectually and socially.
The purpose of the Prekindergarten Curriculum Guidelines document is to help educators make informed decisions about curriculum content for prekindergarten children. The guidelines also provide a means to align the prekindergarten programs with the Texas Essential Knowledge and Skills (TEKS).
What Parents Need To Know
To effectively participate in the ARD process, parents need to know what learning standards are expected for other children at the same age. The Prekindergarten Curriculum Guidelines will help families to become familiar with what is expected of students enrolled in prekindergarten. Once you know what is expected, you can help the ARD team determine the most appropriate educational plan for your child.
The Preschool Kindergarten Curriculum Guidelines can be accessed at: http://www.tea.state.tx.us/index2.aspx?id=2147495508
In addition, the Texas Education Agency has developed the Early Childhood Outcomes and PreKindergarten Alignment document. The purpose of this document is to align each Prekindergarten guideline to one or more of the three Early Childhood Outcomes, and provide educators and families with discussion prompts to explain how each outcome relates to the guideline.
The document also provides modifications and adaptations for children with disabilities and extends to include a developmental continuum for teachers to use in developing appropriate goals for children who are developmentally functioning below four-year-old expectations, based on the guidelines. Additionally, foundational skills that will lead to expected three-year-old and four-year-old skills are discussed throughout the document. The foundational skills can be used to provide a direct link to Prekindergarten Guidelines and as starting point for the students who are the farthest away form age-appropriate skill levels when they enter Early Childhood Special Education Programs. The connection of the foundational skills to the Prekindergarten Guidelines will help educators design developmentally appropriate, individualized goals for their youngest learners including students with disabilities, students learning English as a second language, as well as any child who may be at risk educationally.


“How many times have you heard ‘a picture is worth a thousand words.’ Visual, graphic information is important because human brains are hard-wired to attend to images. The challenge is that students still have to read words to achieve success. In this text, Lapp, Wolsey, Wood, and Johnson make a vital connection between reading words and the role of graphics. They demonstrate how teachers and students can blend the two such that great learning occurs in every classroom, every day.”
(DOUGLAS FISHER, Coauthor of Rigorous Reading)
“Lapp, Wolsey, Wood, and Johnson have written a book that will become the resource for using graphic organizers across disciplines! With careful attention to the details teachers crave in order to design meaningful lessons, the authors guide teachers on a journey that takes them far beyond the traditional uses of graphic organizers—jotting notes and organizing information—and show teachers how these visual tools lead students to independent thinking and inquiry, as well as support the Common Core reading and writing standards. What I love about this book is that it fosters original thinking among students as they design graphic organizers that enable them to unpack meaning from complex texts and develop arguments for essays.”
(LAURA ROBB, Author of Vocabulary Is Comprehension)
“Professional books have long urged teachers to use graphic organizers, but most of these books are dreadfully short on specifics. Diane Lapp and her colleagues have addressed this problem in an admirable fashion. They examine with care the kinds of organizers available to teachers, together with when and how to use them. And by showing how organizers transcend disciplinary boundaries, the authors pave the way for a school-wide focus for professional learning. Educators endeavoring to meet the challenges of the Common Core should mark this title as a must-read. This engaging book is long overdue and I recommend it enthusiastically!”
(MICHAEL MCKENNA, Coauthor of Assessment for Reading Instruction, Second Edition)
“For educators looking for ways to implement graphic organizers in their classrooms, this is the resource for you. The numerous types of graphic organizers, the research behind them, and the how and why to use them with students are all at your fingertips. I envision this book being especially helpful for teachers new to the field just learning about graphic organizers.”
(LESLIE BLAUMAN, Author of The Common Core Companion, Grades 3-5)
About the Author
Diane Lapp is a Distinguished Professor of Education at San Diego State University, where her research and instruction focuses on issues related to struggling readers and writers, their families, and their teachers. An instructional coach for the Health Sciences High and Middle College in San Diego, she has recently returned to the classroom to teach sixth-grade English and Earth Science. Dr. Lapp is also a member of both the California and International Reading Halls of Fame for her dedication to reading instruction.
As a teacher for online courses hosted by the University of Central Florida, Dr. Thomas DeVere Wolsey is interested in how the interactions of students in digital and face-to-face environments change their learning. While much of his research centers on how visual information, such as graphic organizers, works in tandem with text to improve learning, he is also intrigued by the intersections of traditional literacies with digital literacies, specifically focusing on how those literacies affect teacher preparation and professional development.
Dr. Karen Wood has been training literacy specialists for over 25 years at the University of North Carolina at Charlotte, where she is a Professor in the Department of Reading and Elementary Education. Dr. Wood is a published author and former reading teacher, reading specialist, and K–12 instructional coordinator, and much of her writing focuses on translating research and theory into classroom practice across all subjects and grade levels.
A faculty member in teacher education at San Diego State University and a teacher at Health Sciences High and Middle College, Dr. Kelly Johnson devotes much of her work to the middle and secondary classrooms. She is interested in the teaching and learning connection that results from teacher modeling, productive group work, formative assessment, and student engagement.


ANEW - ART STORAGE AND EASEL
by RISDMuseum, published
About the Anew
Every summer, a group of local high school students comes together at the RISD Museum for a 2-week intensive program that immerses them in a collaborative, creative practice within the Museum. This past summer, with a focus on design thinking, the students were asked What is useful? as a starting point for their group design. After fruitful discussions and debate, the students surprised us by taking a decidedly philosophical approach to the question. Rather than answer the question with a specific object, they said "art education." After deciding that art education is useful, they then set out to design an object that reflected this belief. Tasked with the design and packaging for their product, the team of students split into smaller groups to tackle the many aspects of product design. Over the course of the two-week intensive, the students also spent time in the Museum galleries looking at objects that informed their own design practice and meeting with local designers and artists who also helped them shape their final design. In the end, the students created an organizational tool for art supplies with a built-in easel. They named their product the Anew.
This item allows students to have an accessible means to both carry and create art. It is a portable drawing surface that also serves as a space to contain art materials. The easel on the front is adjustable in height for the user's preferences. There are several different heights that can be achieved by toggling the prop sticks and attaching them to sections of the cubbies. The cubbies themselves can be enlarged by easily sliding out the walls, allowing for more room for supplies. We guarantee that your experience with the Anew will be a positive one.
Liked Byview all
Give a Shout Out
Anew is laser cut on 1/4 inch plywood. The easel lid and the press-fit for the finger joints could use some refinement. Feel free to make changes and to share your improvements!


Note: To protect the privacy of our members, e-mail addresses have been removed from the archived messages. As a result, some links may be broken.
Thanks for sharing those wonderful quotes about art from your kids. I will
be sharing them with with students here at UF. We do a book-making
activity in the art methods class which is similar in theme. Students are
asked to brainstrom ways to complete the statement "Art is. . ." (up to 10
times...although many generate more ideas). Depending on the format
(origami, accordian, etc.,) of the book and the number of pages (usually
8-10) they are then asked to create an illustrated book of their "favorite"
statements (using any materials available, construction paper, markers,
magazines, glitter....). We get some wonderful "artist books" about art as
We have also alternated the "Art is..." theme with "I am an artist when I. . ."
The idea behind this assignment is not only to get students to consider
what "art is" or what it means to "think like an artist" to them
personally, but also to suggest an idea for a book-making activity these
preparing teachers can do with kids.
CRAIG ROLAND. Associate Professor-Art Education.
Department of Art, University of Florida, Gainesville Florida.
32611-5801. (352) 392-9165 - Art Ed Office (352) 392-8453 - Fax


During his lifetime, the path-breaking and prolific lensman Raja Deen Dayal (1884–1905) was one of the most widely recognised photographers from the Indian subcontinent. Today he remains among the most celebrated figures from this earlier era. This book brings together for the first time extensive archival research with close analyses of the significant body of Dayal’s work preserved in the Alkazi Collection of Photography. Over the course of his remarkable career, Dayal opened studios in Indore, Secunderabad, and Bombay, employing over fifty staff photographers and assistants. Together, they produced more than 30,000 images of architecture, landscape, and people that have played a central role in how India’s past has been visualized. This volume explores varied topics, from Dayal’s public works, state visit, and hunting photographs to his images chronicling india’s elite and growing middle classes. In this way, lays the groundwork to rethink the history and practice of photography in India: as a commercial business, as an engagement with new technology, and as an aesthetic enterprise.
Trained as a draughtsman, Dayal rose quickly through the ranks as a Surveyor with the Public Works Department of the Central India Agency in Indore. He began photographing in the mid 1870s, becoming a master in the delicate art of developing glass plate negatives and albumen prints and producing what are still some of the most stunning views of the architecture and landscape of northern India. Ever the consummate businessman, Dayal soon counted the elite of British and Indian society amongst his clients. Eventually, he was appointed court photographer to the sixth Nizam of Hyderabad, and the studio became the first Indian firm to receive the Royal Warrant from Queen Victoria. Dayal’s career testifies to photography’s paramount role in the overlapping arenas of the Princely states, British Raj, and the emerging cosmopolitan centres of nineteenth-century India.
Published in association with The Alkazi Collection of Photography.
About the Authors
Deepali Dewan is a Senior Curator in the Department of World Culture at the Royal Ontario Museum, Toronto, Canada. Her research encompasses colonial art education, the history and theory of photography in India, and the visual dimensions of modernity as examined through a transnational lens. She is the author of Embellished Reality: Indian Painted Photographs and editor of Bollywood Cinema Showcards: Indian Film Art from the 1950s to the 1980s.
Deborah Hutton is an Associate Professor in the Department of Art and Art History at The College of New Jersey. Her research is focused on examining the relationships between art, identity formation, and intercultural exchange at the princely courts that ruled over the Deccan region of India between the 16th and early 20th centuries. She is the author of The Art of the Court of Bijapur and co-editor of Asian Art and A Companion to Asian Art and Architecture.
NOTE: This title is shipped from India. Books will be available in other territories from late June 2013 onwards.