Life is a Gift Essay

Life is a gift. It is an honor; a spark; an excitement. We all have a world of our own. A wise author, Albert Camus, once stated, â€Å"you will never be happy if you continue to search for what happiness consists of. You will never live if you are looking for the meaning of life† (Albert Camus). Life is about living to your fullest abilities; why waste our time looking for the meaning of each breath we take? Each person is a part of life. Each life has a world of its own. I believe that the meaning of life, defined by Victor E. Frankl, is to find meaning in our own life. Each and every person on this planet has a meaning to his own life, and is a unique and independent individual. And so, the question comes along, â€Å"Who am I? † The answer is I. I am who I am, and not one person can ever change that. My life is exceedingly meaningful, and is made up of a series of rituals, experiences, a plentiful amount of mistakes, and many various emotions. According to the article, The Rite of Passage, a ritual â€Å"help[s] us understand the changes in our lives and give meaning to experiences† we undergo. Rituals express who we are today, as well as the sum total of our actions, feelings, and thoughts that makes each person in this world, a single, individual person. An example of a major ritual and life-changing event in the Odyssey is the trial of the bow. During this scene, a disguised Odysseus surpassed a difficult task, as he without effort strung the challenging bow. Odysseus, after laying the arrow on the arch, shot the mighty bow â€Å"with careful aim, not miss[ing] an axe’s ring from first to last† (Homer 2011). This scene makes a change in not only Odysseus’s life, but also his son, Telemachus, and his wife, Penelope. The trial of the bow is an important Rite of Passage, offering significance to each one of their lives. Just like Odysseus, I have progressed through a numerous amount of rituals, along with experiences, mistakes, truths and actions, all leading up to the fourteen year old girl I am today. Although each person has a different opinion on what surrounds us, I believe the nature of the universe is full of the unknown. The world is a scary place to be in, it encloses us in, with nothing but mystery. It is a frightening thing, to move on with your life not knowing what will happen in the next few moments, but that is what life is all about; the unknown. We surround ourselves with questions that can never be answered; yet we need to learn to live life in the present, not thinking about the future with every step we take. No one in this world is fearless, in fact, according to H. L. Mencken, â€Å"The one permanent emotion of the inferior man is fear – fear of the unknown, the complex, the inexplicable. What he wants above everything else is safety† (H. L. Mencken). In agreement to Mencken, nothing in this world is safe; we waste seconds; minutes; hours; even days worrying about our fears. Worrying about our fears of the unknown. I believe we can’t relate to this unknown universe, however, we can live with it. Instead of waking up each day wondering what the unknown is, we need to wake up everyday focusing on what we do know, and interpreting that information into what we understand. In order to find the meaning in our lives, we each need control over our lives. I control my life one hundred percent. I make me own decisions, choose my individual actions, and control my responses. We have complete control over our own lives. However, the one think we do not have control over is other people’s actions and decisions. Although we have the power in our individual lives, others may influence our judgments, choices, and conclusions. All of these factors affect whom we are, along with the fact that we can’t control others reactions, which may cause poor influence on us. For example, in the novel, The Odyssey, Odysseus sails a long journey home, facing many distractions, challenges, and adventures. He encounters many different monsters that stop him in his path, including Cyclops, The Sirens, and Poseidon. Although Odysseus can control his actions, and the way he fights, he has a weakness when it comes to his opponents. Just like Odysseus, we can control our actions and responses, but when it comes to having others involves, we have no control over how they can act and make their choices. Living life freely, with no regrets, and accomplishing all of our goals. That is a satisfying life. Taking risks, without worrying, loving ourselves, being happy with our achievements, and experiencing all different emotions is what life is all about. A variety of different feelings occur throughout our lives; we need happiness, excitement, fears, anger, and even tears to lead a fulfilling life. In the independent reading novel, entitled Speak; Melinda Sordino writes about emotions and feelings, â€Å"When people don’t express themselves, they die one piece at a time† (Anderson 58). Melinda believes the reasons people need to express themselves is because everyone needs to experience all kinds of emotions in order to interact and stay alive. In the Odyssey, Both Odysseus and Telemachus are involved by an overwhelming amount of emotions. Without the emphasis of their feelings without the novel, the story would have much less meaning and would not be as dramatic. Emotions add to our everyday conversations and feelings towards each other. We need them to live a satisfying, enjoyable life. I believe, in order to find the meaning of my life, I need to sit back, relax, and let the question answer itself. In order to survive, and live for as long as possible, I have to enjoy my life in the present. Not be thinking about the future, and where life is going to take me; but live life as it is brought to me, rather then bringing myself to my life. By being patient and letting my life come to me as time goes on, I am sure to survive for a longer, happier, and more exciting period of time. Yet, at the conclusion to each person’s life, the certainty of death must strike. Getting ourselves ready for this unpredictable day is very easy, as long as we’ve accomplished everything that we have set out to achieve, death may appear whenever it feels the need to. It is a misfortunate thing, though, as some deaths develop so quickly and suddenly, we do not have time to say our goodbyes. Nor do the victims have time to achieve their goals, and pass on wishes. An example of a sudden death is in the novel entitles Lost for Words, by Alice Kuipers. In the story, Sophie’s older sister died traumatically in a sudden train bombing. Due to the death, it ripped Sophie’s family apart. They stopped talking to each other, and everything became awkward between her and her mother. Because of the unpredictable death at such a young age, her sister was, sorrowfully, not ready for her time to come. She may have not achieved her goals in life, and got to take as many risks as life leads her too, making it an even bigger tragedy for Sophie and her family. There were a number of dreadful deaths in the Odyssey as well. These included Odysseus’ crew, Odysseus’ mother, and many suitors. From reading all of these disastrous scenes and stories about death, I have learned that in order to reconcile myself for the inevitability of death, I need to start living my life with many risks, and no regrets. By living my life without any doubts, and enjoying my life in the present, I can be sure to live a long, satisfying life, ready for the fate of death for whenever it decides to doom on me. I believe the meaning of life, is to find meaning in our own, individual lives. By waiting for life to come to me, and enjoying the present in a way of happiness, enjoyment, and risks, I can be sure to eventually come to a full understanding of why I am here, living today. Each life has a world of its own, and each person his own life. Each person in this world will have a different story to share, and a different meaning and impact on our world today.

Lemonade Stand — Season Three

This report provides factual quantative information on Lemonade Stand, sourced from financial statements, the business’ General Journal and financial data collected during Seasons One, Two and Three. The following economic summary report will consider how well Lemonade Stand’s business is performing by, among other things, deducting the stand’s capital costs from its profits. Through analysis of the previously stated quantiative information, the company will be able to measure how well the stand is using capital to build economic value, with perhaps deploying company resources in ways that will further enhance its economic value. In short, the economic summary report’s fundamental objective is to maximize the stand’s return for its owners, as well as to focus on very precise value-related targets, be they cost reductions, new investments, or other resource allocation. Over the three season period of review, Lemonade Stand has shown a steady revenue growth. Although this growth is positive, there are aspects of the business that, if managed more efficiently, could have brought the stand a significant increase in overall profits. First, the price per cup could have been increased throughout Season Two – instead of maintaining a steady price of $0. 60 during the whole season. This simple increase in price would increase revenues and profits for the season. Second, there was a lack of wise management towards the purchase of supplies during Season Two. It was difficult to forecast the turnout for each day and excess supplies were purchased in preparation for a predicted rush of customers. This mismanagement lead to a waste of supplies, – especially ice – a low inventory turnover, increased expenses – due to management mistakes instead of business operations — and excess inventory at the ending of the season. However, despite the downfall in Season Two, inventory turnover did improve during Season Three as well as the stand’s current ratio. The Lemonade Stand’s current ratio increased significantly from having $5. 80 in current assets for ever $1. 00 in current liabilities in Season One, to having $14. 50 in current assets for every $1. 0 in current liabilities at the conclusion of Season Three. The higher current ratio indicates the liquidty of the business, meaning that there is a greater margin of safety to cover short-term debts. As a result of a higher current ratio, the stand will be able to obtain necessities from short-term creditors such as suppliers, easier than before. The ability to obtain supplies and other necessi ties from short-term creditors will allow the stand to expand – if desired – and perhaps secure a more profitable Season Four. In addition, the decrease in the debt-equity ratio is another positive sign that shows us that the stand can be successful in the future if managed properly. The owners of Lemonade Stand place a value of $100. 00 toward being their own boss and thus have the freedom and flexibility that they would otherwise not experience while working for another person or company. This form of revenue can be found in the stand’s implicit revenue on the stand’s balance sheet and is added to the value of learning how to run the business — $50. 0 for Season One – as well as gaining more information and/or education on increasing profits and learning how to better manage the stand. During the third season, the stand was more concerned with maximizing returns on resources and therefore lead to a greater economic profit for that season. When the information contained in the business’ financial statements is used to create strategic objectives, such as maximizing returns on resources, the stand will be able to focus on those activities that will produce the desired result and also guide the owners in the management of the business. By focusing on activities that create the most value and, conversley, avoiding devoting inordinate amounts of resources to activities that produce little value the stand will be able to maintain its financial health and generate higher profits in the seasons to come. Lemonade Stand is in a strong position to expand and through expansion, will be able to set larger strategic objectives and potentially increase the health and value of the business.

Dance Choreography

RESEARCH PROJECT SUBJECT TITLE: Choreography TOPIC: Choreograph two dances in the school musical, High School Musical ASSESSMENT TYPE 1: FOLIO PROPOSAL RESEARCH DEVELOPMENT Weeks 1-4: (Background Research) †¢ Plan for the year. Background research – history of choreography †¢ Send letter to Kenny Ortega and Mia Michaels in America †¢ Analyse DVDs of musicals, Grease, High School Musical, Centre Stage, Bring It On Fringe and Festival Performances †¢ Research copyright laws and copying exact moves from the movie Weeks 4-10 (the audition process) †¢ Send email to VN about auditioning techniques Interview ET, ST, AP about auditioning experiences †¢ Interview BS about how she selects dancers for musicals she choreographs †¢ Choreograph audition dance and get feedback †¢ Interview MB about what inspires her choreography Weeks 10-11 †¢ Teach audition piece and select dancers †¢ Weeks 12-14†¢ Research famous choreographers and how people learn Weeks 11-14 †¢ Choreograph dances to teach at the musical camp †¢ Attend camp and teach dances and rehearse them Weeks 15-20 †¢ Continue rehearsals and polishing performances †¢ Discuss my ideas for costumes for the dancers School Musical Performance BACK GROUND RESEARCH ABOUT CHOREOGRAPHY AND CHOREOGRAPHERS (and my annotations in blue) Kevin O'Day: starting at the top – choreographer and dancer Kevin O'Day, the redheaded dancer so familiar to us from his distinguished tenure with the company of Twyla Tharp (he toiled there eight long years), his duties as soloist with American Ballet Theatre, and his current membership in Mikhail Baryshnikov's White Oak Dance Project, has made a bravura leap into the tenuous, difficult world of choreography and emerged a winner. makes me realise that choreography isn’t easy, and not everyone succeeds, not even experienced dancers) With astonishing aplomb, O'Day, at thirty-two, seems to have sprung ful l-grown into the arena of making dances, forging a vocabulary that while tinged with influences nevertheless shapes movements and phrases at once formal, musical, inventive, and genuinely felt. realise my choreography will probably show influences from teachers I have had) That his choreographic gifts should have made themselves evident within the span of less than a year, and through only two brief works, each under a distinguished aegis, is a tribute to his finely honed dance sensibilities and to the eyes and minds of his champions, Baryshnikov and Peter Martins.Indeed, so strong was their belief in O'Day's talent and so positive was the audience and critical response to these fledgling works that both directors instantly commissioned new works for their respective companies. (shows that if people believe in you and guide and support you the choreography can become amazing. Also if something is so spectacular your work can get noticed and take you far) On February 9. O'Day's secon d work for New York City Ballet (still untitled at press time) will be premiered.It is set to a score by the young English composer Graham Fitkin. Last December in Tokyo, White Oak unveiled O'Day's The Good Army, to music of John Lurie of the Lounge Lizards, with Baryshnikov as one of its dancers. This uncommon whirlwind of choreographic success (success is hard and uncommon! ) all began in March 1994, when the White Oak Dance Project gave its first New York season at the New York State Theater. There was no question that O'Day's first ballet. entitled Quartet for IV (and sometimes one, two or three †¦ , was the unqualified hit of the company's first New York appearance.While several pleasures were garnered from Baryshnikov's small troupe, not the least being his own masterly and immaculate performances, the company's repertoire was short on originality or genuine interest. When O'Day's moment came, audiences responded with an immediacy that indicated the relief they felt at fi nally encountering a work that, in its exuberance and emotional focus, proved as intellectually engaging as it was entertaining. This para shows that if something isn’t original or interesting the audience just doesn’t respond, but when something amazing is seen before them they react and now are much more engaged) A few critics carped at what they considered O'Day's glaring Tharpisms, such as his noodling with her polycoordinations and her odd manipulations of phrasing. But some, notably Arlene Croce in the New Yorker, found this choreographic debut remarkable and worthy of attention. (His debut shows that even your first show can be great.Gives me hope) When only a few weeks later O'Day presented his second ballet, Viola Alone (With One Exception), set to Hindemith, created at the invitation of Martins for New York City Ballet's prestigious Diamond Project II, the rarity of O'Day's gifts became even more evident. Here was a work of very particular craft and content. (Not all dancers can choreograph) Dance Magazine senior editor Tobi Tobias, writing about the Diamond Project premieres in New York magazine, stated, â€Å"O'Day's ballet, the most vivid and engaging of the seven [seen], shows him attempting to steer clear of the Twyla Tharpisms that are his heritage. (still need to be individuals and break free from your influences)Then, describing the flow and structure of the ballet, Tobias concludes, â€Å"At the end, [Alexander] Ritter gestures toward the onstage violist, as if to say, `The carefree days of my life–gone now–lie in this music,' but sentiment is so ruthlessly excluded from the earlier proceedings that the chief elements of the piece remain lusty energy and bold motion, deftly marshaled. On speaking with O'Day, one learns that the act of choreographing has long been part of his life as a dancer, a by-product of observation and, of course, desire: â€Å"I had always worked in studios on my own whenever I could,â₠¬ . he says. I'd get a video camera, set it up, and I'd dance around. I was collecting material. (I will be doing this this year – e. g. experimental research) â€Å"I learned from Twyla Tharp that if you're going to choreograph, you had to go into the studio by yourself and spend time working. You just had to work and work and work.And you had to work on your own way before working with a group of people or even just two people. The point is, you had to have an understanding of what you want from dancers before you start working with them. You can't just snatch things out of the air. (This is excellent advice – working by yourself before working with the class so you can perfect the piece. It takes a lot of time and lots of practice but this way you know how it looks and what to expect from the dancers) â€Å"The influence of Twyla helps me when I'm in the studio alone.You see, Twyla has a lot of ways of putting movements through a road test. She'll improvise, make a phrase, then turn it into something very solid. She would also change the music. Within the span of an hour she might change the music four or five times. So, she makes a body of material, and that's been her greatest influence on me: how to put together a body of material. â€Å"(a lot of trial and error will be involved, so must allow time to experiment) Thus, explains O'Day, he, like Tharp, will try things on is own body, sometimes to different music, and create a patchwork that may ultimately be used in a work: â€Å"The more I try this, with different textures, different music, different road tests, different qualities of doing a movement, to see how far a movement can be stretched or shrunk. All these things serve to build a body of material, which might then go into forming a piece. † Dance Magazine, Feb, 1995 by John Gruen http://findarticles. com/p/articles/mi_m1083/is_n2_v69/ai_16686035/ NIGEL LITHGOW’s line – â€Å"if the choreography is simplist ic it is up to the performer to bring the routine to life. (So You Think You Can Dance) Will really apply to me as most of the students I will be working with don’t have much experience –so will have to have simple steps. This means that I will have to enforce that dancers have to be so energetic to really bring the moves to life. This shows that my choreography, although very important, isn’t everything. There’s a big responsibility on the dancers to bring the dances to life. I will share the quote with the group when it’s looking dull so they can bring it to life.My views on RESEARCH ON HOW TO TEACH: from article in SACE STAGE 2 Physical Education Workbook, Different methodologies (ways to teach or coach) Visual Demonstrations –this is the most effective way of teaching dance. This is the main method I have used so far and it’s the method I will continue to use the majority of the production. This won’t have to be done as muc h once the dance is learnt as the students have to know how to do it without me because I will not always be standing at the front. This method is so useful for them to get a picture of the dance in their head and how to do it correctly.Usually when we start a rehearsal and before I begin to teach a new dance I sit everyone down and stand out the front and do the dance properly so they know what the dance is meant to look like. Then I break down each move, visually showing the cast each step. This would best suit visual learners. Audible Cues – when I am teaching a dance from the beginning this method will only be used in conjunction with the visual demonstrations. Just verbally telling them how to do the dance won’t work. This will be used also when they are doing the dance and I can call out the counts or â€Å"Arms straight! , â€Å"Point your toes† etc. When I am instructing, have to ensure that instructions are short and simple so I don’t confuse/ov erload the learner and once they know the moves the instructions can get more complex. This obviously suits a verbal learner who understands best through written and spoken words. Manipulation – haven’t used this methodology so far, but from past experience in dancing I know it’s very effective. I believe it’s more useful for beginners or those who struggle with dancing. Basically I have to physically put the person’s body/arms/legs through the correct range of motion.Obviously there is a slight ethical concern here, I have to ensure I don’t touch someone in the wrong way. But I think I will start using this more especially with arm movements as they can be quite tricky and visually and verbally showing them how to do it doesn’t always work, Reflections about article Tips for Teaching – Seven Principles of Good Practice http://honolulu. hawaii. edu/intranet/committees/FacDevCom/guidebk/teachtip/teachtip. htm#techniques Use time well – very important – time is everything, to get production ready on time.Have to keep reminding cast and they have to help. I have to completely plan rehearsals and set realistic goals. Communicate high expectations – â€Å"Expect more and you will get more†. – reflects my way of teaching. I have such high expectations of this musical and have a vision of how good it will look. Expecting the cast to perform well is a bonus for me as I will put in the effort to ensure it reaches this standard. Respect diverse talents and ways of learning – have to ensure all dancers have opportunity to learn in ways that work for them.Seize the moment – if people come and ask for clarification – even though I might not have time to help them, I should as they are probably ready to learn at that moment. Involve the student in planning – this could help if I’m stuck for ideas giving the groups challenges to come up with choreogra phy. There is some student involvement in the freestyle parts where students get the chance to be creative and do their own thing. Move from simple to complex- I can use this principle in my teaching for sure – If I teach complex choreography to begin with and then assess everyone’s progress who finds it easy and who finds it difficult.Then if everyone gets it and it looks too simple I can make it more difficult. TELEPHONE INTERVIEW WITH ST (actor, singer, dancer) + My Reflections (in blue) a) What do you think works well in auditions as a performer? Having confidence is the key to success. Believing in yourself. Forgetting a move – just keep going I will have to reinforce these points to all the cast. They should be confident and believe in themselves and remind them to keep going even if they make mistakes. b) How does a dance audition usually run?Get there and register (giving name, age, details experience). This is a good suggestion; however, using numbers c ould be a bit intimidating for our students. We would get them to fill out their details of experience etc You then sit in a waiting room – most people warm up here. If it is an audition with a prepared dance you practice it. We’d give them time to warm up, but not in another room Usually there would be 2 sessions with 40 dancers. You get called and line up and learn the dance in rows of four. First four would do the dance and then go to the back of the line.Because of the time constraints we’d only have one session but I like the idea of doing it in rows and them moving to the back of the line There isn’t usually a set warm up- done by the performers while they are waiting. I’m considering doing a set warm up – only because a lot of the performers are inexperienced and would not know what stretches to do. c) What auditions have you been successful in and why is that? Is it because of the way the auditions were run? It is mainly the audition s which make you feel really comfortable.You are already nervous enough as it is and the places that make you feel safe and secure make you perform better. The environment makes big difference, for example you would be feeling scared auditioning in a spooky house so rooms with warm nice colours give it a good feeling. I will make an effort to be really friendly, welcoming and kind to make the students feel comfortable. A lot of them would never have danced before and I wouldn’t want them to feel scared and not come back. In no way would I get angry, frustrated or grumpy if they’re not being cooperative. I’ll be the nicest person I can try to be. ) Are the dances usually hard so the good people excel or easy so everyone has the opportunity to shine rather than focus on the moves? Usually you would learn a dance that is either going to be in the show or a similar style to what is going to be in it. At first I wanted to do a different dance rather than one weâ€⠄¢ll use but after hearing this, and after talking to the director, I have decided to do the chorus of â€Å"We’re all in this together† for the audition dance. e) Anything else you would like to add? You would usually receive a phone call, email or letter in the post about 3 eeks later saying if you’re successful or not. I’d have to discuss this with other teachers involved, but we’d probably take 1-2 weeks to decide and let them know by hanging up the parts or telling them in person. You need a large wide room as there is nothing worse than trying to dance when it is crowded and squishy. Mirrors and bars are something you need but if it’s at school you might not have it. The auditions would usually be held in the hall but from past experience this is narrow and squashy. Ideally I’d like them to be held in the spacious gym, but guess it depends on the availability of the gym.The main thing is to talk loud. With echoing rooms the nois e can bounce off the walls and it is hard to hear which is difficult for people at the back. You are already nervous enough and this makes it much more stressful if you can’t hear the instructor. This is a good point. Nothing is worse than not being able to hear the teacher, especially in a big room where there’s lot of people. I’m going to speak loudly and clearly so everyone can understand. This also raises the issue if there’s so many people in rows, it’s hard to see people up the backI think this interview was really successful as ST gave me some really good ideas and insights. REFLECTIONS ON THE MOCK AUDITION AND WHAT I LEARNED ABOUT CHOREOGRAPHY On Monday I gathered 3 close friends to trial the audition process. The aim was to teach the dance I had prepared for the audition and get some feedback on what the dance was like and how I went teaching it. I chose three friends with 3 diff levels of dancing ability: one is a talented well coordinate d dancer; one is a competent dancer but inexperienced and one is not into dancing at all.I filmed the majority of the audition if I need it for future reference. I think this was a valuable task and I got so much out of it as I faced some hurdles but the main thing was they learned the dance in the allocated time frame. One thing I learnt during this mock audition is to be totally prepared. On the day I forgot the CD I was using. I also thought about what was a more appropriate method of teaching; facing the cast and therefore the moves being opposite direction or facing the same way as the cast with them not able to see what is going on the front of the body.I also had to think about how much I would teach at once. For example, teach 4 or 8 counts before renewing it. How competent did they have to be before we tried it to the music? I also demonstrated the moves in different areas around the room so everyone got to see exactly what I was doing and from different angles. I found I n eeded to speak slower and clearer to G as she needed more explanations so I have to remember there will be a variety of standard in the room.Giving the cast the opportunity to do it without me, whilst I sit back and watch not only gives me the chance to see how my choreography looks but makes the students think harder. From past experience I know that doing a new routine without the teacher demonstrating with you gets the routine drilled in your mind, especially as they’ll have to do it alone/pairs at the audition. Giving the cast the opportunity to watch me and the way it is meant to be done will also help. Finally I think I have to show I’m confident and happy with my choreography because I thought I looked a bit embarrassed and worried about what others would think.Things I’ll do the same- filming, deconstructing choreography into 8 counts, demonstrate with them NOT participating, demonstrate with them following, face same way as cast then swap so they get to see the whole picture, stand aside and watch them do it alone, move around room demonstrating + giving advice, get feedback. Things I’ll do different- be more organized, more confident, speak with louder voice, don’t get frustrated as everyone learns at different pace, get into it – be OVER THE TOP, wait till they’re more competent before practicing with music. USEFUL ADVICE FROM VN about how she chooses successful dancers at the udition (from email):Compare the dancers to the strongest performer in the group. Other things like heights to make the sure the group is evenly balanced. How the performer presents themselves for an audition is also important. AUDITION PROBLEM: A problem we encountered during this process was a large number of people pulling out after the audition and callback process This really worried me as I was stressed that everyone would pullout and we wouldn’t have a big enough cast. After talking with the other teachers involved I realized that this was a positive.A smaller cast would be a lot easier to handle and would be easier to get 50 people looking tight and uniform compared to 100. This number would also fit on the stage better and give everyone the opportunity to be on stage for most of the time. Another problem with picking parts was that we had a lack of boys to begin with†¦I think I will have to learn not to stress too easily as things usually fall into place at the end. ETHICAL CONSIDERATIONS. – keep in mind people’s feelings. A lot of these kids have never danced in their lives so I have to treat them with respect when teaching the dance and give them the time to pick it up.Not that I want to do this, but I can not laugh, or stare or give sarcastic comments or do anything to restrict them wanting to return to practices†¦. Also when choosing parts I have to be aware that my friends are auditioning and not be tempted to favour them and give them important roles if they do n’t deserve them. I have to leave friendships aside and be unbiased, treating everyone fairly. – I also have to remember not to copy the choreography from the movie. The part I did adapt for the finale is the only part I am really going to use.This just reminds me that someone else has spent so much time choreographing these dances and it is not fair if I take them completely and say they are mine. Not to mention legally this would not be allowed. I actually don’t like some of the choreography in the movie so I don’t want to take it and besides a lot of the choreography would be too difficult for our standard of dancers. So sticking with the another method I have just come up with ,where I play the music and just do what comes to my head seems like a good thing to do. PROBLEM: There are not any huge problems at this stage.One thing that I have to go is remember to keep researching. I am doing a lot of choreographing at the moment which is obviously a posi tive thing, but I also have to remember that this subject is the research project. Now the audition process is over I don’t have to keep researching that but I do have to keep looking at ways of teaching and research choreographers and what makes other musicals good. In my last discussion Ms W told me I was not doing enough researching. FEEDBACK ON MY CHOREOGRAPHY FROM questionnaire to a third year Dance student at Adelaide Centre of the Arts (showed him the footage taken at the Musical Camp)What do you think of the choreography of ‘We’re All In This Together’? It’s great, for someone so inexperienced. Looked effective and strong as a large group. Obvious that it’s taken from the movie which is what your audience will want to see, but some of your easier modifications look cleaner. Some students are struggling –especially some boys and some leads. What could be changed? Perhaps some of the hard moves could be modified/slowed down, espe cially in the Wildcats’ cheer at the end. Arms look messy and un-uniform in â€Å"wave your hands up in the air†.It doesn’t even look like there are any set moves. In chorus, â€Å"When we reach, we can fly†, maybe arms could be simplified. Looks all over the place. What am I doing well in the area of teaching the moves? The way you break down every single move helps cast know where the placements are. Modifying moves as you go along is a positive as you’re not changing it later when the old move has already stuck in their head. Like the way you demonstrate it alone first. What do you think I could do to improve? Louder voice! Don’t look as nervous, your body language makes you seem not confident.Stand closer to cast, feel free to mingle and help individuals. You did seem more capable and confident as time went on. What did the choreography look like so far in Status Quo? Looked great, loved the big chorus around the tables. Good idea doing it around one big circle so everyone gets a feel for the directions. Good concept – Brainiacs and book dance. Overall looks like a fun piece, shows great potential. What could be changed? Brainiacs’ dance needs to be sharper, maybe tell them to get into it a little more (footwork needs to be the same at the end of the dance).Some small groups could have simple choreography. A lot of freestyle people just need to get right into it or learn how to freestyle better (show them some moves ) Slow motion needs more work (actual moves. ) I do understand this is a work in progress. [pic] [pic] DISCUSSION My notes |How research is developing: |Ideas developing through the research | |firstly – looked at internet, dance magazines for info on choreography. Not all dancers can choreograph | |Was quite useful and made me more confident |Its up to the dancers to make the choreography â€Å"sing†, so simple moves can | |second – interviews with dancers+ choreograp hers about auditions to help|be really effective (good to know as I will probably be | |me get ideas about running auditions and selecting the dancers. Was |Creating a positive atmosphere is important to make performers feel | |really useful comfortable and get the best out of them (particularly important in our | |third – experimental – started getting down my ideas about the |school – with boys and inexperienced dancers) | |choreography for the audition |Need to speak loud | |fourth –ran a mock audition to trial my choreography and practice |Break choreography into small parts, e. g. – 8 counts | |teaching it to a small group |Make sure performers are confident with steps before adding difficulty by | |NEXT – plan to look into learning styles and how to teach, so I get more|doing it to music | |information about how to teach the dances successfully |Good to sometimes demonstrate facing the cast, but also facing same | | |direction as them so they can follow | |Knowledge and skills I am developing and applying |FEEDBACK FROM TEACHER | |Knowledge -Many things about ethical considerations in being a |-Ms W said I need to remember that focus of the task is actually research, | |choreographer, such as: |not the choreography of the dances, that most of what I had done so far was | |how strict copyright laws can be. How important it is not to copy the |thinking about the steps and how I will run the audition, so need to think | |exact moves of the dances in High School Musical, also how to get |of more ways of incorporating research into it. this is true – but am | |permission to obtain performing rights , cant change the American |pretty nervous about what people will think of my choreography –so I keep on| |flavour of it or the script in any way etc |thinking about this) | |being completely fair when selecting parts for the musical – have to be |Suggested I analyse the DVDs of High School Musical and the Behind the | |professional and not let friendships influence my decisions |Scenes extras to get ideas. Also really needed to get on to organize visits | |Be aware of the abilities of the group |to view performances. |Many things about how to teach – importance of things like giving |Also suggested I undertake more research into the features of a well | |students a say where possible (even though this is pretty difficult with|choreographed dance and look at some theoretical writing about choreography,| |dance – would look a mess if I did this) |so that I will be able to base the decisions for my choreography on more | |Importance of using different teaching methodologies |technical aspects drawn from the research. This would show that I have more | |Essential to be super organized ( have forgotten music CDs on a couple |thoroughly researched my topic. Will ask the dance teacher for some | |of occasions – is disastrous and don’t look professional) |sugg ested readings on this. |How high expectations can be really productive- encourage performers to | | |strive – but not be too high that they cant achieve them | | |Knowledge & Skills in Choreography – importance of facing dancers but | | |also showing them when facing the same way. Teaching routine in small | | |chunks, then lots of repetition. Plotting patterns on paper and planning| | |beforehand. | |CHOSEN CAPABILITY: | | |Really enjoying being part of the musical and assisting others to | | |develop their creativity, as well as myself | | |Learning a lot about being sensitive to others- particularly with | | |learning to dance – it’s pretty scary and challenging for some so I | | |really need to take that into consideration | | |Have been getting feedback from a few people (teachers, director, stage | | |manager etc) and taking it into consideration. Is really helpful | | Stage 2 Research Project Performance Standards |Planning |Application |Synthesis |Evaluation | | |[pic] |[pic] | | | |[pic] | |A |Thorough consideration and |Thorough and highly resourceful development|Insightful synthesis of knowledge, |Insightful evaluation of the research | | |refinement of a research |of the research. |skills, and ideas to produce a |processes used. | | |topic. |In-depth analysis of information and |well-developed research outcome. |Insightful reflection on the nature of the| | |Thorough planning of research|exploration of ideas to develop the |Insightful and thorough substantiation of|chosen capability and its relevance to | | |processes that are highly |research. |key findings central to the research |themselves and the research project. | | |appropriate to the research |Highly effective application of knowledge |outcome. |Well-considered and insightful reflection | | |topic. and skills specific to the research topic. |Clear and coherent expression of ideas. |on the research outcome and its value to | | | | | |themselves and, where applic able, to | | | | | |others. | |B |Consideration of the main |Considered and mostly resourceful |Considered synthesis of knowledge, |Considered evaluation of the research | | |area of research and some |development of the research. |skills, and ideas to produce a |processes used. | |refinement of a research |Some complexity in analysis of information |well-developed research outcome. |Considered reflection on the nature of the| | |topic. |and exploration of ideas to develop the |Substantiation of most key findings |chosen capability and its relevance to | | |Considered planning of |research. |central to the research outcome. |themselves and the research project. | | |research processes that are |Effective application of knowledge and |Mostly clear and coherent expression of |Considered reflection on the research | | |appropriate to the research |skills specific to the research topic. |ideas. outcome and its value to themselves and, | | |topic. | | |where applicable, to others. | |C | Adequate consideration of a |Adequate development of the research. |Adequate synthesis of knowledge, skills, |Recount with some evaluation of the | | |broad research topic, but |Adequate analysis of information and |and ideas to produce a research outcome. |research processes used. | | |little evidence of refining |exploration of ideas to develop the |Substantiation of some key findings |Reflection on the relevance of the chosen | | |the topic. research. |central to the research outcome. |capability to themselves and the research | | |Satisfactory planning of |Adequate application of knowledge and |Generally clear expression of ideas. |project. | | |research processes that are |skills specific to the research topic. | |Reflection on the research outcome and its| | |appropriate to the research | | |value to themselves and, where applicable,| | |topic. | | |to others. |D |Basic consideration and |Development of some aspects of the |Basic use of information and ideas to |Superficial de scription of the research | | |identification of some |research. |produce a research outcome. |processes used. | | |aspects of a r esearch topic. |Collection rather than analysis of |Basic explanation of ideas related to the|Superficial reflection on the relevance of| | |Partial planning of research |information, with some superficial |research outcome. |the chosen capability to themselves and | | |processes that may be |description of an idea to develop the |Basic expression of ideas. |the research project. | | |appropriate to the research |research. |Some reflection on aspects of the research| | |topic. |Superficial application of some knowledge | |outcome and its value to themselves and, | | | |and skills specific to the research topic. | |where applicable, to others. | |E |Attempted consideration and |Attempted development of an aspect of the |Attempted use of an idea to produce a |Attempted description of the research | | |identification of an area of |research project. |resear ch outcome. |process used. | | |interest. Attempted collection of basic information, |Limited explanation of an idea or an |Attempted reflection on the relevance of | | |Attempted planning of an |with some partial description of an idea. |aspect of the research outcome. |the chosen capability to themselves and | | |aspect of the research |Attempted application of one or more skills|Attempted expression of ideas. |the research project. | | |process. |that may be related to the research topic. | |Emerging awareness that the research can | | | | | |have a alue to themselves and, where | | | | | |applicable, to others. | ———————– My topic and question. †¢ To choreograph two dances in our school musical, the much anticipated â€Å"High School Musical†. †¢ Really interested in dance. Have been doing calisthenics since I was two and am member of the Junior Crows Cheerleading Team. Have been in two Rock Eisteddfod Team s. †¢ Thrill of performing gives natural high and experiences have brought lifelong memories, lifelong friends and lifelong skills which will get me through life. †¢ Want to try something new now, still in dancing field but in different direction where I can have a say in the choreography and what is going on.Relevance of The Chosen Capability: Citizenship †¢ I will be very involved in, and contribute to, the school community. †¢ Will have to show understanding of other people’s perspectives all along. †¢ Will be taking action to contribute to the school community objectives of giving students opportunities to develop their talents (artistic) †¢ Will be asking for and taking notice of people’s feedback – basically giving them a say in the choreography. Isn’t that democracy? Research processes Background Research- using internet, magazines, journals, newspaper articles. Research topics like: Choreography, choreographers, revie ws of â€Å"High school Musical†, interviews with cast etcAnalysing performances of musicals on DVD, during the Fringe, TV shows like â€Å"Dancing With the Stars†, â€Å"So you think you can dance†; Adelaide Fringe or Festival Shows Interviews – with dancers choreographers, I know + to get feedback on my choreography Will have to work with and negotiate with many others, e. g. the director, stage manager, costume designer, all the performers, choreographers. Be open to suggestions Experimenting with different routines (often in small groups I’ve got to think of the ethical considerations too e. g. : -Safety of the performers – make sure choreography is safe. -Privacy – get permission from people I interview them -Plagiarism – must make my own steps original and not copy the choreo Suitability to audience- make sure moves are suitable to audience of all ages and not offensive in any way. My Outcome The video of the dances + an oral to my teacher explaining my choreography. †¢ My Outcome The video of the dances + an oral to my teacher explaining my choreography (14) This student’s research development was presented in large scrap book folios, too large to reproduce as an exemplar. The following is a selection of this evidence, reduced to 10 pages, for inclusion in the student's portfolio to be submitted for moderation and marking. This selection of evidence, with the student notes to record the discussion, can be used for moderation purposes to confirm the teacher assessment decision for Assessment Type 1: Folio. CommentsOn balance the Folio is indicative of a B standard. Planning: †¢ The research topic is well defined. Thoroughly considered research processes, which are appropriate to the task, as well as manageable and ethical, have been planned. Application: †¢ The research is developed in a mostly resourceful and considered manner, including web-based research on choreography, fea tures of successful musicals, how to teach and the audition process. Feedback from more experienced choreographers, has been sought although evidence is not provided of the way the research develops in response to this. At times, there also appears to be an over emphasis on ‘doing’ the choreography. Information to develop the research has been methodically collected and documented. There is also some evidence of information being analysed in order to develop the research. Some complexity in analysis of information and exploration of ideas to develop the research is evident, such as in the responses to some of the sources located, interviews and the mock audition conducted. †¢ Knowledge and skills specific to the topic are applied in a highly effective way, such as in careful planning of patterns for different parts of the dance, preparation for the auditions. Assessment Type 1: Folio Assessment Type 2: Research Outcome Assessment Type 3: Evaluation

An Analysis of Gardner’s Theory of Multiple Intelligences Essay Example for Free

An Analysis of Gardner’s Theory of Multiple Intelligences Essay The purpose of this paper is to explore Howard Gardner’s theory on multiple intelligences. I will focus on spatial and bodily-kinesthetic intelligences and how linguistic intelligence has an underlying effect on the other intelligences. Spatial and bodily-kinesthetic intelligences would seem to be very distant from linguistic intelligence, however I believe that they are more similar then one might expect. Spatial intelligence can be loosely defined as the ability to manipulate and recreated the physical work in ones mind. Artists often use this intelligence as they take an actual object and are able to manipulate it onto a canvas or piece of paper. Many IQ tests have a section that tests the ability of a person in their use of block design. Students who excel in spatial intelligence have the ability to recreate within their mind the things that they see visually. Gardner states, â€Å"The left hemisphere of the brain has, over the course of evolution, been selected as the pre-eminent site for linguistic processing, the right hemisphere of the brain, and in particular the posterior portions of the right hemisphere, proves to be the site most crucial for special processing† (Gardner, p. 181). Gardner is trying to show how separate in the brain spatial and linguistic intelligence really are. By isolating the intelligences, Gardner focuses on the idea of savants and brain damage to prove his theory that the intelligences are totally separate. Eliminating part of the brain would still allow for someone to be successful and intelligent at spatial abilities. His idea is that even if a person lost their ability to speak or the ability to use their hands, that their other intelligences could possibly still work at a high level. I agree with his theory, however I think the intelligences overlap more then he may believe. Linguistic intelligence seems to have a basis in spatial intelligence also. Many students might do just fine being able to read a word problem and then form the design in their head. Gardner gives an example, â€Å"Take a square piece of paper, fold it in one half, then fold it twice again in half. How many squares exist after this final fold? † (Gardner, p. 171). This idea shows how linguistic intelligence can be used when dealing with a student who has a greater spatial intelligence. Even without the student physically being able to fold the piece of paper they could still solve the problem due to their linguistic intelligence. Gardner shows this idea as he talks about people having distinct separate intelligences, but that each intelligence has the ability to overlap with another. I also decided to talk about his theory of bodily-kinesthetic intelligence because I feel this intelligence goes together well with spatial intelligence. Both of these intelligences are educated best by going away from the traditional teaching methods of reading and writing. Bodily-kinesthetic intelligence is the ability for a person to use their body to solve a problem. This can be seen in many athletes and other people who are very active. Some people are born with a higher bodily-kinesthetic intelligence then others. Tests on reaction time have shown that some people are born with almost superhuman reaction time ability. This reaction time allows them to hit a baseball with such success that cannot be taught. Parts of this intelligence can be learned by studying similar to some of the more the academic intelligences, however bodily-kinesthetic intelligence is not viewed as an academic intelligence. Wayne Gretzky said, â€Å"Nine out of ten people think what I do is instinct†¦. It isn’t. Nobody would ever say a doctor had learned had profession by instinct: yet in my own way I’ve spent almost as much time studying hockey as a med student puts in studying medicine† (Gardner, p. 231). Both a hockey player and a surgeon rely on their body to perform at a high level. Bodily-kinesthetic intelligence is just not brute force but the ability to read what is happening, and then adapt. In football, a player will tackle another player, although before that happens the tackling player must read the play to get a path take on the ball carrier. A surgeon can have perfect skills in using their hands to operate but they also need the ability to learn the correct procedures. These ideas show that a person can be above average in more then one intelligence and that is in fact fairly common. The traditional way of teaching is through reading and writing that puts an emphasis on linguistic intelligence. Gardner’s theory is to separate the intelligences by showing that even a person who loses the ability to use part of their brain will still be able to function at a high level at some other intelligences. Gardner points out that he believes the intelligences are separate, but that they rarely operate separately and more often then not there are several intelligences working together. This is how linguistic intelligence is so important to the overall learning of a student. Most tests such as IQ tests put an emphasis on how well a person does on verbal section of the test. Gardner said, â€Å"I have already noted that many retarded children display a surprising ability to master language†¦ Even more striking are those rare children who, despite retardation or autism, prove able to read at an astonishingly early age† (Gardner, p. 84-85). This is apparent when talking about a surgeon who loses the ability to use their hands and so they cannot operate on patients anymore. They may not have the ability to physically do the operation anymore but they can still instruct someone else to do the surgery. This surgeon has lost their ability to use their hands but their brain is still intact so they can use their linguistic intelligence to instruct another person to perform the operation. Gardner does not think linguistic intelligence is more important than any of the other intelligences, but I believe that linguistic intelligence sets the basis for the other intelligences. Without this intelligence the student will not be able to understand what that teacher is trying to convey in class. Language is important for the student to get through school, however a student could get though school without fully realizing their full spatial intelligence. Linguistic intelligence allows a student to gain the ability to study the concepts and then apply them to the other intelligences such as bodily-kinesthetic intelligence. One cannot expect someone to just learn all the intricate details of boxing and then to go into the ring and win a title. This can only happen with some intelligence that is born within the person. Intelligences are within everyone but it is hard for a person to know exactly what intelligence they posses the strongest. Howard Gardner’s idea of multiple intelligences stems from his belief that each person has different intelligences that they posses. These intelligences are inherently separate due to the fact that because of brain damage, a person can lose an intelligence while still being able to perform at a high level on other intelligences. Gardner does not believe that linguistic intelligence is more important then the others, however in our society we put such a great emphasis on linguistic intelligence. A student can fall behind in their linguistic development and due to our societies testing and basis in teaching the student might not attain high grades. This does not mean the student is not smart, it just means that they might excel at a different type of intelligence. Overall, Gardner explains how each person has many different forms of intelligence that they could be above average in. An Analysis of Gardner’s Theory of Multiple Intelligences. (2017, Jan 05).

How have anthropologists responded to colonialism in different Essay

How have anthropologists responded to colonialism in different historical moments - Essay Example In regards to this, anthropologists have been intrigued to study response of certain areas to colonialism at different times in the history (Serena & Warms, 2010). Colonial era binds modern anthropology practices and origin. However, the eighteenth age of European enlightenment was the cause of the colonialism that characterized the nineteenth century. The anthropologists were intrigued to articulate passive subjects in an essentially manner because of the industrial revolution in the 19th century and its romantic retrenchment. Approaches to colonialism are either in view of ideology and symbols environment and economy, and biology. Moreover, science and rationalism were some of the impetus to the anthropologist’s movement. Anthropologists provided the basic information that was fundamental in governing of the colonial government possessions in the first half of the twentieth century. In regard to this point of view, the anthropologists’ demanded for financial support f or their projects from the colonial governments. Since colonialism was destined to occur with or without the support of the anthropologists, their emergence was therefore not meant to support the colonialists (Serena & Warms, 2010). ... Cultural changes are not static, therefore, the end decline in colonialism did not imply an end to, foreign influence, foreign intervention, or forced cultural change. Modernization advances to development have been contributed by anthropologists because they were drawn into it by their own desire to support and the needs of the government. This is attributed to the training of the development of development anthropologists as intermediaries between the recipients of aids and the organizations. Their contribution in colonialism is associated to their capability and comprehension to provide well-argued appraisal and analysis. The following case studies shows the contribution of anthropologists in the colonial era in West Africa on monetary transition and Aboriginals population in north Australia (Serena & Warms, 2010). French colonialists’ administration unsuccessful failed in their attempts to substitute West African Volta region, currently known as Burkina Faso, local monetar y form of cowry shells with its francs for about a half a century (Sahir, 2004). This was based on the stiff opposition that was staged by the local government. Cowries gained vitality despite the prohibition from the colonial governments because the emerging urban market in the Volta region had accepted them as a medium of exchange. Conflicts that were generated by the monetary policy and the colonial system gave birth to the practical difficulties that acted as an impetus to the local government to implement measures to boot the use of their local currency. Before the arrival of the French in the Volta region, commerce was characterized by traders commuting with their goods on their donkeys or heads from one

Hiring Police Academy Essay Example | Topics and Well Written Essays - 750 words

Hiring Police Academy - Essay Example Here, it is the danger that creates a bond among all the officers alike because there are no barriers of race or class. At the Academy, they live as one great community by overcoming racial and caste differences while sharing rich experiences. The job of police personnel in the Academy is unique because it gives them an identity of great importance. Training at the Police Academy though strenuous, does give one the impression that it is a very well – disciplined organization that transforms its recruits into highly trained professionals. Trainees learn the different military commands and violations are strictly punished while efficiency is well rewarded. Trainees do not possess police powers nor are they allowed possession of a gun, but after their training they are allowed to do these things. Ethics (chap.5) by Crank and Caldero (2004) is one of the most important and popular subjects in the criminal justice system which goes to prove that ethical values have to be inculcated into police officers regime for more favorable and respectable outcomes. Screening recruits on the basis of knowledge and values has become a priority when choosing people before imparting training. Pre- hiring procedures include Knowledge testing, physical fitness and agility, background, psychological testing besides a polygraph and oral interview.

The efectivness of our court systems Research Paper

The efectivness of our court systems - Research Paper Example However not much ray of hope can be ascertained because one can encounter a number of problems left, right and center within these ranks and specifically within the United States of America. Within the domains of the United States, as statistics have proven, in 2006-07, adult criminal courts processed around 372,000 court cases which involved 1,080,000 charges. These figures were more or less unchanged as one compares the same with 2005-06. The number of cases that were termed as complete from the criminal justice domains was therefore slow but work was underway all the same. The delay process is so lengthy that a number of suitors find it hard to comply with the cases, asking them to drop the case and move on with life. The effectiveness of the court systems therefore takes a nosedive, and this is one aspect that must be properly understood before moving ahead any further (Vanhala, 2011). What is staggering to state the least is the fact that males are accused more than their female counterparts. United States has seen that around 78% of all involved were males while the remaining 16% were females within the adult criminal court cases, which saw an undisclosed 6% not naming the gender that was involved. How cases get processed within any court system in the world is something that one needs to properly comprehend and that too in a quick way (Clear, 2009). Bringing an accused to trial is one of the most significant pointers that one can think of when understanding the nuances linked with the court systems. Since this is a fundamental principle within a number of criminal justice systems of the United States courts (Kostulski, 2011). Whether or not the court systems are doing their jobs properly could easily be ascertained from the fact that there is immense disharmony within the related realms. The court systems need to be made tougher so that the offenders cannot take the entire criminal justice system for granted. United States needs to broaden the horizon th at surrounds the thinking of working along the court systems where the accused find more time than the party which has been hard done by. One can think of these regimes as being subverted due to the fact that the entire incorporation of the court systems has been ransacked as the ‘system’ metaphor is flawed. If stricter measures are ensured within the United States court systems, it will mean that the effectiveness of the same would be guaranteed to a greater extent than these are at the present. There would be less repeat offenders and such individuals would be discouraged before undertaking an offensive act which might ruin their reputation, careers or just about anything which is deemed as significant for their entirety (Apparicio, 2008). Stricter measures would ensure within United States that there is harsh compliance with the rules and laws of the land and the court systems would not go astray as far as the work realms of the court systems are concerned. There wou ld be immense significance on the way the United States courts are being held and the manner in which their work is being manifested, day in and day out. Within United States, the aspect of the punishments being harsher in this day and age holds a great amount of significance because