zilongwang/ReadingBank huggingface dataset:
We will finish the day with show and tell and put together the pieces of theatre we have created. Thurs 9 Aug Museum Trip Themed Workshop Blocking scenes Costumes & props Run-through Early rehearsal We have a morning trip to the Irish Linen Centre & Lisburn Museum to experience a Victorian themed workshop; children will also have their packed lunch here. During the afternoon we will focus on blocking, shaping and devising the play in each discipline. We will also work on costumes and props for the play. We will finish the day doing a run through of the devised piece. Fri 10 Aug + Final Performance Technical theatre Backstage skills Lighting Staging Rehearsal Performance This day will be dedicated to the technical side of performance and finish what we have created to prepare for the performance at the end of the day. This is a chance for the young people to see the back stage workings of performing arts. We will explore what lighting works for each scene or dance piece and experiment with staging and set. We will create song, dance and theatre, which will bring Sir Richard Wallace's work to life. The performance is a lovely opportunity for the parents to see what we have been up to and gives the children the opportunity to show the new skills they have developed during the week. This will not be a polished performance so there is no pressure for the children, it’s simply a chance to show off what they have done during the week and get a big round of applause at the end. Bring with you: Each day A healthy packed lunch, water and snacks each day. Old clothes (that are ok to get a painting shirt (oversized) with the child's name on it for use throughout the week. Your wonderful imagination & personality.
6. PRESENT OR MOST RECENT EMPLOYMENT EMPLOYER NAME & ADDRESS JOB TITLE START DATE (mm/yyyy) END DATE (if applicable) WEEKLY HOURS SALARY/ GRADE NOTICE PERIOD DESCRIPTION OF YOUR DUTIES AND RESPONSIBILITIES REASON FOR LEAVING/ SEEKING CHANGE 7. EMPLOYMENT HISTORY (Please start with most recent. Continue on separate sheet if necessary) COMPANY/ ORGANISATION POST HELD AND RESPONSIBILITIES/ DUTIES DATE FROM DATE TO REASON FOR LEAVING
Experience At least three years’ professional experience in the Arts & Culture sector. Experience of how arts organisations operate, the challenges they face and knowledge of the resources and support available to them. Extensive knowledge and experience of different creative industries within the Arts & Culture sector. A very good understanding of the challenges faced by Muslim artists gleaned from experience in the Arts & Culture sector. At least one year’s project management experience. Experience in organisational development work. Experience in grant-making. Essential Essential Essential Essential Strongly Desirable Desirable Desirable Skills & Abilities Excellent communication skills – ability to write and confidently present work and strategy to a broad cross section of both internal and external audiences including senior managers and directors. Excellent organisational skills – able to prioritise and manage a varied workload to tight and competing deadlines. IT Skills – high of IT competence and excellent knowledge of Microsoft Office applications particularly PowerPoint and Excel. Flexible approach - able to turn around requests quickly and can work, if and when required, during evenings and weekend. Networking skills – strong networking skills when representing the Foundation externally. Essential Essential Essential Essential Strongly desirable Personal qualities An established network of connections within the UK arts sector Ability to maintain confidential and sensitive information. Excellent interpersonal skills and strong team player. Ability to work in a small group and in a busy open-plan environment. Possess a positive attitude and high levels of energy, integrity, honesty and credibility. Warm in approach – able to establish a strong rapport with both internal and external stakeholders to build trust, confidence and support. Meticulous attention to detail. Self-starter able to work independently with minimal supervision but seeking guidance where necessary. Diplomatic and tactful. Essential Essential Essential Essential Essential Essential Essential Essential Essential Dynamic, pragmatic and can easily adapt to new challenges and scenarios. Essential
Marimba Xylophone Vibraphone Tubular Bells Chimes Gong Crash Cymbal Suspended Cymbal Tympani Bass Drum Snare Concert Toms Concert podium Grand Piano Upright Piano Choral Risers Spot Light Number needed Lectern on stage DVD/ Blu Ray Chairs on stage Lectern on floor CD/ Mp3 Tables on stage Front screen projection PowerPoint W/ audio Tables off stage Side screen projection PowerPoint W/o audio Handheld mic Rear screen projection Reference recording Lapel mic Notes: Notes: Please discuss your technical needs prior to your arrival at the theatre. You may contact our technical director, Daniel Gentry by email at dangmixing@aol.com.
including coordination of access when clinically indicated. SIGNATURE OF STAFF COMPLETING THE FORM Name Signature/Credential: Date: PLEASE SEND FORM TO THE DESIGNATED HEALTHCARE PLAN USING THE CONTACT INFORMATION BELOW FOLLOWING THE TIME FRAME REQUIREMENTS IN THE ARTS PROVIDER MANUAL. Please note a processing time for ASAM Level 4.0/3.7/3.5/3.3 is 1 calendar day from receipt and ASAM Level 3.1/2.5/2.1 is 3 calendar days from receipt. CONTACT INFORMATION Medallion 3.0 Managed Care Organization Phone Number Fax Number Aetna Better Health (804) 350-0816 (866) 669-2454 Anthem Healthkeepers Plus (800) 901-0020 (877) 434-7578 (for inpatient) (800) 505-1193 (for outpatient) INTotal Health (855) 323‐5588 (888)393‐8978 Kaiser (301) 625-6104 (301) 625-6103 (301) 625-6102 (855) 414-1703 Optima Family Care (800) 648-8420 (757) 552-7174 (844) 366-3899 (757) 837-4878 Virginia Premier Health Plan (800) 727-7536 (toll –free) (804) 819-5151 (local) (877) 739-1365 Commonwealth Coordinated Care (CCC) Plus Phone Number Fax Number Aetna Better Health of Virginia (804) 350-0816 (866) 669-2454 Anthem HealthKeepers Plus (800)901-0020 (877) 434-7578 (for inpatient) (800) 505-1193 (for outpatient) Magellan Complete Care of Virginia (800) 424-4524 (866) 210-1523 Optima Health Community Care (888) 946-1168 (844) 839-4612 (757) 837-4703 UnitedHealthcare (877) 843-4366 (855) 368-1542 Virginia Premier Health Plan (844) 513-4951 (888) 237-3997
Commonwealth Coordinated Care (CCC) Plus Phone Number Fax Number Aetna Better Health of Virginia (804) 350-0816 (866) 669-2454 Anthem HealthKeepers Plus (800)901-0020 (877) 434-7578 (for inpatient) (800) 505-1193 (for outpatient) Magellan Complete Care of Virginia (800) 424-4524 (866) 210-1523 Optima Health Community Care (888) 946-1168 (844) 839-4612 (757) 837-4703 UnitedHealthcare (877) 843-4366 (855) 368-1542 Virginia Premier Health Plan (844) 513-4951 (888) 237-3997 Behavioral Health Services Administrator Phone Number Fax Number Magellan of Virginia (800) 424-4046 N/A
to expand awareness, and enable a broader experience of tangible and intangible heritage across the Partner across NSW Government agencies Arts NSW will partner with other NSW Government agencies to marshal expertise, resources and networks to achieve outcomes for the community. These include: the Department of Family & Community Services, on the NSW Arts and Disability Partnership the NSW Department of Education & Communities, on initiatives such as Fresh AIR Destination NSW the Department of Planning, on broad policy in Metropolitan Sydney and Regional NSW to realise public-domain arts development programs Transport for NSW and & Maritime Services NSW Health, as co-signatories of the National Arts and Health Framework, on integrating arts and culture in the planning of health facilities. Support live music We will work collaboratively with local councils, such as the City of Sydney. We will also work with the Office of Liquor, Gaming and Racing, Department of Planning & Environment, the NSW Environment Protection Authority (EPA) and the Office of the NSW Small Business Commissioner. Together, we will develop policy and regulatory settings to support the continued growth and vibrancy of music in NSW. Case Studies Demonstrating the benefits of community public art Orange Health Service Weaving Wellbeing is a community public-art project for the new Orange Health Service facility. It is a lasting piece of art, which challenges stigma around mental health, celebrates Indigenous culture and humanises clinical environments. It places creativity and community at the heart of the facility. Weaving Wellbeing is part of Orange Health Service’s Arts & Health Strategy, a partnership between Western NSW Local Health District, Orange City Council, Orange Regional Gallery, Orange Regional Arts Foundation, Orange Regional Conservatorium, Arts Out West and the local community. The installation includes traditional Aboriginal woven elements with non-traditional techniques. Artists Gabriella Hegyes and Bev Coe led the weaving workshops. Seventy volunteers including artists, community members and mental-health staff worked together to
10 Assessment Overview Name of Assessment Weighting (Assessment Type minimum 20% per task) Description of Assessment (a detailed description of the ways in which students show evidence that demonstrates their learning) Content Description Assessment Design Criteria Evidence of Learning for Assessment (word count, time allocated, number of pages) PA KU AR Type 1 Investigation(s) Work may be in the form of: research project, report, review, essay Making - Explore, investigate Responding - Interpretation Making - e.g. 6 weeks x 2 double lessons/week Interpretative Response: 750 word count maximum Type 2 Product(s) Making – Produce Responding – Folio Performance: Folio: 750 word count maximum or by subject specific requirements Type 3 Practical skills: Making – Learning skills Responding – Evidence of learning Learning skills: Response: 750 word count maximum Three to four assessment tasks per semester – please refer to the Subject Outline
Art History, Appreciation and Aesthetics (Grades 9 – 12) Students in Grades 9-12 will select/describe, analyze, interpret/translate and evaluate cultural and multi-cultural influences on the arts, including social, political, economic, functional and aesthetic considerations. Students will develop a variety of critical analyses and examine different philosophies and viewpoints. Students’ experiences with art media within its historical context will connect selected artwork to the artist’s process. Products and/or presentations relate cognitive learning to artistic practices. Knowledge of related careers in the fields of art history and aesthetics are covered as well as the application of technology to assist learning. Media, Techniques and Processes Elements of Art and Principles of Design Identify media and materials used in creating art; understand processes and techniques in creating art; apply problem-solving skills in creating two-dimensional and works of art; and use materials and tools in a safe and responsible manner. Identify selected elements and principles of design as they relate to art and the environment; understand qualities of elements of art and principles of design as they apply to two-dimensional and three-dimensional objects and artworks; apply elements of art and principles of design as they relate to problem-solving skills in the creating of art; and communicate expressive ideas that demonstrate an understanding of structures and functions in art. Subject Matter, Symbols, and Art History and Diversity Identify symbols and ideas to communicate meaning in art; determine potential content for artworks; and apply problem-solving skills when creating art relative to subject matter, symbols and ideas. Identify how visual art has a history and specific relationship to culture; analyze works of art that reflect different styles and time periods; and demonstrate an understanding of how history, culture, and the arts influence each other. Reflection and Analysis Multi-disciplinary Connections Identify multiple purposes for creating of art; analyze contemporary and historic meanings in specific artworks through cultural and aesthetic inquiry; and describe and compare a variety of individual responses to their artworks and to artworks from various eras and cultures. Identify characteristics of visual art and other disciplines; and analyze by comparing and contrasting connections between disciplines. Media, Techniques and Processes VA.HAA.1 Select/describe various styles, techniques, and media in works of art. VA.HAA.2 Use in a safe and responsible manner, media, techniques and processes in relation to artwork studied. VA.HAA.3 Examine and classify media and processes of artists throughout history. Elements of Art and Principles of Design
Yarn Fabric Hand sewing needles Thread sewing notions fiberfill Knitting needles Crochet needles mixed media paper newsprint watercolor paper construction poster board cardstock paintbrushes watercolor brushes regular pencils drawing pencils erasers kneaded erasers acrylic paint gesso medium/gloss watercolor/ refills charcoal dry pastels oil pastels crayons pipe cleaners beads sequins buttons glue sticks Elmer’s glue Children’s scissors Hot glue guns/glue Fabric scissors Whiteboard markers/erasers Over-ear headphones Darkroom chemicals Film Photopaper Rules Masking tape Clear tape roll paper Storage tubs
Divisions and Categories: DIVISION A - PROMOTIONAL CATEGORIES Category 1: Photo Story – Individual Category 2: Story – Group Category 3: Brochure – Individual Category 4: Brochure – Group Category 5: Video – Individual Category 6: Video – Group Category 7: Job’s Daughters Web Design (color prints of web page / pages) Category 8: Miscellaneous DIVISION B – JOBIE CATEGORIES Category 1: Carrying Pieces Category 2: Favors Category 3: Centerpieces Category 4: Floral (silk or artificial) Category 5: Scrapbook – Individual Category 6: Scrapbook – Group DIVISION C – QUILTS Category 1: Pieced Wall Hanging Category 2: Applique’ Wall Hanging Category 3: Pieced Lap Robe, Baby Quilt or Quilt Category 4: Applique’ Lap Robe, Baby Quilt or Quilt Category 5: Other Pieced Work Category 6: Other Applique’ Work DIVISION D – SEWING Category 1: Clothing Category 2: Outerwear Category 3: Accessories Category 4: Home Decor Category 5: Other DIVISION E – NEEDLEWORK Category 1: Embroidery on Soft Fabric – original design Category 2: Embroidery on Soft Fabric – kit or chart Category 3: Counted Cross Stitch – original design Category 4: Counted Cross Stitch – kit or chart Category 5: Needlepoint Canvas Work – original design Category 6: Needlepoint Canvas Work – kit or chart Category 7: Knitting / Crochet – original design Category 8: Knitting / Crochet – kit or Category 9: Latch Hook – original design Category 10: Latch Hook – kit or chart DIVISION F – HANDICRAFTS
‘Approaching’ Grade 1 Grade 2 Grade 3 You can create images or patterns; we can tell what it is. You try out and enjoy using different art materials. You can look, see and then copy a line. You can add describing words You are able to produce a final piece You can create a recognisable image or pattern from your imagination. You can use different Art materials with control. You can alter your first copy of the line until it is correct. You add notes to help describe what you are drawing You can produce the final piece of work that you intended to make You can transform a drawing into a design, and improvise a pattern to set of You can achieve the different effects needed (textures, tones and colours). You vary the way you draw lines to match the lines and textures you see. You can describe those effects You can use lines, tones and colours, shapes or pattern in your work. You can identify these elements You create several versions of your design; by transforming images, improvising and inspired by other Artists. You are thoughtful about the way you use art materials to achieve the results you want. You vary the way you use line and tone to produce believable likeness. Your descriptions show understand how you have achieved those effects You use a combination of lines, tones, colours, shapes or pattern (the formal elements) in your work. You can describe these elements
COURSE SLO ASSESSMENT REPORT, SAC Department: Art Course: ART 152 Intro-Ceramics Semester: Fall – Spring 2014 Faculty Patrick Crabb Semester: Fall Year: 2013 Semester: Spring Year:2014 Institutional SLO “Core Competencies” Course SLO Method of Assessment Outcomes assessment Plan for Implementation Reassessment Outcome Plan for Implementation ****************** 1. Communication Skills a. Listening and Speaking Students will listen actively and respectfully to analyze the substance of others’ comments. Students will speak in an understandable and organized fashion to explain their ideas, express their feelings, or support a conclusion. b. Reading and Writing Students will read effectively and analytically and will comprehend at a college level. Students will write in an organized and grammatically correct fashion to explain their feelings and support a conclusion. Day 1: Students will learn vital vocabulary and specific concepts that are established to facilitate communication or “shop talk repoire”; Students will learn linear/sequential thinking as part of the reasoning process(ie. step 1 then onto step 2, etc) Students should be listening & following instructions accurately Written reports from a gallery or museum visits as extra credit; oral presentations to support the reading and research weekly verbal quizzes on vocabulary & concepts to accompany the wheel projects An end-of-semester written evaluation is reviewed for content in terms of level of thinking when viewing gallery objects oral crit presentations on analytically thinking Students do comprehend the techniques as thinking the grammar suffers; the simple expressions in reports reveals a mediocre level of sophistication I will continue the process of giving out instructions to test their listening and comprehension skills Continue the same process but with suggestions on improving grammar and expressions on concepts; Establish a logical-linear-in depth thinking pattern ; use proper terminology daily in class By increasing the time on verbal quizzes to reinforce learning/retention the results have been much better; students feel more progress Need to instill more research during times to gain a wider perspective on creativity; have students openly present a brief commentary on what they have learned Reinforced learning and retention at a higher level; more confidence/comfort level with materials/better creative progress; More usage of Open Lab time Increased interests for credit with visits to gallery shows; higher confidence and a more dedicated interest in the class projects Continue present format Continue present format
Art Long Term Plan AUTUMN SPRING SUMMER Year 1 Drawing Texture/tone/line Artist study: Henry Moore Primary Arts Network 3-D Artist study: David Freedman Year 2 Printing Colour/ /shape Artist Study: Shirley Novak Primary Arts Network Textiles Shape/colour/line/Pattern Artist Study: Ossie Clark Year 3 Drawing-Line and tone Artist Study: L.S. Lowry Primary Arts Network Textiles, Batik- line, colour and pattern Artist Susan Purney Mark Year 4 Junk collage- colour and pattern Artist study: Derek Gores Primary Arts Network 3D art- Clay- form and shape Artist Study: Regina Heinz Year 5 Painting – still life Artist Study: Claude Monet Primary Arts Network Painting / Collage Artist Study: Gustav Klimt Year 6 Drawing / Media shading techniques / animals / portraits Artist Study: Leonardo Da Vinci Primary Arts Network Collage / Drawing / Mixed Media / Painting / Printing London art Artist Study: Tyler Burke
Design Technology Long Term Plan AUTUMN SPRING SUMMER Year 1 Mechanisms Sliders and Levers Project Food Technology Preparing fruit and vegetables project Structures Freestanding structures project Year 2 Mechanisms Wheels and project Food Technology Preparing fruit and vegetables project Textiles Templates and joining project Year 3 Structures Shell structures project (including computer-aided design) Food Technology Healthy and varied diet project Textiles 2D shape to 3D product project Year 4 Electrical Systems Simple circuits and switches project (including programming control) Food Technology Healthy and varied diet project Mechanical Systems Levers and linkages project Year 5 Structures Frame structures project Food Technology Celebrating culture and seasonality project (Pizza Express) Architecture Year 6 Disaster Shelters Food Technology Celebrating culture and seasonality project American) Electrical Systems More complex switches and circuits project (including programming, monitoring and control)
A LEVEL ART, CRAFT AND DESIGN Pre Enrolment Task In preparation for the new College term, you will need to complete the work set for this subject, which you can find on the following pages. Having not done any real study since you completed your GCSEs, it is now time to get back into the swing of things and focus on the subjects you plan to take when you start lesson in September. The activities that you complete will be utilised by your teachers in the first week or so of class and the work you do will be useful learning when you complete your first Assessment of the year. The College has Common Assessment windows for A level and the Vocational A level subjects have relevant Assignment deadlines. Your academic progress is monitored at each of these points and this first Assessment will set the starting point for your academic journey which we will then continue to monitor your progress against throughout the year. In order to get you fully prepared for A level Art, Craft and Design, we have set you the following tasks. We will be using the skills and understanding shown in this Pre Enrolment Assessment in the first few lessons and then throughout your A level Art, Craft and Design course. You should upload (via the new student portal) or print a copy of your completed work and bring it to your first lesson. Don’t forget to put your name on it. Pre-Enrolment Task A Art, Craft and Design Artist: Cas Holmes. Name:________________________________ ‘Winter Grasses’ 2015, 120 x 120cm Compare and Contrast the two pieces of work above
`5th Grade September October November December January February April May June Baseline/ Name plates Sugar Skull Drawings Markers and color pencils Element of Design: “LINES” Symmetry in Nature- Primary and Secondary Colors Leaf Designs Water colors & permanent markers Element of Design: “LINES” Line Quality through Cursive Patterns and design Markers and color pencils Element of Design: “SHAPES” Asymmetry through shapes Complementary Colors Geometric Collage Construction paper Element of Design: “SHAPES” Illustration from your favorite book Pop up page Water colors and colored pencils Element of Design: “Form” Magic Monsters Model Magic Element of Design: “Form” Clay Mini Masks Air dry clay Papier Mache Creations Papier Mache Creations
6th Grade September October November December January February April May June Baseline/ Name plates Scariest Experience Illustrations Markers and pencils Geometry though art Shapes found within a face Primary and Secondary Colors Color pencils Perfectly Proportioned Portraits Portraits of a character in your favorite book Markers and color pencils Watercolors Symmetry and balance Mandelas Ornaments Complementary Colors Burnishing and transfer Drawing paper markers and colored pencils Drawing the form Paper puppets Markers and color pencils Papier Mache Creations Papier Creations Greek Mythology Water Color and Color pencils Water Color Flowers Oil Pastels techniques drawing from Observation
7th Grade September October November December January February March April May June Baseline/ Name plates Spooky Drawings Color pencils Gradation Creations Shading techniques and activities Tone and Shade Shading Pencils Gradation Creations Mythological Beasts of Your imagination Tone and Shade Shading Pencils Fantastic Facades Shading techniques Architectural Drawings from Observation Drawing paper and shading pencils Papier Mache Creations Papier Mache Creations Wonderous Wild Animals Drawings of wild animals from Observation Using Oil pastels Wonderous Wild Animals Drawings of wild animals from Observation Using Oil pastels Luscious Landscapes Watercolor techniques Painting from Observation Luscious Landscapes Watercolor techniques Painting from Observation
8th September October November December January February March May June Baseline/ Name plates Celebrity Celebration Drawing from Observation Carbon Paper& Color pencils Sensational Still Lifes Drawing from Observation Oil Pastels Architectural Art Shading techniques Architectural Drawings from Observation Drawing paper and shading pencils Wonderous Wild Animals Drawings of wild animals from Observation Oil pastels Spectacular Sculptures Sculpture Drawing from observation Shading techniques shading pencils Plaster Guaze Masks 8th Grade Painting and Mural Acrylic painting techniques Plaster Guaze Masks 8th Painting and Mural Acrylic Paint painting techniques
Access, evaluate and synthesise information Decide what information is needed and where it might be found using appropriate technologies; Make valid judgements and synthesise information from a range of sources. Communicate effectively Communicate in ways appropriate to the discipline, audience and purpose. Use technologies appropriately Use appropriate technologies recognising their advantages and limitations. . Utilise lifelong learning skills Use a range of learning strategies; Take responsibility for one’s own learning and development; Sustain intellectual curiosity; know how to continue to learn as a graduate. International perspective Think globally and consider issues from a variety of perspectives; Apply international standards and practices within a discipline or professional area. Cultural understanding Respect individual human rights; Recognise the importance of cultural diversity particularly the perspective of Indigenous Australians; Value diversity of language. Apply professional skills Work independently and in teams; Demonstrate leadership, professional behaviour and ethical practices. Course Structure Form Insert Course Structure Form here provided by Courses Management. AQF Specifications Learning Designer and/or Course Coordinator Accrediting authorities and those developing qualifications for accreditation must adhere to the AQF specification for this qualification type. Please insert appropriate AQF Specifications table. CRO
Appendix 3 – Assessment Data Source Details about Assessments are shown in the categories below: Type Task (examples) Medium (examples) Role Supervision Authenticity Principal Assessors Feedback (examples) Choose from: Performance Submission Examination Test Presentation Reflection Investigation Exercise Work placement Laboratory Exam Take home Exam Essay Report Case study Dissertation Portfolio Written Oral Practical Performance Visual Calculations Combination Other Individual Pair Invigilated non-invigilated Highly developed (e.g. work placement, fieldwork) Developing (e.g. simulation, role-play or case study) Emerging (e.g. theoretical information based on workplace) Not evident Not applicable Teaching staff only Industry only Peer only Self only Teaching staff/industry Teaching staff/peers Teaching staff/self External Grade Mark Rubric Verbal Annotated script Group report Individual email Peer feedback Specific feedback sessions Other electronic means Audio feedback Audio/video Self-feedback
1) Who becomes king of Italy after the fall of the Roman Empire in the West in 476 CE? A) Alaric b) Odovacer c) Romulus Augustulus 2) Who was the first Catholic king of ? A) Charlemagne b) Chlodimir c) Clovis d) Pepin the Short 3) What type of church did Pope Gregory standardize? A) plainchant b) organ music c) choirsong d) Gregorian chant 4) Why is Beowulf significant? 5) Who became the first Holy Roman Emperor? 6) What is the national epic poem of France? 7-8) Name 2 Middle Ages Art characteristics. 9) Why did monks create illuminated manuscripts originally? 10) What basilica is Charlemagne’s Palace Chapel on? 11) What is considered the masterpiece of goldwork in the Middle Ages? 12) What is a troubadour? 13) What is scholasticism? 14) Who called the First Crusade? 15) What is the Magna Carta? 16-17) Name 2 characteristics of Romanesque Art. 18) Which artwork gives a detailed account of medieval warfare? 19) Which artwork is the masterpiece of Romanesque Art? 20) What is a reliquary? 21) What is considered the masterpiece of Romanesque sculpture? 22 -33) essay. Why was Italy the focal point for the beginning of the Renaissance 34) What was the reconquista? 35-36) List 2 characteristics of Gothic Art.
Bardolph, Paige. “A Fruitful Exchange.” Magazine Antiques. August, 12, 2014. Berlo, Janet C. and Ruth B. Phillips. Native North American Art. Oxford: Oxford University Press, 1998. Newcomb, Franc Johnson, and Gladys Amanda Reichard. Sandpaintings of the Navajo Shooting Chant. Toronto: General Publishing Co., 1975. O’Riley, Michael Kampen. Art Beyond the West: The Arts of Africa, India and Southeast Asia, China, Japan and Korea, the Pacific, and the Americas. New York: Harry N. Abrams, 2001. Penney, David W. Native American Art Masterpieces. Hugh Lauter Levin Associates, Inc., 1996. Stokstad, Marilyn and Michael W. Cothren. Art History, 5th ed. Boston: Pearson, 2004. Address BOTH how works created by Native Americans reflect Native American traditions and how they were impacted by contact with European cultures who colonized North America. In doing so, discuss each work’s content or subject matter, the materials used, and/or the techniques employed.
Northumberland Arts Council Art Inventory Form Check one: Member__ Non Member __ Artist’s Name _______________________________________________ Date Received at Gallery ________________________ Phone _______________________________ Email ____________________________________________________________________________ Art Information Artist __Member 75% __Non-Member 70% Gallery ___25% ___30% Date art is sold Date paid by buyer Artist paid Art picked up by artist # __ Title medium size price #__ Title medium size price #__ Title medium size price #__Title medium size price . Artist Signature ________________________________________________________________________
The Sistine Chapel deliberately reproduces the proportions of Solomon’s Temple. Pope Sixtus IV was explicitly comparing King Solomon’s authority over Israel to his own right as Pope to rule Rome and Christendom: a spiritual sovereignty extending into the temporal. Perugino, The Giving of the Keys to St Peter, 1481-82, fresco, 3490 x 5700 mm Here’s a scene from The Life of Christ on the Chapel’s side wall: Perugino’s portrayal of The Giving of the Keys to St Peter. The medieval Catholic Church came to understand the Apostle Peter, founder of the first Christian community in Rome, as the first Pope, able to pass his authority on to future Bishops of Rome as his successors. In the central background of this painting by Perugino, on either side of a building representing the Temple of Solomon, are two triumphal arches. Their inscriptions (which are really propaganda for the patron) read, “You, Sixtus IV, unequal in riches, but superior in wisdom to Solomon, have consecrated this vast temple”. This is vigorous propaganda for the Church in general, as well as for the particular pope who commissioned it. Peter Map of the Italian Peninsula during the Renaissance with extent of the Papal States Medieval and Renaissance Popes did exercise direct political rule over a significant part of Italy: the Papal States. How the Papacy came to have these States is a complicated story going back well over a thousand years. Essentially, the Papacy stepped bit by bit into the political vacuum caused by the collapse of the Western Roman Empire. By the time of the Renaissance, the Papal territory was expanding greatly. A Pope was not only the head of the Catholic Church but had also become one of Italy's most important secular rulers, signing treaties with other sovereigns, and fighting wars. Raphael, Portrait of Pope Julius 11, c.1511-12, oil on panel, 1080 x 800 mm, London: National Gallery For example, this is Raphael’s portrait of Pope Julius II, who employed Michelangelo to decorate the Chapel’s ceiling. He might not look it here, but Julius was known as the "Warrior Pope" leading military ventures around the Italian peninsula to defend or extend the Papal States.
• Taking part in local, regional or national competitions and events to instil pride, enthusiasm and high standards in the arts • Developing inclusive whole school/setting approaches, such as Sing Up or class instrumental tuition • Using the Arts Award to acknowledge achievement and promote inclusion (if applicable) - impact of school’s strategies to improve behaviour and attendance. Overall effectiveness – taking part in activities requiring social skills – overcoming barriers to learning Artsmark Gold - 2.3 How do you ensure a creative and innovative approach to learning across the curriculum using the arts? How to answer Assessment criteria Map to Ofsted framework Write 200 words explaining how the school/setting encourages all teachers to adopt creative approaches to learning based on the arts, including examples in two subjects. Successful creative and innovative approaches to learning across the curriculum. Examples from two non-arts subjects. Quality of teaching – fostering curiosity and enthusiasm for learning Leadership and management – provides and broad and balanced curriculum – supports cultural development Overall effectiveness – responding positively to a of arts and cultural opportunities Artsmark Gold - 2.4 How can pupils begin to develop leadership skills in the arts? How to answer Assessment criteria Map to Ofsted framework Write 200 words describing how you encourage pupils to initiate and lead arts activities, including through the Arts Award. Please describe two examples of performances, displays, publication, out of school/setting clubs or other activities led by pupils. Pupils set up and run arts activities that develop leadership skills. Answer should include two examples. Quality of teaching – enabling pupils to develop the skills to for themselves Achievement of pupils – how well pupils learn / develop a range of skills
into that rushing beast of the night, sucked up by that dragon, to split from my life with no flag, no belly, no cry. Vincent van Gogh, The Starry Night (1889) The Starry Night By Robert Fagles [1933-2008] Long as I paint I feel myself less mad the brush in my hand a lightning rod to madness But never ground that madness execute it ride the lightning up from these benighted streets and steeple up with the cypress look its black is burning green I am that I am it it lifts me up the nightfall up the cloudrack coiling like a dragon's flanks a third of the stars in heaven wheeling in its wake wheels in wheels around the moon that cradles round the sun and if I can only trail these whirling eternal stars with one sweep of the brush like Michael's sword if I can cut the life out of the beast - safeguard the mother and the son all heaven will hymn in conflagration blazing down the the mountain ranges down the claustrophobic valleys of the mad Madness is what I have instead of heaven God deliver me - help me now deliver all this frenzy back into your hands our brushstrokes burning clearer into dawn. In Goya’s Greatest Scenes We Seem to See By Lawrence Ferlinghetti [1919-] In Goya’s greatest scenes we seem to see the people of the world exactly at the moment when they first attained the title of ‘suffering humanity’ They writhe upon the page in a veritable rage of adversity Heaped up groaning with babies and bayonets under cement skies in an abstract landscape of blasted trees bent statues bats wings and beaks slippery gibbets cadavers and carnivorous cocks and all the final hollering monsters of the ‘imagination of disaster’ they are so bloody real it is as if they really still existed And they do Only the landscape is changed They still are ranged along the roads plagued by legionnaires false windmills and demented roosters They are the same people only further from home on freeways fifty lanes wide on a concrete continent spaced with bland billboards illustrating imbecile illusions of happiness
Most community dialogues were conducted in local languages such as Swahili and Lugbara. Institutional stakeholders’ consultations were conducted in English. Community members’ and stakeholders’ attendance, views and concerns were recorded. The summary views of the community members and institutional stakeholders consulted are presented below. 51: Community and Stakeholders’ Concerns Stakeholder Key Issues/Concerns Suggestions and recommendations Technical Of Amc And Arua District Local Government Project impacts along road reserves will be high in heavily build-up areas such as the central business area and some parts of River Oli division Adjustments (reduction) of the required working corridor of 4 m from the edge of the roads since several commercial and residential buildings have been constructed within that corridor. Need to use manual labour in such areas to minimise damage to property central government agencies (prisons, forestry, rdc, unra) Public land acquisition and negotiation powers with Prisons land lie with authorities in Kampala Advised the RAP team to advise the developer/client to enter into negotiations with Prisons and Forestry authorities headquarters in Kampala over the anticipated land acquisition for the reservoir and WSPs/lagoons Some of the UNRA agency were undergoing expansion and rehabilitation and some compensation was likely to take place along some of the road reserves where AWSP activities will take place UNRA observed the need for collaboration, especially along its agency roads currently undergoing rehabilitations and expansion in the PA General Community Likely impact of the project activities on their livelihood with respect to food crops, commercial trees and fruit trees, land takes, property destruction and displacements such as those who derived sustenance from roadside enterprises, for example kiosks and makeshift restaurants Need for prompt and adequate compensation for the PAPs Some PAPs should be educated and assisted during the compensation process like opening up bank accounts and filling in forms. Proposed lagoons on Prisons land at Ediofe would eventually affect the income of sand miners Consultations further downstream indicate that other nearby areas can be considered for sand mining without affecting the livelihoods of people
Loss of employment (this is likely to be temporary) Employees in business structure is to be demolished owing to project activities Employees Disturbance allowance USh. Squatters People living or working on land to which they have no formal or customary title Owners or tenants of structures Assistance in moving to a place where they can live or work legally Right to salvage assets and materials Disturbance allowance USh.
Expenditures Tourism Receipts (In Millions of AFL) YEAR 1st 2nd 3rd 4th TOTAL % change 2010 644.5 519.8 502.5 566.2 2,233.0 2011 690.4 582.1 555.4 583.4 2,411.3 8.0% 2012 728.7 581.2 576.5 615.1 2,501.5 3.7% 2013 774.9 621.4 600.6 680.4 2,660.0 6.3% 2014 806.7 652.3 678.8 723.5 2,861.3 7.6% 2015 864.4 672.0 681.4 718.8 2,936.6 2.6% 2016 852.5 670.8 689.0 689.8 2,902.1 -1.2%
Performance by Category – June 2016. June 2016 Rooms ARN ORN %opy Revenue $ADR $RevPar Brand Name Beach Front 2,033 60,990 45,360 74.4% $11,149,315.00 $245.80 $182.81 All Inclusives 1,841 55,230 47,828 86.6% $6,520,493.00 $136.33 $118.06 Small Independent Beach Front 176 5,280 4,417 83.7% $1,258,115.00 $284.83 $238.28 Non Beach Front 864 25,920 17,232 66.5% $2,376,360.00 $137.90 $91.68 Total 4,914 147,420 114,837 77.9% $21,304,283.00 $185.52 $144.51 June 2015 ARN ORN %opy Revenue $ADR $RevPar Name Beach Front 2,040 61,200 41,144 67.2% $10,783,871.00 $262.10 $176.21 All Inclusives 1,777 38,580 30,640 79.4% $4,046,629.00 $132.07 $104.89 Independent Beach Front 176 5,280 4,726 89.5% $1,245,763.00 $263.60 $235.94 Non Beach Front 855 25,650 15,600 60.8% $2,296,063.00 $147.18 $89.52 Total 4,848 130,710 92,110 70.5% $18,372,326.00 $199.46 $140.56 Per Cent Change Rooms ARN ORN % pt change Revenue $ADR $RevPar Name Beach Front -0.3% -0.3% 10.2% 7.1% 3.4% -6.2% 3.7%
(Non Aruba/Non Venezuelan) 62,397 438 0.7% Other (Aruban/Venezuelan) 24,300 11,614 47.8% 86,697 12,052 13.9% Source ATA The above table shows the number of Venezuelan residents who arrived in Aruba as a percentage of the total non-residents carried by an airline. Thus 1.1% of all non-residents arriving in Aruba on American Airlines in June 2016 were residents of Venezuela and 0.2% of all non-residents arriving in Aruba on Delta Air Lines in June 2016 were residents of Venezuela. Venezuelans arriving on American Airlines. Percentage of all Non-Resident Passengers arriving in Aruba on American Airlines who were residents of Venezuela 2016 Jan 15.1% Feb 2.0% Mar 1.6% Apr 1.1% May 1.2% Jun 1.1% In June 2016 1.1% of all non-resident passengers arriving in Aruba on an American Airlines flight were residents of Venezuela. This is down substantially from January 2016 when the number was 15.1%.
as of 6/15/2016 6/15/2015 % change Euro $1.124 $1.126 -0.2% UK Pound $1.418 $1.556 -8.9% Canadian Dollar $0.775 $0.811 -4.4% Colombian Peso* 2993 2532 -15.4% Brazilian Real** 3.471 3.097 -10.8% * per $1.00 ** Reals per $1.00 Inventory. It is currently forecasted by AHATA that there will be an increase of 3% - 4% in available room nights during 2016 due to the addition of 60 rooms at the Divi Tamarijn/All Inclusive, the addition of 74 renovated rooms at the Tropicana Aruba and the full year operation of the Riu Palace (which was closed for three months in 2015 for renovation). Please note that the Hilton Aruba currently plans renovations during the course of 2016 which will involve the closure of some rooms. Forecast Consequently it is forecast by AHATA that overall average room occupancy for 2016 for the hotel sector will remain at about the same level as in 2015, but that ADR will decline by about 3% compared to full year 2015 and that as a result RevPar will decline by between 2% - 3% compared with 2015. Projected Actual 2016/2015 December 2016 YTD 2016 2015 % change Rooms 4,908 4,848 1.2% ARN 1,785,244 1,725,914 3.4% ORN 1,399,809 1,346,974 3.9% % occupancy 78.4% 78.0% 0.4% points ADR $231.01 $238.19 -3.0% Rev Par $181.13 $185.89 -2.6% Based on data from 15 properties.
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ROTARY CLUB OF ARVADA DISTRICT 5450 www.arvadarotary.org 7577 Wadsworth Blvd., Arvada, CO 6:30 pm Meeting Bulletin – August 30, 2017 This week, August 30, 2017: Head is Rotarian of the Day. Her program will be presented by Bettina Morrow from adult protective services (aps) in Jefferson County. She will talk about how aps came about, it's purpose and what to do if there is concern regarding the care or well-being of an aging loved one. Last week, August 23, 2017: Sherry McGee was Rotarian of the Day. Sherry reported on the results of the peach sale held on August 12. The club will realize a net profit of about $13,700. Great job Rotarians! In two weeks, September 6, 2017 Jim Gracey is Rotarian of the Day. Upcoming Events Colorado Fall Home Show, September 8-10, 2017: Rich Kramer, Jim Gracey and Dennis Hein are working with the Garden Show Foundation preparing for this Time commitment is substantially less than the Spring Garden and Home show but we still need to provide 4-5 people for Friday, Saturday and Sunday. We do all ticket sales using the computer system which becomes standard operating procedure for both shows going forward. This is a great time to train at a less busy event than the spring show. We are still looking for a person to work Friday Morning. From Don Storey: Duane Youse told Don the funeral for Betty Youse will be on Aug. 30 at the Arvada Presbyterian Church at 11:00 am. Duane is a long time Kiwanian and has run the Santa House for years. Linda Nedved is working the Guatemala Literacy project again this year. You will find some information attached to this bulletin. August Birthdays: Della Blay, August? Susan Weller August 10 If your name isn’t here and you were born in August please let Dennis Hein know so you can be recognized. PRESIDENT MATT WELLER’S CORNER: President Matt should be at the meeting this evening. Come and say HI! KRAMER’S CORNER: Here is another bit of wisdom Rich Kramer has sent me: AT YOUR NEXT MASSAGE, TRY THE SANDER!
TABLE OF CONTENTS Sustain Arvada Community Food Assessment Executive Summary…………………………………………3-4 I. BACKGROUND Food Assessment Goals……………………………………………………………………………………..………………………5 Community Profile…………………………………………………………………………………………………………………….6 Arvada’s Focus on Food Systems and Food Access……………………………………………………………….…7-9 II. PROCESS Methods……………………………………………………………………………………………………………………….………9-12 III. PRIMARY RESULTS Primary Results………………………………………………………………………………………………………………..…13-16 Arvada Foodscape………………………………………………………………………………………………………………17-20 Disparities in Access & Connectivity in Arvada Foodscape…………………………………………………..21-23
One - Hour Delay AEC Schedule Pick up at School Drop at Arvin Pick up at Arvin Drop at School Session 1 Regular Shuttle NOHS NA NA NA NA OCHS 9:45 9:50 10:45 10:55 SOHS NA NA NA NA Session 2 NOHS NA NA NA NA OCHS 11:00 11:05 12:25 12:30 SOHS 10:40 10:55 12:20 12:35 Session 3 NOHS 1:40 2:00 3:30 3:45 OCHS 2:00 2:05 3:40 3:45 SOHS 2:00 2:10 3:35 3:45 Two – Hour Delay AEC Schedule Pick up at School Drop at Arvin Pick up at Arvin Drop at School Session 1 Regular Shuttle NOHS NA NA NA NA OCHS NA NA NA NA SOHS NA NA NA NA Session 2 NOHS NA NA NA NA OCHS NA NA NA NA SOHS 10:55 11:10 12:20 12:35 Session 3 NOHS 1:40 2:00 3:30 3:45 OCHS 2:40 2:45 3:40 3:45 SOHS 2:00 2:10 3:35 3:45 COURSE FEES
Hocking, Robert Hollonds, Andrew David Johnson, Peter Andrew Jolly, Rebecca Anne Penfold Kavanagh, Oliver Trinity Isabel Kruger, Mary Patricia Kugena, Kunmanara (male) Kugena, Kunmanara (female) Lambert, Judith Ann May, Terrill Anthony Minning, Kunmanara Mumford, Michael John Paxton, Donald Henry Peters, Kunmanara Polklaser, Irmgard Giesela Proctor, Janis Mary Radford, Roger Gordon Ricci, John Peter Robinson, Shane Andrew Smith, Norman John Ebanezer Swavley, Matthew Tyson Sweetman, Amber Jayne Thalbourne-Maitreya, Michael Anthony Weeks, Ronald Geoffrey Windlass, Kunmanara ** Italics denote that the matter is part heard and will resume in the 2012/2013 financial year.
G: Table 7: Revenue, expenses and operating result 201415 201516 $ $ Revenue Funding from Government 1,588,234 1,865,334 Revenue — 185,032 270,693 Total revenue 1,773,266 2,136,027 Expenses Employee expenses Wages 351,038 577,107 Superannuation 94,606 152,542 Other employee expenses 383,108 560,545 Total employee expenses 828,752 1,290,194 Other expenses Travel 256,360 199,442 Conferences and training 18,026 13,440 Consultants and Contractors 92,367 110,217 Seconded Employees 311,538 387,561 Office supplies 1,248 24,229 Publications and subscriptions 756 3,109 Other supplier expenses 7,180 6,376 Total operating expenses 687,475 744,374 Total expenses 1,516,227 2,034,567 Operating surplus 257,039 101,460