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Sequence 7The sixth area that I want to mention is how Montessori's concern for peace is rooted in spirituality. After living… |
Sequence 8use real dishes and cloth towels rather than plastic and Styrofoam; we implement Cosmic Education in the elementary years; we… |
Sequence 9When they are in high school, are former Montessori students reaching out to others? Are they volunteer tutors? Are they… |
Sequence 10When I ponder this question, I think of many possible reasons. Perhaps the first is Montessori's own writing, where the… |
Sequence 11When we teach religion, we teach devotion to God or to a deity by another name; we teach dogma, prayers, sacred writings,… |
Sequence 12consider that many of our teacher training centers have not given enough time and emphasis to nurturing the spirit of future… |
Sequence 13commercialism. There are ads on our fax machines and on the Web; when we are on hold on the telephone, we hear constant… |
Sequence 14corporate profits for years to come. These companies em- ploy psychologists, not to help children cope with prob- lems, but… |
Sequence 15"Do you play with them?" "No, I just keep them." "Do you like them?"… |
Sequence 16Needless to say, our children are like babes in the woods in the face of such sophisticated methods of playing on their secret… |
Sequence 17lation rather than sharing and kindness. And it values passive enter- tainment rather than self-directed, creative activities… |
Sequence 18brainwashing that is over- whelming our lives? Are we aware of the fact that all our efforts to nurture the spirit of… |
Sequence 19ANTI-CONSUMERISM RESOURCES Consumer Alert 1001 Connecticut Ave. NW Suite 1128 Washington DC 20036 202-467-5809 fax 202-… |
Sequence 20Montessori, Maria. The Absorbent Mind. 1949. Trans. Claude A. Claremont. Oxford, England: Clio, 1994. Montessori, Maria.… |
Sequence 1t ~ ----------------------- FINDING THE ARTIST WITHIN: A CHALLENGE FOR MONTESSORIANS by David Kahn In March, 1998, NAMTA… |
Sequence 2own creative lives as children. They had lost their vision of creative possibilities for the classroom. Most did not trust… |
Sequence 3The artistic indeed has a developmental perspective.Jean Miller's and Elise Braun Barnett's music articles relate to… |
Sequence 1ARTISTIC EXPRESSION AND THE UNFOLDING SELF: EXPRESSIVE ADULTS, EXPRESSIVE CHILDREN by Olga Dantus Ms. Dantus'… |
Sequence 2staircase, but it was time to follow the loud music while the adults sang and moved the children's arms and legs. One… |
Sequence 3credit cards, lasers and the ball point pen. We lived before pan tyhose, dishwashers, dryers, electric blankets, air con-… |
Sequence 4These technological changes have produced a radical alter- ation in our way of revealing ourselves to others. As a… |
Sequence 5These changes touch on all of our cu I tures, and they accu- mulate Ii ttle by little until one day we can't recover… |
Sequence 6opportunity. Soitseems we are at the verge of a vital moment in which circumstances merge a series of factors never before… |
Sequence 7value personal responsibility (ability to respond) in the context of a community. Montessori education is a part of this… |
Sequence 8in the tropical forest. Everyone who shares with an open mind the traditions of another culture will be contributing to world… |
Sequence 9see creativity as the capacity to love, to find the right answer to everyday problems, to innovate, to take risks, to re-… |
Sequence 10your mind plays, there's always a benefit because your mind is smarter than you are, and does more surprising things,… |
Sequence 11Art is a talent special to human beings. It helps us un- derstand and explore our own inner world. When children become… |
Sequence 12Children, with their ability to adapt, enter easily into the evolu- tionary process of their environment and get imprisoned in… |
Sequence 13To touch a child is to touch the most delicate and vital place where everything can be renewed, where everything is full of… |
Sequence 14If you can't look him straight in the eye. He's the fellow to please, never mind all the rest, For he's with… |
Sequence 1The Artist In Each Of Us 20 The NAMTA Journal • Vol. 24, No. 3 • Summer 1999 |
Sequence 2THE ARTIST IN EACH OF Us by Florence Cane Florence Cane's developmental view of the creative process is hauntingly true… |
Sequence 3Nature of the Creative Process Naturally the first steps of the novice are to take up pencil or brush to draw or paint.… |
Sequence 4hands over them. As the darkness and quiet increase, the original images become clarified, or new ones come surging up to… |
Sequence 5There are other ways in which pairs of opposites balance each other. For example, the re- lation between near and distant… |
Sequence 6Laurence Binyon, in Painting in the Far East, writes vividly of the place rhythm holds in the art of the Eastern world: A… |
Sequence 7First, the child will touch and handle an object, try to break or bend it in order to find out its possibilities. He may taste… |
Sequence 8The creative faculty becomes more robust through the kind of understanding illustrated in the following incident. A child of… |
Sequence 9The child's interest in these first crude attempts is usually very serious and may hold his attention for a… |
Sequence 10and demands more of himself. Each picture must satisfy not only himself but his companions as well. The child needs the… |
Sequence 112. CONDITIONS FA VORA BLE TO CREATIVE WORK It is not so difficult to create as it is to maintain the conditions from which… |
Sequence 12Arrangement and Care of Materials The arrangement and care of materials are very important, not alone for the habits of order… |
Sequence 13Inner Conditions The inner conditions favorable to creative work can be fostered by the teacher. But the teacher invites and… |
Sequence 14porating in their teaching the study of a child's heredity, his social life, and his own behavior in order to understand… |
Sequence 15There isa third way-a middle path in which the teacher no longer desires his pupil to excel, in which he no longer wishes to… |
Sequence 16It is true that when the art- ist is in action, he may function in three ways simultaneously. In teaching, however, we… |
Sequence 17They fail to realize that the chief hope of change, the transcendent function, lies buried in the unconscious and that only by… |
Sequence 18rational consciousness, to that which can be known and measured and defined. But life is made upof opposites, typified by the… |
Sequence 1DISCOVERING THE ARTIST WITHIN by Sam Hamill With the intensity of a master poet, Hamill describes his personal artistic… |
Sequence 2and a master of Zen. It gets awfully crowded in that ever-expanding "within." I was orphaned at the age of… |
Sequence 3Here's a poem I wrote a year or so ago, remembering those times, a Letter to Gary Snyder from my book, Gratitude- LIVES… |
Sequence 4nine bows to a friend and teacher who encouraged a lifetime's study. The mountains are in my heart, and all the rivers… |
Sequence 5in some respects, it deepens our engagement with all that is human, with all this temporal world, plagued by all-too-human… |
Sequence 6Listening to poetry is art unto itself. Like listening to jazz or opera, it involves both a disciplined listening and a deep… |
Sequence 7and was honorably discharged, much to the Marine Corps' chagrin. Producing Buddhist poets is not something one sees… |
Sequence 8Poetry readings against the Vietnam War were everywhere, but I was already a vet and had become a C.0. and still that… |
Sequence 9you wrote a lover, and I often think you, too, are a long poem whose gift is the gift of change, of sublime transformation… |
Sequence 10All of the poem-letters to poets in this book are run under the title "Lives of a Poet." Because a real poet… |
Sequence 11properly felt and properly understood under the conditions of educated listening. The sixth patriarch of Zen, Master Hui Neng… |
Sequence 12always describing the physicality of their world of pleasure and the dance of Eros free of guilt or consequence, so that, as… |
Sequence 13What do we mean when we speak of genius? What do we mean when we use terms as abstract as "creative spirit"… |
Sequence 14could be more difficult than skating along on a thin blade over hard ice or learning the samba? People love difficulty. I… |
Sequence 15Loneliness already planted with each seed in morning glory beds Three hundred years ago, another Zen poet, Basho, came upon… |
Sequence 16as vicious as any racial prejudice in our society. To say that someone is childish is an expression of the deepest con- tempt… |
Sequence 1POETRY AND THE EARLY ADOLESCENT by Mary Jo Moore The concept of teacher as coach is demonstrated by Ms. Moore'… |
Sequence 2middle school. He could turn out poems of the Shel Silverstein variety like breathing, then write a song for graduation,… |
Sequence 3WRITER'S BLOCK I have a case of writer's block. I don't know what to do. I've many great ideas, Just… |
Sequence 4mor seem more likely to be in the repertoire of boys than girls at this age. I could get into a lot of trouble by making such… |
Sequence 5Isn't the life that he should lead. It's a nagging feeling inside him, Urging him away from this. Telling him his… |
Sequence 6We're overflowed with opponents Who we need to defeat. We haven't the luck A team needs to win. But I feel the… |
Sequence 7And here's one by her friend Romana: THEY'RE STILL OUT THERE The shapely models are role models. Stop the arguing… |
Sequence 8LONELY TRAVELER She runs [n the pouring rain, With no one to turn to No where to hide. She's running, Running from… |
Sequence 9lfsomething's going to have to bend for Beth Anne, it's rhyme, not the substance of what she's trying to… |
Sequence 10Neha is exploring and discovering here, I think. She is exploring what a poem is and isn't, and discovering what she can… |
Sequence 11LOVE The sky gets darker as days pass by, the world looks bleak as it's seen through my eye. Violence and destruction… |
Sequence 12Slashing like a knife. Something so shocking My whole body tenses, That fateful day When love touched my life. Twelve-year… |
Sequence 13As poetry coaches, it behooves us to avoid judgments about what kinds of poems are good poems. Some will rhyme, some won'… |
Sequence 1Maria Montessori and Elise Braun presenting music at the International Congress, Rome, 1932. 68 The NAMTA Journal • Vol. 24… |
Sequence 2MONTESSORI AND Music by Elise Braun Barnett With the sense of discovery characteristic of a first-generation Mon tessorian,… |
Sequence 3Children do not listen in the so-called "grown-up manner," sitting quietly. They like to move with music.… |
Sequence 4own creative way, with love for the child as her guiding principle. It was this that led the first woman medical doctor in… |
Sequence 5RUNS AU.£eR() J•~IJZ..(2,t,p,joccw.cybfatOl\fhc.lndlOnDfnt' i CCCil W!~ AU.EGAO J. • .,J..,t,,, ,,.,. foe M1'J… |
Sequence 6is the necessary preparation for making music, and therefore daily "concerts" are an integral part of the… |
Sequence 7LITHVANIAN FOLK TUNE SICO!ld luru piano ~:::: I :J: r;1I:1: ::r1 ::1 :J PILLOW DANCE "-LI.EGIIO JOHAIIH STII.AIJ.… |
Sequence 8Music is best introduced during the morning. When chil- dren are still "working," but the teacher or adult… |
Sequence 9Details of interpretation are given at the beginning of every rhythm group. Tempi are indicated by metronome markings. I have… |
Sequence 10• The music activity session should be planned to include about eight to twelve pieces. The program of each session should… |
Sequence 1SINGING by Jean K. Miller Dr. Miller's article combines curriculum breadth and philosophical context with a series of… |
Sequence 2form composition playing instruments music history musicliterature different literary forms writing performing (skits,… |
Sequence 3The songs should have simple melodies so they are easy to sing. This means that the melody should have a short range of notes… |
Sequence 4strikes the same bell every time to get the beginning pitch of a song, some children will take notice and try to play the song… |
Sequence 5understood that children learn and develop self-control (as part of normalization) through repeated experiences of deep… |
Sequence 6• Study of musical form • Practice in reading musical notation • Study of dynamics • Study of melodic design • Study of… |
Sequence 7Songs may be chosen from a variety of sources, such as classical music, folk songs, popular songs, etc., but they should be… |
Sequence 8children begin to sing a prolonged note on the vowel sound "o." it is a simple exercise but the children… |
Sequence 9Change the words to fit the clothing someone in the class is wearing: "Juan wore his baseball cap ... " You… |
Sequence 10Other songs may be used in this same way. An example of a song typically found in a children's music book is "… |
Sequence 11. Hopefully, the end result of this slow, steady development will be that children who wish to add words to their own melodies… |
Sequence 12something about the life and times of the people. Two examples from the United States: "Old Texas." This… |