Analysis of The Night Cafe – Vincent van Gogh
February 21, 2012 | 
Author Vincent’s Two Cafes
“I often think that the night is more alive and more richly colored than the day.” Vincent van Gogh
Van Gogh’s two ultra-famous café scenes comprise a study in opposites. Though both paintings employ Vincent’s famous bold and furious brushstrokes and striking colors, the two pictures feel entirely different. One, “Café Terrace at Night,” is lovely and full of a frothy light, a night scene with stars outside the café on the Place de Forum. The other, “Night Café,” is, in the artist’s own words, “…one of the ugliest I have ever done,” a collection of clashing colors in the dreariest atmosphere.
Both paintings were made in Arles after van Gogh had lived and studied in Paris, and met various French impressionists. His own style became much lighter, less moralistic and more rife with color.
“Night Café” depicts the interior of a pool in Arles’ Place Lamartine. A more striking van Gogh canvas would be difficult to find, but no one could call this particular picture beautiful. It was the artist’s intention to show the lowest edge of humanity, without adornment, with as much impact and sincerity as possible.
There is no doubt he succeeded. Upon first glance, the viewer almost tends to glance away, as if burned. Fully two-thirds of the painting is the floor of the café, executed in sulphuric yellow with exaggerated lines of perspective that yank the eye into the painting. Next, a green billiard table, outlined in heavy black, stops us cold. Beside the table stands a figure in a light-colored coat, staring out at us without expression.
“I have tried to express the terrible passions of humanity by means of red and green,” van Gogh wrote. Yellow walls give on to blood-red walls that lead to an obtrusive green ceiling, and lining the walls are the locals at the bar tables, hunched over in late-night stupor. Lamps hang from the ceiling, surrounded by Vincent’s wheels of curving yellow strokes.
A stark black and white clock depends in the background, impossible to miss. It is almost a quarter past midnight in this desolate scene. “Night Café” is one of Vincent’s most powerful communications through art of the human condition and human emotions.
The other van Gogh café painting, “Café Terrace at Night,” shows the exterior of a café which still stands in Arles, though it was renamed The van Gogh Café and remodeled to closely resemble the painting which immortalized it. He painted this work in a flurry, using many of the same techniques he employed in his drawings. This is one of his most beautiful paintings, full of the light and peace he sought, but never found.
Perspective and warm complementary colors draw the viewer into the painting and beyond. The graphic texture of the street’s cobblestones invite the eye toward the little café itself, with its tiny white tables on the street, repeating the spheres of Vincent’s stars hung in the Prussian blue sky. The awning and walls of the café, warm yellow, cut into the sky to enhance both colors and form the main composition.
Van Gogh loved the night. He writes, “I have a terrible need of–dare I say–religion…then I go outside at night and paint the stars.” He painted this night scene on the spot, at night, using no blacks. His father was a preacher and Vincent went into the ministry for a while. It was later that this artist, now a star himself posthumously, decided his ministry would be to find a way to give hope and consolation to humanity through his art.
The Five Minute Business Presentation Ideas
Most of us feel that making a five minute Powerpoint presentation is like putting an elephant into a small refrigerator. It is just a metaphoric example to express how difficult to cut-sized your product launching report as your product has several important features. It is extremely a challenge to make your audiences listen to your product promotion within given short period of time.
Why it has to be done within five minutes?
No other reasons. If your product is good, it can only take few minutes to mention. It is like TV and radio advertisements – the delivery of the main messages counts, not the total amount of the presentation slides.
How to make a slide that can promote your product fast and simple?
For instance, let’s say we want to promote various of associated computer mouse products.
In the beginning, you need to have high resolution pictures of the computer mouse products. Avoid using low resolution pictures as your audiences will not able to see your products clearly even though it is within viewing distance.
Creatively align these pictures on your slides. You do not have to enlarge these pictures on one slide. It is possible for you to include several pictures on your slides. For better view, include three to four pictures on your slide. After adding pictures into your slide, start using simple effects on these pictures. In this case, choose “Grow/Shrink” for “Emphasis” custom animation. This particular animation will enlarge each of the picture within customizable sizes. In this example, once you click on the slide, the picture will enlarge by 400%. Once the picture is enlarged, you can take this opportunity to elaborate your product during the actual presentation.
Since you have added all pictures with custom animations, you need to make it disappear after you need to proceed with the other picture. Basically you need to create “Now-You-See-It-Now-You-Don’t” picture appearance for your audiences. Take note that no text-contents are included in this slide. Within the custom animation task panel, earlier you will see the “Grow/Shrink” effect that you have added earlier. Add “Exit” effects on the selected pictures and choose “Box” exiting effect.
Finally, manually arrange the sequences of selected effects earlier (“Grow/Shrink” and “Box”) in order to create an “Now-You-See-It-Now-You-Don’t” picture appearance. Now, you are ready to fascinate your audiences with your new product launching.
Interpreting Body Language Attraction Signals and Gestures of the Opposite Sex
Did you know that the body language of both males and females will change dramatically when in the presence of the opposite sex. For instance, a man will automatically straighten up his body, stand a little taller, and avoiding all those common slumping or slouching postures.
When a man is in the company of a woman he’s interested in, he will try his best to appear more dominant by pulling in his stomach and expanding his chest out.
Let’s say coincidentally the woman he likes here shares the same interest and is taking a fancy to this man, she will also automatically display herself being submissive by gestures like turning and exposing her wrists, tilting her head a bit, and touching her hair.
The interesting thing is the gestures of this man and woman were delivered subconsciously on an automatic response mode. Well, there are of course those intended and coordinated attraction and flirting gestures that were made consciously.
What Type of Attraction Gestures Men Use
Men basically do not have a large inventory of attraction and flirting gestures compared to women. When a man is interested in a woman, he will just focus his gestures to display his masculinity and the macho-man image.
His gestures normally will begin with patting his hair into place, smooth and straighten his clothes, adjust his tie if he is wearing one, and often thrust his chin forward. At the same time, he will extend out his chest, straighten his back, and draw in his stomach as mentioned earlier on.
A man normally will display his masculinity and dominance by tucking his thumbs into his belt, and pointing them at his crotch. This is in fact a very common sight of men using gestures to emphasize on his manhood.
What Type of Attraction Gestures Women Use
On the contrary, when a woman is interested in a guy, she will blast out tons of signs and signals to notify him of her feelings. Unfortunately on the down side here is that many men are totally oblivious to these signs and signals. Making things worse, women sometimes unintentionally send out mixed signals when trying to manipulate the men into displaying their feelings for her. Very often this will end up with the men confused and resulting with them avoiding and not approaching her.
In a room, when a woman finds the man she is attracted to, she will normally gaze at him until she seizes his attention and thus forming the first visual contact. She will then hold on to this eye contact for two to three seconds before looking elsewhere. Subsequently, she will further display other gestures to express her interest in this particular guy.
One of the gestures most commonly used by a woman around a man she is attracted to is the hair flicking gesture. What happens here is that the woman will flick her hair away from a face or over her shoulder in a sensual way. Surprisingly, this gesture is also performed by many women with short hair.
When a woman slowly and suggestively caress her neck or thigh, she is implying to the man that he might be able to touch her in these ways too if he can captivate and mesmerize her to her delight. This is the self stroking gesture which is frequently used by women.
Another gesture to watch out for is the droopy wrist gesture. This gesture is often used for the maximum effect when fondling a cylindrical item. Women like to use this gesture to make a guy feel that he could have full control of her. This droopy wrist gesture is perceived by many men as a submission signal.
A similar seductive gesture used by women to draw in the man will be the neck baring gesture. This is another submissive gesture seen by men in the same way as the droopy wrist gesture. As how it is suggested here, the woman will bare her neck to the man by tilting her head to one side of her shoulder.
Is He/She Already Seeing Someone Else?
When a person sees someone they are interested in, most often the reason that is stopping them from walking over to that person to chat up is the thought that maybe this particular person is not single and already seeing someone else. Hence, bringing forth the notion of maybe that someone else is around there, or might be arriving soon.
Picture this scenario at a bar, a beautiful lady is attracted to this charming and good looking guy within a group of people standing across the room. She then uses the gazing technique to establish eye contact indicating she is interested in him.
The guy seemed to be a bit oblivious to her signals, or maybe he’s just a little bit on the shy side. So the lady decides maybe instead she should go over there and give this shy guy the opportunity to strike up a conversation with her. As she was about to move, a lovely lady joined the group and is now standing next to the charming guy. Apparently this lovely lady seems to be from that same group too, and she appears to be quite close to that guy.
Now the question “Are they a couple?” pops up in this beautiful lady’s mind. She’s contemplating whether should she just stay put where she is, or still proceed to go over there? Most often and most likely, just to play it safe, the decision will be to stay where she is to avoid any awkward or embarrassing situation.
My Own Intimate Zone
Not only it’s natural, but also a proven scientific fact that how much closer two people sit, stand, or lie next to each other, is very much akin to how close and intimate they are emotionally to each other.
Each and every person has got their own intimate zone. The size of this zone may vary a little bit from one person to another person but only at a minimal rate. It begins with the body itself, extending as far as one and a half feet/half a meter from it. To that person, everything within this intimate zone “belongs” to them, or considered as “theirs”.
Parents, siblings, spouses, lovers, children, close relatives and very close friends will normally stand within 18 inches/50 centimeters of each other. Like them, only those who are considered as emotionally close to us may be allowed to break through this space barrier and enter the intimate zone. Any uninvited stranger that enters this zone will be look upon as an act of intimidation and hostility, prompting the person to move away from the intruder immediately.
This is perhaps the main reason why people will stay for years with the same doctor, or dentist, even traveling miles to get there, rather than subject themselves to the stress of allowing a stranger into their intimate zone.
High Touch Properties
Generally people will touch things, or lean against something that they feel is theirs. They do this in many different ways using fingers, arms, feet, and even buttocks. For instance, a person will sometimes lean on the walls with their back and shoulder, or lean on the tables with their buttocks when they are at their own home. However, you will not be able to witness these behaviors if they are in the homes of people they are unfamiliar with.
The same rules apply here with couples holding hands, brushing each other’s arms as they walk, or tidying and adjusting each other’s clothes. One of the most common signals that you will always notice everywhere will be the way women demonstrates ownership to her man by placing her palm flat on his chest. The same kind of display can also be seen here when a man places his hand on the waist or back of his partner.
Beauty, They Say, Is In The Eye of The Beholder
There is a great difference between what is attractive to men and women, which are believed to be originated from our prehistoric ancestors of hunters (male) and food gatherers (female).
Women in general tends to be attracted to men who are powerful, assertive and independent, the qualities which highly suggest the person as a capable provider and a reliable father for their children. On the other hand, what men find attractive in women is usually based more on their visually attractive exterior.
In both cases, as men or women, by emphasizing on these qualities, we would always hope to make ourselves more attractive (beauty or personality) to the opposite sex and have a wider selection of possible mates to chose from.
While interest in others is demonstrated by body language, we should never use it to manipulate others. Truly attractive people are those who see themselves as who they really are, and always believing in themselves.
Posted in Visual Express Articles | 
Tags: Attraction, Culture, Gestures, Interpreting, Language, Opposite, Signals, Sports | 
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Working With Dominant People
When I use the terms “Dominant People” I am referring to those people who tend to take charge, to be little abrupt, seem to be arrogant, to be impatient, and don’t always listen. It’s their way or the highway in many cases. Many people are intimidated by Dominant people. Most of us do not like conflict, but Dominant people always seem willing to create it.
Typically, most of us manage Dominant types by staying out of their way. We avoid confrontation, avoid saying how we really feel, and often tell them what we think they want to hear. We rationalize our avoidance by complaining that the Dominant person is insensitive, aggressive, impatient, and arrogant. We complain about these “faults” but they really aren’t faults at all. They are strengths. Let me explain.
Insensitive means that the Dominant person doesn’t care about your feelings. It isn’t that he doesn’t care. He just isn’t aware that you have feelings. What this means is that the Dominant person is so focused on task that feelings aren’t even on his radar screen. The ability to be totally focused on task is a strength. When a task focus is over extended it becomes insensitivity. It isn’t personal. If you are being overrun, you have to learn how to speak up.
This is where the problem comes. People don’t want to confront. They keep quiet, or they speak in vague terms, or they avoid altogether. None of these strategies work. They enable the Dominant person to keep on being insensitive. The idea is to calmly and firmly speak while making direct eye contact. If she reacts with intimidation you have to stand your ground. You don’t need to yell or get upset. Calmly and firmly speak your mind. The more you do this, the more respect you will command from the Dominant person. Don’t lie and don’t make excuses. If you are right, express your confidence that you are right. If you are wrong, admit it and say how you will take care of it.
“You spot it; you got it!” is the phrase that applies to many dominant people. They see what they want and they go after it. Where others may procrastinate, make excuses, or become indecisive, the Dominant person is going for it. If their aggressiveness encroaches on your boundaries you, again, have to speak up. I once had a Dominant manager who interrupted my report in a meeting and then went on to other business. I met him in his office later. I told him I did not appreciate his interrupting and then eliminating my part of the meeting. I expressed my expectation that I should be able to clearly and concisely speak my part. I made sure I presented myself in a rational way. He didn’t realize what he had done and apologized. In other words, if I hadn’t told him, he would never had known. I could have kept quiet and nursed my grievance, but how would that have taught him how to treat me?
It is important to add that presenting yourself as a victim often backfires. Most Dominant people have little patience with victimhood. Instead of focusing on how we think the Dominant person has hurt our feelings, we would gain more by clearly speaking our expectations.
Dominant people want results. That’s why many of them are impatient. It is certainly a strength to be results oriented. When we feel pushed too hard we can be understanding saying something like: “I know you want this yesterday, and I am doing all I can to get it done fast. I have to tell you that your interruptions and constant asking me if I’m done yet are slowing me down. Let me do my job and I’ll keep you posted.” Directness and honesty are the way to a Dominant person’s heart and mind.
What many see as arrogance is confidence over extended. If a dominant person is being arrogant we don’t need to teach her a lesson. I would suggest the opposite approach. Compliment the Dominant person on her confidence and express your concerns. For example you might say: “I respect your confidence, and I need to see some more data before I feel comfortable making this move.”
To be offended by the behaviors of a Dominant person is a choice we make. Most Dominant people I know respect people who stand up to them, who are direct, and who get things done. Your ability to accept Dominant people for who they are, rather than resisting them, will strengthen your ability to deal with them effectively. Dominant people have a strong need to be in control. This isn’t good or bad, it just is.
In my past corporate life I worked with a very Dominant leader. At first I found myself complaining about the way he treated me and others. I soon realized that the problem was more in my expectation than in his behavior. I was expecting him to take care of me. His way of being taught me how to take care of myself–to speak my truth and to be direct. I learned how not to take his behavior personally. I learned that you don’t take problems to a Dominant leader; you take your solutions to the problems. He may not agree with your solution but he will respect you for having one.
I now have a five year old daughter who has a Dominant personality. Recently I informed her that she is not the boss. She immediately stated that she is the boss. She added that she is the boss of the whole world and also outer space. I’m looking forward to next several years with this Dominant child, helping her to refine her many strengths. It will always be a challenge to use persuasion and firmness rather than force to teach her how to behave. I understand her need to have control, and I respect it. The challenge most Dominant people have is managing their need for control without allowing it to destroy their relationships, their careers, their friendships, or their lives.
Each personality style has its own unique qualities. Understanding others makes it easier to deal with them. It makes it easier to connect with people in both personal and professional situations. Our resistance to the styles of others makes us ineffective. Complaining about the way others do things distracts us from learning how to work with them. We need to shift our tendency to see people in terms of their faults to an ability to see them in terms of their needs. What does this person need to be great? That is the question we, as leaders, will ask ourselves when we are confronted with others who are motivated differently than we are.
Copyright (c) 2006 William Frank Diedrich
Error 1935 Windows 7 – What Causes Windows 7 Error 1935, How Can We Fix It?
What causes error 1935 in Windows 7 and how can you fix this error that appears whenever you try to install certain applications such as Visual Studio, Microsoft Office and other.Net applications which use the Windows Installer MSIAssembly. Microsoft related literature describes that this error can be caused due to a number of reasons such as presence of orphaned registry keys. In order to fix Windows 7 error 1935 you may need to clean your system’s registry.
Although you can manually remove the invalid registry keys from your computer but it is not recommended for the basic computer users. For such users a good system cleaner software with registry cleaning feature can be of great help.
These are the steps which you should take in order to fix error 1935 in Windows 7:
> Fix Windows 7 registry with some good registry fixing software that has the feature to automatically create a registry back up so that you may revert your system to an earlier stage in case the registry repair results in some other unwanted change to occur in your PC. The registry in Windows 7 is a very important component which is the key to successfully run all computer programs. It stores information about all computer programs, software and hardware. Error in the Windows registry can cause several errors in your PC.
> Mostly the error 1935 in Windows 7 is caused due to internal errors in the system. Besides running the registry repair scan it is also helpful to clean system junk and defrag Windows 7 registry with a reliable software. Registry defrag is a different thing than the registry cleaning. In Registry defrag the scattered and fragmented registry keys are organized in order to let programs function without errors and crashes.
> Remove.Net framework from your computer and then reinstall the most latest version. You can find the recent version of.Net from Microsoft official web site.
> Fix Mscoree.dll: Mostly error 1935 occurs in Windows 7 is caused by the corruption in Mccoree.dll file. In order to fix error 1935 Windows 7 it is recommended you run the registry repair scan to fix.dll issues.
> Remove the previous versions of the corrupted applications and programs such as Visual Studio or Microsoft Office. Now try to reinstall the chosen program. May be in this way the installation error will not come again.
It is important that you create a restore point before taking these steps.
3 Top Cartoon Drawing Tips For Beginners
Cartooning is not about drawing it is about telling stories. Yes, even when you are drawing a single illustration you are telling a story. Cartooning is about expressing your thoughts. And it is your thoughts expressed beautifully through your cartoon characters that make you different from other average cartoon makers.
But as in every other field of life here also you must learn to walk first before you try running. To express your thoughts and ideas through your cartoon characters, you need to master the skill of cartoon drawing first. Then of course you can use your cartoon drawing skills to tell story to your liking.
To be skilled in cartoon drawing you have to face a learning curve. You just can’t decide to be a cartoonist then copy some popular cartoon figures and become an accomplished cartoonist who is rich and famous. If you are lucky and talented with keen sense of observation you may pickup one or two tricks by making copy of popular cartoon figures. But that is too inadequate to be of any use.
There are various ways that you can take to learn cartoon drawing –you can join cartooning school or take a home study course or follow a book of an expert cartoonist — the bottom line is you have to follow the steps. Like you should first teach yourself drawing 3d shapes, then learn to stretch, squash those 3d shapes in your drawing. Next you need to practice things like drawing hands and head before moving on to motion and emotion and advanced things like that.
If it sounds like lot of work, you are right. But what you achieve at the end is worth working for. If you are smart however you can use the tips you are going to discover here to make the whole learning process fast and painless.
1. ==> Do not start with computers. I agree I run the risk of sounding backdated. But here I am not opposing usage of computer altogether, no sane person can do that. But for beginners there is no alternative to using paper and pencil.
There are various software that help you so much that you can go ahead even without learning how to draw a smooth line. This kind of over dependency on computers from the very beginning always backfires down the road.
2. ==> Nail the fact in your mind that construction of human, animal, cars and most of the things that that we see around us are complex 3d structures though we draw them on paper which is 2D. So when drawing you must mentally analyze your model in terms of 3d shapes like spheres and boxes and not in terms of 2d shapes like circles and rectangles.
Also when you draw something from paper (i.e. 2D), look for and find out the 3d shapes that make up the character.
3. ==> Most of the cartoon drawing or figure drawing tutorials always start with some basic 3d shapes and after a number of steps end up in a complete and beautiful figure. This technique is very effective in learning how we can draw complex figures starting with simple shapes. But what I am going to tell you will make your pace of learning even faster. It is in fact very simple way of using the same tutorial. Just a lot more effective.
What you need to do is start where the tutorial ends and go backward from there. See the completed figure and try to recognize the ingredient basic shapes. And compare your analysis with the exact shapes that are used in the tutorial.
This will give you a very through exercise in recognizing the basic shapes. And after some time you will be analyzing the real life around you like an expert. Just take your time and practice this technique, and see how fast it will improve your skill in cartoon drawing.
Cartoon drawing is pure fun both for professionals who earn their living through cartooning and hobbyists who draw cartoon only for personal pleasure. I do not know what you goal is but hope the tips here will be helpful for you. Never stop learning: there are a whole lot to learn and even more fun to have in the process. Happy journey!
Physical Theatre and Commedia Dell’arte – An Interview With Wyckham Avery
Q: How did you start in physical theatre?
A: When I was a teenager I was very lucky to have worked with Dan Hurlin who is a phenomenal performance artist, writer and teacher. We didn’t talk about the work as a genre like ‘physical theatre’ or ‘realism’ or ‘absurdism’ we just worked very physically. He taught me that acting was sweaty and theatre didn’t have to look like real life. As I got older and found myself wanting more than what my Stanislavsky-based work was giving me, I started searching for other styles that paralleled my work with Dan, which eventually brought me to the Dell’ Arte International School of Physical Theatre.
Q: What is physical comedy and what are its distinguishing factors?
A: Physical comedy is telling a comedic story with one’s body insteaad of relying on words. Words can be used, but the actor doesn’t rely on the words to get the story across. It’s slapstick from commedia dell’ arte, the old school Jerry Lewis kind of thing. Things need to be big in physical comedy. Most physical comedy these days is seen in cartoons, everything from Tom and Jerry and the Road Runner to the feature films like “Shrek.” One of my favorite movies is “The Triplets of Bellville” which is an animated film that came out of Europe a few years ago. There is a little dialogue in the film and the bodies and movements of these cartoon characters are so filled with meaning and visual stimuli in their performance it’s amazing. It’s an interesting study in how physical theatre or performance works and how you tell stories, physically, as opposed to verbally.
Q: What is Commedia Dell’arte?
A: Commedia Dell’arte is a Renaissance Italian form of theatre and the term means the “comedy of art.” It was popular in the 15th and 16th Centuries when troops of actors performed traditional stock characters, mostly in three-quarter mask. The traits of these stock characters were familiar to the audience, the style of acting was improvisatory, but actors didn’t start cold as they would in an improv game these days. The gist of each particular scenario was standard, but what exactly transpired was improvised. As these actors had worked together for years and knew each other’s work and characters well there was a platform to work on, literally and figuratively. They performed wherever they could gain an audience’s attention – whether it was on a platform or wagon. They didn’t draw a highbrow audience paying lots of dollars to see them. They had to pull in an audience and then pass a hat to collect coins.
The influences of Commedia are here today. You can see it in The Marx Brothers. You’ll even find Commedia’s stock characters and plotlines in Shakespeare’s comedies such as “Love’s Labors Lost.” All art forms either change with the times or die off, and in a sense, that’s what’s happened to Commedia. Very few companies still work in the Commedia style, but I think actors can learn a great deal from working in that style. I’m excited about an advanced Camp Shakespeare at the Shakespeare Theatre Company for teens this summer that I will teach. We’ll work with a group of teenagers on improvisation, mask, and physical comedy and create a Commedia play.
Q: What distinguishes Commedia Dell’arte from other forms of performance?
A: Commedia Dell’arte is fifty percent physical and fifty percent verbal. Because it’s in mask, it has to be incredibly physical, some of the actors might be tumblers or dancers. Broad physical gestures are integrated with witty speech so that actors aren’t standing around talking or expressing their emotions through small gestures.
There was no such thing as a black box theatre during the Renaissance; audience members couldn’t watch an actor’s deep pain or joy through the actor’s eyes. There was no – lights down on the audience and spotlights on the stage. This was the time of lit audiences. Finding ways of amplifying, communicating to the audience, what actors were doing or experiencing was necessary. There were no programs for the audience; they couldn’t read in advance that this guy was playing this or that character. The things that we take for granted now didn’t exist then.
Performers had to fight to get an audience in the Renaissance. They had to draw them in. If they were performing outside on a wagon, they had to get people’s attention, they had to work with the audience. There were 2,000 people in the Globe. It was a very different audience than we have today. People walked around selling oranges and beer and if audiences couldn’t hear, see, or understand the actors or story, they could lose interest and their attention. Today it’s easy to keep the attention of the audience because there’s nothing else to look at. The lights are out and the only place to look is straight ahead. But that wasn’t always the case. There were a lot of distractions for the audiences, they were checking out what the royalty was wearing, or who was sitting with whom, or looking for someone to go out with. It was all very social.
Q: What about the stock characters?
A: Stock characters are archetypes – the old miserly man, the crafty servant, the braggart soldier, or the young lovers. They’re with us even today – we can see them in the Simpsons” and they’ve been part of theatre for years. In commedia, each character had traditional costumes, mask, signature props, poses, stances, actions, plot function, relationship to the audience, relationship to other characters. When the audience saw the guy with the long, pointy, droopy nose, wearing tight trousers over skinny legs, they knew it was Pantalone. He was the misery old man of high social status. Arlechinno (Harlequin) was a servant, the spry one always looking for food. Each stock characters had signature lazzis
Q: What are lazzis?
A: Lazzis are the running gags, stunts, and pranks that were performed by the characters. Arlechinno might have a bit about a fly that is bothering him that he tries to catch and eat. It was another way to physicalize and display character to the audience. The stock characters can reach beyond the traditional fourth wall, as we know it.
Q: What do you mean about reaching beyond the fourth wall?
A: Today, while actors understand that the audience is there, the characters, themselves, don’t. Realistic drama and realistic acting has a give and take with the audience, but it’s subtle. Good actors can sense what’s happening in the audience and work that, but it’s much more overt in these earlier forms. When film started, and with it the beginning of realism, that distinction wasn’t made. Characters then performed with an awareness of the audience. In Shakespeare, it’s very clear at certain moments that the character is talking to the audience, and a lot of people believe that it’s actually happening even more, it’s just not as evident. Several Shakespeare companies take everything to the audience and actors make a lot of eye contact with the audience. Shakespeare and Company in Massachusetts and the American Shakespeare Center in Virginia approach their productions this way.
In clowning, audience contact is crucial. It’s a give and take between the audience and the performer in a very direct way. Some people balk at that, like it’s the audience participation thing, but it’s different – it’s not about dragging someone up on stage and making them do stupid things.
There are different worlds of clowning ranging from the traditional circus clown to the existentialist clown like with “Waiting For Godot.” Clowns have a sort of resiliency. Tragic things can happen around them, but they bounce back, they are resilient, nothing crushes them for too long. They’re not childish or stupid, but there is a naivety to them because the regular logic of our world doesn’t necessarily apply. Clowns tend to be very physical and often many of them don’t use language at all, so they have a universal form of communication.
Q: Are there skits or are the actors just performing improv?
A: Both, the actors have their clowns’ personage that they’ve developed and they might have an outline of what happens in their skit, scene or production, but how they get from each point can change a lot each time they do it. It’s similar to improv theatre today, the same skills are being used – it’s about taking in and responding to what’s given to you on stage, whether it’s from your partner, or the audience, or the chair. Anything can be your partner in clowning, whether it’s a human or inanimate object, and you take advantage of that. In regular theatre, if your shoes squeaked, you’d try to figure out a way to diminish it, whereas in clowning, you exploit it. You exploit your own faults in clowning. It’s a challenging way to work. The history of clowning is huge and you can find clowns in most cultures. In America, we have a very definite circus clown archetype – the Bozo or the sad hobo clown of the circus – with heavy makeup, floppy shoes and the squirting flower. But clowning doesn’t have to be about walking on stilts and juggling. 500 Clowns out of Chicago doesn’t wear red noses; they paint their ears red and are sort of scarier looking. Bill Irwin, who is probably the best clown we have in this country, doesn’t always work in a red nose. He did when he first started out with the Pickle Circus in San Francisco, and he started developing a theatrical movement that he called New Vaudeville with shows such as The History of Flight and Largely New York, which incorporated much of his clowning expertise and physical comedy.
Q: Why don’t we see more of these types of performing now in Washington?
A: There’s seems to be a reticence here for different forms of theatre. Street theatre and busking is illegal. In other cities around the world, there are international buskers’ festivals, where all sorts of street performers do amazing things.
The growth of Fringe festivals has allowed artists to explore and experiment with different types of performances, and the Festivals allow the audience to experience theatre in ways they hadn’t thought of or known about. In this city, people say there’s no audience for different kinds of theatre, but I’m not sure that’s true. Especially when you look at the success of the Capital Fringe Festival, and companies like Synetic. Other cities seem to foster physical theatre better than this area, but I have hope for DC. Chicago, San Francisco, and Philadelphia are probably the three biggest areas for more physical theatre, including puppetry, mask, clown, and multimedia and everything in between. Some of it’s crap and some of it’s amazing and a lot of it lies in between – that’s great. We want all of that here, too.
Q: Would you talk some about your background and training?
A: I went to undergraduate school in New Mexico State and studied with Mark Medoff, the playwright, who was the head of our program, and I got my MFA from Catholic University in Washington, D.C. While in college, I interned at The Actors Studio in New York. That was before James Lipton and the establishment of the school. Back then, it was just actors in a room attending their American method of acting sessions twice a week. It was during that internship that I figured out that the traditional approach was not for me. That’s not to say I didn’t appreciate it; there are some brilliant method actors, but I knew I’d never be one of them. All I knew at that point was that method acting and realism were not for me, but I didn’t know what was. Luckily, in graduate school I was introduced to a vast array of modern, nontraditional, nonrealism theatre which I really liked.
I was always interested in Shakespeare because it is so big and expressive, and like many people around here, I toured with Shenandoah Shakespeare in Staunton, Virginia. Everybody knows Shakespeare’s good, people get that, but before I worked at Shenandoah Shakespeare, I didn’t really understand why Shakespeare is so extremely good. When you’re speaking those words every day for several years, you find so much more in it. You find out how amazing Shakespeare really is and the Shenandoah Shakespeare style of working, I think, helps illuminate the play and the text for both the actors and audience. But even then, I still knew that there was this whole other world of performance that I wasn’t really tapping into.
I later worked in a company in New York called the Collapsable Giraffe which is sort of a devised theatre group or ensemble. We would be in a room, have some inspiration or text and just create. Most of the people there, besides me, had worked or were still working for The Wooster Group in New York, which is a theatre which uses new forms and techniques in producing new and established works. The Collapsable Giraffe and The Wooster Group share a similar esthetic that I find interesting and exciting. From there, I trained at the Dell’arte International School of Physical Theatre in Blue Lake, California, where I was taught clowning, commedia, and overall physical theatre.
Q: What was that training like?
A: It was great, but it was difficult. They were hard on us students and we probably collectively cried more than laughed during training. We laughed too, but we all separately and collectively cried a lot. One teacher was scary. At times, he yelled and threw tennis balls at us while we were on stage – with the best of intentions. He wasn’t trying to hurt us – his goal was to keep us in the present and reactive on stage. Some people tried to stay in character and dodge the tennis balls and that made him throw even more balls and yell even louder. As actors, we were so ingrained in our method of acting and training that even in clowning we put blinders on and refused to react to outside things. In clowning, that’s really what it’s all about. It’s being present and taking in what’s happening in the space, whether it’s in the audience, in the air ducts, or a squeak in your shoe. We all experienced frustration in trying to find that unexplainable place of fully living in that clown personage. We wanted it so badly, and the more we wanted it, the more it seemed to elude us and the more frustrated we got. We didn’t speak on stage for months because their belief is that the movement comes first and the voice comes after. Like children, we learn to walk before we learn to talk.
Q: What’s so difficult about clowning?
A: Clowning is about going to a very scary place. A lot of people in clowning pick what they find most humiliating about themselves and exploit it. When you really push on those places you avoid, it opens you up to a lot of new and exciting places and freshness. You’ve got to have a thick skin and be really resilient in clowning. When I started in clowning I thought I was resilient, but in retrospect, I don’t know if I really was. This kind of training is not for everybody, but it is very valuable. Mask and clowning skills are incredible tools for traditional modern realist actors to have. Jackie Chan is very clowny and very funny. It’s genius how he understands physical comedy in an elevated way in the midst of violence.
Q: What do students learn in your clowning and physical theatre classes?
A: It’s sort of unlearning everything that we’ve learned about acting in some ways. Students in acting classes have been told not to make audience contact, that when it’s done, it seems faked or contrived. But with clowning, that’s the trick, connecting with the audience and making the performance real. The actor is still in character and has the same objectives, but is sharing and interacting with the audience and the environment instead of performing for the audience.
This is where a whole connection happens, part of which is indescribable. When the mask connects with the audience, it’s riveting and dynamic, a kind of magic happens that is inexplicable. Clowning is more traditional than modern acting, but in our modern view of acting, actors can get away with not being in the moment. With clowning, it’s really what it’s all about – the actors have to be open and respond to whatever is happening.
Actors can feel vulnerable because they can’t rely on techniques they’re comfortable with. People communicate a lot through their eyes and facial expressions. Actors tend to act a lot with their faces because they’ve learned that from watching movies and television. By putting on masks, we’ve cut off that method of communication and that leaves us with having to find other ways to communicate. The mask becomes the translator, the transducer of the character, and those emotions that would otherwise be expressed through our faces are sent through our bodies.
Sometimes an actor on stage may pull back, and if that actor has on a mask, that pulling back is magnified. Things that worked without the mask, don’t translate, they’re not large enough to communicate to the audience what’s going on. Working with a mask becomes second nature with practice. It’s not a big effort forever. Any technique becomes easier with practice, it’s just a matter of getting used to using your body to express the characters and make contact with the audience.
Q: Would you talk about your approach to teaching clowning and physical theatre?
A: Good teachers of these forms don’t necessarily teach, they provoke, they set up circumstances for actors to work through and learn by doing, as opposed to lecturing about it. I can tell students to be in the moment and play with their surroundings until I’m blue in face, but they won’t get it until they experience it. The actual doing of it is where they’re going to start to learn it and experience it.
The beauty of the teaching and learning of acting is that there are a million different approaches and what most people get taught is that you will learn a lot of things, some of which will work for you and some won’t. There are brilliant method actors in this world who are amazing, breathtaking. They found a path that works for them. That doesn’t mean it works for everybody.
For instance, I don’t like the separation of voice and movement, where the physical work happens in one class on one day and the voice work happens in another on another day. Even in my studies, we learned voice a couple times a week, for an hour, that was it. I found a disconnect in learning how to match what we were doing vocally with what we were doing physically. We were making these big dynamic shapes with our bodies and feeling our hearts out, but some people had never had any voice training and they couldn’t be heard or understood because they couldn’t elevate their voices up to what they were doing with their bodies. One of my goals when I get my Ph.D. and become a professor is to develop pedagogy where actors’ voices and bodies are trained simultaneously.
Q: What would the Avery technique be?
A: I’m still developing it and that’s why one of the reasons I’m hoping to begin a Ph.D. soon. Right now, it’s all in notes and ideas. There were some really wonderful moments at Dell’arte where we studied Tai Chi. For the most part, Tai Chi is fairly silent because it’s a meditative martial art, but a couple of times the teacher played music, which took us to another level. One day, in voice class while working on harmony and singing together, we practiced Tai Chi and that helped us find different connections. Many people have a tendency to hold their breath while doing something strenuous. In acrobatics class, we did forward rolls, cart wheels, or whatever, down the mat, while humming or singing. It’s hard to do, but it’s serves actors in two ways – it keeps them breathing and in touch with their voice, while exerting themselves physically. Things like that are key.
Q: When did you get into the arts?
A: I was always around the arts as there are a lot of musicians in my family. My grandmother is an incredible jazz pianist and she still plays in her jazz band that jams every month at her house. My uncle has been a singer/entertainer for at least thirty years. My mother is a musician and an incredible singer. She studied music in college, teaches music, and plays standup bass. As a small child, I attended the rehearsals of shows for which she directed the music. My father, though not trained in any particular one, was a great appreciator of the arts. My sister is a visual artist, and as with me, her interests have moved around. She went to the Parsons School of Design and while she’s worked in a lot of different media, she now has her own business making custom mosaics and doing tile installation.
As a kid I wanted to take ballet lessons and to learn how to dance. I grew up in a very small town in New Hampshire so there wasn’t much opportunity for that, but as soon as opportunities for acting came around, I jumped right in. I was also very lucky. An incredible performer and puppeteer named Dan Hurlin, who is also from New Hampshire, is a professor at Sarah Lawrence. When I was a teenager, he ran a children’s theatre in New Hampshire so I got to train with him. We loved him, we thought he was amazing, but outside of our little world, we didn’t know how respected and amazing he really was. His work, though I didn’t know it at the time, formed part of what my aesthetic is now – looking for challenging and new ways of performance.
My father supported the arts and me in them. I was a biochemistry major in college studying to be a genetic engineer, but I remember as a child my father saying to me, you know, you might want to act and he used all kinds of little schemes to move me towards acting and the theatre knowing that’s really where I’d end up. He always knew I’d be in the arts, even when I didn’t know it.
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People Skills: Eight Essential People Skills
Being able to communicate effectively with others requires people skills, and here’s eight essential ones:
1. Understanding people
People not only come in all shapes and sizes, but they come with different personality types as well. You may want to brush up on how to communicate with the four main personality types by reading this article. Indeed, dedicated students of communication could do little better than purchase Bem Allen’s excellent introduction to personality types, ‘Personality Theories’.
People are individuals, with as many similarities from one person to the next as differences. To communicate most effectively, each will require you to communicate with them in their own individual preference style, using their language, their body gestures, and their pace and intonation.
So how do you find out how best to communicate with someone? Spend time with them! Don’t expect to meet someone off the street and talk intimately with them within a minute. Understanding a subject takes time — whether that subject is an academic one or another human being.
2. Expressing your thoughts and feelings clearly
Our brains can only take so much information in at any one time. We are bombarded with messages every second of the day, so to compete with the barrage of ‘noise’ a person faces, your message needs to be clear, succinct and to the point.
It is very worthwhile taking time to plan your communication — no matter by what method it is delivered — to ensure that you are taking the least amount of time to express the right level of thought in the most receptively simple manner.
3. Speaking up when your needs are not being met
Just as important in business relationships as in domestic ones, speaking up to ensure that your needs are met is a fundamental part of any relationship.
You may wish to read this article on assertive, not aggressive, communication, but in a nutshell there are six different ways you can be assertive and not aggressive in your communication: by rehearsing your behaviour prior to the communication; by repeating your communication (the ‘broken record’ technique); fogging; asking for negative feedback; tentative agreement with negative feedback; and creating a workable compromise.
Assertiveness is a useful communication tool. It’s application is contextual and it’s not appropriate to be assertive in all situations. Remember, your sudden use of assertiveness may be perceived as an act of aggression by others.
4. Asking for feedback from others and giving quality feedback in return
Alongside assertiveness techniques, the giving and receiving of feedback is a key communication skill that must be learnt if you want to have any hope of developing long-term business relationships..
Toastmasters International teach a useful feedback and critical review technique — first give a sincere compliment, follow this with any practical suggestions for improvement, then wrap up with further sincere praise. It is known as ‘CRC’, or ‘Commend, Recommend, Commend’, a three-step model for excellence in giving quality feedback.
Remember, too, that truthfulness is a subjective view. What you may find distasteful in someone may be equally desirable from another’s point of view. As I learnt, by living through a series of IRA attrocities in England and watching the US political and media reactions, one man’s terrorist is another man’s freedom fighter.
5. Influencing how others think and act
We all have the opportunity to influence how others think and act. All the way from Cialdini’s Persuasion principles down to simple violence (of a verbal or physical nature), we are daily able to shape the thoughts and actions of those around us.
From something as simple as smiling and saying, “Hello!” as a way of influencing someone’s mood, to leading by example during an intense period of change, there are many ways of either leading to or drawing out of others required behaviours and attitudes.
Remember that an attitude leads to an emotion, which in turn leads to an action. Shape the attitudes and you have a more reliable way of predicting actions.
6. Bringing conflicts to the surface and getting them resolved
I confess: I’m not a ‘natural’ at handling conflict. It’s taken marrying into an existing family of three children to help this only child come to terms with conflict.
It’s taken me three years of living in my family to realise it’s possible to co-exist in conflict and not get personally involved. But it wasn’t an easy lesson to learn, I can tell you!
But being a step-father to teenage children has helped me learn the importance of bringing conflicts and resentments to the surface where they can be more easily managed.
Your employees might be harbouring secret resentments of you, and unless you find out what they are, bring these ‘dark secrets’ out into the light of day, you are never going to be able to successfully deal with them.
It’s embarassing, potentially humiliating and requires a strong level of patience not to launch straight into a defensive mode, but giving people the opportunity to express their concerns, disappointments and anger, face-to-face, gives you tremendous opportunity to put things right, or help them see where their thoughts and feelings are misplaced.
7. Collaborating with others instead of doing things by yourself
I’m a shocker at this, but learning to delegate and share has been instrumental in growing my own business.
The quickest way of burying yourself in excess detail and workload is to try and do everything yourself. Yet sharing the workload can be the smartest thing you will ever do. Here’s why:
‘Leverage’.
Leverage is taking your skills and abilities and allowing others to magnify your work capacity. You train them to do what you do and you do something else.
One bricklayer can only lay a certain number of bricks in an hour, but that same bricklayer can train 15 mates to lay bricks and suddenly those 15 bricklayers are building monuments while the first bricklayer is out securing more work for them.
While the 15 are laying bricks, the original bricklayer can be learning how to perform advanced bricklaying, or learn sales strategies, or learn supervision skills.
The lesson is simple: try and do it all yourself and the ‘all’ will bury you; teach others to do what you do and you build a monument.
Jesus taught 11 men how to do what he did. Then he left them to carry on while he moved on to other things. From the simple act of one man teaching 11 others, a church and the largest, most influential religious movement the world has ever known was born.
8. Shifting gears when relationships are unproductive
Sometimes you need to walk away. Sometimes you need to jettison unhealthy cargo. And sometimes you need to take drastic steps to regain balance and momentum.
‘Shifting gears’ can be as simple as changing the venue of your supervision meeting from a dark office to a nearby cafe. Sometimes it can be moving the meeting from straight after lunch to first thing next morning, when clearer heads might prevail.
Sometimes it can mean increasing the level of assertiveness in order to ensure the point you are making is being received. Sometimes it might mean bringing others into the meeting so that the other person understands the implications of their attitudes or actions.
And sometimes it can mean helping them find a more meaningful and satisfying role outside of your sphere of influence.
As a management psychologist I clearly remember one organisation I consulted to: the only way out of a staff impasse was to remove the impediments to progress. Which meant helping key protagonists find new work outside of the organisation. Sometimes culture change can only be effected in a quick way by bringing in an entire new team and throwing away the dead wood. But only as a last resort.
Conclusion
The whole idea of being people skilled is knowing or finding how to bring out the best in others in any situation, rather than their worst. By mastering these eight essential people skills you dramatically increase your chances of achieving the best outcomes out of your interactions and business challenges.
Virus Structure
A virus is basically a gene transporter with the express purpose of infecting another cell in order to replicate. The virus consists of genetic material, either DNA or RNA, protected by a protein shell called a capsid. This capsid is typically self-assembled by proteins created by the viral genetic material. Some viruses however do assist in the construction of the capsid.
The first morphological type is the helical virus. The helical virus has a single type of protein in the shape of an enclosed tube, surrounding the genetic material, that resembles a spiral staircase. This causes the virus to be long and flexible, or short and rigid. The longer a helical virus, the more flexible it must be to prevent forces from snapping it. The length of the virus capsid is dependant on the length of the genetic material and the width of the virus depends on the length and arrangement of the proteins of the capsid.
The second morphological type is the icosahedral capsid. This symmetrical morphology causes the virus to appear spherical under low magnification but it actually contains capsomers, ring shaped structures, that are arranged in a pattern similar to a soccer ball. Capsomers may contain more proteins than the helical virus, a capsomer is constructed from five or six copies of each protein. Icosahedral capsids enclose the viral genetic material less intimately than the helical capsid. The icosahedral form was used by R. Buckminster-Fuller to create the geodesic dome.
The third morphological type is the enveloped virus. This virus, in addition to having a capsid, are able to acquire a modified form of cell membrane from an infected host cell. There are two layers to this membrane, or viral envelope. The inner membrane contains proteins coded by the virus genetic material and proteins coded by the host’s genetic material, while the outer layer and any carbohydrates are strictly coded from the host DNA. The viral envelope gives viruses certain advantages over other naked viruses, the most notable of which is the protection the virus gains from the host organism. This envelope causes nearby cells to mistakenly believe the virus is a friendly cell, which results in the virus being taken into the healthy cell. However this envelope has drawbacks for the virus. Many viruses with these envelopes are so dependent upon them that if the envelope is removed, the virus dies.
The fourth and final, morphological type is the complex virus. These viruses do not fall into any of the previous categories and may have extra structures, such as tails or an outer wall. Examples of complex viruses are bacteriophages, viruses that infect bacteria and the poxviruses. Certain bacteriophages have an icosahedral head with a helical tail. The poxviruses have unusual morphology. The viral genetic material is surrounded by a membrane and two bodies with an unknown function and covering the whole thing is an outer envelope studded with a thick layer of proteins.
Viruses vary in size with most being in the range of 100 to 300 nanometers long. As a comparison, a medium sized virus next to a flea is like a human standing next to Mt. Everest. Most viruses are so small that they cannot be seen with a light microscope, so scanning and transmission microscopes are used to get a visual representation of a virus. Viruses contain either RNA or DNA, not both. The exception to this is the human cytomegalovirus, which contains both DNA and mRNA. Animal viruses have one of all combinations, plant viruses tend to have single stranded RNA and bacteriophages have double stranded DNA.
Importance of Music in School Cirruculum
There are some basic reasons that justify the inclusion of music in the elementary curriculum.
The first of the reasons is that music serves mainly as an aesthetic or a visual experience. This experience basically involves the observation of significance with the help of sound images rather than all the way through printed communication, discussion, any sort of arithmetical modus operandi, or additional type of expression.
The improvement of one’s artistic intellect has proved the ability of being able to enhance the excellence of life equally throughout the school years and through the later years. Music’s significance as an opportunity to identity consciousness has been confirmed by experts such as Rogers and Maslow.
The second reason for which music is regarded to be an important part of the curriculum, is the role that it plays in understanding the culture. Music is a true demonstration of the traditions, community culture, aspirations and accomplishments of humankind. In music are embedded various custom values, and beliefs of the common man.
At the same time, communication with the help of music is sort of abstract; the learner must be educated to interpret this nonfigurative representation of music coordination in order to understand it.
Finally, for the reason that music edification is supported on the technique the brain understands music, it is capable of manipulating the expansion and growth of the superior cognitive procedures of the brain that are usually not possible in other fields. In recent times revealed study at the University of California has shown that prepared melody teaching improves student’s spatial aptitude, which holds a significant constituent in arithmetical way of thinking and judgment.
Supplementary investigation in this field have revealed that the brain ought to have loaded, sensory knowledge experiences if it wants to raise itself to a higher level of intellectual growth and ability. Students dispossessed of these sensory stimulation that are provided specially by music have been equated by enlightening experts to youths who at some point of time in their lives experienced brain inactivity or damage.
Lessons in music have shown their benefits by increasing the creativity and ability of the mind as well as decisive and contradictory philosophy. These are some essential skills that are needed by the brain to develop into a higher being for the present and future work place.
Clearly, all of these profits that are listed above are unswervingly connected to one’s mastery of the customs of thoughts and meaning in music and to one’s aptitude to understand writing and appreciate the fine distinction of denotation which it encloses. This is the explanation that states the importance and necessity of music in the elementary education.
With these benefits of music come to light, the focus and stress on inclusion of music has increased by many folds. With the media paying more attention to the needs of education, and the proposed budget cut reductions, the schools are now forced to cut some corners in their facilities and curriculum. However, the schools have kept intact the basic elementary classes of physical and musical training that help the students develop into a better human being at all levels.
The music classes that have been an integral part of some school curriculums classes have shown excellent results. The following explains the various benefits that have been shown by the application of music on children aged between four years to fifteen years.
Arithmetic ability: Music and melody compositions that had been included in the curriculum for children aged between four to fifteen years of age have shown positive results in deciding the mathematical ability of the children. Music has shown itself to help the child’s brain develop in an enhanced manner, thereby resulting in a better aptitude and skill to understand arithmetic as soon as they get older.
Since math’s is an integral part of our lives at every stage of life, it is essential to develop good mathematical skills. In order to survive in the technology driven world of today, it is very important for the children to develop their arithmetic and logical abilities from childhood.
Especially with our global economy, By refusing to expose our children to music at an early age we may be robbing them of an essential skill to compete with other countries.
Science Skills: These skills are also a benefit of music classes for many of the same reasons as before. Music enhances our children’s reasoning skills, which is important to understand how science works. Again, these skills are required for our children to be competitive in the future.
Reading Skills: Music classes teach the students on how to concentrate on small things. In order to efficiently understand what is being read and written, music is an essential element for its success. It also enhances memory and recall skills. This is helpful in all areas of our children’s education. With illiteracy rate going up in our country, we must begin to try to enhance these skills.
Community Skills: Music permits our kids to make effort in groups to generate music as a whole. By putting your child’s name down in the music programs in school, you actually consent your youngster to become skilled at how to lend a hand and work together with others for a universal goal.
These classes allow children how normally wouldn’t associate with each other to cooperate and promote unity. A sense of belonging is very important in our culture today. Especially important to those who grow up in environment which constantly plague on their emotions. Studies show that music classes enhance self-esteem in their students. Music education may also be an important step in reducing the incidence of violence in our school by bringing the students together.
Moreover, other than these skills, music classes also help the children to increase their Intelligence quotient levels. At times, children who are dealing wit hearing and speech problems since childhood cope up with these inhibitions during a music class.
It also helps children who experience inhalation and verbal communication intricacies and learning disabilities. They may be many other things that have not been discovered.
By do away with these classes from our child’s schools, in reality we are stealing from our children the essential abilities that are required by them to build a better future for themselves. These kids are going to be the ones who run everything in now a few years. Do you want that your child gets incomplete education in any form? Or do you want to hand your own future in such hands which do not possess sufficient skills to carve a better future for themselves?
Some of the examples of doing these are listed below:
1. Singing which is pure form of complete musical expression in all cultures across the globe. It helps the child to open up and improve his communication skills. It helps them to express their ideas and thoughts in a better manner.
2. Instruments also play an important role as a means to enhance interpersonal behavior and expression. Also playing of musical instruments in a group helps the child to learn about team spirit.
3. Composing and writing lyrics for melodies, is a very creative activity that is again an important method to improve communication skills and learn to effectively express one’s thoughts.
Music classes are indispensable. Do not allow your ignorance position in the system of our children’s opportunity. Inform yourself on the reimbursements of these lessons. If you have a different opinion that is okay, but try to understand the other side of the debate before making your decision.
If in case, the local school in your city is planning to do away with the music classes after heeding to some parents, step forward and be vocal. Raise your concern and try to advise the ignorant. Endeavor to bring to an end your neighboring school organization from taking from our children the essential skills.
In case, you stand unproductive in your endeavors to stop the school administration from barring music classes, try to get them reinstalled by some way. Show them examples and results that have been researched.
If you know some children who have taken benefits from these music classes, ask them to help the children of the school in knowing the benefits of music. That will greatly help as children tend to listen to their own age groups better. One or two lessons per week or enough to get the benefits of music classes.