Month: November 2017

Oklahoma Schools Arts Integrated And Learning Styles Go Hand-In-Hand

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Many people understand the importance of exposure to the arts. We love art; it is a necessary part of our society. In fact, for every culture and every society, art in some form or another is critical to how we live. For many, many years, arts programs have been cut in Oklahoma City Schools in efforts to divert funds to “more pressing” subject areas like reading and mathematics. While these are indeed necessary subjects for Oklahoma City Schools students to master, including an arts education in a student’s learning experiences can do nothing but improve their time attending Oklahoma City Schools, as well as contribute to the amount of success they see as a whole.

Most Oklahoma City Public Schools concentrate on teaching students in three ways; by showing them how to do things, by telling them the information they need, or by giving them opportunities to try things themselves (also known as visual, auditory, and kinesthetic learning styles).

There are, in fact, many learning styles as identified by Howard Gardner, psychologist and noted pedagogical theorist:

– Linguistic – “word-smart” – Interpersonal – “people smart” – Bodily-kinesthetic – “body smart” – Logical-mathematical – “math smart” – Naturalist – “nature smart” – Spatial – “picture smart” – Musical – “music smart” – Intrapersonal – “self smart”

More than ever, schools are realizing the importance of addressing all of these learning styles. Students attending certain Oklahoma City Schools are reaping the benefits of the commitment to providing educational experiences via these learning styles.

In efforts to give more and more students an education that addresses their specific learning style(s), some Oklahoma City Schools are integrating the arts into their programs. Following an “A+” model originally begun in North Carolina, Oklahoma City Schools are instituting their own arts integration programs. Originally a project of the DaVinci Institute, it is currently administered by the University of Central Oklahoma.

The model being used by Oklahoma City Schools looks at 8 different areas to improve arts integration in their schools:

1) Arts; 2) Curriculum; 3) Multiple intelligences; 4) Experiential learning; 5) Enriched assessment; 6) Collaboration; 7) Infrastructure; and 8) Climate

For teachers employed with Oklahoma City Schools, the program has been a godsend. All educators strive to “light the spark” and desperately want to reach all – 100% – of their students. For the instructional staff, of the Oklahoma City Schools using this model, discovering how to appeal to the different ways children learn has been exactly what they have been looking for.

Another impressive aspect of the program is the Oklahoma City Schools professional development that goes along with it. Instead of giving newly trained teaches the manual with the expectation that they follow the model, the A+ model provides extensive and ongoing training and support to all teachers new to the program. Oklahoma City Schools’ teachers focus on learning to work together, using research-based practices to establish curriculum that includes interdisciplinary themes that foster arts integration across classes as well as use Gardner’s various learning styles.

Clearly, Oklahoma City Schools are working to improve learning, one style at a time.

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Shashidhar Kote Being As Junior Yesudas (kote Music And Arts Foundation)

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Bengaluru Ratna, Gayana Mantrika, Vishwamanava, Gana Gandharva, Kannada Saarathi…that’s Shashidhar Kote for you.

The Kannada singer talks to Shruti Indira Lakshminarayana about his journey from Dakshina Kannada to Bangalore and being called ‘Junior Yesudas.’

How did music happen to you?

I was exposed to music and Yakshagana at a very young age. As years passed, I realised that I wanted to be a singer. With my father Kote Vasanthkumar’s support I came to Bangalore to live my dreams.

Did you give up your career as a teacher to become a singer?

Yes, I used to teach literature at Mangalore University. But lecturing to a large class meant straining my voice. I couldn’t afford to do that as I wanted to pursue music. It is my lifeblood. In fact, when I was on a past-life regression reality show recently, I saw that even in my previous birth, I was a singer. Apparently I was a singer in the Mysore maharaja’s court and had been honoured by him.

Did you go through formal training?

After coming to Bangalore, I took classical music training from Vid Gurudutt. Before that, I had trained with Satyabhame and Gopalkrishna Iyer. However, it is Balamuralikrishna and Yesudas who have inspired me a lot. Listening to them has been an education in itself.

Have you interacted with your idols?

I met Yesudas 15 years ago. He had liked my voice. I’m yet to meet Balamurali. S P Balasubramanyam is also one of my favourites and I’ve interacted with him when I went as a judge on Yede Tumbi Haduvenu.

How does being called ‘Junior Yesudas’ feel?

God has gifted me with a good voice, but I’m no match for a legend like him. People think I resemble him because I sport a beard too and sing a lot of his songs. But even though the songs are his, the style is mine.

What is Kote style?

Be it Kannada, Telugu, Tamil, Malayalam or Hindi, when I sing a song, I make it mine. I place utmost importance on presentation. I judge the audience and present songs accordingly. There is always a variety in my programmes — from film hits to folk songs and classical pieces. You’ll find a Vaatapi, Hendati Obbalu and Kuladalli Kilyavudo, all in one programme. I try and make my presentation lively. Also, people feel my pronunciations are clear.

Your ‘Geetha Chitra’ is also unique…

‘Geetha Chitra’ is the coming together of music and painting. Lending support to this concept is B K S Verma. He paints the subject of the song I sing. Take for instance Vaatapi. He’ll paint a picture of Ganesha as I am singing. We are a popular pair in Bangalore, Chennai and Mumbai [ Images ].

You have received several accolades. Which would you rate as your best?

I have given over 4,000 concerts. The compliments I’ve got for them are the true awards. I have had elders falling at my feet. Another unforgettable incident is that of a beggar giving me the alms he had collected. He was that impressed with the programme. It is the love of the people that matters at the end of the day.

Are you saying awards and titles mean nothing to you?

Awards are bought these days. If anything, awards should come looking for you. But recognition pleases me. It encourages me to perform better.

While you have given many stage shows, you are not all that visible in the film circles. Why?

I have lent my voice to Shivaleele and Aiyappa. But today’s music directors want singers to approach them and I have too much self respect for that. Also, I am busy and don’t consider playback singing my ultimate destination. But Kannada youngsters should be given a chance. Why bring Hindi singers when you have so much talent here? Even singers like S P Balasubramanyam have not been utilised properly. How long will Hindi singers remain a trend? Even their Kannada numbers sound so Hindi!

What do you think of the current film music scenario?

Most songs are not backed by good lyrics. Rhythm is ruling over melody. Everyone wants an instant formula. In this bid, capable music directors, singers and lyricists are being ignored. We are not coming out with evergreen songs like Ellelu Sangeethave or Kuladalli Kilyavodo any longer. In comparison, the Malayalam industry manages to churn out tasteful music even now.

What is your take on fusion music?

I see it more as confusion rather than fusion! Half-baked knowledge on part of musicians is responsible for this state.

And what about reality shows?

The SMS-voting system is playing spoil sport. The judges’ words should be final. I have judged shows like Little Star Singer, Sangeetha Lahari, Hadondu Haduvenu and Sangeetha Sambrahma and I can say that what we need is opportunity and not competition, more so in the case of children. It would also do good if the channels popularised folk and classical music, not just film songs through these shows.

Speaking of young talent, both you and your wife are artistes. Is your son Saagar also aspiring to be one?

My wife Seetha is a dancer and a television actor. But that doesn’t mean we expect our son to tread the same path. He has shown interest in music, but he seems more inclined towards direction. As parents, our duty is to support him. All that I tell him is to learn and respect his language — Kannada.

Any word of advice for aspiring musicians?

First of all they should understand that just by singing on S P Balasubramanyam’s show they don’t become SPBs! There is no short cut to success. Dedication and a good teacher are the key words. They should be well-informed about musical notes and grammar, and make music that touches people. Money will follow.

What are your other interests?

I act in television serials. I also endorse products occasionally. Going out with my family and watching movies and cricket with them keep me relaxed. I also follow news keenly. Listening to songs set to my favourite ragas Kalyani, Anandha Bhairavi, Hindola, Karaharapriya and Abhogi also keep me going.

What’s the flipside of being an artiste?

Any artiste’s life is complex and unpredictable. There is too much tension and running around to do. For a singer, maintaining his/her voice is a task in itself. But all the effort seems worth it when you are on stage.

What’s next from your side?

There are a few music albums. One will be a collection of Dasara padas and another of devotional songs. I also want to make an album of Bharatanatyam dance numbers. My big dream is to start a music and dance academy along with my wife and brother.

Blocks – The True American Martial Art

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When discussing the various martial arts and fighting styles from around the world, the little known urban system of 52 Blocks, a variation of the more broad style Jailhouse Rock, has to enter the conversation. Researchers Daniel Marks and Kammau Hunter have argued that Jailhouse Rock may in fact be America’s only “Native Martial Art.” With an African influence and believed to have originated in the 17th and 18th centuries by slaves, 52 Blocks went on to evolve in the streets of Brooklyn and US prisons. The style focuses on close quarter techniques, similar to those self defense situations found in environments like prisons, restrooms, alleys, and hallways where movement would be limited.

As mentioned above, 52 Blocks, also called “52 Hand Blocks” and “The 52’s”, is part of a larger collection of fighting styles referred to as “JHR”, or “Jailhouse Rock.” 52 Blocks and their variants are similar to the martial arts of capoeira and savate, both of which were fighting systems associated with urban criminal subcultures, which underwent a gradual process of codification before becoming established as martial arts accessible by the mainstream. Other variations from the JHR collection are Comstock, San Quentin style, Mount Meg, and Stato, each name in reference to the prison that it was started at. As it gained popularity and exposure in the earyl 70’s, Jail House Rock seems to have first showed up in the media in an article on Martial Arts in prison called, “KARATE IN PRISON: Menace, or Means of Spiritual Survival?,” in Black Belt Magazine from July, 1974.

Despite wide belief, 52 Blocks is not a style of Western boxing, nor is it Wing Chun mixed with Western boxing. Considered a defensive style that creates openings for offense through constant movement, the fighter blocks/catches punches with the forearms and elbows. Short power punches, flowing movement, and counter striking are all aspects of 52 that are emphasised, while using sharp and evasive footwork. Unlike boxing but similar to Muay Thai, the elbows are commonly used to strike the opponent.

Much of the argument and conflicting information about 52 Blocks stems from whether or not the style has been influenced at all by “uprocking” or what most of us call breakdancing. Some believe this link is the aspect of some of the fighting techniques inspired by or copied from the “diss moves” taken from the Brooklyn Rock or uprock style of breakdancing. It looks like you can find as many sources stating these links between 52 and urban dancing as you can to the contrary, making it the subject on 52 with the most conflicting information.

As many practitioners of 52 have felt that their system has long been overlooked, it’s now is starting to take its rightful place in martial arts history, the product of longtime growing media coverage. Jack Johnson, the first black heavyweight, is one of the high profile boxers to first endorse 52 and professional boxers including Mike Tyson Zab Judah, and Bernard Hopkins have testified to the existence of the style, giving it a voice of legitimacy from true fighters. Rashad Evans, former light heavyweight champion in the UFC, has also promoted 52 and its effectiveness.

Martial Arts & Self-Defense Weapons – What IS a Kubotan

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If you do a search on the internet, there seems to be no end to what has been written about this simple, yet powerful weapon. There seems to be no small supply of writers who have used dramatic titles to add to the impact of an otherwise so-so article on the subject.

“Fistful of Dynamite,” “Rod of Pain,” and many others lead the way as writers share their own knowledge and insight into this inconspicuous, and yet surprisingly powerful little weapon. Unfortunately, far too many of these articles serve little to no real purpose in helping you to actually create results. And, these articles range in scope from the generalized “what it is” variety, to the overly bloated tome that includes what seems to be every single detail and supposition that the author wishes to impress you with.

Believe me, I have read a lot of what’s available, and while there are certainly a number of valuable resources from real experts, they are buried in a cyber-world of practically worthless “chatter.” While you can feel free to recreate my extensive research on the subject, I’ve brought it all together so you don’t have to.

So, what, exactly, is a Kubotan (pronounced “koo-bow-tahn”) anyway?

Good question. And to answer that, you can read the book titled, KUBOTAN: Self-Defense Keychain to get a much better idea. But, for now, I’ll give you the short, “what’s it look like and what else might it be called,” version. For those interested, the above book covers the viewpoints of “where did it come from and how long has it been around,” as-well-as others in its other chapters.

In my other articles, you can take a quick overview of the strengths and weakness of this popular self-defense weapon. But, for now…

The Kubotan, also known as a…

1. Pocket-stick…

2. Self-Defense Keychain…

3. Mini-Stick, and…

4. many others…

…is arguably, the most common self-defense weapon, next to the handgun, in the United States.

While many new tactical weapons continue to find growing acceptance within the law enforcement and security communities, there seems to be little change within the realm of private citizens. It appears that, once people find a good thing, they tend to “stick” with it. (Yes, pun intended!) According to many experts in the field of defense and personal protection…

“…the most popular, and quite possibly the most versatile, personal defense weapon is the Kubotan.”

For simplicity’s sake, I’ll refer to the weapon throughout this article as the Kubotan or, more simply, the self-defense keychain. However, regardless of the name given to it, this powerful little compliance tool, carried by thousands of men and women – martial artists and non-practitioners alike – is an awesome means of deterring and controlling an attack situation.

Besides being, quite probably the cheapest weapon you can buy, in the hands of even a person skilled in only a few basic moves, the Kubotan is a formidable weapon for stopping an assailant in his tracks. And, for those with more training and developed skills, the self-defense keychain is one of the most effective self-defense tools that you can use today.

The weapon is simple in appearance, inexpensive to acquire or make, and fairly easy to conceal. While not as versatile and convenient as a clipknife like the Delica from Spyderco – my preferred weapon/tool of choice, by the way – it is definitely easy-to-learn and even easier-to-use.

Depending on the manufacturer, the Kubotan is just a basic rod made of metal, plastic, or wood. It’s about 6 inches long and, as the name suggests, usually has a key ring attached at one end. The “official,” patented, Kubotan weapon “invented” by a man named Tak Kubota, has grooves machined into the weapon to identify it as a unique creation. But, just like “Band-aid” has come to be the generic name for adhesive bandages and “Q-Tips” the same for cotton swabs, the bar-shaped, self-defense keychain is almost universally called a “Kubotan.”

There are other variants of the basic model, including what is billed as the “Ninja” version of the weapon. This little piece of imaginative effort, created during the ’80’s when every weapon had it’s own “Ninja” version, has two thinner spikes protruding out from the side of the weapon that fit between your fingers when you grasped the main bar of the tool.

Let me assure you that, regardless of what you ever read or hear, the Kubotan or self-defense keychain is NOT a Ninja weapon – officially or unofficially. It’s ancestors that gave rise to the modern version, at least in Japan, were used by almost all trained warriors – not just the Ninja.

The more commonly recognized variants of the weapon are generally manufactured from heavy-duty plastic or aluminum. The official Kubotan, and third-party copies, are simply straight rods with blunt ends. However, many self-defense key chains have at least one tapered end with the key ring attached to the squared, blunt end. Needless to say, some of these “centerpunch-like versions, are extremely dangerous – as they have the capability of actually penetrating the target and doing more severe damage.

And, for those of you who are fashion-conscious and need to make sure that your self-defense weapon doesn’t clash with your Armani, these little gems even come in a variety of colors and high-tech shapes to match just about any ensemble.

So, to answer the question, “what IS a Kubotan?”

It is a simple, easy to learn and use, self-defense weapon that can be effectively used by the smallest defender, to bring the largest assailant to his knees in seconds. Quite simply, it is the best weapon for the person with little to no formal training and who wants to be able to learn to defend him or herself with the least amount of time, effort, and money.

Services to Look for in a Kauffman Performing Arts Hotel

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The Kauffman Performing Arts Center in Kansas City is one of the premier live performance venues in the state. It attracts world class entertainment such as live plays, ballets, operas, children’s events and orchestral concerts. When people want to see excellent live entertainment in a venue that has a rich history and a pleasant atmosphere, then they choose the Kauffman Performing Arts Center. If you want your visit to the Kauffman Center to be truly enjoyable, then you need to book a room in a Kauffman Performing Arts hotel that offers all of the services and amenities that you will need to make your time memorable.

The first thing to look for in a good Kauffman Performing Arts hotel is location. The Kauffman Performing Arts Center is located on Broadway in downtown Kansas City. The ideal location for a good hotel is on Broadway within walking distance of the center. There are several good hotels that you will find on Broadway that are experts in catering to the people who patronize the Kauffman Center. When you are buying your tickets to an event at the Kauffman Center, be sure to ask the box office representative to recommend a good hotel in the area for you. The closer you can get to the center, the less money you will have to spend on cab fare to get yourself to the hotel.

If you want to incorporate more of downtown Kansas City into your visit to the Kauffman Performing Arts Center, then you may want to consider a hotel that is located between the center and the Kansas City Power and Light District. This is the part of downtown Kansas City that has all of the best nightclubs and restaurants for visitors to enjoy. If you want to enjoy a good meal before the performance and then be able to unwind with your friends in a good nightclub when the performance is over, then get a hotel between the Kauffman Performing Arts Center and the Power and Light District.

When you choose a Kauffman Performing Arts hotel, try to choose one that can help you get tickets to the show that you want to attend. Some of the local hotels have deals on tickets and rooms for people coming in from out of town, or local people that do not want to deal with traffic when the performance is over. The hotel deals you will find can save you money and may even be able to get you better seats for the performance of your choice.