LITMIR.BIZ

77 genial einfache Übungen rund um Zeichnen, Malen und Collage, zusammengestellt von der Illustratorin Katja Spitzer, laden zum kreativen Erfinden und Ausprobieren ein. Sie setzen auf Neugier, Fantasie und Originalität. Perfektionismus? – Hier lernt man anderes: Selbstvergessenheit und Konzentration, Schönes erkennen, Überflüssiges weglassen, Fehler machen und zulassen, Narration, Komposition, Technik … Gleichermaßen geeignet für Schülerinnen und Schüler der Sekundarstufe I und II, Studierende und andere Kreative.

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Beneficios al utilizar esta metodología: Presentar proyectos innovadores para participar en convocatorias estatales o nacionales.Presentar los resultados de su aplicación en congresos educativos en actividades como: trabajos de investigación, prácticas exitosas, taller o ponencia.Diseñar y presentar tesis de grado referida a temas sobre el juego y aprendizaje matemático.Realizar una presentación con el colectivo docente de los Consejos Técnicos Escolares para generar un proyecto escolar grupal que beneficie la formación académica de los alumnos.Contenido destacado: Bases metodológicas de un proyecto escolar.Bases de implementación del proyecto escolar.Fases del proyecto escolar.Secuencias didácticas.

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El libro reúne once entrevistas a profesionales del mundo de la educación (pedagogos, psicólogos, educadores, filósofos): CARME THIÓ, JAUME CELA, MARIA JESÚS COMELLAS, JAUME FUNES, EVA BACH, GREGORIO LURI, MARIANO FERNÁNDEZ ENGUITA, JOAN MANUEL DEL POZO, ROSER SALAVERT, JOSÉ ANTONIO MARINA, FRANCESCO TONUCCI.Carles Capdevila cree que educar es apasionante y hablar de ello también, desde la experiencia y desde la reflexión. El humor y la responsabilidad no son incompatibles en este ámbito, y todo lo que pueda infundir confianza y alegría entre todos los agentes implicados contribuye a crear un tejido de complicidades imprescindible en la tarea de educar.Estas conversaciones son una invitación al debate. Cada uno de los participantes en este libro habla desde experiencias y visiones muy distintas pero con una sola vocación: la ambición de llegar a hacer bien las cosas en las aulas, en la calle y en casa. Este libro quiere acompañar a las familias y a los maestros, y aprender juntos a educar con convicción y optimismo.

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There is an urgent focus on education around the world, and this book is pushing directly into this territory. It will appeal to a wide range of readers – to anyone who is passionate about art and or education – and will have a strong international appeal as the contributors have international profiles and the book is poised to address global issues concerning contemporary art, education, and independent practice. In this collection of original essays, the writers engage with the work of the artists who took part in Art School. Each contribution provides a lens through which each writer can focus on specific moments within the evolution of Art School, working outwards to explore how these moments resonate with the wider fields of art-in-education and radical pedagogies. These texts respond to a widespread concern with art and its place in education, while retaining a committed and informed engagement with the phenomena they assess. Art School takes place as a series of independent projects, exhibitions, workshop and residency programmes, bringing active contemporary artists into educational systems to inspire and expand their teachings. Responding to a growing desire to rethink art education at all levels, it is for those committed to new forms of social imagination and social engagement in contemporary art. This book is for curators, schoolteachers and other educators, and also for artists and art students who wish to extend their practice beyond the gallery. Less a manifesto or a declaration of doctrine than an emergent set of experiments, Curriculum considers the school as a zone of artistic and curatorial practice, foregrounding the potential of contemporary art (understood in wide terms) to stimulate students’ creativity in original and open ways. Although the book focuses on a specific project in Ireland, that project exemplifies trends in art and education that are happening around the world and includes contributions from an international group of scholars all well-known in their field. Contributors: Clare Butcher, Gerard Byrne, Juan Canela, Helen Carey, Daniela Cascella, Fiona Gannon, Jennie Guy, Andrew Hunt, Hannah Jickling & Helen Reed, Alissa Kleist, Rowan Lear, Peter Maybury, Annemarie Ní Churreáin, Nathan O’Donnell, Sofia Olascoaga and Priscila Fernandes, Matt Packer and Sjoerd Westbroek. Artists: Sven Anderson, John Beattie, Sarah Browne, Karl Burke, Rhona Byrne, Ella de Búrca, Vanessa Donoso Lopez, Priscila Fernandes, Hannah Fitz, Jane Fogarty, Kevin Gaffney, Adam Gibney, Fiona Hallinan, Elaine Leader, Maria McKinney, Mark O’Kelly, Sarah Pierce and Naomi Sex.  Primary interest will be among educators, artists, curators, academics and students, and others working or studying in a variety of settings including school, universities, museums, and other arts organisations. Of interest to these groups in the following ways: Artists: Learning about how other artists are working in sites of education. Curators: Reading about the curatorial mechanisms that support artists maintaining the ethics and integrity of their practice when working with younger audiences in schools. Gallerists: Extending the horizons of audience and public outreach. Museums: Considering new models of education, outreach, exhibition, and off-site events. Schools: Learning about new models of artist residencies and workshops. Students and Parents: Researching the potential of contemporary artists’ impact on education.  Educators: Forming a critical perspective of how contemporary arts practice can be integrated in curricula. Local and National Arts Agencies: Learning about how independent curatorial and artistic practice can co-exist within sites of education. This publication was funded by the Arts Council of Ireland and the Arts Office of Wicklow County Council.

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By 1787, the leaders of America's 13 newly-created states that had just won their independence from Britain convened to draw up the Constitution of the United States. However, citizens of many of the states feared that a new American government could take away certain of their rights, just as the British had done when they were colonies. It was soon agreed to add a series of ten amendments to the Constitution in order to guarantee specific rights to all citizens and states. These first ten amendments are known as the Bill of Rights. Syl Sobel presents each of these amendments in this brand-new book, and clearly explains them in terms that grammar school students will find both meaningful and interesting. In the process, he points out fascinating facets of American constitutional history and law. He also explains how such rights as freedom of religion, speech, and assembly, as well as protections from unreasonable searches and a fair trial by jury apply to all of us in our daily lives. Here is a book that will be valued by teachers and enjoyed by young students. Includes line illustrations, a glossary, and a suggested reading list.

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This book follows four emergent bilingual students in an English-medium pre-kindergarten in the US as they navigate the social and linguistic demands of school. It illustrates how students’ differing classroom social positions shaped their participation in interaction and, in turn, their English language learning across a school year. With a unique focus on both processes and outcomes, the book highlights language strategies that are overlooked if the focus is solely on one language or on group participation, and it emphasizes the importance of assessment choice in shaping which learners appear to be successful. It is a powerful argument for recognising the translingual and multimodal abilities of learners, even in education which is officially English-medium and monolingual.

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Today's teachers face a daunting challenge: how to ensure a positive school experience for their students, many of whom carry the burden of adverse childhood experiences, such as abuse, poverty, divorce, abandonment, and numerous other serious social issues. Spurred by her personal experience and extensive exploration of brain-based learning, author Marilee Sprenger explains how brain science—what we know about how the brain works—can be applied to social-emotional learning. Specifically, she addresses how to- Build strong, caring relationships with students to give them a sense of belonging.– Teach and model empathy, so students feel understood and can better understand others.– Awaken students' self-awareness, including the ability to name their own emotions, have accurate self-perceptions, and display self-confidence and self-efficacy.– Help students manage their behavior through impulse control, stress management, and other positive skills. – Improve students' social awareness and interaction with others.– Teach students how to handle relationships, including with people whose backgrounds differ from their own.– Guide students in making responsible decisions.Offering clear, easy-to-understand explanations of brain activity and dozens of specific strategies for all grade levels, Social-Emotional Learning and the Brain is an essential guide to creating supportive classroom environments and improving outcomes for all our students.

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New revised 2020 version with bonus features<p>This hard-hitting verbatim play is based on a tragic drink drive accident that results in the death of the vehicle’s front seat passenger, Jo. Her sister Judy, driving the car, escapes physically unhurt – but can never escape the consequences of her own reckless behaviour.<p> Since its initial performances in 1987, Too Much Punch for Judy has toured non-stop all over the world to schools, colleges, prisons, young offenders’ institutes and army bases. Astonishingly, it is now one of the most performed contemporary plays, with 6058 licensed performances between 1987 and 2020.<p> The play has been cited in Chief Examiner’s reports for Drama GCSE to be an example of a play that gives students ample opportunity to achieve across the criteria.<p> Duration: 60 minutes approximately<br> Cast: 6 male, 6 female, 1 male or female, or 2 male, 2 female with doubling

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New revised 2020 version<p> It’s Christmas. Tammy and Chris, cousins and best mates, are both thrilled to get cool new bikes. Give or take the odd unworn cycle helmet everything is great… that is until one morning when Chris has a puncture and Tammy agrees to walk with him. They’re late and in a hurry. They decide to race. Chris runs out across a busy main road and then flips open his smart phone to dare Tammy to do the same in front of a fast-approaching car…<p> <i>Chicken!</i> has been performed over 5,876 times, averaging nearly one performance a day since the original version was written in 1992. This new 2020 version includes many updated references, a brand-new foreword by Adrian New, of StopWatch Theatre Company, more funny lines and a new decision for the actor to make at the end!<p> Duration: 45 minutes approximately<br> Cast: The play has 9 main characters: 4 male, 3 female and 2+ of either sex. It can be doubled by 2 male and 2 female.

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Revised and updated 2020 version<p><i>Chequered Flags to Chequered Futures</i> tells the true story of Chris Gilfoy, the Rookie’s World Champion Banger Racer in 2000.<p>In 2006 Chris was being driven along a public road in a powerful BMW by a racing friend. She was thought to be driving at 90 mph in a 30 limit. None were wearing seatbelts and, unknown to Chris, the driver was uninsured. Disastrously, they crashed into a wall, narrowly avoiding killing another driver. The consequences for all three in the car were life changing in very different ways.<p> The play tells the fast-paced story through the words of Chris and his family with great opportunities for imaginative ensemble work. In a parallel strand of powerful monologues, Jane (the mother of the driver) tells her story of the aftermath of the accident.<p> Duration: 60 minutes approximately<br> Cast: 5 female, 3 male, 3 female/male

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