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Learn Colors for Kids & Toddlers - How to color creative for Kids - Nursery Rhymes for Children #020 - Duration: 4:34.
Welcome to Kids School
Pelican
Green
Red
Orange
Blue
Purple
Pink
Grey
Yellow
[Clap] YAYYYYYYYY
Pear
Red
Orange
Yellow
Green
Blue
Purple
Pink
Grey
[Clap] YAYYYYYYYY
Seahorse
Yellow
Blue
Grey
Red
Green
Orange
Purple
Pink
Brown
White
[Clap] YAYYYYYYYY
Let's try again
Pelican
Green
Red
Orange
Blue
Purple
Pink
Grey
Yellow
[Clap] YAYYYYYYYY
Pear
Red
Orange
Yellow
Green
Blue
Purple
Pink
Grey
[Clap] YAYYYYYYYY
Seahorse
Yellow
Blue
Grey
Red
Green
Orange
Purple
Pink
Brown
White
[Clap] YAYYYYYYYY
Goodbye! See you next Videos!
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Denial: How do filmmakers approach the Holocaust? - Duration: 15:00.
This video is sponsored by Denial.
Hello and welcome to Making Film—a series where we take a look at everything from the
construction of films to film history and how cinema affects how we see the world.
Today, we take a look at how cinema shapes our understanding of an historical event.
In this case, the Holocaust.
How do you approach a film related to the Holocaust?
How can you even begin to approach a subject so incomprehensibly horrific?
So, I got an email a little while ago asking if I would be interested in making a sponsored
video on the subject of the Holocaust in film to help promote the UK DVD release of Denial
starring Rachel Weiss, Tom Wilkinson, and Timothy Spall.
The film follows the true story in which Holocaust scholar Deborah Lipstadt was sued by Holocaust
denier David Irving for libel.
The idea got me thinking about how filmmakers approach the depiction of such an extreme
historical event like the Holocaust and how this shapes our understanding of history.
Now, the Nazi genocide of the Jewish people and other groups in Europe during the 1940s
is a sensitive subject to tackle.
That said, the Holocaust (or Shoah) has been portrayed directly or indirectly in a wide
variety of genres including drama, documentary, horror, action, and even comedy.
There is an inherent acceptance that horror, action, and comedy are using the setting and
the hatred toward Nazis for storytelling and are not necessarily making an attempt to recreate
an authentic portrayal of the Holocaust whereas drama and documentary are.
So, let's take a look at how they do that.
In Denial, Holocaust denier David Irving attempts to put the Holocaust on trial through his
libel suit against Deborah Lipstadt, but it is he (and Holocaust denial in general) who
is put on trial.
There was the risk that, by fighting the libel suit in court and losing, it would be accepted
that there are two equal points of view—that some people believe that the Holocaust happened
the way we understand it and some do not.
As we've seen in other areas, allowing a denialist point-of-view can stagnate progress
or undermine the issue all together.
In order to combat this with the depiction of the Holocaust in drama and documentary,
Aaron Kerner notes a list of guidelines for making a Holocaust film by Terrence Des Pres
in Kerner's book Film and the Holocaust: New Perspectives.
First, "The Holocaust shall be represented, in its tonality, as a unique event, as a special
case and kingdom of its own, above or below or apart from history" (Kerner 2).
We see a lot of dramas that deal directly with the Holocaust categorized as "Holocaust films"
rather than "historical dramas" "or "war films" like those depicting
most other historical events.
Second, "Representations of the Holocaust shall be as accurate and faithful as possible
to the facts and conditions of the event, without change or manipulation for any reason
— artistic reasons included" (Kerner 2).
And third, "The Holocaust shall be approached as a solemn or even a sacred event, with a
seriousness admitting no response that might obscure its enormity or dishonor its dead" (Kerner 2).
When we think of Holocaust films, we usually think of those that take place inside the
camps and when we think of authenticity in the depiction of the Holocaust, we tend to
think of documentary.
Documentaries provide visual evidence of the result of the atrocities—photographs that
we can see with our own eyes.
But whose eyes are we seeing with?
In a documentary titled Night and Fog by Alain Resnais, much of the archival footage we see
was filmed by the Nazis themselves, which gives the audience a unique gaze from the
point of view of the perpetrators.
The archival footage is also intercut with footage of the camps taken decades after the
war has ended.
Despite harrowing images such as piles of eyeglasses and scratch marks in the shower
rooms, Elizabeth Cowie notes that these images "[fail] as visible evidence" without the
explanation provided by the narrator (Haggith, Newman 184).
And in Claud Lanzmann's documentary Shoah, the testimony relies almost entirely on the
words of those who experienced the Holocaust, which in a way, forces us to see the events
they depict through our own mind's eye.
In 1945, a British documentary, eventually titled "Memory of the Camps," was made
that aimed to show the result of German atrocities in the newly-liberated concentration camps.
The film (often wrongfully attributed to Alfred Hitchcock) was made by Hitchcock's friend
Sidney Bernstein and remained uncompleted until February 1984 (Haggith, Newman 50).
During the months following Germany's defeat, Russia had been releasing newsreel footage
of liberated camps and were preparing their own documentaries.
This prompted Bernstein to have his producer, Sergei Noldbandov, to begin going through
footage from "Russian newsreels, the US Army Pictorial Service, War Office, RAF and
the British newsreel companies" in order to collect every piece of available footage
showing the atrocities committed by the Nazis.
The goal was to compile evidence of these atrocities from all around the world to be
screened to audiences in formerly Nazi-occupied territories who [quote] "had been exposed
during the preceding four or five years to Nazi propaganda" (Haggith, Newman 52).
It was after a visit to Belsen, that Berstein decided to pivot the film from being a [quote]
"retrospective compilation" to a full documentary with new and archived footage
that would be definitive evidence to quell any possibility for denial that these events
took place (Haggith, Newman 53).
Bernstein would have the cameramen document, not only the bodies of the dead, the testimony
of the survivors and German prisoners, but the company logos and nameplates of the German
and foreign companies who contributed resources and construction
to this systematic extermination (Haggith, Newman 54).
The objective now was to make a version of the documentary for German citizens and prisoners
to show the evil acts that the National Socialist Party committed [quote] "in their name"
as a way to prevent any potential terrorist acts by German citizens in the name of the party.
The film was also meant to implicate the German audience as complicit in these crimes (Haggith, Newman 54).
Most of the German people—including POWs— refused to accept any
responsibility for what happened.
Many had likened the disturbing images of the camps to the constant publishing of photos
in national newspapers of dead Germans due to allied bombings (Haggith, Newman 54).
They managed to separate themselves from what they were seeing in the footage of the camps
as merely the government's doing.
We can see something similar in David Irving in Denial.
Even when confronted by video evidence of very racist things he has said, he still doesn't
consider himself to be a racist.
"You sued because you said that we had called you a racist and an extremist."
"Yes…
But I'm not a racist."
While the film footage taken during the liberation of the camps offers us a more objective view
of the aftermath of the atrocities, what is missing are the atrocities themselves.
This is where dramatic narratives come in—most of what's depicted in these films is based
on witness testimony.
Perhaps the most famous filmic narrative depiction of the Holocaust is Steven Spielberg's 1993
drama, Schindler's List, in which a German factory owner uses his status and resources
to save many Jewish lives during World War II.
Spielberg's approach was to use an "induced documentary" style similar to William Friedkin's
depiction of the events in The French Connection.
Steven Spielberg: "Many many scenes were hand-held and not planned.
I didn't plan shots.
I didn't sit home at night making shot lists or doing storyboards as I usually do…
And then I would just wander into the scene like I was an eavesdropper with a camera to
try to make the existence of the camera very second nature to
what was happening in front of the camera."
Of course, quite a lot of documentaries contain hand-held footage out of necessity—documentary
filmmakers often capture events as they unfold without the opportunity for planned camera
moves and framing that fictional narratives can afford.
Spielberg would take a similar approach with Saving Private Ryan, which, like Schindler's List,
also enlisted the talents of cinematographer Janusz Kaminski.
The hand-held shots coupled with the use of black and white make Schindler's List appear,
at times, disturbingly close to real life captured in a documentary.
In his book, Kerner speaks about the feminization of the Jewish victims in Holocaust films and
notes that there is often a sex-crime aspect.
In Schindler's List we see this not only in Amon Goeth choosing Helen Hirsch as his housekeeper,
but also in the scenes with nude females being sent to what could have been
the gas chambers.
We see this in Denial as well.
Irving goes after Lipstadt, a Jewish woman who, in the courtroom, is forced by her own
defense to remain passive while the war is fought in front of her.
Despite her efforts to defend herself, it is made clear that the only way she can win
the case is if the men win it on her behalf.
In Holocaust dramas, the Jewish internees lack any ability to protect themselves and
can only hope to miraculously survive what often appears as random murder.
They require the capable allied soldiers to save them.
This utter impotence to have any control of your situation with each moment potentially
being your last is what makes Holocaust films far more disturbing than any other.
Holocaust dramas and documentaries aim to inform and create an understanding of the
events that took place.
Schindler's List brought the testimonies of survivors to the world's attention—the
film was [quote] "seen by a quarter of the population of Britain [and] nearly a third
of the population of Germany" (Haggith, Newman 196).
But what about other genres?
One could argue that films like Schindler's List or The Pianist are horror films.
A connection is drawn between Holocaust films and slasher flicks with the Jewish people
as the terrorized females and the Nazis as the unstoppable killer possessing "superhuman
strength" and lacking any remorse (Kerner).
Something like Quentin Tarantino's Inglorious Bastards purposefully subverts this structure
and depicts a group of Jewish-American soldiers terrorizing and brutalizing the Nazis.
Here, we get a cathartic answer to the absolute hopelessness of reality and are allowed to
experience a fantasy of justice.
Jerry Seinfeld: "You thought that there was a profound revenge for Hitler's crimes
in making fun of him that, in a way, surpasses everything."
It seems strange to think of a Holocaust comedy, but they do exist.
"My name is Adolph, I'm on the mic.
I'm gonna hip you to the story of the new Third Reich."
There are plenty of comedies that revolve around Nazi's—whether it be to make fun
or to shock an audience,
"Heil Hitler!"
"Heil myself."
but there is even comedy in films depicting the genocide.
Perhaps the most famous is Roberto Benigni's Life is Beautiful where a man tricks his young
son into thinking that what is going on in the camps is part of a game.
"Sorry if I'm going so fast, but I'm playing hide and seek.
I have to go now or they'll find me."
But there is also an interesting film called Genghis Cohn where a Jewish comedian is executed
in a concentration camp and comes back as a ghost to haunt a former Nazi in 1958.
It is possible that horror, action, and comedy allow us to explore the Holocaust in a more
real way, by requiring our participation through fear, suspense, and laughter and therefore
we cope from within as opposed experiencing an outsider's view based on pity.
A major theme that Denial brings up is the silencing of the Jewish voice.
Denial of the Holocaust requires ignoring the testimony of those who experienced it.
Lipstadt is recommended by her council not to speak during the trial nor allow any of
the Holocaust survivors to testify.
This disregards the first-person perspective of the average victim.
I believe this speaks to Holocaust films in general.
Whereas many Holocaust films are built out of witness testimony, Kerner writes that "as
victim, Jewish characters lack agency, and narratives to get played through or around
them, as opposed to by them" (Kerner 31).
We get a voyeuristic view of the brutality inflicted on the victims from an outside perspective.
This is more or less prevalent in Schindler's List, which revolves around Oskar Schindler,
a gentile German businessman, as he transforms from complicit in what is happening to the
Jews to a kind of savior for the victims.
Even a film like The Pianist, revolves around Szpilman's attempt at survival among the
backdrop of Jewish suffering.
What he witnesses outweighs what is inflicted upon him.
Szpilman's musical talent seems to almost lift him to a higher level than the other
victims as if to say that, Szpilman is special and shouldn't be forced to die like the
average people.
Of course, it would be ridiculous to think that this is in any way intended in these
films, but I would argue that a better example of Jewish agency outside of action films like
Inglorious Bastards and Defiance, is in Life is Beautiful.
It is unique for a Holocaust film that takes place in the camps to have the quest of survival
be secondary to a different objective—in this case, Guido is trying to keep his young
son from discovering the horror of their situation by making a game out of it.
Similarly, Son of Saul follows a Jewish man forced to work the gas chambers who tries
to give a boy believed to be his son a proper Jewish burial.
Roberto Benigni, who co-wrote, directed, and starred in Life is Beautiful, is not Jewish
himself despite playing a Jewish man in the film.
Seeing as the vast majority of the victims of the Holocaust were murdered for being Jewish,
the story of the Holocaust is regarded as a Jewish story.
However, is a Jewish heritage required of an author to tell these stories?
Often, there is a certain authority perceived in a Jewish filmmaker making a Holocaust film.
Roman Polanski, who directed The Pianist, is a survivor himself.
Roman Polanski: "And then they were liquidating the parts of [the] Ghetto.
They had lists of people and they would come at night to take people away."
Steven Spielberg doesn't have a connection to the Holocaust in his immediate family,
but he speaks on wanting to make Schindler's List because he is Jewish.
Steven Spielberg: "I'm not the son of a survivor.
I'm certainly related to survivors and victims of the Holocaust through my grandparents with
all the relatives they lost."
It is argued that critics and scholars tend to impart ownership of the Holocaust to Jewish
filmmakers—likely because it is perceived that a Jewish person would be more inclined
to use proper care and respect when approaching an event that is so closely tied to their
ancestors and heritage.
Steven Spielberg: "Well I tried to get Marty Scorsese in the mid 80s to do Schindler's
List and he felt that he couldn't do it because he wasn't Jewish."
There is something to be said about the David Irving trial being against a Jewish person.
Lipstadt becomes not just a defendant, not just arguing against Holocaust denial,
but a symbol for Jewish people taking ownership of their own history.
The thing that pretty much all of the mainstream Holocaust-related films have in common is
the depiction of good versus evil.
Obviously there is no question that the Nazis were evil, but these films allow us to position
ourselves comfortably on the side of good without taking into account that, the rise
of the Nazis was a failure of humanity.
It is hard to wrap your head around the idea that, under the right circumstances, you or
I could possibly have been complicit in something so inhuman.
A similar theme is depicted in a film titled The Grey Zone, in which Jewish internees help
the Nazi's exterminate their people in exchange for their own lives.
Denial shows its antagonist, David Irving, as human.
He is depicted as a loving father who enjoys playing with his child and he even a gracious loser.
What's important to the portrayal of Irving is that he is seen, in part,
through his own eyes.
Irving sees himself as a logical thinker—someone who is uncovering a conspiracy that heavily
benefits the conspirators.
He represents himself in the trial— making him the David to Lipstadt's legal team's
Goliath— and he sees himself as a scholar whose work, person, and legacy is the target
of an attack by those who can't prove their words.
Portraying Irving in this way, as opposed to simply a villain, allows we, the audience,
to better understand how a denier is created.
There is infinitely more that can be said on the subject of the Holocaust in film,
but I hope you've found the subject to be as thought-provoking as I have.
And be sure to check out Denial coming to DVD in the UK on June 5th.
Thanks for watching!
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Nicolette | University of Oregon Chamber Choir - Duration: 2:47.
Nicolette at evening went out to stroll in the meadow to gather daisies, jonquils and lilies-of-the-valley.
Skipping, perky, looking here, there and everywhere.
She met a growling old wolf, all bristled up and with a shining eye.
"Hey there, my Nicolette, aren't you coming to Grandma's house?"
Losing her breath, Nicolette fled, leaving her hat and white socks.
She met a nice page, blue stocking and grey vest.
"Hey there, my Nicolette, don't you want a gentle friend?"
Wisely turning away poor Nicolette and very slowly her heart truly grieved.
She met an ancient lord, twisted, ugly, stinking and big bellied.
"Hey there, my Nicolette, don't you want all these pieces of silver?"
She was quickly in his arms, good Nicolette. Never again did she return to the meadow.
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Teacher Ken's Idioms: party pooper, party animal, jack-of-all-trades, average Joe and plain Jane - Duration: 10:01.
so welcome back to teacher Ken's I'm going to show you five more descriptive
idioms that are used to describe people so we're going to go through them now
party pooper jack-of-all-trades party animal average Joe and playing Jane now
a couple days ago we went through the other list which was gold digger
remember that's a person trying to get money out of another person using a
romantic relationship or maybe a woman marrying an older man with a lot of
money expecting him to die soon so we also said we also went through pain in
the neck anything that causes you stress and you need somebody to take that
stress away the problem is a pain in the neck your computer if your computer
breaks down a lot or if your car breaks down a lot that it's a pain in the neck
and we have go-getter a go-getter is a person who works a lot I mean this
person works 12 13 14 15 hours a day and is always concentrated on what they're
doing because they're trying to achieve that position in the company or they're
trying to achieve a higher pay rate we also had a know-it-all we visit the type
of person always has their hand up they're always trying to answer
everything and they're interrupting conversations to tell everybody their
point of view and we also have social butterfly and we also mentioned that it
could be a social media butterfly so a social butterfly is someone who's always
in the parties and it's kind of like party animal which is the one we're
going to be checking out today and a social media butterfly is someone who is
always on Facebook or Twitter or any of those social media
platforms so let's go ahead and look at the idioms that we have for today um a
party-pooper so let me get my pen out let's connect
them do you think it's a person who can do many different things that doesn't
excel at any or a person who ruins a fun activity by not participating could be a
normal everyday guy a girl with an average appearance not very pretty or
someone who enjoys going to parties well party pooper wouldn't be somebody
who enjoys parties did it so let's say it's this party pooper is a person who
ruins a fun activity by not participating let's look at some of the
different images we have here for a party pooper for instance look at this
guy right here you can tell he's not really enjoying himself right or look at
this girl here obviously she's not enjoying herself she's very mad you can
see it on the person's face when they're not enjoying themselves at a party or a
dull activity can be any activity so a party pooper is like that if a person
who's really not enjoying what is happening they're not enjoying the party
at all a party pooper is also somebody who is ruining the party for everybody
else for instance you could say why are you being a party pooper
that means why aren't you enjoying yourself why are you ruining the party
for all of us so that's a party pooper now a jack-of-all-trades now this one is
a person who can do many different things but isn't good at any of them
isn't isn't a profession at any of them so let's go ahead and look at some
images of jack-of-all-trades for instance looks look at this one right
here look at that this guy does lawn work plumbing he does carpentry he does
painting just about everything he does everything you can see even as a welder
and that's what a jack-of-all-trades is. it's a person who has
learned many different things but has never become a professional has never
become very good at any of them okay and here's a few other pictures right a
jack-of-all-trades and this can be also in the technology sector right a person
who does a lot of different things in technology but is it really good at any
of them isn't really a professional excellent so a jack-of-all-trades it can
be good but usually it's a negative idiom jack-of-all-trades so let's go
back and party animal and this is someone who enjoys going to parties and
you know how this person looks lets look at some images here of a party animal
here they're always putting animals like for instance this animal but they're
always just like people so what a party animal is is a person not a dog a person
not a dog that really enjoys party has a lot of fun at party so I'm going to see
if I can find a picture here of somebody who's really enjoying themselves at a
party look at this guy you can tell he's really having a ball he's really
enjoying himself at the party isn't he right and look at this one this one the
club can't even handle me right now he's partying so much he's such a party
animal that the club can't even handle him right now so that's a party animal
that's the idea um average Joe and this is a normal everyday guy who is an
average Joe let me show you some pictures of an average Joe this is a
normal person very common looking person and maybe these pictures of people don't
look common to you because everybody's eyes are different according to the
culture according to the country where they will like it maybe an Asian person
would not find these people as being average but a
Caucasian person would very average looking people they're not bad-looking
per se but they're average looking and the same thing goes for plain Jane now
this is the idea average Joe and Plain Jane they're about the same average Joe
playing Jane you have the same type of person it's a very normal common faced
person okay let's look at some plain Jane's maybe for Asian country
she doesn't look playing Jane to me but maybe for an Asian country she does
she looks pretty plain and she looks pretty plain Jane
so plain Jane an average Joe they're very normal looking people okay so those
are today's idioms and I hope that you enjoyed them now tomorrow we're going to
look at yes man dark horse sharp cookie copycat and bookworm so
tune in tomorrow or maybe the next day why don't we look at those together okay
bye, bye see you later
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Science Constellation Video - Duration: 5:06.
A constellation is a group of stars that seems to form a distinctive pattern in the sky.
The stars look close together but in reality, they are light years apart.
They are on the same line of sight.
This picture shows the constellation of Cassiopeia from Earth, it shows how the line of sight
makes the star seems close together but they are not they are many light years apart A
light year part is a distance that light travels in one year, it is about 9.5 x 10^12 km.
Star map shows constellations and individual stars, they represent the starts by using
dots of different sizes.
As you see, on this star map, there are many white dots, they are the stars, they have
different masses, that is why the size of the dots are different, the larger it is,
the brightness increases.
Zodiac signs have their own unique constellations, and they also have many different myth's
that explain each sign.
We chose the most interesting myths for each sign, and will now explain them.
Aries means "the ram" in Latin.
In Greek myth, Aries is identified with the golden ram that rescued Phrixus and took him
to Colchis, where he sacrificed the ram to the gods.
He placed the ram's skin in a temple, this was the Golden Fleece.
Taurus is an influential man pretending to be something he is not, in order to have affection.
It is a tale of abduction, he travels across the sea and he shows off of a tender but strong
side to a man that is fake.
This myth is about the birth of the twins, in which they weren't really Leda's sons.
Zeus fell in love with Nemesis, When she transformed into a goose, Zeus found her, became a swan
himself, and mated with her passionately.
As a result, two eggs hatched, which was found by Leda in the swamp.
Through a role of the giant crab, the god of the sea, put in charge to keep his nymphs
safe.
He got tricked by a "vampire squid" that he sent to save a couple of nymphs who got
away.
After the fight with the squid he was crippled and because of his immortality, in pain forever.
Leo was a lion that terrorized people.
There wasn't any way to defeat him because of his impenetrable skin that couldn't be
punctured.
Heracles went to kill the Lion.
He strangled it, using his own claws
Virgo was linked to the Greek and Roman goddesses of Agriculture, Demetres and Ceres.
The ancient Greeks connected Virgo to Astraea, who was the last immortal to live with humans.
She left the Earth to flee from the wickedness of humanity.
Libra is best connected to Dike, the Greek goddess of justice, and the daughter of Zeus.
In service of her father, Dike was in charge of measuring the weight of human souls after
they passed away.
Her job was to punish souls and reward souls.
Orion threatened Artemis and her mother that he would kill every animal on our planet,
which made them angry enough to send a scorpion to kill Orion.
The scorpion kills Orion with his sting and Zeus raised them both to the stars.
Sagittarius is viewed as the satyr Crotus, the son of Pan.
He was considered a great huntsman and an even better musician.
Because of his talent for music, Muses requested that Zeus place him in the sky.
This is when Zeus gave him two horse feet, a tail and a bow with an arrow because of
his archery skills.
The myth of Capricorn is connected to Pan, the god of the wild.
Pan speaks of a gathering of gods that was interrupted by a monstrous giant.
Out of fear, all of the gods changed shape, while Pan jumped into the river Nile, turning
his legs into a tail of the fish, and his torso to a goat, to scare the monster away.
Ganymede a boy who was abducted by the gods because of his beauty and taken to Mount Olympus
where he replaced Hebe as Zeus' a cupbearer.
Hebe was Hera's daughter and the supreme goddess got angry because of this replacement.
Because of constant fighting, frustrated Zeus put Ganymede into the stars.
Pisces is represented by Aphrodite and her son Eros, who escaped from the monster Typhon
by leaping into the sea and transforming themselves into fish.
Ursa Major is the constellation that is known as the great bear, it contains 7 stars that
forms the big dipper.
The ancient Chinese saw the Big Dipper as a chariot for the emperor of the heavens,
the early Egyptians saw the thigh and leg of a bull.
North American Aboriginal cultures, saw the bowl of the Big Dipper as a bear.
The big Dipper's two end stars are called the pointer stars because they point toward
Polaris, the North star.
A long time ago, before the invention of the compas people used to use Polaris to tell
direction.
If you can see Polaris, then you know you are going north.
-------------------------------------------
2017 DTE Educator of the Year, Lynne Settles of Ypsilanti High | UMS presents - Duration: 5:37.
DTE Energy has been pleased to honor educators
and schools across Southeast Michigan, in partnership with UMS since 2009.
She doesn't know it's coming; it's a surprise to her.
I'm sure she's going to be very emotional when she gets down there.
I'm from UMS, the University Musical Society,
which is the performing arts center at the University of Michigan.
Recently, we learned about a mural project
at your school led by your art teacher, Lynne Settles.
Lynne would you come on over.
[applause]
Ms. Settles worked with a local historian,
Matt Siegfried, and led students in an exploration of
the history of African American community in Ypsilanti
Which included visits to local underground railroad stops and other places
of importance to the community.
Then the students designed and painted
a mural under Ms Settle's guidance which was dedicated
to HP Jacobs, a slave who taught himself to read and write.
Who forged his own identity papers and fled from Alabama coming to Ypsi,
before the Civil War.
That first mural was such a great success that she is continuing the project.
This is a wonderful combination of important local history,
community building and artistic inspiration.
It's why DTE and UMS are proud to honor Lynne Settles as one of
the 2017 DTE Energy foundation Educators of the Year.
Congratulations to you.
[applause]
She builds great
relationships with her students.
She is so passionate about the work
that she does with her students, not only through art, but in life.
She's done a lot of community murals within Ypsilanti.
She's also helped to lead and drive some rallies
for our students as well.
When our students need something, they go
to Ms. Settles, they know that they can trust
Ms. Settles and that she's someone that they can go
to and be a rock for them in our school.
And, not only just our school but in our community.
I came to Ypsi about three years ago as
a new teacher but a veteran teacher.
Like most teachers I had to get to know my students so I asked them questions
about Ypsilanti and different things like that.
One of the things that they mentioned is that they didn't go downtown very often.
They didn't know a lot about their African American history connection, to Ypsi.
That became a mission for me.
I reached out to the community and
the community reached back and I presented it to the kids
that we're going to do this mural, and they showed up.
They showed up on the weekends, they showed up
at night, they showed up for interviews,
they showed up for after school,
they showed up for everything.
[laughs]
She's awesome, and she's turned our art class into a family.
When I first sat down at Ms. Settles class,
I didn't really talk to anyone, I was just sitting by myself.
I remember Ms. Settles came up to me
and said, "Hi, what's your name?
What do you do?
That's awesome."
She was just talking to me like a best friend,
and I remember I was just completely dumbfounded
that she actually cared.
I remember coming in the next week,
and she remembered exactly what I had said that day.
She actually listens to her students
and she's just amazing.
There are no words that have been written
that I can describe.
She's like the light that gives us all the courage
to do our best, and keep on and everything.
She's like a second mom.
Yes it's like a second mom.
When I first walked into the door, I felt
the change and I felt the love in the room.
Just meeting this beautiful person, like I said
in the poster, watching this teacher
take care of each individual person in just one year,
and get to know them, is beautiful.
Having a teacher like this at the school is just
a great thing to have, and I hope that we have her for many more years.
[applause]
What I think is very special about teaching art?
Art reaches -- is another form of communication,
and it has the ability to reach everyone,
whether you speak English,
or whatever language you speak.
You have the ability to communicate your thoughts.
You have rights to be different,
and its okay to be different.
Art in the schools is the reason some kids come to school,
it is the reason some kids stay after school.
They need art regardless of if they ever become,
professional artists.
It is so much more than that, it actually feeds the soul so much more than that.
-------------------------------------------
2017 DTE Educator of the Year, Jill Ross of Beacon Day Treatment | UMS presents - Duration: 3:02.
[MUSIC]
We are very proud,
along with DTE, to honor Jill Ross --
[applause]
-as the 2017 DTE Energy
Foundation Educator of the Year. Come on down, Jill.
Come on down.
[applause]
It's so great to see you. Congratulations.
Thank you so much.
In partnership and collaboration with the DTE Energy Foundation, we give
away an award called the DTE Energy Foundation Educator
of the Year Award. It recognizes excellent educators who do exemplary
work in arts and arts education.
We've been pleased
to partner with the University Musical Society since 2009.
The DTE Energy Foundation has been involved in giving back
to the communities we serve, helping communities prosper
and grow for the past 30 plus years.
She comes in every day with
more energy than imaginable. She's driven to give all
that she has every day to her students.
At Beacon, we only have one art teacher. That's me.
We went to see Jake Shimabukuro earlier this year, and he signed our ukelele.
You've got to come see this. We bought 10 ukuleles,
and we had a ukelele teacher come. We all have learned ukulele.
We've all been playing ukulele. We just did last week.
We do more African drumming. Four days of the week we do visual arts.
We do ceramics, painting, clay, mosaics. Then with
the Elementary kids, I just try to give them a general overview
of curriculum and get them to love art. The main thing,
but I will have everybody dance and drum on Fridays, every Friday.
I also do mindfulness with the high school kids.
It's just been the blessing of my life to be here
at Beacon with all of you and to have this job,
and then now to be your art teacher. So many years, right? 33 years.
Been here a long time. Yes, and loving it still every day.
It's just an honor to be your teacher and to receive this award
on behalf of all of us, all of you, and we'll have even more
fun next year.
[applause]
[MUSIC]
-------------------------------------------
Ken Fischer talks with University of Michigan student, Kat DeBartolomeis - Duration: 11:12.
Kat, it's good to see you.
How long you been at UMS as an intern? I've
been here for three years now. I started
my first semester freshman year.
Can you imagine? And I've learned how to
say your name Kat DeBartolomeis
DeBartolomeis. And, and it's..
Ken... Fischer. Well mine is easier
than yours. It's been so interesting how
so many of our interns over the 30 years
I've been in the gig are now you know in
the in the field doing really
interesting things. It opens your eyes to
this whole world of Performing Arts and
presenting and music and culture and
kind of bringing people together
through the Arts which I
think it's really important. That's what
drew me to UMS in the first place so I
appreciate you taking the time to talk
to me and for me getting the chance to
interview you a little bit and ask you a
couple questions. So one of my goals as a
student here at U of M and also just in
life in general is to never get too
comfortable in what I'm doing. I always
want to be learning and exploring new
things and I feel like you have been a
really great example of that so that
being said how have you defined success
for yourself throughout your career and
how have you decided kind of to follow
the path that you have. Well you know
that's really interesting because I was
I was thinking about this the other day
and I'm not a guy that's ever had like a
long-range plan for myself and I've kind
of tried to live you know in the moment
isn't is in and learned as much as I can
about the situation that I'm in and I've
been lucky that things have have evolved
and I'm curious so I ask people
questions and that eventually leads to
something
and I've always been really interested
in in people and so let's just think
about you know the first job I had at a
graduate school was to work on the
President's Commission on campus unrest
I said to myself once this Commission
was announced that's where I belong I
didn't go to Washington I was in the
middle of working on my doctorate here
but it seemed that was too interesting
an opportunity to pass up so I was able
to get a job there for the summer and I
found that I just loved Washington so
much that while I was offered a job and
I called my wife and said honey I think
this is where we belong and despite the
fact that she had just been awarded a
full ride for her doctorate here she
said if this is right for the family
then I'll come I can I can start my
graduate work in the Washington DC area
it's amazing and then I worked in the
Higher Education Association world and
didn't know what I was going to do I was
on soft money and believe it or not a
friend of mine had me sit down with a
psychic this guy was a medical doctor a
medical doctor but he had this special
ability and and he didn't know anything
about me and he he kind of held my hand
this was at a dinner and said the can
it's time to get off soft money and
it'll all work out in December hmm this
was in July of nineteen a 1978 okay so
what'd you do well it's what what
happened I was offered a job for a year
with a salary and I found out about that
in December that's amazing and all of a
sudden I had an opportunity to be on a
retainer meeting you were paid you could
guarantee what you're going to make each
month and then I was free to do other
other things and it was then that I was
getting involved in the Performing Arts
and eventually did my first concert at
the Kennedy Center and that was kind of
on a whim I wanted to hear this
particular group and the major
presenters in Washington weren't
interested in hearing this particular
group of presenting it to its audience
Rae said well what the heck I'll go put
on a show and never having rented the
Kennedy Center I went and talked to this
person and next thing I knew I had
Valentine's Day of 1983 available to me
to put on a show and look what happened
you know we had a great success with
that particular group called the King
singers I presented them three more
times and and then it was my son and my
wife that sat me down and said dad
you're now you have this consulting
business that you're in and now you're
involved in the performing arts and each
of those has its ups and downs maybe we
need more stability and security in this
household and I said you know what
you're right and that's when the job and
Ann Arbor opened up and I never thought
they'd be interested in me because they
hadn't identities what I would call
dilettante gigs at the Kennedy Center
put on a show and but I never had
designed a season I had had a big staff
and I certainly had enormous respect and
admiration for this oldest University
presenting organization in the country
long story short they hired me and that
was 30 years ago that's amazing and I
just had had the greatest time but all
through you know what as I think about
it it was being open to new experience
asking questions being curious
so you've asked for the definition to
success you know I think it's it's been
a matter of just trying to do my best
with whatever it was surround myself
with really wonderful people say you go
back to yourself at 20 so where I'm at
right now what would you tell yourself
follow your heart
listen learn
because when I was 20 I thought I was
going to be a college chaplain I was a
religion major at the College of Wooster
in Ohio while I was intending to enroll
in Union Theological Seminary in New
York I ended up coming to a program in
the study of higher education here at
the University of Michigan when I'd
concluded I don't think I've got it
right to be a college chaplain but I
would love to work in college and
university work and I was able to get
into a program Anna by mistake you were
supposed to have a master's degree in
two years of work and I was 21 I had no
experience and I didn't have a master's
degree and so I think it was sort of
admitted by mistake but I became part of
a group of marvelous graduate students
all of whom were older more mature and
very ambitious to become you know
college presidents and leaders here's
this 21 year old kid look who I was able
to learn from you know these folks with
master's degrees from the Harvard
Business School of law degrees from
Georgetown and they all had in mind they
wanted to get on college campuses and
make it make an impact what I was able
to learn over the four years that I was
here from these people men and women so
that's really how it works right is that
you put you put yourself in a position
where you're going to meet other folks
where you hope the the climate is such
that you can ask that's the thing you
know it's being accessible wait the key
would be then - once that introduction
is made follow-up that is the most
important thing when the door has opened
you need to walk through it you need to
make that that contact and then of
course your networking is it's kind of
the heart of what you know Kerry have a
business card with you when you go and
one of the things that over the years
that that I've tried to always have in
my pocket is you know here's here's a
schedule of our concerts so did you
learn anything from what I just told you
a few of the things that you spoke to
that really resonate with me the first
is relationship-building so i 100% agree
i think it's so important to make sure
that every person that you meet you
first of all treat with respect and
kindness because you never know where
they're going to end up right and to be
so giving of yourself to want to spend
time with another person and to and to
really learn who they are I think it's
really valuable so like to learn that
and learn that that's one of the pillars
of your success and then you were also
mentioning how important it is to be
curious and ask questions and I think
that's something I'll definitely take
with me too I think kind of speaking to
my point earlier I never want to stop
learning I never want to just sit there
and be comfortable so comfortable and
what I'm doing that it seems like it's
mundane work everyday it's terrific
I really again appreciate you taking the
time to talk to me like it's always it's
always nice to hear from someone who
didn't just confirm kind of what you're
doing and maybe tell you it's okay to
change paths and Madison pursue three
things that you might love and well it's
probably it could be many more for you
it's keep your mind open that meet
people today be curious though those I
think that I invited to know those are
the takeaways for you because I think
that's what I was trying to convey it's
just you know you're open and you'll be
you'll be just very successful thank you
I appreciate it
well thank you Ken
-------------------------------------------
Learn Colors With M&M and Moana for Children, Toddlers - Colors For Children To Learn with Baby cry - Duration: 2:07.
Learn Colors With M&M and Moana for Children, Toddlers Colors For Children To Learn with Baby cry
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