#it took me about 10 minutes to arrange them in an excel sheet and import it

[hyunejin]

i wish i could directly email the person who's in charge of these settings, to Please let me import the dates on the weekend please dont make me upload them manually for all the 29 groups i manage

[andypantsx3]

war paint | 3 | captain

pairing: Bakugou Katsuki / Reader

length: 27,765 words / 10 chapters

summary: Desperate times force you to disguise yourself and join the kingsguard. When a suspicious string of crimes strike the palace, however, Captain Katsuki Bakugou starts paying extra close attention. (spin off of in cinders)

tags: mulan AU, secret identity, romance, reader-insert

warnings: aged up characters, some violence, eventual smut

The first few weeks of your enlistment were inarguably the worst you’d ever lived.

If not on patrol, soldiers were awakened before dawn every morning and marched to the training pitch behind the castle where you drilled in different formations with various weapons. You were run through exercises that seemed designed to drop anyone with less than iron willpower, then set to menial tasks like cleaning the barracks or repairing any damaged weapons or equipment. The midday meal was the first break in your day, followed immediately by training in basic first aid and survival skills, then by more weaponry drills that took you until the dinner bell.

Between your extra training with Nishimura and the time you had to invest in sneaking off to use the lavatory or a spot to bathe in private, you were hardly resting. Even the time you did spend bathing, you spent in a constant state of anxiety, wondering if a random bunk check would reveal you missing. You hadn't chanced more than a wild, lightning fast scrub down in weeks.

At the end of the first week, you’d collected your enlistment fee with hands blistered from sword work, and it took you longer than you’d ever admit to count it out, stopping every few seconds when your eyes drifted involuntarily shut. You’d been happy to send it off to your family, though, with a short note that told them you were doing well.

Which was, of course, a lie.

You weren’t exactly the most popular among the kingsguard thanks to the show you’d put on when you arrived, and you had the misfortune of dorming in the same room as Nishimura. Despite Captain Bakugou’s warnings, he’d gone out of his way to make life uncomfortable for you, slipping bugs into your sheets and loudly discussing you in less than flattering terms well within earshot.

More than that, you were terrible at nearly everything and it was obvious. Kaminari helped you to the best of his ability, and so did Sero, the guard who’d poked fun at your age at the castle gates. Neither of them, however, could make up for the fact that as a woman, you were somewhat smaller and slighter, and hadn’t had the same opportunities building up muscle mass as men your age. Every sword felt like an anvil in your hands; lifting a mace like hauling a boulder.

The only thing you seemed to excel at was the first aid trainings. You found yourself listening with rapt attention as the court physician walked your battalion through wrapping injuries and cleaning wounds, noting which easily obtained herbs and flowers could slow blood loss or ease pain. Kaminari was always eager to pair with you during the practical exercises, as you were among the least likely to accidentally poison him with the wrong herbs. It was gratifying to be good at at least one thing.

Your favorite part of castle service, though, was the patrols.

After your first month of training, you’d been assigned thrice-weekly patrol routes and found that it was like wading into a cool river on a hot day. Patrols got you out of whichever drills were happening at the time and took you out from under Captain Bakugou’s purview and behind the relative safety of the castle walls.

Though monotonous, you only had to walk a specific route throughout the castle with a partner, and you were rarely supervised. On your first patrol with Kaminari, you also found that patrols were - for him - more of an opportunity to make social calls.

“L/N,” he said, nearly the minute you stepped inside the castle walls. “We’ve got an excellent route today.”

You raised an eyebrow in question.

He chuckled, gesturing you along. “Come on, our first stop is right over here.”

“Our first stop?” you echoed.

Kaminari grinned and grabbed your sleeve, pulling you into a side door. On the other side sat a cramped office stuffed with bright fabrics and colorful spools of thread. A woman with shocking pink hair hunched over a spill of pretty silk, working tiny, perfect stitches into the fabric.

“Mina!” Kaminari boomed and the woman sat up with a smile.

“Denki!” she said, reaching over to hug him. “It’s been a while since patrol took you over here! I have so much to tell you!”

Kaminari laughed and pulled you forward. “Me too. Mina, this is L/N! He lied about his age and wormed his way into the kingsguard.”

You whirled on him. “I’m old enough to be in the guard!”

The absolute wrong gender, but definitely the right age.

He gave you an innocent look. “I’m just passing on the popular opinion.”

Mina chuckled. “Oh, ignore him, L/N. We all do. It’s quite nice to meet you.”

Kaminari whined but Mina just laughed again, redirecting his attention to the dress she was making, saying it was for the princess-to-be. Apparently, Prince Shouto’s bride had been a kitchen girl that Mina and Denki had both been acquainted with, and they talked eagerly of the wedding they’d both been invited to and the food that would be there.

“Think old Bakugou will show up?” Kaminari asked at one point, making himself comfortable at Mina’s workstation. Mina met this with a shrug.

You gave them both a questioning look. “Why would the captain be invited?”

Kaminari turned to you conspiratorially. “Captain Bakugou and the prince grew up together - they’re something like old friends. Plus, Bakugou’s a marquis, he’s probably got an invitation just for political reasons.”

“He’s a marquis?” you asked. That explained the Lord appellation on your contract, then. “Why join the palace guard if he’s titled?”

Kaminari shrugged. “Probably not enough opportunity to torture innocent civilians in Musutafu. If he wants to hold the land, he’s got to be nice to them, hasn’t he?”

You grimaced, thinking of all the drills he’d run you through since you’d gotten here. That definitely wouldn’t endear him to anyone.

“Speaking of our favorite captain,” Mina said conversationally, “I heard he’s been meeting with the prince more often than usual.”

“Wedding stuff?” Kaminari asked, but Mina shook her head.

“As if he’d touch that mushy shit with a ten foot pole. He wouldn’t know romance if it pranced in front of him wearing a soldier’s uniform. No, I heard it’s because a bunch of papers and other valuables went missing from the prince’s study last Thursday night.”

Your mind wandered back to last Thursday, wondering if you’d been on patrol when it had happened. You only dredged up a memory of snuggling down into your bunk, relieved that Nishimura and his goon friend Hasumi were out on their own patrol and your bed was thankfully bug free.

Kaminari’s eyebrows went up. “Important papers?”

Mina raised a thin shoulder. “From what I heard, it seemed to be a weird selection. A couple letters, some wedding arrangements. But a land treaty disappeared as well. They think it’s a spy.”

Kaminari whistled. “Bet old Baku is pissed this happened on his watch. No wonder he’s been in such a foul mood lately.” He turned to you. “Don’t you think he’s been a little too happy when one of us gets clipped by the wrong edge of the sword?”

You thought back to his threats in the mess hall. “He seems normal enough to me.”

Kaminari mulled that over. “I suppose he’s usually that awful.”

Mina smiled. “Talking of which, shouldn’t you be getting on with your patrol? I’d hate to find out what he’d do if he found out you were in here gossiping.”

A spike of panic stabbed through your heart and you grabbed Kaminari’s sleeve. “Excellent observation, Mina. We really should be going. It was wonderful to meet you!”

You tugged Kaminari roughly back through the doorway. You thought it was a testament to his own fear of the captain that he went willingly enough.

The rest of your patrol proved uneventful, however, Bakugou thankfully never being alerted to your social stop. Your patrol ended just after the dinner bell and you ate quickly in the mess hall, then rushed off to the training pitch.

Today was also the last day of your punishment for fighting in the mess hall on your first day, and you thought dreamily of all the rested muscles and extra time you’d have on your hands once extra training ended. You might be able to sneak off to bathe at a normal time of the evening instead of in the dead of night, starting tomorrow.

Your good cheer faded quickly, however, as you arrived at the pitch to find Captain Bakugou there.

Nishimura was just behind you and he stopped short at your side. “Where’s our usual drill officer?” he demanded.

A horrible grin cut into Bakugou’s features, bearing his sharp canines. He looked like a wolf ready to tear into a nest of rabbits, and your stomach flipped. “Ojiro’s off duty tonight. Thought I’d see if you’d learned your lesson myself.”

You inhaled sharply, and Bakugou caught it, laughing. “Thought I’d forgotten about you two fucks, didn’t you?”

You lowered your gaze and took a deep, steadying breath. Just tonight. You just had to get through tonight and you would be free.

Nishimura seemed to steel himself as well, sweeping a hand through his dark hair. “What are our drills tonight, Captain?”

Bakugou’s crimson gaze flickered over you both. “Fight me.”

You looked up, startled. “Fight you?”

He looked you over disdainfully. “You’re a goddamn soldier, you telling me you can’t fight? Didn’t seem to stop you in the mess hall.”

You bit your lip, but Nishimura stepped forward, that violent gleam in his eye. “Yes, sir.”

Bakugou grinned. “I’m gonna fucking wipe this field with you.”

Nishimura didn’t dare correct his superior, but his hand went quickly to his sword and he leaned forward eagerly. Before you even had time to blink, the clash of metal rang out across the field and Bakugou had Nishimura on the defensive, pushing him back into step with you. You hadn’t even seen him go for his sword.

Swearing, you fumbled for your own blade, whipping it out just in time to catch the swipe Bakugou aimed at your side. You stumbled under the force of the strike, tripping backwards.

Nishimura growled and lunged again, but Bakugou was faster, parrying his attack and following up with his own. A low chuckle escaped him as he caught Nishimura with the back edge of his blade, winding him and sending him staggering back.

Bakugou whipped back to you, targeting you with another fast swipe that you barely caught in time. The strength of his blow almost knocked your sword from your grasp, shuddering up your arm and leaving you gasping.

“What the fuck are you in the kingsguard for if you won’t fight?” he snarled. Another swipe came your way and again you barely caught it. Your heart beat frantically in your chest and you tried to duck out of range of his arm.

“Come back here, pretty boy,” Bakugou taunted, advancing on you, but Nishimura cut in with another attack. Bakugou whipped the edge of his blade up again, faster than your eye could follow, catching the strike. You caught the curl of that savage grin on the corner of his mouth again before he moved, ducking under Nishimura’s arm and twisting his blade. It slid along the edge of Nishimura’s sword with an awful screech, then caught the hilt at an angle, ripping it straight out of Nishimura’s grip.

A kick from Bakugou had Nishimura on the ground and just as quickly he twisted back around, stalking back towards you. Your heartbeat quickened in fear as he approached, crimson gaze burning into you.

“You don’t belong here if you can’t face me,” he ground out. “Fight me or I’m discharging you. That’s a fucking order.”

You trembled, but lifted your blade. You needed the money to send back to your parents. It was too early to be discharged - if you left now, they’d have no way of clearing the debt.

You thrust your sword forward but Bakugou dodged easily. You quickly flicked through all the maneuvers you’d been drilling the past month, and followed up with a lunge. Bakugou grinned, flicking it aside with a quick twist of his wrist.

“Put your back into it, shrimp,” he demanded.

You gripped your sword with both hands, bringing it down on him with all the force you had in you. Bakugou deflected, and before you knew what was happening, your sword was rent from your grasp, skidding along the dirt of the pitch behind you.

The flat of Bakugou’s sword came up to tip your chin up to him.

“Pathetic,” he spat, “you fight like a damn woman.”

Your hands curled into fists at your sides. Bakugou’s sharp eyes caught it and he smirked. “You gonna punch me, pretty boy?”

You struggled to tamp down the hot anger bubbling up inside you like a spring from the earth. “No, sir.”

He eyed you distrustfully, pressing the flat of his blade into your chin a little harder. “I’d think seriously about what the fuck you think you’re doing here. This is the kingsguard and I don’t need weak little shits like you endangering the royal family or your fellow soldiers.”

You stared back at him, not daring to speak. Your blood rushed in your ears and your heart hammered wildly in your chest.

After a long moment he lowered his blade, sheathing it back at his hip. He looked over at Nishimura, who was delicately picking himself up off the ground.

“Disappointing,” Bakugou said roughly. “I’ve seen enough here. You’re both dismissed - back to your dormitories.”

You nodded, backing away from him. Nishimura stalked off, and you turned and picked your way gingerly back across the field, stopping only to pick up your sword and tuck it back into the belt at your waist. You set off slowly for the barracks, something like hot tears stinging at the back of your eyes.

You didn’t look back, but you swore you could feel a pair of crimson eyes on you as you slipped quietly through the dark.

[canaryrecords]

In the second half of the 19th century, troupes of Moroccans, Egyptians, and Syrians performed in the United States at tent shows, circuses, minstrel shows, vaudeville houses, and theaters as ethnographic/ exotic spectacles for American audiences. Several members of the first Syrian family to emigrate to the U.S., headed by a medical doctor named Yusuf Arbeely (b. 1828, five miles outside of Damascus) who arrived with his wife, niece, and five sons in August 1878, toured during the 1880s offering paying customers (25 cents for adults; 15 cents for kids) a chance to see people from the Holy Land in native costume. The 1893 Columbia World Exposition in Chicago offered many more Americans the chance to witness aspects of Arab and Turkish culture at its pavilions. (Three wax cylinders recorded there by Benjamin Ives Gilman on the morning of September 25, 1893 by four musicians from Beirut and totaling less than five minutes of sound are, strictly speaking, the first sound recordings of Arabs made in the United States.)

Through the end of the 19th and beginning of the early 20th centuries Syrian immigrants to the U.S. developed enclaves in about a dozen cities and towns in Massachusetts, Pennsylvania, West Virginia, Michigan, and New York. By 1920, over 150,000 Arabic-speaking immigrants from Greater Syria (the Ottoman districts of Aleppo, Damascus, Beirut, Mount Lebanon, and Jerusalem) established themselves in a variety of retail, service, and manufacturing trades, especially the garment business. 40,000 more immigrants from the Syrian diaspora had settled in Canada and Mexico, 300,000 in Brazil and Argentina, and 40,000 more elsewhere in South America and the Caribbean. In the wake of the catastrophe of WWI, in which 18% of the Syrian population died, and the politics of the establishment of the nation of Lebanon, most remained in the Americas.

The first Syrian-American to have recorded in the U.S. was, in fact, second generation: a composer and pianist named Alexander Maloof (b. ca. 1884-85) whose parents arrived from Zahle (present-day Lebanon) in 1884 and applied for citizenship the following year. He was already publishing sheet music of his compositions, by 1901, had established as a music teacher in Brooklyn by 1905 and was performing in public by 1911. His music synthesized American and Syrian elements. In 1912, he copyrighted “America Ya Hilwa” (which he called “For Thee, America” in English) and campaigned for years to have it become the U.S. national anthem. In September and October, 1913, he recorded a porto-ragtime piano arrangement of the traditional Ottoman tune “Alyazayer” and an original composition called “A Trip to Syria” (a trip that he, himself, never made during his lifetime). It is unclear whether the resulting disc was marketed to English or Arabic speaking audiences. But in April 1916 a group credited only as “Syrian Band” recorded four sides for Columbia records in New York and issued as part of their E (ethnic) series for the immigrant community; the hybridized style of those performances are not unlike material Maloof recorded and self-released by Maloof,including his “America Ya Hilwa”, in the 1920s, and it seems reasonable to speculate that these were made under his direction. On his own label, his issued a wide variety of material by his own Oriental Orchestra as well as then-popular immigrant performers. After folding the label, he recorded several more sessions for other labels including Gennett Records in Richmond, Indiana. (Among them were a series of organ solos marketed to funeral parlors and roller rinks.) He produced piano rolls, performed on radio, toured widely, and continued teaching in to the 1950s. Richard M. Breaux’s excellent biographical article on Maloof points out that when he died on leap day 1956 in New Jersey, his local obituary pointed out his efforts to transcribe and preserve Levantine folk music.

Arabic-language discs were imported physically from Beirut and Cairo during the early 1910s by entrepreneurs including A.J. Macksoud who ran a series of music shops on and around Manhattan’s Washington Street, while at the same time Victor Records issued overseas recordings domestically in the U.S. for the immigrant market. It was not until the Maronite priest Rev. George Aziz (b. 1872) recorded a single disc on May 15, 1914 in New York with violin accompaniment that the Arabic language was recorded commercially in the U.S. (Again we refer those interested in a recent biographical article on Aziz by Richard Breaux.) March 18 and 19 of 1915, the first Syrian recording star Nahum Simon made his first recordings for Columbia.

Simon appears to have been a professional shoemaker, born January 25, 1890. He seems to have tried to emigrate first in June 1904 at the age of 15, but after being detained for four days for medical reasons, was deported. He successfully entered the U.S. in 1912, settling first on Atlantic Avenue in Brooklyn with his wife Rahill and their two American-born children Evaleen (b. ca. 1915) and Joseph (b. ca. 1917). Between March and September 1915, he recorded 12 discs, and then in 1916-17 another 21, all for Columbia. Their popularity would seem to have been the catalyst for the wave of recordings of Arabic-speaking immigrants that took place over the second half of the 1910s. He did not however record again until the 1920s when he made 8 more discs for Victor Records (including two 12” discs) and 3 12” discs for Columbia. After a few appearances of WBBC’s Syrian Hour radio show in early 1933, we are unclear what happened to him.

The only other singers to have recorded nearly as prolific as Simon during the 1910s and 20s were Selim Domani, who made at least 30 discs for Maloof’s label; Louis Wardini, who made 6 discs for Victor on May 16, 1917 and another 25 discs for independent labels in the 20s (including Maloof’s); and Constantine Sooss (or Souse), who released 17 discs on Victor and Columbia during the period October 1917 to February 1920. (Again, Richard Breaux has written biographical studies of all three of them.) One factor ties together the recordings of Simon, Domani, Sooss, Wardiny, and (potentially) Aziz. They all include the violin accompaniment of Naim Karacand. A 2500-word biographical article on Karacand, published at Breaux’s Midwest Majar blog, is attached among the download files for this album. But here is a brief summary:

Karacand was born on September 2, 1890 in Aleppo, Syria, where he was raised Catholic. He arrived at Ellis Island October 10, 1909 and settled in Brooklyn, followed by his younger brother Hicmat and parents Abdullah and Susie. He was first married in 1912, and he had his wife Najeema had three children (1913-17) - the period during which he recorded with Nahum Simon, William Kamel, Moses Cohen, and others as well as about another 10 discs under his own name or anonymously. His band at the time included Shehade Ashear (or Shehadi Ashkar, kanun) and Abraham Halaby (oud), both of whom were Halabi (Aleppan) Jews, or in some cases oudist Toufic Gabriel Moubaid (born ca. 1887-88 in Tripoli, Lebanon). During 1921-22, he was involved in a protracted, bitter, and very public divorce that tore his family apart. He recorded prolifically through the 20s for Maloof and A.J. Macksoud independent labels based in southern Manhattan’s Little Syria neighborhood.

His Declaration of Intent to naturalize as the citizen of the United States on July 10, 1923 was witnessed by his regular collaborator Toufic Moubaid and the dancer Anna Athena Arcus, a native of Mersin, Turkey five years his senior whom he later married. In 1930-32 Karacand worked as a music consultant on a series of film in Hollywood, notably including Mata Hari starring Greta Garbo. In 1936-37, he traveled to Brazil for the wedding of his brother Chukri and performed there before returning to Brooklyn. He spent the 1930s and 40s playing WHOM’s Friday evening Arabian Nights radio program and performing constantly at gatherings of the Syrian-Lebanese community. He continued to record prolifically for independent labels through the 1940s and 50s in New York. Among his last recordings were in 1958 at jazz-Arabic hybrid sessions for Riverside Records under the direction of Ahmed Abdul-Malik, who was then bassist for Thelonious Monk. Following the deaths of his second wife and all three of his children, he died in Astoria, Queens in 1973 and is buried in Green Wood Cemetery in Brooklyn.

A composer and performer who was held in high regard in his community, Karacand’s repertoire and skill allowed him to play with a wide variety of performers from a variety of backgrounds. Even among his earliest recordings on this album, he plays a classical peshrev (“bishro”) by the Ottoman-Armenian Tatyos (tracks 17-18), urban Beirut/Cairo-style classical tarab (tracks 5-6 and 9-10), and Syrian rural folk deke dances (tracks 21-22 which were originally issued uncredited). His collaborators included Jews (including Moses Cohen, who we suspect was born in Aleppo ca. 1894) as often as Christians.

Between May 1914 and February 1920, Columbia Records issued a total of 70 discs recorded by Arabic-speaking immigrants before ceasing to record them. Victor a total of 32 discs between September 1913 and July 1921 and persisted only sporadically through the 1920s. By and large the market gap for Syrian-American performers on record during the 20s was filled by the Maloof and Macksoud labels. This collection then represents about 10% of the total output for the time-period it covers. Allthough lacking certain key performers (Souss in particular) and sourced from acoustically recorded discs in very mixed condition from over a century ago, and lacking in biographical details for two of its performers (William Kamel and Moses Cohen), I hope it serves as window into in the musical world of a remarkable American immigrant community deserving of more attention.

All tracks recorded at Columbia Grafophone's Woolworth Building studio on Broadway except for 1 & 2 recorded at Victor Records' New York City studio.

Instrumentalists on tracks 3-22 are likely Naim Karacand (violin), Shehade Ashear (or Shehadi Ashkar, kanun) and either Abraham Halaby or Toufic Moubaid (oud).

Recordings dates via Richard K. Spottswood Ethnic Music on Records (University of Illinois Press) and Columbia Records E Series, 1908-23 (Mainspring Press): 1 July 24, 1913 2 September 18 1913 3-6 April 1916 7-10 May 1916 11-18 June 1916 19-20 January 1917 21-22 May 1919

Transfers, restoration, and notes by Ian Nagoski, 2017-2020 Thanks to Richard M. Breaux whose ongoing research into early 20th century Arabic-speaking immigrants can be found at syrianlebanesediasporasound.blogspot.com

Thanks also to Steve Shapiro, Nancy Karacand, and Jorge Khlat.

Further reading: Elmaz Abinader. Children of the Roojme: A Family’s Journey from Lebanon. University of Wisconsin Press, 1997. Donna Carlton: Looking for Little Egypt. IDD Books, 2011 Stacy D. Fahrenthold. Between the Ottomans and the Etente: The First World War in the Syrian and Lebanese Diaspora, 1908-1925. Oxford University Press, 2019. Sarah M. Gaultieri. Between Arab and White: Race and Ethnicity in the Early Syrian American Diaspora. University of Caltifornia Press, 2009 Princess [sic] Rahme Haidar. Under Syrian Stars. Fleming H. Revell, 1929. Linda K. Jacobs. Strangers in the West: The Syrian Colony of New York City, 1880-1900. Kaliyah Press, 2015. Salom Rizk. Syrian Yankee. Doubleday, 1943. Najiba E. Saliba. Emigration from Syria and the Syrian-Lebanese Community in Worcester, MA. Antakya Press, 1992. Lee S. Tesdell et al. The Way We Were: Arab-Americans in Central Iowa, an Oral History. Iowa Humanities Board, 1993.

[autoirishlitdiscourses]

Discourse of Monday, 17 August 2020

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Perfect; error-free. Please let me know if you describe what needs to happen in an agile manner on your midterm will be. All in all, you could get it in general, which is what you want to travel during Thanksgiving week, you have any other questions are below in the way that is necessary to perform up to the text than to worry about whether you're talking about. Three did not read in ways that don't happen here—it's a mark of professionalism on your part to do in answering this question is not improbable. Your writing is not sufficient to have thought out the issues that you're arguing for a B-on your list existentialism, absurdity though it wasn't saved by the time since then, anyway.

If you choose a selection that you look at it with people, and word not only mothers themselves, but rather that it's not intrusive and doesn't delay your presentation tomorrow let me know if you score less than half a second immediately in response to that in 1. I think that you examine. Thanks for letting me know if you have 82. Your ultimate guide to all questions about how to make a two-minute and two-minute warning relative to the details of the friend who was scheduled to perform the same part of the novel as a good break, and good choice here, and that poetry is an arena for such thinking: a participate even more detailed lesson plans, you're about in lecture in the quarter. Questions?

Should I have empty seats in both my sections in terms of a move that would be most closely associated. I hope you feel that it would have helped in making a specific point of analysis. At the root of these are genuinely small and have a strong job here. As to what their artificial social relationship monogamous Christian marriage according to its topic and take a look at the last minute. Thank you. If you have some interesting landscape-related stress. Do Like a S'Nice S'Mince S'Pie sung by Bessie while dying, act IV: Chorus sung: John McCormack singing It's a good impression and pick up more abstract and general questions by email within forty-eight hours in advance will help to ground your analysis, and gender are related to grotesquerie. I'm not willing to do, OK? But you really have done a lot of ways. 25 on the assignment in any way. You are absolutely not married to the poem closely and thought about your recitation in the course website let me know if you arrange a time to get me a couple of ways, you've done quite a nice paper on the midterm. I'll see you tomorrow morning! Thanks for doing a strong reason for not doing so by 10 p. The other students in the attendance/participation that is appropriate, and showing that you finished final revisions too soon before it was written. There are a few minutes talking about the postcard U. In more detail. I guess you could do so, so it's completely up to you without being heavy-handed or otherwise unresolved. I think a natural move is likely to find things to talk about how most people think, and should take a step back from doing so. You absolutely don't have the correct forms for a job well done. Similarly, if I recall correctly: once during the early twentieth century. A final exam, you can pick one or more specific claim about the way that shows you paid close attention to the interest of your selection from the selection in the assignment, and you both for doing a genuinely excellent readings, I do not curve grades. Serving as a mutual antagonism based in what ways? In fact, you did well here, I think that there are variations between individual memory? 5% on the eleventh line; changed The proud potent titles in line with general academic practice, a middle A, counting both Saturday and Sunday as a group is, in large part because you're going to be substantial deviations from standard American punctuation and formatting issues that you need a copy of The Song of Wandering Aengus Lesson Plan for Week 8: General Thoughts and Notes Mooney, TA Eng 150, will you swear to give a strong job yesterday you got up on the theory that the best night to do the legwork myself. So you can start with major points into questions and think carefully about how you'll lead into them, or picking fewer than seven IDs. Anyway, my point is that failing to subscribe to one or more specific proposal, but don't yet see a good weekend. Just How Bad Things Are For Young People via HuffPostBiz Welcome to the exception of many potentially productive move that would better be delivered in a lot of good plays: thanks to! Burroughs, etc. All in all, you chose a longer selection than was actually necessary and by in from a Western; things like nationalism and neutrality—these minor errors didn't hurt your grade by then, I will take this suggestion and apply for the final, too, and the few remaining lines of the possible points for demonstrating correct knowledge I'd rather you did a really good reading. I think, though. The short version is that I set the bar for A. That's very good readings of recruiting materials could wind up making revisions, you're welcome to put that would work for you. I guess what I'm expecting it's a good decision to talk about his horror that feels in response to the ER, and no more commonly yes responses, because it's entirely up to do so that they were sick. Have a good weekend, as it needs to happen for this paragraph, and I'll post the revised version instead of answering your own thought, although none substantial enough to juxtapose particular texts side by side? You have interesting things to focus it a strong job of getting people talking and that you've made an incredibly useful lens to use the texts is also an impressive move, because the writing process. You can choose any poem at all who says you got up in certain specific ways that this is the ideal resource, but because considering how you can pick one option from section 1:30-3: General Thoughts and Notes 30 October discussion of the class automatically. Again, I suspect are likely to be exchanged for it. Your Grade Is Calculated document I do have some very perceptive work here.

This does not include the credit for section, your delivery; you should talk more would have helped you to next week. He has not yet announced which part of why I am performing grade calculations in such an exaggerated form as, when the power company left me reading by candlelight for several reasons, including pointing other students, that particular poem would be to ask people to go that way versus having an couple of suggestions. If you do not check my email for the week of section, not on me. In the context of your discussion around a general pattern in Celtic mythology in a lot of specific thought to be more successful if it actually went out, you might focus on that section was 2. And many of which parts of your analysis assumes that alternate options have been reminding you since 14 October about this in terms of which affects your basic idea is basically clear and solid understanding of the paper could then have been years where I've graded more than you've managed to introduce a large amount of detail. I hope you had an A in the grotesque body worthwhile to make it. I'm glad to be course material, and that you want and take a look at constructions of masculinity in the last week.

Your writing in order to contribute in more detail if you'd prefer. Make sure that your topic needs more attention to your presentation notes would be to go that way versus having an couple of ways, and gave a solid, overall for the historical development of the room, but both were genuinely minor errors, and I wanted to make meaningful contributions to the course's large-scale questions with you that I didn't hear this: Don't forget to bring your copy of your recording. If you want to make large cognitive leaps immediately. You've done some very solid paper that is, overall, though there are several possibilities for productive discussion, too. Ulysses closely, and your paper's structure. I'll see you tomorrow morning. Grade: A piece of writing—and that you might, if you'd like them to other students were engaged, and nuanced as you're capable of being is to force a discussion about one or two in case of hasty writing and its background. If he lets you expand or drop material if you do a better move would be to be framed and executed a bit more would have helped to avoid treating your time and managed to introduce the text and to interrogate your own writing, despite the fact that hawthorn is a strong preference and I'll see you in lecture if they cover ground which you can send me email. Doing a very difficult task. Plagiarism and Cheating:/Anything and everything looks good to me, as you may find helpful, but students who often had complex depictions of women in this passage has Francie being passively aggressive toward the Nugents as Anglo-Irish Literature Section guidelines. Let's talk tomorrow after 12:45 is the amount you talk in more detail. Section tomorrow. A blade of grass. He also recited Yeats's September 1913, but you handled yourself and your readings of Heaney, Requiem for the quarter, but some students may not arise to give a more specific about what you wanted to be more specific claim about what's actually important to avoid explicating yourself as the audio or video recording. I hope you get other people are saying and look at constructions of masculinity in the past that there should be to let me know what that is appropriate to recite from McCabe, might be profitable to look at constructions of masculinity in the grading in four days to email the professor in our society means that, I think that there are places where you need to do with it? 6 nothing/hopelessness in your thesis what kind of claim you want to do well, here. Again, thank you for doing a solid understanding of the poem and gave no A grades should also say that, when absolutely everything except for the students had an A in the course components. I built in the English 150 this quarter.

[michael-radi-the-glamorous-life]

From The Ground Up

The term “Devised Theatre” tends to elicit strong reactions from people - whether that be eyes lighting up in excitement, a shudder in remembrance of the ghosts of devised theatre past, or questioning looks from those who aren’t exactly sure what it means.

Essentially, devised theatre is a theatrical piece including any performance elements (dance, music, lights, speech, sound, movement, etc.) that was built from the ground up by an ensemble of people without a physical, linear-plot script.

Often these types of piece are made to be experimental and off-the-beaten-path, and audiences aren’t necessarily expected to feel a sense of familiarity in experiencing the performance.

But then, other times that’s exactly what they are meant to feel. And that’s where it gets super tricky.

Tonight is the official opening night of So Happy Together: The Music of the Swingin’ 60’s at Bristol Valley Theater - for which I am the Musical Director - and that’s precisely what this show was built to be: a devised musical revue show meant to be a delightful, familiar, and joy-sparking experience for the audience.

And folks…I think we did it?!?!

But how?

The 7 Day Crunch

The summer stock theatrical process is a crazy one on any given show.

Generally speaking, you have an extremely limited amount of time to learn, build, and stage a show in order to get it ready for a short run of performances in front of a summer audience. It’s fast and it’s furious, but when done well it can be some of the most fun and rewarding theatre around!

At the Bristol Valley Theater specifically, there are 7 days between the first rehearsal and the final day when the show must be finished for a run in front of the design and tech crews. To say that’s not much time is quite the understatement.

But for a devised musical revue like So Happy Together, it can almost feel like negative time.

“So how did it happen? What was this process?”

An excellent inquiry, dear reader!

Pre-Production

Luckily, when you know you have a gigantic goal and quick process like this coming up, the production team has the ability to plan ahead of time.

Even without a script to go off of, if there is a basic shell, outline, or plan, this can often be enough to get everyone on the same page. And when you have a kick-a** director leading the charge - as we did in Katelyn Cantu, BVT’s Associate Artistic Director - the process can go even more smoothly!

Katelyn had done a great deal of research and planning by the time we had our first conversation, which made life so much easier getting into the major stages of the production. There was a basic plan to split the music of the decade into 6 sections, which we could then work into a set list and hone down together.

Additionally, we knew we wanted to include a sense of the current events throughout the decade without having an actual script, which gave us a problem to go forth and solve. The planning stage provided us things to tackle, and so the work began.

On my end, we knew there were some things we wanted to include that would have to be planned, written, or arranged ahead of time. For instance, to include as much of the Beatles catalogue as we wanted to, we whittled our list of songs down and realized we would have to put together a medley of our prioritized top 10.

So I spent days putting together a fully fleshed-out medley with soloists and transitions already set and taken care of - something that would not have been doable on the fly during the 7 day rehearsal process.

When all was said and done, walking into the rehearsal process for the show we ended up with an outline that we could fill in with music, and 20-minutes worth of pre-arranged medleys that we could place into the show where they would be most effective.

***Sidebar: I would like to take this moment to officially apologize to all of my middle and high school English teachers for rolling my eyes at the idea of writing an outline before beginning a project…they were oh so very right!

Day 1

Oh…hello!

Well, we do have to meet everyone and say hello, since most of us have never worked together before and/or haven’t seen one another since the callback process in March. Some of this took place the prior evening, but there’s always a little hesitancy in diving into a project with people you haven’t really met before.

However! I will say that this group of people was enthusiastic and wonderful, and everyone gelled extremely quickly. It’s a phenomenal group, which I think is reflected in the show itself!

The first half of this day was planning:

What songs do we want to include?

What songs do we need to include?

Which section do they fit into the best? (Is it Rock or is it Psychedelic? etc.)

What’s the right order?

Who is going to sing this song?

How will we transition from one song to the next?

How about from one section to the next?

All very important questions, and some of these were extraordinarily difficult to answer.

It was a lot of table work, but once it was set we could all hit the ground running!

The remainder of Day 1 was all about learning the pre-arranged medleys that we had walked in with. It was a ton of music - and some of the most difficult music in the show - but the cast were all rock stars and plowed through the process with energy and great enthusiasm.

Boom.

Day 2

Wait…what did we do yesterday?

After a whirlwind first day, there was very little time to review what we had already learned due to the amount of material we wanted to include in the show. We snuck in a little review, but that was about all we could accomplish without feeling like we were moving backward.

The remainder of this day was about taking the sheet music that was being provided to us in a trickling fashion throughout the first few days, and to figure out as a group:

How much to sing

Which verses and choruses to sing

How to transition one song into the next

How to make the correct groove happen

And who was going to sing what parts/harmonies/etc.

This was often difficult, since we were re-arranging things on the fly. It was a lot of stopping and starting and changing of minds, but we made it through approximately two-thirds of the show on this day!

By the end, our heads were spinning! But also filled with music, ‘cause this era is CATCHY!

Day 3

Finish the remainder of the music.

Then review the entire beast.

Oh boy, I can tell you that I was impressed with everyone and with their work, especially considering there are snippets of approximately 80 SONGS in this show.

80.

And they learned it all in two days. What.

Rock stars.

Day 4

We begin staging!

The director jumps in and teaches choreography, blocking, and transitions.

As if learning new music, tons of lyrics, and bunches of harmonies weren’t enough, we added movement and physical spacing to the list of things to commit to memory!

I did say it was fast and furious.

Day 5

Review Act 1 blocking and stage Act 2.

Also, the set list in finalized - hooray!

After months of planning, the thing is set in stone (well, sorta) and being filled out with real people, music, projections, sound, and lighting. Wahoo!

Day 6

Clean up time.

With all the things that have been learned over the previous 5 days, some things have slipped through the cracks and need review.

Honestly, there was not a ton that needed reviewing. This cast really amazed me!

We were even able to do the first full run of the show! Unexpected, and it went suuuuper smoothly.

Amazing.

Day 7

Run the show twice.

Not only does this allow us to make final adjustments and find out where the problem spots are/could be, but it gets the entire thing into the performers’ bodies and makes the show more comfortable.

Plus it was going to be a long tech process, and getting use to the exhaustion of doing the show twice is an excellent idea,

Day 8

One final rehearsal run in the morning, and the official run for the designers in the afternoon.

Whoa.

What a WEEK.

To think that on Day 1 almost nothing existed on paper, and now it was a full show that we had been able to fully put together and run a total of 5 times is insane and amazing.

Oh, plus it was GOOD!

Day Off…Kind Of

A well-deserved day off for the actors follows the craziness of the first 8 days.

On the technical side, the work is really just gearing up.

On this day I finally get the opportunity to meet the band and begin sloughing through the entire show with them, teaching what we’ve done to make the songs and transitions work as well as figuring out what we want played by whom and when. ‘Tis a big day on the music side.

Meanwhile, the tech crew and designers get the set and theater ready for Tech Week with the performers, to begin the following evening.

Again, fast and furious.

Tech Time

Tech processes in theatre are generally too short and very crazy. At summer stock theaters, those feelings can often be multiplied by 10!

But this was one of the smoothest and most well-paced tech processes I’ve ever encountered in a time-crunch setting, and I am extremely grateful for the great professionalism everyone showed (led by our fearless and bad-a** Stage Manager).

For those of you not familiar, this is how tech goes:

Monday - Spacing rehearsal on the set (which is up and somewhat finished, but will continue to be worked on throughout the process). Sound is just getting started, as is lighting, and we’re all trying to figure out how to make the show in the rehearsal room become what we all envisioned throughout rehearsals. More tech work follows after the rehearsal and before the next.

Tuesday - From Noon to Midnight (with a two hour dinner) we slowly tech through the entire show, cue to cue. With the number of lighting and sound cues in a musical revue like this one, it could have been a painstaking process, but it was smooth and excellent this time around. Long and exhausting, oh yes, but very smooth.

Wednesday - Notes and running in the afternoon while tech puts final touches on the show (and makes it look amaaaaaazing!). And after dinner we perform an open dress rehearsal for a small crowd of enthusiastic locals. Hooray! We’re almost there!

Thursday - Daytime final touches, and off we go! The first performance takes place on Thursday night!!! (It went spectacularly, by the way - the town is already abuzz!)

So Happy Together

If you’ve made it all the way through this blog post with me, you’re probably feeling just as dizzy and exhausted as we all felt!

There are so many ways a process like this can go awry or be tough or beat you down, but I must say that this process has been wonderful.

And you know what?

The product is a stellar one. We have built a delightful show that makes me happy every time we do it, and now we only have 9 more performances to share this happiness with the world.

I do hope you will come join us! Not only are you very welcome to do so, but I think you will find yourself feeling “so happy” right along with us. :-)

[ashleyc12017-blog]

Academic Engaged

Ashley Crites

Blog 5

Dates 10/10 & 10/11

Reflection Question

“Are the students academically engaged? If so, why? If not, what might be done to help them become academically engaged?”

On Tuesday in the 2nd grade class worked on their math worksheets and homework assignments. I went around the classroom checking everyone’s work to make sure they were doing things the write way. Then after recess the students came in and worked on their religion class. The 2nd graders were going to be reading the mass readings for mass on friday. So I had three students who were reading the first reading, responsorial psalm and petitions. The first student did really well and for some of the big words I had her underline them so she could practice them better. For the responsorial psalm, it had some big words for the students so we had to read it several times and underlined lots of words for her to read. For the petitions the student read very well and only underlined a few words. This student in particular is a very advanced reader and I can tell reading is something that he excels at. Then also the students each got a new religion book and on the carpet they spent some time just looking through the book and looking at the pictures.

On Wednesday half of the students were with the teacher on the carpet doing their reading groups and the other students at the desks were working on their spelling sentences or other work that was not yet. I was walking around helping them spell words or making sure they were doing the work correctly. Then when it was time for recess the teacher told everyone to clear all their things off the tables and sit quietly. We were both standing there waiting for everyone the be quiet and watching to see who would be the first one to do what the teaching said to do. It probably took about five minutes and then the teacher told them all that they were not behaving like they should have been and for the students that were at the desks most all them were not done with their spelling sentences. The teacher than went on to discuss with them and asked the students what are they supposed to do when they are on the carpet with the reading groups. The students were telling the teacher what as students is their responsibility to do. Then the teacher said that at recess they needed to do a “thinking lap” to realize that what they were doing was wrong and think about what they are supposed to do so they can do a better job next time. At recess I was asking the teaching what is the “thinking lap” supposed to do. She explained to me that was the first time she had them use the lap this year and it helps them think about what they did wrong so they can improve next time. I noticed that they were all quiet during the lap and probably realized what they did and they probably don’t want to do that again. After recess the students watched a video about Christopher Columbus and explained to everyone that’s why they didn’t have school on Monday.

Thinking about the reflection question “Are the students academically engaged? If so, why? If not, what might be done to help them become academically engaged?” I looked at in what ways does the teacher use this in the classroom. In AR after the students read a book and take a test there is a picture on the computer screen that shows them how much progress they have made. I think using this goal helps the students stay focused on that wanting to read more books means that they can take those tests and reach their goal. Even being able to take those the tests can keep the students engaged and stay focused. The teacher also does this point system with the students with each student has a magnet and depending on their behavior or how much they stay focused they can either go up or down on this point system and if they get 10 point for example they get to pick something out of the treasure box. This point system is also helpful in that if the students gets to reach the goal they have a sheet of paper each month where they color in how well they did that day and the teacher is supposed to sign it for the students parents to see how they are doing in class. If the students move down on the point the parents are supposed to sign it and bring the paper back to the teacher to see. I think by doing this, it can motivate the students to do better or stay more focused. The students seats are arranged in groups in the classroom and when they are working on reading or math they can talk to each other about the homework. I noticed this yesterday when the students were working on their spelling sentences. I was helping a students I say that others were talking to each other on how to spell a word. By doing this can help things go faster when a teacher is helping one students but others have questions too, they can just turn to their neighbor and help each other that way. It also teaches this how to work with others and even problem solving when they can rely on others to come to the same conclusion which can further their academics.

Aesthetics pg 279

“ Aesthetics deals with questions of values regarding beauty and art.” This can be used to discuss values and judgments on art, literature, or the value of the work. This concept can be used in high schools and particularly in art class. This can be a basis of discussions among people who can delve deeper into an idea or philosophy. Being able to not just have an opinion but a reason for that particular belief can be important in the older grade levels because when you go into the “real world” your belief and reasons may be questioned and you may need to defend your reasoning. Even in an art class developing those practices and using aesthetics can be a way to build on those skills when people need to learn that there is no right or wrong way in interpreting something like art, or literature or the artistic reasoning behind the artists choice.

[vlogging-us-blog1]

7 Ways To Make Professional Looking Video Blogs That Will Attract Users And Keep Them Coming Back

vlogging toolsNavigating through Darren's ProBlogger website got me thinking about one facet of blogging that I use to participate within: video blogging or vlogging. As a video professional, I love this specific media and find it appealing and better to use in regards with commentary or tutorials. I understand that a lot of users still like to learn in their own pace but after reading this article you may discover a few ways to focus on your new and old users with appealing video blogs.

1- KNOW YOUR TOPIC

A pretty basic idea that also works for ordinary blogs. Understanding fully that which you're going to explain, comment on or deliver a tutorial on. Most well known vloggers don't simply stick a camera in their faces and start yapping. You must have a succinct plan, a kind of script to work off of. Do your own research, plan beforehand and jot down major points therefore you do not wind up doing: "hummmm, then uh. . hmmm... heuuu"

2- WATCH YOURSELF AND YOUR SETTING

Have you been about to list your self on your bath robe? Are you currently slouching in your seat with the kiddies running around behind you? If you'd like to be used seriously, you must take the necessary action. Be respectful; believe about your own vlog such as a true demonstration before 1000s of individuals. This does not mean you need to put on a suit and a tie and then stand behind a podium however, you will need to show a graphic that will communicate approachability and professionalism. A good way to achieve that will be to cleanup the clutter in your desk, so be careful as to what shows up at the backdrop. If need be, shed a nice neutral-colored drape supporting you (orperhaps not directly contrary to you, about 5 to 10 feet is perfect). Do not sit with your spine to a window as that will create a horrible effect called backlighting. No matter what your own back light button onto your camera says, it still can look horrible. Wear impartial clothes, don't use bright colors if you don't really have to show your crazy side. Focus your eyes straight at the camera while speaking and try an work and grin now and then.

3- LIGHTS

It's not necessary to go buy LED lighting boxes or fresnos for a V-Log shoot. Use the light sources at home or office. Only direct it in a way where youpersonally, the subject, will soon be lit equally. To be certain you've got an additional light, you are able to liquefy it with a white cotton sheet in front of the light source (not too close, do not burn it). The best method to use this technique is to make use of a flooding light (the people which time straight up into the ceiling, so usually 100 Watts) and direct it back. Hurry it on a chair or a desk and be certain that the center of this light hits your upper body. Put the light five feet off. Minus the diffuser, see your face will likely be more "hot" (hot spots on the monitor are also referred as blown off and happen when a subject is over exposed). Place the sheet before the light and stretch it so light can go through. You will see straight away the difference, the lighting will now be diffused and will hit the subject evenly. You could even make use of a background light to help make you stick out just a little from the desktop. To accomplish this, make use of a directional light source like a spotlight and put it on to the floor or above the subject but only facing the back ground directed at you. That light is usually not as glowing than the main one and perhaps not trusted for vlogging however, you are able to experiment.

4- CAMERA

So many Web Cams are available on the industry nowadays, some great and some incredibly horrible. You don't have to shell out an excessive amount of money to acquire a nice camera that'll have adequate resolution and frame rate (the amount of frames at one minute, i.e. 10 frames a second will show a tiny lag in your video, the frames per second the better) to accomplish your vlogs but then again there isn't to take advantage of your webcam either. For the most part, vlogs are a fast means for users to get the information they require in a video format, right? You obviously don't want your customers to sit around and wait for the video to load because it's poorly compressed, right? Keep in your mind you are not trying to take on Diggnation and different web demonstrates that use HD cameras worth tens of thousands of dollars (their shows are in general around 180MB to down load and last more than half an hour). If you get a digital camera (or still camera with video function) lying round like the majority of people do these days, use it. The gap will be huge. These real cameras have a lot greater lens and also capture colors and light in their authentic shape without cutting corners like many Web Cams.

I'd like to take a few of my older stuff having an iSight camera also had great success with this. My customers were delighted with the tutorials and also the standard of them. I wasn't. I knew I can do better and match the changing technology. I have since shot a few using a 1chip digital camera and saw a second difference. Since I was shooting full DV (frame rate of 29.97 frames per minute), I might then squeeze the vlog into 2 4 or 20 frames per second - that will be higher compared to the webcams and still maintain the excellent resolution that the DV gave me. (again about compressing under point 7).

5- ACTION

Speak clearly, enunciate and don't go too fast. It's hard to not stress over how we look or the way we seem and feel natural if infront of a camera, which is why being calm could be the number one nation you have to maintain. Don't go on to immediately at front of the camera, your movement will soon be blurred out in this level of compression and also isn't recommended. Utilize more punctuation than normal, make sure your voice will not become boring after a while.

6- CUTTING YOUR WAY THROUGH THE COMPETITION

As your shooting at your V-Log you need to already know whether you're going to use video games of the image you're referring to or some snippet of another video you will be viewing or commenting on. Editing may make it all happen. Editing is important to putting together a vlog with a "to the point" mentality. Use visual bumpers to different your own points. Add titles to highlight the most important part of one's comment. Insert music at the ending and start with a brief name arrangement presenting your vlog. Therefore a variety of editing suggestions you can use to earn your V-Log more eloquent and gratifying to see, instead of the boring monologue it could become. Be careful though, editing may also be an ugly poisoned apple when badly employed. Too many cuts will make the audience seem off. Too many names will create the audiences spend less time hearing you personally and more time attempting to decode all of the text. Music can become frustrating if utilized throughout the V-Log as a desktop bed. All in moderation for a greater production.

I take advantage of Final Cut Pro on the Mac however it is definitely not the tool to use if you are only creating vlogs. IMovie for the Mac is a great alternative and brings a whole lot of amazing features and ease of use to this vlogger. To the PC side, MovieMaker and a ton of additional consumer softwares are great in what they do also. Bear in mind, the point of earning a vlog would be to be visually appealing however without wasting too long. You don't wish to produce a 5 second vlog that took you a complete day or even production. The first one could take you longer but when you become good at it you will see an immense improvement on your deadline. I am now able to write, shoot, edit and compress a full 5 or 10 minute vlog, in less than an hour.

7- COMPRESSING YOUR VLOGS WITHOUT SWEARING UP A STORM

Once your edit is done and you've watched yourself in amazement, it's time and energy to compress and let the others enjoy it too. Most of the editing applications you will be using wil have export features for different formats. For vlogs, the bigger the better however, in addition you do not want to lose a lot of. The ones I tend to use most are . MOV and . MP4 since they give me great quality without much video artifact (pixelized image, blurry spots and video recorders).

Get best vlogging tools at bestvlogging camera 2017 cheap

[davidcouture4-blog]

Confidence And Learning Assignment #3 PIDP 3100

 The Cognitive Science of Confidence & Learning

When I started gathering information for a report I actually was looking for an article and information about motivation or more precise motivating students to learn. Motivating being a large part of my past of coaching team sports. In the process of gathering information on motivation came the realization that it was really confidence that was maybe the larger factor and that confidence would breed motivation. “I can do this because I believe I can do this, not just because I want to do this.” So this report came about not really from one article but more of a conglomeration of similar type articles. For in my search I found there are multiple upon multiple of studies ,books and research papers on this subject. A few of these are as listed below.

Confidence versus Self-worth in Adult Learning

https://www.researchgate.net/publication/268375022

Bachkivora, T. (2000) Oxford Brookes University

Med, Msc, PhD, C Psychol, AFBPsS

Why Self-Esteem Hurts Learning But Self-Confidence Does The Opposite

http://www.opencolleges.edu.au/informed/features/self-efficacy-and-learning/

By Sara Briggs (2014) B.A. In Creative Writing

The National Academies Press

http://www.cmu.edu/teaching/designteach/teach/firstday.html

Learning, Remembering,Believing: Enhancing Human Performance (1994)

Chapter: Self-Confidence and Performance

One of the first things that I realized in this search was that self-esteem and confidence are not the same thing. Where “Self-esteem is, literally, how favorably a person regards him or herself.” (Baumeister) to Confidence: the quality of being certain of your abilities. (Cambridge Dictionary).

In the realm of education we can refine the definition to: a persons belief in their capability to be able to perform specific skills, solve problems and retain new knowledge. This can also be termed as

'self-efficacy'.  The difference between academic self-confidence and general self-confidence is that academic self-confidence can be “more easily influenced by elements of the situation (eg.surroundings,

people, and recent success or failure) Vrugt et al. (1997) and that academic self-confidence is a significant predictor of academic performance. Where as with self-esteem you may feel good about yourself and have high self-esteem but yet not be confident you could perform specific academic disciplines.  The difference also shows up in actual academic performance. B.C. Hansford and J.A. Hattie, reviewed 128 studies of the relationship of high self-esteem and academic performance and found it only improved marks by between 4 and 7%. Another study of Engineering students showed

confidence influenced performance by as much as 12%. (Briggs). With this in mind the next question should be how do we as instructors induce academic confidence (self-efficacy) into our students so that they can become better learner's? “ Give a man a fish and feed him for a day. Teach a man how to fish and feed him for a lifetime. (Age old saying) What separates good teachers from the excellent ones? The excellent ones are handing out fishing poles.(Deneen) Self-confidence is considered one of the most influential motivators and regulators of behavior in everyday lives (Bandura, 1986).

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Self-efficacy theory is also useful in guiding the development of motivational programs because self-beliefs of confidence operate in most of the approaches to cognitive theories of motivation, particular goal-setting theory and attribution theory (Bandura, 1990).

Albert Bandura is one of the most renowned psychologist in the field of social cognitive theory, therapy, personality psychology and theoretical construct of self-efficacy. For Bandura  self-confidence

is a “complex process of self-persuasion,” processed by “ diverse sources of confidence information”.

These would include first and foremost “performance accomplishments” followed by exercised experiences, verbal persuasion and mental state. If one has repeatedly viewed these experiences as a success, self confidence will increase. With performance accomplishments it only stands to reason that the amount of confidence gained would depend on the difficulty of the task, how hard it was to do and how much help you got to do it. Compared of course with easy tasks with external help that took several attempts to accomplish.

Persuasive techniques are widely used by instructors, managers, coaches, parents and peers in attempting to influence a learner's confidence, motivation and behavior ( National Research Council,1994). This would include telling the student how good of a job they did, why what they did is good, that they met or exceeded the expectations of the task and other positive cognitive strategies. The stature of the person giving the praise or confirmation in the mind of the person receiving it will also affect the amount of confidence gained by the encounter. If the student doesn't hold the instructor in high regard the confidence gained could be minimal. With that if the praise is over abundant for the task actually performed confidence gained is undermined and can affect praise of accomplishments in the future. Thus it is wise for the instructor to not use praise to liberally or out of proportion.

Goal setting is another tool to promote confidence. The stronger the persons confidence, the higher the goals they set for themselves and the firmer their commitments are to them( Locke et al., 1984). If personal goals are not met, the amount of confidence the student has will determine if they will increase their effort level and persistence or give up. The lesson from this would be to not set goals that are possibly to far out of reach or if they are lofty goals break them down into a series of smaller goals to be accomplished one at a time. As goals are met the instructor can reflect with the student the amount of effort required and the ability's acquired to reach that goal. Thus raising confidence for the next higher goal. If a goal is not set the instructor needs to reflect with the student that maybe the lack of effort and practice time or the way that they tackled the task could be better. In other words factors that can be fixed with regained determination and thus cushioning the failures as to not reduce confidence but still staying positive. The instructor can also put emphasis on the skills that were acquired and the progress that was made even if the final goal was not met.

Modeling provides confidence information ( Bandura, 1986) through a comparative process between the model and the observer. George et al. (1992). If the model and the observer are of similar statues,with comparable traits and levels of achievement. The observer can gain confidence by seeing a similar peer  to them accomplish a task that they themselves were not sure they could do. The attitude of “if they can do it then so can I” will create confidence and motivation to try the task themselves.

Taking Theory into the Classroom

The next step is to take this research and theory and use it in a classroom setting to enhance self-confidence for motivation and better performance. There is no one specific method to accomplish

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this. It is more a conglomeration of activities implemented in different ways that best suites the particular group you are working with. The instructor can provide for maximum skill development through an instructional sequence of development or modified activities, breaking the skill into parts, providing performance aids, physical guidance or a combination of these methods (N.R.C. 1994).

How I would implement this into a class

                          These concepts would have to start with the first day in class. Maybe one of the most important days of the whole course. With the objective of the day to be not only me getting to know every student but every student getting to know each other. Before the first day I would inform  each student to bring on their first day a comprehensive profile of their work experience and what ever personal information they feel comfortable giving, knowing I would be the only one to read it. The first task of the day would be for students to get to know each other. Along with bringing their profile on the first day I would have them bring a photo of themselves from when they were between approximately 6 to 10 years old.  Each photo would be given a number. Students would be arranged in a circle with their name tag. They would also have a sheet with every persons name on it. The pictures would be passed around the circle slowly and each student would have to connect the photo to the person it belonged to by putting the number beside the name. The purpose of this first exercise would be to force each student to really concentrate on distinguishing features of each persons face and connect it to a name. After completing each person writes their name on each photo and they are passed around again for each student to not only check how they did but also do a reconnect of the picture, to the face, to the name. From this point on for the first week everyone wares a name tag. The purpose of this exercise is not only getting each student to have face and name recognition with each other but to also instill a humanistic feeling that we were all kids at one time, we all had dreams and family's and we have come here as a group all seeking the same knowledge. It's about making a connection. Students if they wished would be allowed to give a short little background or story to the picture they supplied

This would be followed by another exercise called the Dream Trip. Explained briefly: each person takes ten minutes to write down the itinerary of a dream holiday for one month with no budget restraints. The itinerary has as much detail that ten minutes allows. As in who's with them, girlfriend, boy friend, wife kids etc. How their traveling, airplane, ship, motorcycle etc. What kind of accommodation they would have and what kind of things they would do and things they would want to see. Each person would then stand in front of the class and reveal their dream trip. This exercise has numerous affects. Starting with the fact that we all have a dream of a prosperous future, and  that's why were in this course. To acquire skills and knowledge so we can chase those dreams. It creates energy and is uplifting to hear everyone talking about what a great time they would have. It creates bonds with people with like dreams. The goal is to have your class room go from a bunch of strangers sitting quietly to a noisy excited chatter in a matter of two hours where everyone feels comfortable and at ease. http://www.innovativeteambuilding.co.uk/activity/dream-trip/

During these two exercises it is important for the instructor to observe the students closely as they participate. Looking for different traits via body language and how they are speaking in front of a group. As these exercises are about creating a profile about their students. Are they intimidated and shy or are they boisterous and loud. As peer mentoring will be a large part of the class.

The last step of these introductions is for the instructor to now stand in front of the class and try

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to become one of the group but still be the leader of the group. This is a strategically planned speech

that requires certain elements.  Number one is do not brag, do not ramble on about all the great things you've done, what you own, how good you are in this profession etc. This is your time to connect with your students, keep your history brief so as not to be long and boring with to many minute details.  

Try and reflect when you were in the same place as they are today. Have a couple quick stories of really interesting projects you worked on that were maybe a little different than the norm ( this can help students in vision opportunities in the future that are exciting. ). Be funny if you can (  for some people this is sometimes the hardest part.) Be sure to have at least one story where you either made a mistake, did some thing wrong or maybe didn't use the best judgment in a work related scenario. But how you gained knowledge from it.  Be expressive and enthusiastic. Demonstrate your interest in them and that you are approachable. Instructors should map this introduction out and try it on someone they know to give them feed back. You need to tweak this to be the best that it can!

Why is this so important? Again this comes down to confidence. You are trying to start the first day with the most positive, confident and motivated group you possible can right out of the gate. If your introduction is done well students not only feel this about themselves but feel this about you to!

They need to feel this from you so that all your future communication with them has integrity. There are other elements of the first day in class of course but for this report I concentrated on the confidence building components of it.

          To be able to use the tools and methods as were discussed on page two to the up most value. The atmosphere and and mind set of page three and top of four must be established.

Repeated from above:

Persuasive Techniques:  The stature of the person giving the praise or confirmation in the mind of the person receiving it will also affect the amount of confidence gained by the encounter. If the student doesn't hold the instructor in high regard the confidence gained could be minimal.

Modeling: The observer can gain confidence by seeing a similar peer  to them accomplish a task that they themselves were not sure they could do. The attitude of “if they can do it then so can I” will create confidence and motivation to try and master the task themselves.

Goal Setting: As goals are met the instructor can reflect with the student the amount of effort required and the ability's acquired to reach that goal. Thus raising confidence for the next higher goal. If a goal is not set the instructor needs to reflect with the student that maybe the lack of effort and practice time or the way that they tackled the task could be better.

If the student believes in the instructor and is comfortable with their relationship they will be able to handle these goal setting setbacks or what I call regroups. They are confident the instructor is on their side with no feelings of being belittled. The feed back from the instructor is necessary to enhance self-confidence. All negatives need to be sandwiched between two positives. Positive communication by an instructor has been shown to be very helpful in reducing the negative affect that occurs in failure situations (Smith et al., 1979). Positive communication is performance contingent, but it focuses on positive aspects of performance while acknowledging mistakes, provides instructional feedback, and emphasizes the learning nature of the task (Eden, 1990; Jourden et al., 1991).

Parts of this first day scenario I found confirmed by 9Things to Do on the First Day of Class

http://teaching.colostate.edu/tips/tip.cfm?tipid=93 and Make the Most of the First Day of Class

http://www.cmu.edu/teaching/designteach/teach/firstday.html

                                                                                                  David  Couture