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By: Katie Cusack,
on 7/26/2015
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Scribble Chicken! Art and Other Fun Stuff
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In class this week we created bakery art, learned about the profession of Baker and the yummy creations they make. Our Scribble Kids created collage portraits of Bakers holding their wares.
First we learned all about proportion and how to correctly place features when drawing the face. The students were to place their eyes half-way down the face, with the eyebrows slightly above them. It’s amazing what placement can do to make things look more realistic! We also added a ‘connecting shape’ to our circle faces to create the jaw.
Then we added chef hats and bodies for our characters. The kids had great fun creating textured eyebrows. I was surprised there were no mustaches in this class.
After gluing the head and shoulders down on 12×18″ paper, we added arms to the characters. Then there was a hand drawing demo that was challenging for some children, but they will get it with practice! Finally we added plates with hand drawn delicious baked goods.
Here are our final artworks!
Baker by Sophie, age 7
Baker by Connor, age 6
Baker by Lexi, age 5
Baker by Owen, age 9
Baker by Ruby, age 8
The post Bakery Art appeared first on Scribble Kids.
BIRTHDAYBOT by Patrick Girouard
THE FRENCH BREAD
by Eleanor Tylbor
SCENE:
SUPERMARKET BAKERYAT RISE:
A FEMALE SHOPPER ARRIVES IN THE BAKERY AREA. LOOKS OVER THE ALMOST-EMPTY BREAD DISPLAYFEMALE SHOPPER
(quietly to herself while squeezing all the breads)
This is like...so pathetic. Bread is at least two days old and this one is broken in three places. Who would buy it
(another shopper arrives)SHOPPER 1
No bread, yet?
FEMALE SHOPPER
A couple of left over 2-day old breads. They should remove them
SHOPPER 1
(bending over to look)
That happens as a result of shoppers squeezing the breads to see if they're fresh. Too many fingers pushing in one spot and the breads break in half Look - you can see the finger indentations.
FEMALE SHOPPER
Um...yeah...I see...but how else can you tell if the bread is fresh?
SHOPPER 1
Problem is that everyone squeezes the bread in the same place and this is the end result. Some shoppers have no respect for others. A squeeze here and a squeeze there...
FEMALE SHOPPERS
(uncomfortable)
Of course you're right... Looks like there's fresh bread baking in the oven. I love the smell of fresh baking bread. Don't you?
SHOPPER 1
...they'll end up having to throw out the bread of course. Disgusting with all the starving people in the world!
FEMALE SHOPPER
(looking even more uncomfortable)
Beautiful weather we're having. It's about time what with all that rain
SHOPPER 1
It's those same people that open up the strawberry boxes and exchange berries to make sure they have the best one's.
FEMALE SHOPPER
Disgusting! Some people...! Did you happen to notice if the strawberries on sale, perchance?
(another shopper arrives)SHOPPER 2
Bread not ready?
FEMALE SHOPPER
Nope. Guess the bakers aren't rising to the occasion (laughs)
(the other two shoppers stare at her)
(cont'd) A little humor while we wait...obviously very little...
SHOPPER 1
We were just discussing how people over-squeeze the French bread to death causing it to break in half
FEMALE SHOPPER
Oh look! Here comes the baker. 'I'll take two white baguettes,
sil vous plait' BAKER
Attendez - c'est trop chaud
SHOPPER 1
What he say?
FEMALE SHOPPER
Haven't the slightest idea. I memorized my sentence from a French phrase book when I planned a trip to France
SHOPPER 1
Two whole wheat breads, please
FEMALE SHOPPER
Sil vous plait
SHOPPER 1
What?
FEMALE SHOPPER
That's French for 'please'
SHOPPER 2
Same for me
BAKER
Too hot. You must wait ten minutes for cool
FEMALE SHOPPER
How about you hand it over and we'll blow on it?
BAKER
Par-don? I know understand
FEMALE SHOPPER
A joke. You know...ha-ha-? Any-way, how about those over there on the trays? They look cool
BAKER
They are freeze. They must bake in oven
FEMALE SHOPPER
Look baked to me. Do they look baked to you, ladies?
SHOPPER 1
If he says they're not cooked... Why would he lie?
FEMALE SHOPPER
I dunno. Maybe he's saving them for friends. Look...sir. I'll take my chances with the hot bread. I promise you I'll be very careful. Really. I respect your French bread and won't abuse it. In fact, if you just put it in bags and hand it over, I'll put it in a safe place in my shopping cart where it can cool off, while I shop. I'm sure the other shoppers will also respect your bread. Right ladies?
SHOPPER 1
I can wait.
SHOPPER 2
Me too.
(SHOPPER 1 AND SHOPPER 2 walk away)
FEMALE SHOPPER
If you would give me my breads?
(he hands over the breads. She grabs them from the middle and they bend in half)(cont'd) Oh no! A catastrophe has occurred!
(she replaces the broken breads in the empty bread display)BAKER
Madam - your breads!
FEMALE SHOPPER
(pushing her shopping cart away
Neh! Changed my mind. You bakers take your breads so seriously
By: ErinM,
on 3/25/2014
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By Tim Allen
Josephine Baker, the mid-20th century performance artist, provocatrix, and muse, led a fascinating transatlantic life. I recently had the opportunity to pose a few questions to Anne A. Cheng, Professor of English and African American Literature at Princeton University and author of the book Second Skin: Josephine Baker & the Modern Surface, about her research into Baker’s life, work, influence, and legacy.
Josephine Baker, as photographed by Carl Von Vechten in 1949. Courtesy of the Library of Congress.
Baker made her career in Europe and notably inspired a number of European artists and architects, including Picasso and Le Corbusier. What was it about Baker that spoke to Europeans? What did she represent for them?
It has been traditionally understood that Baker represents a “primitive” figure for male European artists and architects who found in Baker an example of black animality and regressiveness; that is, she was their primitive muse. Yet this view cannot account for why many famous female artists were also fascinated by her, nor does it explain why Baker in particular would come to be the figure of so much profound artistic investment. I would argue that it is in fact Baker’s “modernity” (itself understood as an expression of hybrid and borrowed art forms) rather than her “primitiveness” that made her such a magnetic figure. In short, the modernists did not go to her to watch a projection of an alienating blackness; rather, they were held in thrall by a reflection of their own art’s racially complex roots. This is another way of saying that, when someone like Picasso looked at a tribal African mask or a figure like Baker who mimics Western ideas of Africa, what he saw was not just radical otherness but a much more ambivalent mirror of the West’s own complicity in constructing and imagining that “otherness.”
Baker was present at the March on Washington in August 1963 and stood with Martin Luther King Jr. as he gave his “I have a dream” speech. What did Baker contribute to the struggle for civil rights? How was her success in foreign countries understood within the African American community?
These are well-known facts about Baker’s biography: in the latter part of her life, Baker became a very public figure for the causes of social justice and equality. During World War II, she served as an intelligence liaison and an ambulance driver for the French Resistance and was awarded the Medal of the Resistance and the Legion of Honor. Soon after the war, Baker toured the United States again and won respect and praise from African Americans for her support of the civil rights movement. In 1951, she refused to play to segregated audiences and, as a result, the NAACP named her its Most Outstanding Woman of the Year. She gave a benefit concert at Carnegie Hall for the NAACP, the Student Nonviolent Coordinating Committee, and the Congress of Racial Equality in 1963.
What is fascinating as well, however, is the complication that Baker represents to and for the African American community. Prior to the war and her more public engagement with the civil rights movement, she was not always a welcome figure either in the African American community or for the larger mainstream American public. Her sensational fame abroad was not duplicated in the states, and her association with primitivism made her at times an embarrassment for the African American community. A couple of times before the war, Baker returned to perform in the United States and was not well received, much to her grief. I would suggest that Baker should be celebrated not only for her more recognizable civil rights activism, but also for her art: performances which far exceed the simplistic labels that have been placed on them and which few have actually examined as art. These performances, when looked at more closely, embody and generate powerful and intricate political meditations about what it means to be a black female body on stage.
Did your research into Baker’s life uncover any surprising or unexpected bits of information? What was the greatest challenge you experienced in carrying out your research?
I was repeatedly stunned by how much writing has been generated about her life (from facts to gossip) but how little attention has been paid to really analyzing her work, be it on stage or in film. The work itself is so idiosyncratic and layered and complex that this critical oversight is really a testament to how much we have been blinded by our received image of her. I was also surprised to learn how insecure she was about her singing voice when it is in fact a very unique voice with great adaptability. Baker’s voice can be deep and sonorous or high and pitchy, depending on the context of each performance. In the film Zou Zou, for example, Baker is shown dressed in feathers, singing while swinging inside a giant gilded bird cage. Many reviewers criticized her performance as jittery and staccato. But I suggest that her voice was actually mimicking the sounds that would be made, not by a real bird, but by a mechanical bird and, in doing so, reminding us that we are not seeing naturalized primitive animality at all, but its mechanical reconstruction.
For me, the challenge of writing the story of Baker rests in learning how to delineate a material history of race that forgoes the facticity of race. The very visible figure of Baker has taught me a counterintuitive lesson: that the history of race, while being very material and with very material impacts, is nonetheless crucially a history of the unseen and the ineffable. The other great challenge is the question of style. I wanted to write a book about Baker that imitates or at least acknowledges the fluidity that is Baker. This is why, in these essays, Baker appears, disappears, and reappears to allow into view the enigmas of the visual experience that I think Baker offers.
Baker’s naked skin famously scandalized audiences in Paris, and your book is, in many respects, an extended analysis of the significance of Baker’s skin. Why study Josephine Baker and her skin today? What does she represent for the study of art, race, and American history? Did your interest in studying Baker develop gradually, or were you immediately intrigued by her?
I started out writing a book about the politics of race and beauty. Then, as part of this larger research, I forced myself to watch Josephine Baker’s films. I say “forced” because I was dreading seeing exactly the kind of racist images and performances that I have heard so much about. But what I saw stunned, puzzled, and haunted me. Could this strange, moving, and coated figure of skin, clothes, feathers, dirt, gold, oil, and synthetic sheen be the simple “black animal” that everyone says she is? I started writing about her, essay after essay, until a dear friend pointed out that I was in fact writing a book about Baker.
Tim Allen is an Assistant Editor for the Oxford African American Studies Center. You can follow him on Twitter @timDallen.
The Oxford African American Studies Center combines the authority of carefully edited reference works with sophisticated technology to create the most comprehensive collection of scholarship available online to focus on the lives and events which have shaped African American and African history and culture.
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The post Discussing Josephine Baker with Anne Cheng appeared first on OUPblog.
Say you are a young entomologist. I know I was. Once upon a time, I was fearless in flipping over rocks and poking roly poly bugs so they'd do their thing. I caught grasshoppers and lightning bugs and put them in jars with holes punched in the lids (long story short - this always led to dead bugs). I rescued worms that were stranded on sidewalks after rainstorms (okay - I still do that), and crushed little red "blood bugs" and picked up caterpillars and inchworms, and more. Okay, so I was also fascinated by pouring salt on slugs in the garden and watching them shrivel and die. (I know - mean, right? But I thought it was really cool when I was, like, 8, and my grandmother handed me the salt.)
Nowadays, I am a bit of a girl when it comes to bugs, but the little scientist part still tucked away inside me found Bug Zoo: How to capture, keep, and care for creepy crawlies by Nick Baker to be completely fascinating. I was variously "oohing" and "ewwing" as I read this new book from the folks at DK.
As the name implies, Baker is giving tips on how to make your own bug zoo. As in, what sorts of containers to use for what sorts of bugs, how to create the proper environment, what to feed them, etc. This book is all about the catching of and caring for insects and arachnids (and mollusks - the snail and the slug fall into the mollusk category - and invertibrates, which is what wood lice turn out to be).
Two-page spread describing slugs & snails
Nick Baker is a naturalist who is, I am told, the host of Nick Baker's Weird Creatures, which is on the Smithsonian Channel. In his introductory note, Baker says:
I built my first bug zoo, and, wow, did it open my eyes!
Each pot, pickle jar, and matchbox was a source of wonder, a dramatic little world with as much excitement as any TV soap opera. I witnessed what looked like scenes from a science fiction movie - some so terrifyingly bizarre they'd be unfit for broadcast. I saw MURDER and cannibalism, slashing blades, and chemical warfare. I watched caterpillars being reincarnated as butterflies. And I learned firsthand that there's nothing ladylike about a ladybug!
Baker's introduction was so persuasive, that I almost decided to start a bug zoo. But then I remembered that I am no longer an intrepid bug explorer, but a bit of a screamer when it comes to bugs. I am, in fact, in favor of leaving them alone outside, and squashing them flat when inside, if I'm being truthful. So
intentionally bringing them in no longer appeals to me. But I almost wish it did, because this book is a thoroughly clever and thoroughly thorough resource for the capture, care and keeping of things like roly poly bugs (actual name: wood lice), slugs & snails, aphids, caterpillars, worms, earwigs (EWW!), ladybugs, spiders (ACK!), crickets & katydids, pseudoscorpians, mosquitoes (WHY?), dragonflies, and backswimmers.
Two-page spread showing the proper establishment of a cricket "pavilion"
A must for budding young scientists everywhere. Just don't bring those bugs inside
my house, okay?
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The Frog Princess by ED Baker is a gentle twist on traditional fairy tales that should put a smile on the face of fans of Gail Carson Levine's Ella Enchanted and her Princess Tales, now collected in one volume titled, The Fairy's Return and other Pricness Tales, which I highly recommend for all fairy tale lovers. Set in the kingdom of Greater Greensward, there are the familiar witches, spells,
It’s already mid-February, and I’ve just realiesd I haven’t blogged yet about any of the books I’ve read this year. So it seems appropriate to start with a book I got for Christmas, Kage Baker’s The house of the stag.
I was disappointed when I starting reading and realised that this was a prequel, rather than a sequel to The anvil of the world (which I loved). But after a few chapters I started to become involved in the story of Gard, a foundling child who is rejected by his pacifist society for his violent reaction to his people’s oppressors. I also enjoyed the next part of the book about the Promised Child of the Yendri. The contrast between the reality and public face of both the demonised and the sainted was well done.
The tone is witty and there are lots of amusing and clever scenes. I don’t know that it hangs together as a coherent story, but now I think about it Anvil was fairly episodic as well. So perhaps it was that this book just didn’t feel as fun as Anvil. Having said that, overall I enjoyed the book and will re-read it.
The strangest part of the story was also the weakest. The rape scene towards the end of the book was both unexpected and, I think, unnecessary as there was not much emotional ramification or character development as a result of it. Indeed, I had to re-read the section to see if I thought it was rape. I think it will be like DWJ’s Dark Lord of Derkholm, where some people might not even notice the rape and others will be horrified at its casual treatment (as ![[info]](http://l-stat.livejournal.com/img/userinfo.gif)
bookelfe was).
As the excitement mounts over next month's publication of Sima's Undergarments for Women , Shelf Awareness featured a Q&A with the author, Ilana Stanger-Ross, in today's Book Brahmin piece:
Ilana Stanger-Ross grew up in Brooklyn, N.Y. She holds an undergraduate degree from Barnard College and an M.F.A. from Temple University and is currently a student midwife at the University of British Columbia Faculty of Medicine. She has received several prizes for her fiction, including a Timothy Findley Fellowship, and her work has been published in Bellevue Literary Review, Lilith magazine, the Globe and Mail and the Walrus magazine, among others. Her new novel, Sima's Undergarments for Women, is a February Overlook Press publication.
On your nightstand now:
I covet a nightstand. But on the floor between my bed and my bedroom door is a more or less upright stack of books, including John Updike's Pigeon Feathers, Tony Horowitz's A Voyage Long and Strange, Wayne Johnston's The Colony of Unrequited Dreams and Maureen Freeley's Enlightenment. I read a few of the Updike stories while watching my daughters in the bath the other night, and they're incredibly rich and almost unbearably sad. The others are all still in the good-intention stage.
Favorite book when you were a child:
If I'm Lost, How Come I Found You? by Walter Olesky. It's hard to pick one favorite, but that was the first chapter book I read on my own. It was a Christmas gift from my second grade teacher--we all were given one book to read over the holidays, and I chose that one out of the grab-bag. I loved it. I no longer remember the plot other than it involved a lost child and some heartwarming adventures, but I do remember the enormous sense of pride in reading a chapter book entirely on my own.
Book you've faked reading:
Oh, I don't fake. But I have perhaps let on that I liked certain experimental books more than I did. Barthes comes to mind. Also Moby Dick--I skipped the whaling detail parts.
Book you're an evangelist for:
Tell Me a Riddle by Tillie Olsen. If you haven't read it--go read it right now. Now. It's a slim novella--you can be through it in an hour, easy, though you'll want to sit and savor it if you can. There's an Alice Walker blurb on my paperback edition. She writes, "Every time I read Tell Me a Riddle it breaks my heart." I can't say it better.
Book you've bought for the cover:
Vox by Nicholas Baker. I was in seventh grade and found myself drawn to the hot-pink cover. Or maybe that's just the excuse I gave myself after devouring the first few pages in the chain bookstore near my junior high. Pretty shocking material for a seventh grader--the hot pink meant something on that one.
Book that changed your life:
Our Bodies, Our Selves by the Boston Women's Health Collective. As a 13-year-old at summer camp, I pored over it along with all the other pre-teen campers. It was my first introduction to women-centered care, healthy sexuality, queer-positive thinking, etc. I'm currently studying to be a midwife, and I can trace my interest in women's health at least in part back to those bunk bed study sessions.
Favorite line from a book:
In To the Lighthouse by Virginia Woolf, Mrs. Ramsay is trying to remember a poem. And the line she remembers, which apparently comes from a poem written by a not particularly well-regarded poet Woolf knew, is "And all the lives we ever lived, and all the lives to be, are full of trees and changing leaves." Isn't that lovely and true? I first read To The Lighthouse in high school, and that little rhyme has stayed with me. (Though, like Mrs. Ramsay herself, I am forever doomed to not remember the rest of the poem.)
Book you most want to read again for the first time:
The Amazing Adventures of Kavalier & Clay by Michael Chabon. I read it over a few days while sitting in a rocking chair in our Toronto apartment, my then-infant daughter Eva asleep across my lap. I loved the novel and couldn't put it down, but more than just the wonder of that story I want to revisit the moments during which I read it: winter outside, warm inside, my first baby (now four) asleep against me, and nothing to do but rock and read the most wonderful adventure.
by Posy Simmonds
Red Fox / Random House 2004
A mean old baker and his lazy wife have a cat who literally does everything for them. He sweeps, he peels, he slices, he mixes, he rolls, he ices, he bakes, he does the washing up, and at the end of the day is sent exhausted into the storeroom and told he has to ear his keep by catching mice. Exhausted, the poor marmalade tabby collapses while the
Fun with Amazing Animals is book 5 of 6 that I illustrated for Highreach Learning this year.
