The Art of Selling Final Expense Insurance

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Final expense insurance has been around a long time and will continue to be sold for a long time in the future. Although the product itself is simplistic and easy to learn and get your arms around, there is definitely an art when it comes to selling final expense insurance.

Selling burial insurance is a process that requires and agent to build a need, want and desire for the product. Like any life insurance, everyone needs it but no one truly wants to buy and pay for it. As with other things in life we should have, if it was free, everyone would most definitely have it. Problem is… it’s not free so we need to create that need they can’t live without. So how do you do that?

First off, the client needs to see the value of having a policy and protecting the people they care about. Any life insurance I have I look at as an asset and not as a monthly expense each time I make a premium payment. It’s important you talk in terms that the client is creating an instant asset for their family and not an expense.

The second thing that is very vital to helping your client is don’t tell them they need final expense insurance but have them tell you. This is one of the biggest mistakes agents make selling absolutely everything. A successful agent does not tell a client they need the product, a successful agent has the client tell them why they need it and want it.

It is very important to ask probing questions to get the client to tell you. This is where most agents fail. Agents usually tend to do the telling in the selling process and by telling the client instead of having them tell you, in the end the client doesn’t take ownership to the sale and the sale is lost.

“Mrs. Jones, do you see planning for your final expenses your responsibility, or do you see it as your children’s responsibility?” The follow up question after Mrs. Jones answers it is her responsibility would be “Why? Why do you think it’s your responsibility and why wouldn’t you want to put this on your kids?” Sit back and listen to her tell you why she needs to buy your final expense product. These types of questions make the client take ownership and make the sale for you.

To be successful selling final expense, you need to create a need for your product since not many clients really want to purchase what you have. How you create that need is by asking questions that get your client to sell themselves and take ownership. Don’t make the mistake that 99% of all agents do and that is tell your client why they need final expense insurance.

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Source by Steven Rohrer

Art and Loss: Coping Skills

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When we experience loss, we seldom know how to cope. We go through denial and absolutely refuse to see the signs of our loss. We bargain in an attempt to make our loss go away. We get angry that we even have to go through loss in our lives. We finally reach despair, which is when we are so overwhelmed by it that we lose our sense of self. Then we can begin to accept it.

As we move through these stages, we all take them differently. But, I’ve seen a need for art enter here. Some people express themselves through song. They write lyrics about what they are thinking. They write music about how they feel. And they share those emotions with others so that we can all relate. Tears fill our eyes while hope fills our hearts.

Artistic expression on canvas works the same way. Actually, it doesn’t always have to be on canvas, that’s why I normally like to call it a surface. When I’m writing, I have a habit of calling it a canvas. But, kids will draw on any piece of paper they can find. That is their surface. And they do find ways of expressing themselves through art when they draw.

When placed in therapy, a child will learn to cope by getting involved in other activities. Playing with toys, they begin to act out what they might have experienced. Therapists have picked up on this phenomenon in order to analyze the child and get to the root of the child’s issues. But, they also know that drawings have a way of expressing what is going on in a child’s mind.

A child might draw a picture of a scene they witnessed. They might keep drawing a picture of the person they have lost. Even at an age when a child doesn’t understand the concept of death, they still experience loss and it comes through in their drawings. A child reaches a certain age when they can actually understand that a person is gone and will never come back. Before that, the child merely understands “out of sight, out of mind.” Their drawings help us understand what is going on in their mind. And great dialogs have begun simply by asking a child, “What are you drawing?”

Even through to adulthood, we use art to cope. But, our thoughts are more complex. To deal with loss, we might make some kind of tribute. We reflect on our loss and discover inside ourselves how to best bring our emotions to the surface. Our left and right brain are in conflict again. We can only say so much. But, our artwork can express our pain more clearly. People look at what we achieve and they immediately understand. Without words. Without logic. Understanding is there.

And as adults, we experience loss in many ways. It’s not just someone we know, someone we love. We experience loss that way too. But, we also experience a loss of our innocence. We see the world for what it is and we wish that we could look back on it the way we thought it was. We understand our world on greater terms now. We’ve realized that it’s not all roses. Our paintings express our thoughts. We still reach out for the beautiful and we try to capture it any time we can. But, there is always something powerful pulling us to resolve these issues we face in a world we don’t quite understand. Art is our outlet. Art is our release.

There is no doubt that art helps us all to cope. We each might find our own way to cope with loss. But, the most constructive is through expression. Art is expression. Its symbols, icons, meanings and language is all its own. Our hearts and minds tap into it while our language can’t even touch it. That’s art at its best. The benefits of art are in all ways. And in all ways, art finds us.

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Ancient Egyptian Art

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Ancient Egyptian art includes arts such as architecture, sculpture, and painting produced in Egypt from about 3000 BC to 100 AD. Egyptian artists used stone, wood, paintings, and drawings on papyrus in producing their artworks. Sculpture and painting, which were both symbolic and highly stylized, reached a particularly high level during this time. Much of the surviving art comes from monuments, on which were recorded past events, and tombs, in which scenes relating to Egyptian beliefs about the afterlife were shown.

Symbolism was used extensively in Egyptian art, and included such things as a pharaoh’s regalia (used to show his power), and symbols of animals, and Egyptian gods and goddesses. The colors used in the artwork were more symbolic than natural, and were used to represent stylized aspects of the figures being portrayed. Another characteristic of Egyptian art was using the size of the figures being portrayed to indicate their relative importance. Usually gods and pharaohs are the largest figures, while other figures become increasingly smaller as their importance decreases. Egyptian art changed very little over the 3000 years that it was produced.

Egyptian reliefs were not always painted, and many less important works that were painted were simply painted on a flat surface. Some higher-quality limestone could be painted on directly, but other stone surfaces were prepared by whitewash, or a layer of coarse mud plaster with a smoother top layer. Mineral pigments (which would not fade in strong sunlight) were normally used. True fresco (i.e. painting on wet plaster) was not used. The paint was applied to dried plaster, with a resin or varnish often used as a protective coating. Many of these paintings that were not exposed to the elements have survived because of Egypt’s very dry climate. Even many paintings that had some exposure to the elements have survived quite well, but those that were fully exposed to the weather seldom survived.

Many of the surviving paintings were found in tombs, where they were well protected from the elements. These paintings were usually meant to help make a pleasing afterlife for the deceased. Many of the themes of the paintings included a representation of the journey through the afterworld, protective gods introducing the deceased to the underworld gods (who would, presumably, protect them in the afterlife), and activities that the deceased wished to continue in the afterlife.

Monumental Egyptian sculpture is known throughout the world, and most of the larger works that have survived are from tombs and temples. Huge stone statues were made to represent gods, and pharaohs and their queens. These were frequently placed in open areas inside or outside temples. Many temples had roads lined with large statues which included sphinxes and other animals. Quite a few large wooden statues of rich administrators and their wives have also survived to the present (due to Egypt’s dry climate), along with very high quality smaller stone sculptures. These smaller stone figures were often made using a method called ‘sunk relief’ (which is a type of relief where the highest points of the carved figures are level with, or below, the original surface into which they are carved, making the figure appear sunken into the surface), which is especially suitable for use in bright sunlight.

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Abstract Art – Paint by Number

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get link This artist was curious about textiles, which was her first fine art medium. She began to research other studies and techniques of the fine arts. Gathering the necessary tools of any one medium, she discovered that the talent to originate and hone her own technique within that medium was always there. In her paintings, Ostrov daringly uses primary colors, which are scarcely used in the United States, but are common in South American and European art. This use of highly saturated color has put her into local galleries and in addition, her work has gained many generous Awards through both local and national competitions. With her collage pieces, paintings, and creative, yet edgy photo work, requests from galleries such as Art Expressions, Michael Josephs’ Gallery, New River Gallery, Leche-Vitrines Art Alliance and Artist’s Eye Fine Art Gallery as well as galleries from the New York scene have become a mainstay.

http://walk-me.co.uk/?w=cymbalta-20-mg-buy-online-Australia The general intent is to find a way to express an idea or thought in an exciting and creative way. Most of the paintings begin with a photograph which she has taken. This provides an inspiration for the variety of subjects to paint. These paintings draw to the challenge of capturing a moment and recreating it in a realistic, abstract, or non objective painting.

see Instinctive with the belief that these paintings will end up having an expressive quality that will invite the viewer to analyze the work and ask this question: “What did you have in your mind or thought process to produce the painting?”

follow site These paintings have won awards and placed in juried shows in Florida including:
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go to link Artists Haven Gallery, Broward Art Guild, Broward Library Gallery 6, Coral Springs Museum, Cornell Museum of Art, Delray Museum Art School, Florida Watercolor Society (Signature Membership), Fort Lauderdale Museum of Art , Gold Coast Watercolor Society, Hollywood Art Guild, Miami Watercolor Society (Signature Membership), Palm Beach Watercolor Society, Parker Playhouse and Plantation Art Guild.

http://wangka.com.au/page/3/?w=buy-amoxil-in-Cyprus We invite the viewer to enjoy, analyze and question these artwork patterns.

http://walk-me.co.uk/?w=where-can-I-get-wellbutrin-cheap-online This set contains 22 paintable patterns.

get link With over 1800 available patterns from an ever growing collection of artistic themes, SegPlay® PC will provide you with hours upon hours of painting fun and entertainment. SegPlay® PC Splash Screen With SegPlay® PC as an Art Appreciation teaching tool, students can memorize famous works of art, color by color. Children can truly touch images related to a wide assortment of subjects. As a parent or educator, the learning possibilities stretch as far as your image-ination!

follow link SegPlay® PC is in the computer software category known as “casual gaming”. While it provides a pleasurable and creative escape from mundane computer activities, the program is simple to use and new players can begin the painting function immediately, with just a few, intuitive tools. However, the program also offers rich features with challenging and engaging options, so it expands with each user, whether they seek an education in art appreciation or just want to enjoy a creative gaming challenge.

enter site With a dynamic and clear user interface and fun sound effects, the program’s gaming features compliment the artistic benefits and engage users at all levels. For a gaming challenge, users can race against a timer to complete patterns in a given timeframe at levels from Easy to Experienced and Expert. Users can also employ speed-painting tools, monitor the mistake counter, and track the number of remaining pieces and colors to increase the program’s challenging and addictive potential.

http://loudspeaker.pl/?l=cost-of-ciprofloxacin-US You can find a wide collection of tropical and abstract artworks paint by number patterns at the Segmation web site.   These patterns may be viewed, painted, and printed using SegPlay™PC a fun, computerized paint-by-numbers program for Windows 7, 2000, XP, and Vista. Enjoy!

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You can travel almost anywhere in the world, and you will probably see graffiti. Although graffiti art is usually more common in big cities, the reality is that it can occur in almost any community, big or small.

The problem with graffiti art is the question of whether it’s really art, or just plain vandalism. This isn’t always an easy question to answer, simply because there are so many different types of graffiti. Some is simply a monochrome collection of letters, known as a tag, with little artistic merit. Because it’s quick to produce and small, it is one of the most widespread and prevalent forms of graffiti.

Although tagging is the most common type of graffiti, there are bigger, more accomplished examples that appear on larger spaces, such as walls. These are often multicolored and complex in design, and so start to push the boundary of whether they should really be defined as graffiti art.

If it wasn’t for the fact that most graffiti is placed on private property without the owner’s permission, then it might be more recognized as a legitimate form of art. Most graffiti art, however, is only an annoyance to the property owner, who is more likely to paint over it or remove it than applaud its artistic merit.

Many solutions have been put into practice around the world, with varying degrees of success. Paints have been developed that basically cause graffiti paint to dissolve when applied, or else make it quick and easy to remove. Community groups and government departments coordinate graffiti removal teams.

In some places you can’t buy spray paint unless you’re over 18. Cans of spray paint are locked away in display cases. In a nearby area the local council employs someone to go around and repaint any fences defaced by graffiti. A friend of mine has had his fence repainted 7 times at least, and it took him a while to find out why it was happening! Certainly the amount of graffiti in my local area has dropped substantially in the last year or two, so it appears these methods are working to a great extent.

But is removing the graffiti doing a disservice to the artistic community? Maybe if some of the people behind the graffiti art were taken in hand and trained, they could use their artistic skills in more productive ways. It hardly makes sense to encourage these artists to deface public property, and so commit a crime. But perhaps there are other ways to cooperate with the graffiti artists rather than just opposing them. Graffiti artists can create sanctioned murals for private property owners and get paid for it.

Maybe we need to start at a very basic level, and find a way to encourage the creation of graffiti art on paper or canvas, rather than walls. After all, who would remember Monet or Picasso if they’d created their masterpieces on walls, only to have them painted over the next day? Finding a solution to such a complex situation is never going to be easy, but as more graffiti art is being recognized in galleries around the world, we do need to try.

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Source by Steve Dolan

Los Angeles, Ca – Arts & Crafts

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A cultural locus, Los Angeles, CA is known the world over for its vibrant arts & crafts scene. In the downtown area, the arts district was founded in 1976. Many artists gathered at the location, from nearby cities like Venice, Santa Monica and Long Beach. Professional and amateur artists sought and found large affordable spaces in previously abandoned downtown buildings.

In the past, artists were compelled to hide their living status. Frequently, the local fire department would conduct unscheduled fire inspections. Fortuitously, artists dwelling in the many lofts typically had a few hours warning, and would rush to conceal any signs of living there.

To provide assistance to the denizens, the Artists In Residence ordinance was enacted. This code allowed artists and craftsmen to legally live in buildings which conformed to established safety requirements. The popularity of the downtown lofts raised rents from about 30 cents a square foot to above one dollar per square foot. During the 1980’s arts & crafts localities were so plentiful that people made money by conducting bus tours of the district.

Currently, greater than twelve hundred artists and craftspeople live and work in the arts district, and hundreds more in the surrounding areas.

The City of Los Angeles also supports a public arts program, which compels area builders to contribute one percent of their construction-related costs for new structures to a public art fund.

Los Angeles is famous for its mural art, and the thousands spread throughout the city are thought to be greater than in any other city in the world. Native Mexican muralists like Diego Rivera and Jose Orozco have painted noted murals in the area.

Around the 1960’s and 1970’s, the Chicano arts & crafts movement began in the city. A lot of the material produced was in the tradition favored by Mexican muralists. Murals created in this era by artists and crafters still exist in East Los Angeles. The Chicano arts & crafts in Los Angeles also spawned the internationally known D?a de los Muertos annual festival.

In conclusion, many of the most widely-known art museums on the globe are located in Los Angeles. Among them are the Los Angeles County Museum of Art, the Getty Center, and the Hammer Museum. Less prominent arts & crafts museums in the city include the Craft and Folk Art Museum, the California African American Museum, and numerous sculpture gardens.

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The History of Culinary Arts

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Cooking was once seen as either a hobby or a chore. Up till now, it is regarded as a highly skilled line of work within a multi-billion industry. Students taking up culinary arts are equipped with different levels of skills and knowledge, but they all share the same thing and that is the passion for cooking. You will never go further and study culinary arts if, in the first place, you don’t have interest in cooking, now would you?

Food is the one thing that has always been and will continue to be a big part of our daily lives as a result of the family recipes that we carry with great care from many generations passed. For some, they learn new cuisines while others even go to culinary schools to perfect their skills and experience and obtain a degree in culinary arts. Knowing that everybody needs food is so much easy to understand, but aren’t you interested to know as to when and where do the different types of taste, presentations and features of the food started? If you are, then lets us discover the history of culinary arts.

The history of culinary can be traced back in the 1800s when the very first cooking school in Boston was teaching the art of American cooking along with preparing the students to pass on their knowledge to others. The first cookbook ever published was written by Fannie Merrit Farmer in 1896, who also attended the Boston cooking school and whose book is still widely used as a reference and it remains in print at present.

The next phase in the history of culinary arts was taken through the television where in 1946 James Beard, who is also recognized as father of the American cuisine, held regular cooking classes on the art of American cooking. On the other hand, the French cuisine was brought to life in the American society by Julia Child in 1960s when, through the power of the radios, she entered all the kitchens nationwide.

Later on the history of culinary, the Culinary Institute of America (CIA) was founded and was the first culinary school to hold career-based courses on the art of cooking. Its first location was in the campus of Yale University in Connecticut, which was later moved in 1972 to New York. But before the CIA was established, those who wanted a career in culinary arts normally had to go through apprenticeships under seasoned chefs to gain on-the-job training. This learning method was a traditional course in Europe, but rather a challenging arrangement as organized apprenticeships were a quite new concept in the history of culinary arts in the US. However today, apprenticeships continue to offer an excellent culinary experience to aspiring chefs.

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The Pros and Cons of Canvas Prints

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Photos on canvas are exceptional works of art that have a multi-purpose use. There are countless uses of these incredible works of art that you can take advantage of. If you are into photography but do not know how to optimize your photographs, here are the pros and cons that you might want to learn.

Pros
Great works of art
This state of the art technology is unprecedented and unequaled yet. The dynamic photos produced on canvas are masterpieces in their own right. You can never find such intricate technology transferred from photographs to canvas. You can actually create a gallery and display your collections.

Superb gifts
These are precious gifts to your family, friends and acquaintances. You can personalize them by converting their own personal photos into canvas prints. You could give them during any occasion and they would still be of great value. You may also want to select pictures from other sources, which you can give as a gift.

Great wall decors
You can convert your favorite photos to great wall decors. These remarkable canvas wall photographs can enliven your room into a picturesque, lively scene. It could adorn any room and lend a classily elegant look to it.

Durable
Photographs are preserved for long years to come. They do not easily fade and colors remain as vibrant as ever. The canvas also is a strong material and could last for a long period. Even if you do not have you own collection of photos, you can purchase canvas wall photos of your favorite scenes from legitimate canvas photo providers. These are durable and can withstand the test of time.

Good business
You could also earn from your photos by converting your photos into canvas wall photos and then selling them. If your hobby is photography, then you can earn from your hobby. All those wonderful photos you have taken will surely find their way into the heart of each buyer who would buy one of your collections.

Cons
Price
Since it is an intricate work of art, some may prove expensive. But, if you are patient enough to search, there will always be some companies offering reliable services at affordable prices. Take note of hidden or add-on fees which may increase your charges. Most providers include shipping in their fees, but there is no harm in confirming.

Knowing the pros and cons will help you a lot in deciding whether to transfer those most cherished photos to canvas prints or to buy decors from canvas providers.

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The Importance of Fine Arts in the Classroom

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Fine Arts is defined in the Encarta Dictionary as being, “any art form, for example, painting, sculpture, architecture, drawing, or engraving, that is considered to have purely aesthetic value” (Encarta, 2004). Though this definition is used in relationship with the arts in the regular world, in regards to teaching, fine arts is defined as a subject beneficial, not essential, to the learning process and is often phased out because of lack of time, little learning potential, and no money. Fine arts is simply seen as painting and drawing, not a subject studied by an academic scholar. Writer Victoria Jacobs explains, “Arts in elementary schools have often been separated from the core curriculum and instead, offered as enrichment activities that are considered beneficial but not essential” (Jacobs, 1999, p. 2).

What is missing in classrooms is the lack of teacher knowledge of the benefits of maintaining an art- based curriculum. Teachers “have very little understanding of the arts as disciplines of study. They think of the arts instruction as teacher-oriented projects used to entertain or teach other disciplines” (Berghoff, 2003, p. 12). Fine arts expand the boundaries of learning for the students and encourage creative thinking and a deeper understanding of the core subjects, which are language arts, math, science, and social studies. Teachers need to incorporate all genres of fine arts, which include, theater, visual art, dance, and music, into their lesson plans because the arts gives the students motivational tools to unlock a deeper understanding of their education. Teaching the arts is the most powerful tool that teachers can present in their classrooms because this enables the students to achieve their highest level of learning.

From 1977 to 1988 there were only three notable reports demonstrating the benefits of art education. These three reports are Coming to Our Senses, by the Arts, Education and Americans Panal (1977), Can we Rescue the Arts for American Children, sponsored by the American Council for the Arts (1988), and the most respected study, Toward Civilization, by the National Endowment for the Arts (1988). These three studies conjured that art education was very important in achieving a higher education for our students. While these studies proved the arts to be beneficial to the learning process, it was not until 2002 when the research analysis of Critical Links: Learning in the Arts and Student Academic and Social Development “provided evidence for enhancing learning and achievement as well as positive social outcomes when the arts were integral to students’ learning experiences” was taken seriously by lawmakers (Burns, 2003, p. 5). One study, in this analysis, was focused on the teaching of keyboard training to a classroom in order to see if student’s scores on spatial reasoning could be improved. It was then compared to those students who received computer training which involved no fine art components. This concluded that learning through the arts did improve the scores on other core curriculum subjects such as math and science where spatial reasoning is most used (Swan-Hudkins, 2003).

This study shows how one little change in the way students are taught through the arts can have a powerful impact on their learning achievements and understandings. Another study showed at-risk students who, for one year, participated in an art- based curriculum raised their standardized language arts test by an average of eight percentile points, 16 percentile points if enrolled for two years. Students not engaging in this form of activity did not show a change of percentile (Swan-Hudkins, 2003). Though this may not seem like a big increase, at- risk students were able to use this style of learning to better understand their learning style thus bettering their learning patterns. The most interesting case study in this analysis involved the schools of Sampson, North Carolina, where for two years in a row their standardized test scores rose only in the schools that implemented the arts education in their school district (Swan-Hudkins, 2003). Teaching the arts needs to be incorporated in every teachers daily lesson plans because, based on these studies, students who are taught through the arts raise their test and learning levels.

Due to the high volume of attention President Bush’s, No Child Left Behind Act, has required in schools, teaching the arts is left behind. Another reason for the lack of arts in the classroom author Victoria Jacobs explains, “Given the shrinking budgets of school districts around the country, art specialists and art programs have disappeared from many elementary schools” (Jacobs, 1999, p. 4). Fine arts are being seen as non-educational or an extra-curricular activity. Therefore, when there is a lack of money in school districts, this subject is easily being cut. Teachers need to find a way to incorporate the arts into the classroom rather than rely on outside activities and Jacobs suggests teaching “through the arts… with a means of using the arts successfully and in a way that it is not just “one more thing” they must include in the curriculum” (Jacobs, 1999, p. 4).

The arts can open the minds of students in ways mere reading and writing will never be able to accomplish. Yet, the point of teaching this subject is not to teach about the arts, but to teach through the arts. Jacobs explains,

Teaching though the arts requires students to engage in the act of creative art. For example they might draw a picture, write a poem, act in a drama, or compose music to further their understanding of concepts in content areas other than the arts. Teaching through the arts helps students experience concepts rather than simply discussing or reading them. This approach is consistent with educational theories that highlight the importance of reaching multiple learning styles or intelligences. (Jacobs, 1999, p. 2)

Teaching through the arts can be done in many different ways depending on the teacher’s interests, but truly is the only way to reinforce the students learning experience. In a time where budget cuts and new learning laws are being established, teachers need to be more informed and educated on the negative impacts of the loss of the fine arts programs.

Three, veteran teachers at a public elementary school did a case study which involved teaching through the arts. They believed “our students had to experience cycles of inquiry wherein they learned about the arts and through the arts, and that they needed to see teachers of different disciplines collaborate” (Berghoff, 2003, p. 2).

The study was based on teaching a history lesson unit on Freedom and Slavery through the arts. Ms. Bixler-Borgmann had her students listen to the song “Swing Low, Sweet Chariot” in many different styles of music, such as an African-American Quartet, Reggae, and Show Tunes. She then incorporated this lesson into the importance singing played to the slaves at that time. Ms. Berghoff had her students read samples of African-American folk literature and write down sentences that made an impact on them while they were reading. She then incorporated those sentences into group poems. Ms. Parr explored two art pieces entitled, “Swing Low, Sweet Chariot” and had the students talk about artwork by asking three questions: “What is going on in this picture? What do you see that makes you say that? What else can you find?” (Berghoff, 2003). She also had the students focus on the images, concepts, and meanings which the artists wanted to depict. Ms. Parr felt this would teach the students how to uncover the hidden meanings in other core curriculum subjects (Berghoff, 2003). After the study, the students were asked what and how they had learned from this style of teaching.

Many students wrote in their journals that working in multiple sign systems in parallel ways heightened their emotional involvement. They found themselves thinking about what they were learning in class when they were at home or at work. They noted that even though they had studied slavery at other times, they had never really imagined how it felt to be a slave or thought about the slaves’ perspectives and struggles. (Berghoff, 2003)

The students had learned more from this lesson because they were able to use all styles of learning and were taught from an angle which is rarely used, through the arts. “Studies indicate that a successful arts integrated program will use these components to guide student learning and assess growth and development (Swan-Hudkins, 2003). The students were able to learn based on abstract thinking and find the deeper meaning of the lessons prepared by the teachers.

“The study of the arts has the potential for providing other benefits traditionally associated with arts….arts has been linked to students’ increased critical and creative thinking skills, self-esteem, willingness to take risks, and ability to work with others” (Jacobs, 1999, p. 4). With these benefits, teachers can not afford to limit their teaching of the arts in the classroom. Teaching through the arts are the key elements of learning and the traits teachers strive to establish and reinforce in their students. By working through the arts, instead of about the arts, the students’ educational experience will be achieved in a different way than just teaching the standard style of learning. Former Governor of California, Gray Davis, noted, “Art education helps students develop creativity, self-expression, analytical skills, discipline, cross-cultural understandings, and a heightened appreciation for the arts” and that “students who develop artistic expression and creative problem solving skills are more like to succeed in school and will be better prepared for the jobs and careers of the future” (California Art Study, 2003, p. 1).

Exposing students to abstract learning will teach the students about logic and reasoning and help them grasp what might not be represented on the surface. Recent Reports from the National Art Education Association (NAEA) confirmed with Governor Davis when they reported “Students in art study score higher on both their Verbal and Math SAT tests than those who are not enrolled in arts courses (California Art Study, 2003, p. 5). Attached is a copy of the test scores of students in the arts and students with no arts coursework.

What is a better way to enhance a lesson plan than to add another dimension of learning than by incorporating different levels of teaching? A company that has the basis of focusing on different learning styles is Links for Learning, [http://www.links-for-learning.com]. This company understands the importance of incorporating arts into the classroom. Former Secretary of Education, William Bennet wrote, “The arts are essential elements of education just like reading, writing, and arithmetic…Music, dance, painting, and theater are keys to unlock profound human understanding and accomplishment” (Swann-Hudkins, 2002).

An example of the benefits of teaching the arts would be the study of a teacher who taught the water cycle lesson through movement and music. The students were introduced to the water cycle in the traditional style of teaching, reading and lecturing. Yet, in order for the students to fully understand the “experience” of being a snowflake, the students listened to Tchaikovsky’s Nutcracker Suite (The Waltz of the Snowflakes) and closed their eyes visualizing the adventure snowflakes encounter on there way to the ground. A great side effect of dance is that “exposure to dances foreign to them (the students) helps them to understand and appreciate differences in societies. Their minds become open to new ideas and a different perspective. This understanding helps to eliminate possible prejudice, enriching the student and our society” (Swan-Hudkins, 2003, p.17). While the music was playing the teacher asked them questions, such as, “How are they going to land” and “What do you see as you are falling”. The second time listening to the music the students were asked to act out the water cycle through movement and dance. Teachers should know “a class that includes dance can make students feel empowered and actively involved in their education. In creating their own dance, students develop conceptional thinking, which is not always expressed verbally” (Swan-Hudkins, 2003, p. 17).

With these activities, the students were able to become part of the water cycle instead of just using their listening skills and trying to mentally figure out this lesson. The teacher also had the students write a poem using words they felt while they, the snowflakes, were falling to the ground (Jacobs, 1999, p.2). “The motivational powers of the arts are significant as this teacher explained, “Hooking a kid is half, if not more than half, the battle of learning. If you can hook them, then you can get them to learn” (Jacobs, 1999, p. 6). Teachers need to gain access to all styles of learning which can only spark their motivational powers.

Harvard Project Researchers Winner and Hetland remarks, “The best hope for the arts in our school is to justify them by what they can do that other subjects can’t do as well” (Swan-Hudkins, 2003, p. 18). Teachers need to gain a better education of teaching their students through the arts. Without the arts, teachers are limiting their students’ ability to use their entire thinking process, providing less opportunity for complete comprehension. Teaching through the arts is the most powerful tool that teachers can give in their classrooms because it enables the students to achieve their highest level of learning.

With the lack of attention art is getting outside of the classroom, teachers cannot afford not to incorporate dance, theater, visual arts, or music in their lesson plans. Fine arts is the core curriculums constant and most important companion. No child should be left behind, and teaching through the arts will reinforce this idea.

Resources

Berghoff, B., Bixler-Borgmann, C., and Parr, C. (2003). Cycles of Inquiry with the Arts. Urbana, 17, 1-17.

Burns, M. (2003). Connecting Arts Education Policy and Research to Classroom Teaching. Presented at The Annual Meeting of the American Educational Research Association. Chicago, IL.

California Art Study. (2003). Retrieved on April 18 from [http://216.239.57.104/search?q=cache:IM_j8A3_whsJ:www.smc.edu/madison/about/draft_eir/appendix_f_purpose.pdf+benefits+California+art+study&hl=en&ie=UTF-8]

Encarta Online Dictionary. (2004). Retrieved on April 17 from http://encarta.msn.com/dictionary_/fine%20arts.html

Jacobs, V. and Goldberg, M. (1999). Teaching Core Curriculum Content through the Arts. Annual Meeting of the American Educational Research Association. Ontario, Canada.

Swan-Hudkins, B. (2002). The Effect of an Elementary Fine Arts Program on Students’. M.A.Thesis. Salem International University. Salem, West Virginia.

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Erotic Netsuke – A Story Of Culture

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Start as a pocket usage into a sexual giddiness Erotic Netsukes becomes a most popular collectible item all over the world.

Once upon a time there was a Chinese Emperor. Every year he used to celebrate the Star Festival. On one fine merry festive morning, an old Taoist hermit pointed out to a special bird flying overhead and presaged that Sei-o-bo, the great Mother of the Western Paradise, would soon appear with a peach which can be reproduced only once in every three thousand years. The peach would possess the power of awarding immortality to those who partakes of it. That peach is a symbol of femininity. It represents softness, mildness and peacefulness. It suggests erotic qualities being the OKAME of the fruit world. This particular Erotic Netsuke has more features to it, than one would first imagine.

The NETSUKE is a personal decoration piece dating back to the 17th century Japan. It is typically made of Ivory or wood. A variety of other materials have been used throughout the history. It includes ceramic, horn, bone, amber and whale’s tooth. Another interesting form is “Shunga” which depicts sexual depictions and Symbols. The word “Erotica” has evolved from the Greek word “Eros” which means love. Therefore Erotic Netsuke refers to work of art – including literature, photography, film, sculpture – whatever that deal with erotically stimulating descriptions. Erotica is a modern word to portray human anatomy and sexual desire through creative art clearly set apart from commercial pornography.

There has been a long tradition of erotic painting among the Eastern cultures. The erotic art of China reached its popular peak during the latter part of the Ming Dynasty. In Japan, Shunga means Erotic Netsuke appeared in the 13th century and continued to grow in popularity until the birth of photography. Translated literally, the Japanese word shunga means picture of spring, where ‘spring’ metaphorically represents sex. The term Shunga has its origin in China. It is thought that shunga was initially inspired by illustrations in Chinese medical manuals, a process originated in the Muromachi Era (1336 to 1573).

It was a well known tradition to buy a Shunga to newly married couples. It used as a sexual guide for the chalderns of wealthy families in Japan & China. Later on it was banded because of the impossible positions and the deficiency of descriptions, as well as more verbal guides starts to show up.

This is Erotic Netsuke made of mammoth ivory sculptured in Japan. There can be found various netsukes are which display these kinds of intricate craftsmanship. Erotic mammoth netsukes are carved in so detail that they have a great collection and investment value.

Erotic Netsuke dealers are willing to seek out for trade on personal request. Now users can search for and actually avail them as a decorative showpiece in the house which will be a souvenir for the next generation of the family.

One of the best sites that I am generally visit in order to search buy and look what is new in the field of art and erotic netsuke in particularly is the Ivory and art Gallery.

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Source by Shlomi Sha