Calling all Educators!

Global Conference on Education in November 2010

Boy with a Suitcase: Cyber-Classrooms

This last month we continued the process of creating Boy with a Suitcase, which is part of a larger collaboration between Rangashankara, Bangalore and the Schnawwl Theatre, Mannheim.  

The artistic director of Schnawwl Theatre, Mannheim - Andrea Gronemeyer, dramaturge - Julia Dina Heße and musician - Coordt were all in Bangalore to experience Indian music, sounds, textures.

For a peek at their experience, check out Julia's blog post:

http://schnawwlrangashankara.blogspot.com/

The German national character is very committed to the idea of aesthetic education and high culture for all. Therefore there is a concerted effort to afford art to as wide a demographic as possible and art, as integral to a holistic education is taken for granted. So an important aspect of Boy with the Suitcase are the outreach actvities that are generated by the dramaturge and pedagogue attached to the project. 

To read more about this as well as Wanderlust: Fund for International Theatre Partnerships:

http://www.kulturstiftung-des-bundes.de/cms/en

Thus, the actors and pedagogues will meet with local NGO's working on issues of migration, that being central to the story of Naz and Kryzia and their migration to the "land of milk and honey" in search of the ubiquitous "better life". Stories of migration from amongst the Boy with a Suitcase team will be harvested as will stories from the audience.

As the projected audience is young, we are also creating a cyber-relationship between classrooms in Bangalore and two comparable classrooms in Mannheim. The students will be pen-pals of sorts! Clearly, for this to happen with ease, the selected classrooms have to be cyber-savvy. Thus the two schools selected in Bangalore are Mallya Aditi International School and Inventure Academy.

We made presentations to the two schools and discussed the phases of interaction and the objective of the interaction which is deepen cultural understanding between young people of the two countries. There will be two modes of interaction. 

1) Email between partners (private)

2) Blog posts (public)

Interestingly, while the classrooms in Germany will be watching Das Lied von Rama, a new German production of the Ramayana, the students of Inventure have themselves recently performed the Ramayana so they have enough to start off! 

The first phase of the interaction is called "This is Us!" Both classrooms will respond to questions about country, food, traditions, pop culture and sport. This will be private and via emails. The next phase "Everything is Theatre!" is public and on the blog. The kids will by now, have seen Boy with a Suitcase and will review and discuss it on line. In between there will also be two live interactions between the Boy with a Suitcase actors and the participating classrooms. In Bangalore, we plan to have these at Nrityagram (where we are rehearsing for a month) and Rangashankara.

Check out their websites:

http://www.nrityagram.org/

http://www.rangashankara.org/home/rangatest/

And so on, till the finale which involves all the students, a half hour of Skype and hopefully many new friendships :)

Bass guitar / Improv concepts / Konokol: A Music Workshop at Infinite Souls

Three Renowned Musicians get together to hold a Music Workshop on the finer aspects of modern music and jazz. Date: Dec 18th 2010 at Infinite Souls Artist Retreat. Contact 9845213857

Run To See Jacques Martinez - By Bernard Henri Lévy

Faced with contemporary art, there are on the one hand the grumblers, convinced that art is dead, or uninteresting, or, worse, carnivalesque and in the process of disappearing in an ultimate and derisory parade.

On the other hand are the enraptured, in ecstasy over everything and everyone, confusing art with show, works with performances, enchanted with productions whose characteristic, as Barthes already noted in a premonitory passage in Plaisir du text (1973), is to "exhaust their necessity as soon as they are seen," for they no longer offer "any contemplative or enjoyable longevity."

And facing both, dismissing them back to back as the twin figures of an identical nihilism, are the artists, the real ones. It's not certain one should continue to call them contemporary, so indifferent are they, really, to time, ageless and traversing all the ages, pirating them, piercing them, taking them as a whole and then slicing them into dramatized units and, finally, undoing them: Frize's or Twombly's abstractions, the Chapman brothers' crucifixions, Rudolf Stingel's self-portraits, Frank Stella's birds in relief, Subodh Gupta's metal vanities -- or, today, at the Yves and Victor Gastou Gallery in Paris, the Frenchman, Jacques Martinez.

Who is Jacques Martinez?

A Niçois, first of all, as much as a Frenchman, since his adventure as a painter began in the shadow of César and Arman, his elders, in the vicinity of what was called the Ecole de Nice.

A European more than a Niçois, for he paints -- and thinks -- in an imaginary space ruled by the rigour of Zurbaran no less than the illusions of Mantegna or the heroism of Matisse continuing, in the last days of his life, in Nice, the interminable history of painting.

He is a modern, especially, and definitively so (I once edited a book he wrote called Moderne Forever), one whom no tantrum of the avant-gardes, no pathos of the end, no disillusion nor return to supposed "true values" ever kept from thinking that painting has a history, and that, for example, after Cézanne's bowls, jugs, and other pitchers, it is difficult to paint still lifes the way one did before.

For his current exhibition is an exhibition of still lifes. It is an ensemble -- drawings, photos, but especially sculptures -- of gigantic squashes, of moulded bronze colocynths that one would describe as drawn from the "antivegital vegetation" (in other words, reinvented, revived, produced and, in short, thought of vegetation) that Malraux depicts in his description of Picasso's atelier.

And there is in this manner of re-appropriating an old gesture, of making it live and giving it new life with his fingers, in this way of playing with a genre without necessarily validating all the codes (I am convinced that, like Baudelaire in a famous letter, Martinez doesn't believe for a second that "the soul of the gods lives in plants," or that his "hallowed vegetables" are "more valuable" than his "soul") and then, when the fruits of this game have taken on a form that is just about sure and are available, so to speak, to the eye and the hand, of casting them in bronze (that is to say, in a matter that, since the age that bears its name, supposes and implies a belief in the lasting nature of things), there is at the source of this endeavour a wager that, in these times of regression, derision, and, often, of imbecilic booing, lacks neither appeal nor virtue. 

One cannot count on Jacques Martinez to sing the bad pean to the «death» or «decrepitude» of art, this « thing of the past", like the Sunday Hegelians -- he doesn't believe in it anymore than he does, say, in the death of human beings' desire for transcendence.

One can joke, without him, about the vain paradoxes of "ephemeral art," this silly oxymoron -- whose "happenings" and other "installations" can, in any case, take on meaning only in a view of a definitively desolate world.

The Martinez of these "Bodegons" (the word for his colocynths, in Spanish) thinks that the relation of an artist to Time is always a hand-to-hand combat, sometimes a victory, often a defeat -- but that worse than defeat is, obviously, the defeatism of those who would resign themselves to the aesthetic tourism of the post-moderns.

He thinks, as Bataille did of Manet, that the only great art is "incongruous" or, better still, "disrespectful" -- concretely, disobeying the order of the world and of nature, inventive, unfaithful, insolent. And this is the entire meaning of these ironic homages, such as sculptures of bottle corks, or of bunches of screwdrivers (César, Arman, and others), of elongated forms or those in the shape of a mushroom (Chardin) or of a squash which has become a gourd (with a wink, again, at Matisse).

And if there is a conviction that has never left him, in the thirty years that I have observed and commented on his work, it is that art exists, not to repeat the world, but to recreate it--the soul of the gods, decidedly, inhabits, not the plants, but the artist

Changing Education Paradigms: Sir Ken Robinson

This is an absolutely critical animation to view, for parents and all educators.

Divergent Thinking

For Josefina...by Reema Moudgil

I met Josefina Baez a few years ago in an encounter that almost did not happen. I was a free lance writer who did not fancy taking rattling buses out of Bangalore to meet people she did not know. I resented easing out of my desk and my skin to go anywhere except where I absolutely had to. I had not stretched myself in a long time and I was fine with it. 


In a madly chaotic bus station, I almost missed the bus to a farm out of Bangalore where Josefina, crazy child, dancer, fun yogi, actor and spontaneously wise Guru to all those who know her was conducting a soul workshop. When I did take the bus..I was still questioning my wisdom about doing this story. When would I reach? How would I find this place? When would I get back? To cut a long story short, when I got back home that evening, I did not know that my life was going to change. Something had shifted within me during this visit. I had taken an initiative after a long time to go out of my comfort zone and life was going to reward me. But this piece is not about me. Kirtana Kumar who was hosting Josefina and Dipti Nair who was heading Sunday Herald then were responsible for orchestrating this story, excerpts from which I post here..

"At Infinite Souls, boundaries blur and the sun, the earth and the sky become one. A banana orchard shimmers in the afternoon light. Brown rice and organic vegetables cooked in a wood burning oven are beings served. Little cottages lie at the end of long pathways. A performing space for actors has at the moment lent itself to a Chinese calligraphy workshop. In the meditation space, a guest has made a beautiful rangoli with ash, tea powder and rice powder. Birds chirp and pet dogs sniff new arrivals.

Here, in this soulful retreat, two hours away from Bangalore, theatre personality Kirtana Kumar is happily playing host to ten remarkable women who are participating in the fifth International Ay Ombe Theatre Retreat. Like Infinite Souls, Ay Ombe Theatre too exists in a world of no boundaries. It is a collective theatre movement that ``swims in endless possibilities,'' explores stillness, energy, textures of wide ranging narratives, the local and the political and all colours of the individual and the collective experience. This year, it has brought together artists and performers who will take back the seed capital from the retreat and invest it in their diversely different lives and crafts.And the glue keeping this disparate conglomeration together is a common  passion for the unknown and the gently powerful presence of Josefina Baez (Dominican Republic/New York). An actor, writer and the director of Ay Ombe Theatre, Josefina  has a deeply spiritual side and not just because she has a Himalayan yogi for a Guru or because she reads spiritual literature from all religions and gleans from them, the essence of a limitless, inclusive God. She is a backpacking yogi  without a map. Someone who can spend years learning Chinese calligraphy from a master and then spend time in India  to learn classical dance and yoga. 

She says, ``Spirituality is a practical discipline for me. Religion is just a label but philosophy is about how we can use our consciousness differently. You are your personal lab and its up to you to work in it. My methodology of working in the retreat is not just theory. The credo is ``don't just hear it, swear it.'' We meditate, we work, we laugh and push ourselves physically and mentally. And when you can get beyond the exhaustion, you reach another zone which is transcendent.''

She adds, ``At this retreat, we are all creative women with different strengths. The point is to discover what we can do together with our differences. The focus of Ay Ombe Theatre is the sacred, sovereign individual in the context of the collective.''

The power she radiates comes from physical, mental and spiritual discipline in art and in life. Baez comments, ``The growth of an artist or an individual can not be quantitative. I want to grow here (touches her heart). I don't want to collect people in random workshops but work with people, whose eyes I can look into and find something.''

Anna, the youngest of the participants adds, ``She teaches me as a writer to use the most essential words, to be not grandiloquent, to capture the essence of a moment. To be quiet, not wasteful in the way I spend my energy. I have learnt from her that art is an inner and outer craft and that it is about balance, details, not frills.''

Another participant Andrea responds,``Taking something from within and putting it into your craft is not easy. I learn from her to be alert and present in the moment and to keep my energy pristine. A lot of actors are not careful with their bodies. I also learnt here from other participants that things are always connected. Disciplines are always interconnected.''

Josefina's work as a writer is coloured by the unrest in the world but she remains centred and says about the recent events in Mumbai, ``Terrorism is about having your own way and trying to control or intimidate the other. Yet, so many of us do the same in our own lives. With our spouses and our children and friends. We want to change the world? Let us first just change ourselves.''

 I stayed occasionally in touch with Josefina after she left for what I imagine is a Manhattan loft and somehow the ceremony of being constantly connected because we were 'friends' did not seem necessary. True friendship, I have learnt over the years is not about how often you talk with someone. It is about what you talk about. We never talked and yet she was there through a shared ailment, through moments of doubt and fear and pain with messages that never seemed contrived but lived. 

Josefina's heart is visible in everything she does and says. There are no defences, no walls, no fencing with words, no, "I can teach you so much and you, my child, need to grow up,'' games. She sees everything, the spoken and the unspoken  and she lets you see everything, her own struggles, her mortality, her imperfections. She does not want to be perceived in a certain way. She wants to share and is possibly one of the most authentic spirits I have ever met. Someone, who is real, from the core upwards to the crazy tufts of hair she sports. 

I had not met her in over three years and then just like that she was in India and yet, somehow we could not meet. She was far away, doing all the crazily wonderful stuff she does and I had work and no respite. I kept wishing that we would meet and today, while walking back to the office in the evening after a snack with a colleague, there she was, dressed in denim dungarees, copper coloured bangles, hair tufted, walking past me on  MG Road! 

We almost brought down Barton Centre with our screams and in the 40 minutes we stole from the day to talk, I felt I had never really missed her. As if she has always been there and always would be. Josefina never asks or says mundane things. She does not ask how you are. She wants to know how your heart is :).  She talks about how she does not deal with anger but passes through it! How the only healers we need in our life are ourselves. "We have to care for ourselves, everyday,"  she says. And how the only way to live life is to stop looking over the shoulder, let the mess come up to your elbows and work through it because it is all beautiful. All perfect.Yes, even the imperfections. She has been bereaved twice in the past one year and yet in the few minutes we had together, she taught me how to appreciate my life more among a few other things, too precious to be shared. And then she was gone, yelling out of an autorickshaw, holding her heart, waving. And strangely I feel no absence. Because, those who touch our life become a part of it for all times to come.

A Student's Feedback :-)

Hi Miss Kirtana, 

My name is Mallika Makkar and I took part in Miss Josefina's workshop at CIS. May I just start by saying it was one of the most phenomenal experiences ever! I truly think that Miss Josefina Baez is an amazing teacher, but more importantly, an amazing person. The ways in which she taught us concepts like discipline and control were definitely very unique compared to the 'traditional' methods that we, as students, are so used to. 

Also, thank you very much for your kind comments! It really gave me an added boost of confidence. 

Thanks and regards,

Mallika Makkar (:

Time Out Article

Canadian International School takes the first step

Boy with a Suitcase

Later this year, we begin the process, here in Bangalore, of creating a play called Boy with a Suitcase by the British playwright, Mike Kenny. It is a part of a larger project called Wanderlust where state theatres in Germany work with theatres in other countries. In this case, Bangalore based Rangashankara forms a unique collaboration with a theatre in Mannheim, Germany called the Schnawwl Theatre to create theatre for young people. It will be directed by Schnawwl's artistic director, Andrea Gronemeyer, and I will be the assistant director.

Boy with a Suitcase tells the story of Naz and Krysia, two young people, who find themselves on a journey to another, unknown country…

Essentially it is a story of immigration. Of having to move away from your familiar; of having to find new co-ordinates that help define your life.

Coordt, a young German musician, will come to Bangalore and imbibe her sounds. He will walk down Avenue Road, record the sound of temple bells pealing over the traffic, of cows mooing while people talk, of vegetable vendors and honking autos and film music blaring. He will then improvise with other Bangalore musicians to create a sound track for the play that will tell a story of memories and of journeys.

In February 2011, all the actors, both Indian and German, will rehearse the play in Nrityagram before the premier in Mannheim in April.

What I love about the project are the outreach possibilities. Talking with children who have migrated from their home towns. In Bangalore it could be children of construction workers from Bidar or hotel workers from Kundapur. In Mannheim it could be the children of Turkish or Indian parents.

Another outreach idea is that we forge a cyber-link between a group of students in Bangalore and in Mannheim. They will be cyber pen-pals of sorts! And discuss differences and similarities. What it means to migrate; to travel to new countries, learn new languages, meet people who eat different food, watch different films, listen to different music.

Check out Rangashankara and Schnawwl Theatre at the following links.

http://www.schnawwl.de/index.php

http://www.rangashankara.org/home/rangatest/

Check out a previous production of Mike Kenny's Boy with a Suitcase by Barnstorm Theatre Company in Ireland.

http://www.barnstorm.ie/production.php?pid=38

Nadine Gordimer: In Defense of Freedom

http://www.guardian.co.uk/books/2010/aug/31/nadine-gordimer-fighting-censorship

From Don Ross's Blogrant: Playing with the Neubrandenburg Philharmonic

http://www.gobyfish.com/BlogRant/Entries/2010/6/24_great_time_with_the_neubrandenburgPhilharmonic_at_schloss_marihn.html

Sharing

1

Last night we had the Sharing.
¨At Sunset¨
A lecture demonstration
with bits of Dominicanish, some of Comrade,
Bliss ain´t playing, research findings & reading,
humming/singing with Praveen on guitar.
And a rich dialogue led by Ram and Malika
(Bangalore´s coolest theatre artists) and the audience.
The dialogue possibility lingers.
A lot to listen to.

Mia came. I was sooo happy to see that little one.
My favorite singer-screamer-dancer-smiler.
But since her performance is well known to her parents,
she was entertained outside the working space.
Do you think she blinked for this?
No.
That is why she is teaching me more about the Present.

All went wrong.
All went right.
Performance Autology at hand.
That tradition of being present…no matter what.
So like the old t-shirt says… No problem.
Jasmine flowers and candles on the stage.
This Altar items clear away any unseen gremlin.
Glad for PA!
Glad for the open hearts and minds of many.
Grateful for the possibility of this dialogue.
Kirtana you are a Sunday!
Thank you.
Loved the tiny lights all around the campus.
And the rose tea…and jasmine.
Like coming out from the pages of Comrade Bliss.
The Canadian International School game flowers…
And a beautiful garland that now paint my flat with
Exquisite aroma.

As always…I am curious to know what is the image or phrase
that every person in the audience remembers from last night.
Tell me yours.

2
I did not want to train.
I did anyway.
It was good.
And danced with Cuco Valoy´s Biencito Gomez-
Que no me empuje-que se hace el muerto-
maldita cola-Pa´gozar contigo-Eso no hay que preguntarlo.
Dancing mainly with the Jessica-Esther step and them
the usual JB hip moves (20 years younger).
Laughed and felt quite accompanied.
Coconut oil massage followed.
Na´.
To´.

3
JB in Big Bang.
Yeah
heading to St. Marks Road now.

Journey: Josefina Baez

1

Here.

On the way from the airport

Witnessed by the Knights of Infinite souls

A physical prayer…

Two young skinny men walking

with their back to us

forearms neatly creating  squares.

Perfect.

Just perfect.

A quotidian jewel welcoming

to this Sacred Geometry

where coordinates write Bangalore.

2

Surprising no jet lag symptoms now.

3

Are mosquitos thinking that I am a tourist?

Ah?

4

You will not believe the eyes

of these kids.

These eyes smile.

I melt.

5

Cuco Valoy is playing

this early morning

right here at the hostel.

Bangalore en mambo.

Yes yes yes,

my physical training today is

heavily  Merengue and Son.

Knees bent.

Knees around.

Up and down.

Side side side.

6

Chai.

Count me in anytime.

7

In front of the football field

Elementary students shout:

¨The lady that moves the shoulders…the lady that moves the shoulders…

One in the group asks:

Hi, how are you?

Do you know Justin Biever?

Do you know famous people?

I answered:

¨Yes. You¨.

The girl at that moment changed her way of moving…

In front of my eyes she became that red carpet photo that we have seen.

¨Did you eat?¨ Asked a boy in the group.

¨I am going now. I am going to lunch now¨

Ooh I thought you could play with us.

I accepted the invitation.

I changed the Dhal for running and laughing

with my new found friends.

8

When do we know we are learning?

How do we know we are really teaching?

We learn…we are transformed.

We are teaching when we are learning.

Go figure.

9

Jet lag kicking hard.

Jet lag hand in hand with a splitting headache.

Need more water.

10

Canadian International Students

Exploring Performance Autology physical training.

Today we started to include our music sound track

(John Coltrane-El Jeffrey-Luis Dias-Caetano Veloso…)

Vocalise-too young to go steady-Say it over and over again-Survivor-La Noche-Suite Folcklorica-How beautiful could a being be…

In our tradition…ay Ombe.

This tradition created today…

The self rejoices.

Masks-Chair exercises-balance-our faithful Neruda´s Book of Questions…

So we continue…

Dressing up creating discipline with joy.

Yeah. Joy.

11

Full moon in Bangalore.

Fasting.

At home.

Really at home.

Even with mosquito net.

Loooove it.

Home indeed.

Young Writers: Dylan Thomas Prize

                       Five Women on the 30,000 Dylan Thomas Prize Shortlist

                       http://www.bbc.co.uk/news/uk-wales-11380088


DO NOT GO GENTLE INTO THAT GOOD NIGHT
- Dylan Thomas


Do not go gentle into that good night,
Old age should burn and rage at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

CARP at CIS: A Big First

The principal of CIS, Lynda Gigg and the director, Shweta Sastri

Josefina's in the House!

Today is the opening day of CARP at CIS. Wooohooo!!! The sun is out, we got to school early and into Josefina's apartment..mmm...incence, candles and bougainvillea...feels like home already. Josefina's home for the next three weeks. Sara Vaughn singing "Something in the way she moves" on her Macbook, her parlour an open invitation. We sit there a few minutes, catching her peace and listening to Sara groove. "I feel all actors should listen to jazz to learn how to phrase" she says. "To learn how to puuuuuuull the vowels".

Then Colin is at the door. Assembly at 8.15 am. On the way we chat about the mornings and teenagers. It's the same story everywhere, isn't it?

"5 minutes more pleeeeeeze!!"

"I don't need breakfast, I ate last night!"

"I don't need to shower, I'm always clean!"

and then...

"Hurry! Hurry! Hurry...."

Then, boom! We're at assembly and all around are lovely faces, sparkling smiles, young people with ideas and dreams and imaginings.

:))) :)))    :))))))     :)))

We introduce Josefina to Shweta Sastri, the director of Canadian International School. Really, a meeting of angels. The one, so committed to her art and craft, the other knowing intuitively the human value of art and working to make this possible at CIS. An artist-in-residence program in a school! Fancy that. 

Melina Patel comes over, so warm and enthusiastic, to welcome Josefina. She is the drama teacher and will take care of her program. Nidhi, a young student, comes over to speak to Josefina. She is a drama enthusiast and will be introducing Josefina to the school. Wow! The excitement is palpable. At assembly, Lynda Gigg, the principal, tells the school that this is a first for any Indian school.

Then Josefina comes on...rapping to the children, asking them to move...

"Will you teach us meditation" asks one little child.

"Yes, and I hope to see you in my class" says J.

A group of seniors come to Amjad-from-Nepal and introduce their classmate "He's from Katmandu too." So the two speak a while in Nepali. Plans are made to go to the blog, some more interaction...

We take pictures of Konarak Reddy and Sikander who was at Berklee College of Music for the summer program. And then we're out of there.

Ladies and Gentlemen, Ms. Josefina Baez is in the House!

Miss Trunchbull: True or False?

                                Miss Trunchbull: Real Headmistress or Gross Stereotype?

Art for the Really, Little Ones

Le Petit Ecole

                                                     Twombly for Toddlers

Robotics & Creativity

Three students from Canadian International School have recently won the India Robot Olympiad Competition in the junior high category. They will now compete in the World Robot Olympiad 2010 in Novmber in Manila, Phillipines. The winning team is also an all-girls team comprising of Takita Momoko, Jung Eun Lim and Ramita Kondepudi.

Momoko Takita, Ramita Kondepudi, Jung Eun Lim with Ms.Poornima Gurudutt (CIS Computer Teacher)

So...what is robotics and do they have the potential to unleash your creativity?? The answer to the second - yes, they do! And for the first, here is a little tutorial for the robotically challenged:

1. The term "robotics" was coined by Isaac Asimov in his 1941 science fiction short-story "Liar!"

2. Robotics is the engineering science and technology of robots, and their design, manufacture, application, and structural disposition. Robotics is related to electronics, mechanics and software.

3. Fully autonomous robots first appeared in the second half of the 20th century.

4. The first digitally operated and programmable robot, the UNIMATE, was installed in 1961 to lift hot pieces of metal from a die casting machine and stack them.

5. The structure of a robot is usually mostly mechanical and can be called a kinematic chain.

6. At present the power source for most robots are lead-acid batteries, but potential power sources include hydraulic and pneumatic sources, organic garbage and other alternative energy sources.

For more on Robotics and Creativity, click on the link below

Robotics and Creativity

Robots are not above celebrityhood. Some of the most famous robots of our time would have to include R2D2 (aka Aartoo-Deetoo or Aartoo to his inner circle) and his buddy C3PO from Star Wars. Aartoo's charm will not be easily forgotten, endearing him to millions of fans around the world and earning him a place in the highly esteemed Robot Hall of Fame.

Other famous robots include Grimlock and Lord Megatron from the Transformers saga. And if there ever was a Robot Planet it would have to be Cybertron.

Introducing Josefina Baez!

Josefina: Apparaciones

1


Co-creator Ramana invited me to Newfoundland.
So I went to TerraNova.
Here I am
A Come From Away
A CFA.

2
Best Kind.
Finest Kind.
Love it.

3
I was at the most easterly point in
North America…
Cape Spear
The Atlantic is majestic.
Its blue is too a heartfelt song.

4
Milo, Ramana, Jada, Dan, Dora
and me went blueberry picking.
Contemporary fairies
that ate many of the collected berries
on location,
in the salty cove
in the middle of the morning
in the middle of
purple blue,
sky blue,
green pine
and many other greens.
These contemporary,
island fairies
known universes,
touched inner fibers
to continue the journey
closer.

Student Art: Canadian International School

Anri - Grade 11

Bongyoung

Devika - Grade 12

Chris - Grade 10

Daewong - Grade 10

Grade 9 - Group Work

Henny - Grade 11

Henny - Grade 11

Henny - Grade 11