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The sound of children laughing, singing and chattering fills the playground of the Steiner school kindergarten. This isn’t called recess; in this kindergarten, playing outdoors is a focussed class activity all year round.

According to the School’s kindergarten teacher, “play in our kindergarten is given priority; really everything else is wrapped around it. Play is practise for life, it is the child’s work and helps them develop physically, socially, and emotionally, it is a means of learning to live. When children play, they learn more than they ever could be formally taught.”

And it isn’t just outdoors where play is encouraged. The walls inside the Kindergarten are adorned with baskets of odd wood bits, shells, cloths, all awaiting the child to imbue them with life. “I’ve witnessed small triangular off-cuts of wood, transformed into helicopters, diggers, wings, cars, houses anything you can possibly imagine and a lot more,” she said.

“Simple pieces of wood, paper, bamboo or material can be used to spark imaginative play. I’ve seen the children create intricate marble runs and enjoy just sitting back and watching the little scientists and engineers in action. The hum of business and the satisfaction emanating from these children tells me they have just what they need: simple unformed play things and time to explore.”

Research has proven the importance of play to the work and discoveries of scientists and inventors. To cultivate problem solving skills the development of imagination and creativity is essential and this is being increasingly recognised by early childhood educators.

“Imagination is valued highly and nurtured in all possible ways in the kindergarten,” she said. “For example, the simplicity of our play things allows children to create what they want the object to be today and by telling stories from memory we allow the child to create their inner pictures and to strengthen imagination.”

Enrolments for 2011 are open now. To learn more about the Steiner school kindergarten, or for an enrolment pack, please contact the school on [PHONE NUMBER].

Playing a gig at the Woodford Folk Festival is a dream come true for Jess Ribeiro. Jess will be bringing her band The Bone Collectors from across Australia to Woodford, Queensland for the 25th anniversary of the 6-day music, art, theatre, dance and culture festival, starting December 27.

“I’m so excited to go back to Woodford as a performer.  The last time I went to Woodford I decided not to return again until I was performing and now my wish has come true so I am delighted,” she said.

 

Jess Ribeiro and the Bone Collectors will be playing five shows on five different stages throughout the festival including featuring in the new art and music extravaganza ‘Trailer Trash’.

Trailer Trash is a brash, ballsy new project showcasing live art alongside awesome music in one of the hottest new precincts in Woodfordia. Young and emerging Australian and International artists will provide the visuals, and the live music is a highlight, with diverse bands bridging the rapidly decreasing divide between music and art.

Programmed artists are complemented by chalkboard sessions with friends of the crew jumping in to create new formations – watch as the musicians go from electric to acoustic, artists unite to form mega-groups, or someone completely new takes to the stage and blows you away amidst the buzz of live art.

“The Trailer Trash project sounds exciting, I have no idea what we will be doing yet and whom we will be doing it with,” Jess said.

“Hopefully there will be lots of colourful folk to play with us like the hairiest man in the world, some dancing girls, maybe the smallest woman in the world  . . . I don’t know what’s going to happen but its going to be a great mash up of music, theatre and art.”

The Woodford Folk Festival runs from Monday, December 27 to Saturday, January 1. Jess Ribero and the Bone Collectors will be playing Monday 8.15pm at the Joyluck Club, Tuesday 7.15pm at the Bazaar, Wednesday 12pm at the Parlour, Friday 4.30pm in the Chai Tent and then from 10am on Saturday at Trailer Trash.

Programmes and tickets are available on the Woodford Folk Festival website http://ift.tt/J132zZ or call the Queensland Folk Federation on 07 5496 1066. Selected newsagents have the programmes, check online for these outlets.

The threads of tradition and innovation are woven through the classes and performances of the Kuchipudi Dance School. Rhythmic percussion and harmonies are seamlessly intertwined with intricate footwork and gestures; each movement accentuated by precise facial expression and visual splendour. At Kuchipudi Dance School, each student is given the techniques and knowledge to use these tools to create a storytelling tapestry, where every action adds a layer of meaning to the performance.

About the Academy

Dedicated to mentoring the future of Kuchipudi, the teachers at Kuchipudi Dance School provide students the space to express themselves artistically. The curriculum is focussed on fostering the unique talents of each student by providing innovative lesson plans, an empowering environment and the opportunity to perform publicly.

The Kuchipudi Dance School is devoted to promoting cultural understanding through the classical art form of Kuchipudi and ensuring the legacy of this classical dance style for future generations. Classes and workshops provide physical exercises designed to increase the strength, flexibility and suppleness of the student, as well as a theoretical understanding of the Kuchipudi tradition.

Whether you are young or old, new to dancing or a seasoned professional, the Kuchipudi Dance School provides classes to suit all students, regardless of their age and ability. From their first lesson until their rangapravesam and beyond, students are empowered to find their own strengths and confidence through the art of Kuchipudi.

About Kuchipudi

Kuchipudi Dance School is named after the Yogi Siddhendra who tradition says created the devotional dance theater of Kuchipudi. With roots stretching back 20 centuries, Kuchipudi has seen a modern revival and has developed into the vivid and sophisticated art form it is today.

Heavily influenced by the Natya Shastra theory of the classical theatrical arts, Kuchipudi makes full use of the abhinaya, four ways of conveying meaning and emotions to the audience. These are the movement of the body (angika), use of speech (vachika), the dancers’ adornment (aharya) and, the most technically difficult, delicate facial movements to provide true expression of the character’s inner emotions (sattvika).

Kuchipudi’s use of the abhinaya creates a multi-layered performance combining drama, poetry, song, dance, sign language, mime and music to create a symbolic and expressive theatrical experience for the audience. Colorful costumes, ornate headdresses, jewellery and make up are also used to convey meaning and accentuate the rhythmic movements and intricate expressions of the artist.

About the Artistic Director

Kuchipudi Dance School founder and artistic director Guru Swathi has spent a lifetime honing her artistic craft to reach the forefront of the Kuchipudi dance tradition. At five Guru Swathi started her training in Kuchipudi, at seven she achieved her rangapravesam and by 16 she was choreographing original performances.

Since these auspicious beginnings, Guru Swathi has refined her skills and is lauded for her innovative dancing style, exemplary teaching approach and meticulous attention to the traditions and finer details of her art. Highly revered as a Kuchipudi artist, she has received numerous accolades and critical acclaim throughout her international career. Guru Swathi’s artistic excellence is showcased through all aspects of her work as a dancer, choreographer and teacher.

Further Information

For further information or to enrol in the Kuchipudi Dance School please contact us on [INSERT PHONE NUMBER] or email [INSERT EMAIL].

A dedication to tradition, innovation and fostering each student’s unique talent drives the teachers at Kuchipudi Dance School.

Under the artistic direction of founder Guru Swathi, Kuchipudi Dance School provides Kuchipudi training throughout New York, Connecticut and New Jersey. Whether you are young or old, new to dancing or a seasoned professional, Guru Swathi adjusts her classes to suit the age and ability of her students. She has imparted her creative knowledge to over 1500 students in a career that has spanned 35 years.

From their first lesson until their rangapravesam and beyond, students are empowered to find their own strengths and confidence through the art of Kuchipudi. With innovative teaching methods and spectacular public performances, Kuchipudi Dance School provides a space for students to express themselves artistically.

Kuchipudi Dance School carefully balances creative innovation with classical traditions, maintaining the cultural integrity of the classical Kuchipudi style. The Kuchipudi Dance School is devoted to promoting cultural understanding through Kuchipudi and ensuring the legacy of this art form for future generations. Classes and workshops provide physical exercises designed to increase the strength, flexibility and suppleness of the student, as well as a theoretical understanding of the Kuchipudi tradition.

Kuchipudi Dance School is named after the Yogi Siddhendra who tradition says created the devotional dance theater of Kuchipudi. With roots stretching back 20 centuries, Kuchipudi has seen a modern revival and has developed into the vivid and sophisticated art form it is today.

A multi-layered performance, Kuchipudi combines drama, dance, sign language, mime and music to create a vibrant theatrical experience for the audience. Colorful costumes, ornate headdresses, jewellery and make up are also used to convey meaning and accentuate the rhythmic movements and intricate expressions of the artist.

Heavily influenced by the Natya Shastra theory of the classical theatrical arts, Kuchipudi makes full use of the abhinaya, four ways of conveying meaning and emotions to the audience. Angika represents the movement of the body, vachika is the use of speech which is expressed through song and miming words in Kuchipudi. The aharya abhinaya represents the meaning conveyed through the dancers’ costumes and make up. The most technically difficult abhinaya is the sattvika: the true expression of the character’s inner emotions conveyed through delicate facial movements creating an authentic emotional response from the artist and the audience. 

Guru Swathi - Founder/Artistic Director of Kuchipudi Dance School

Guru Swathi has spent a lifetime honing her artistic craft to reach the forefront of the Kuchipudi dance tradition. In a global career that spans over 35 years, Guru Swathi’s creative journey has seen her study under some of the great names of Kuchipudi.

At the age of five, Guru Swathi started her training in Kuchipudi and at seven achieved rangapravesam: her stage debut and first step as an artist in her own right. By 16, she was choreographing original performances. Since these auspicious beginnings, Guru Swathi has refined her skills learning from such Kuchipudi greats as Gurus Sri Satya Kumar and Vedantam RadheShyam.

Lauded for her innovative dancing style, exemplary teaching approach and meticulous attention to the traditions and finer details of her art, Guru Swathi is highly revered as a Kuchipudi artist. She has collected numerous accolades throughout her career, both in the United States and internationally, most recently being awarded the title of ‘Nrutya Kala Ratna’ at the 2016 Vamsi-ATA Award. This prestigious award recognizes Guru Swathi’s extensive and outstanding contribution to the promotion of Kuchipudi in the United States.

Guru Swathi’s artistic excellence is showcased through all aspects of her work as a dancer, choreographer and teacher. She has received critical acclaim for her leading role performances in a number of stage productions and is renowned for her portrayal of both male and female characters.

Her career as a choreographer is equally illustrious, having so far choreographed over 80 pieces influenced by the Natya Shastra theory of the classical theatrical arts. Guru Swathi has achieved an extensive portfolio of dancing experience including choreographing and performing in Hari Keertanacharya Annamaya; Siva Ganga; Ayyappa Sheranam; Priyam Venkatesam; Mohini Basmasura; and Geeta Govindam.

As a teacher, Guru Swathi allows her students the space to express themselves artistically. She is focussed on fostering the unique talents of each of her students by providing innovative lesson plans, an empowering environment and the opportunity to perform publicly. This has included contributing, along with her students, to the creation and achievement of Silicon Andhra’s Guinness World Record for Kuchipudi.

Through her work in both the United States and abroad, Guru Swathi seeks to promote cultural understanding through the classical art form of Kuchipudi. Guru Swarthi has showcased her art on the international stage: performing at cultural festivals; collaborating with international artists; touring her choreographic works; participating in community projects; as well as spreading her knowledge of Kuchipudi through her workshops and classes for dancers of all ages and abilities.

In all family court proceedings, the wellbeing of the child is paramount. Stable, loving relationships with both parents is a vital aspect of this wellbeing, regardless of the family’s living arrangements.

Sooner or later, children reach an age where they start wishing they had a say in the comings and goings of their family life. When families do not live together, this can place considerable pressure on an already difficult situation.

So how old should a child be before they can make decisions about where they live? The old wives’ tale that children will be able to "have their say" when they turn 12 is misleading. There is no exact age that a child can decide for themselves where they will live and courts give consideration to a number of factors of which age is but one. Maturity, insight, and awareness must be demonstrated by the child, so they can truly be thought to be freely making an informed decision.

It is disingenuous to give a child the impression that they will be able to control their fate, so to speak, once they turn 12. Not only could this advice prove incorrect if mediation is unsuccessful and the case appears before the court, furthermore misleading the child could damage their relationship with health providers and caregivers. Parents could lose their child's trust while health providers may damage hard-earnt rapport with their client.

If there seem to be psychological reasons for a child’s reluctance to stay with a parent, such as homesickness, anxiety, fear of abandonment and problems with other residents such as step siblings, it is advised to allow the child to see a counsellor who specialises in children. Homesickness is not a sufficient cause for a Court to prevent overnight contact with non-custodial parents. Instead, caregivers and health professionals should encourage to learn coping methods, such as an understanding of time and ways to relax when feeling unsettled. A child counsellor will be able to advise what methods are best to use in each child's specific circumstances.

Family proceedings are often complicated by the extended family network. Siblings, stepfamilies, and grandparents can all make navigating the family court process difficult. This is especially hard when an older sibling is at an age and level of maturity to determine their level of contact with their parents. On the one hand, the family court is usually reluctant to part siblings. However it would be unusual for them to force children that show insight and maturity to stay with a parent when they do not want to.

Family law courts can see past the rhetoric of parents, to establish whether a child's reluctance to see a parent is of their own volition or being influenced by the other parent. Children are sensitive to their parents’ moods ad tone when discussing the other parent, and reluctance to see non-custodial parents can be reflected in the child’s actions. Furthermore, the child might feel like they need to protect the feelings of one parent. Worried they might be betraying loyalties.

It is always important to foster the relationship between a child and both parents unless there are serious reasons not to. Provided the child is safe, both parents should be afforded the time to develop a strong relationship with their children.

A good way to ensure the rights of the child are weighed fairly against the rights of their parents for access is to obtain a court-appointed Independent Child Lawyer (ICL). An ICL will thoroughly research the child's case and weigh it against any previous cases that may have set a precedent on the issue. Using this information, the ICL will form an independent perspective of what is best for the child as well as making the court aware of the child’s opinions.  They will attend court in your child’s place and represent them in all matters.

It takes two to tango, and parental conflict is no different. When assessing the capacity of a child to make their own decisions, consideration must be given to their ability to understand this. However, if a child shows considerable insight and a mature understanding of the circumstances, and they are at no risk of harm, their wishes should be taken into consideration, and legal advice should be sought.