Episodes  (1-35 of 3588)

National Play Policy?

Monday, February 08, 2010 07:00am on Museums Now

By Justine Roberts, Principal

KaBOOM! is a playground company with a mission (literally, they are a non-profit): to provide play experiences within walking distance for every child in the country. That is an ambitious goal, and has led them to take on some exciting advocacy projects such as their just released report titled Play Matters: Best Practices in Play.

Wales was the first country ever to adopt a Play Policy. Published in October 2002, the Welsh Play Policy is a public commitment to providing an environment that supports the right to play, and recognizes the value of children’s play. The Welsh government intended this document to serve as a public affirmation of their commitment to children, and an opportunity to create a framework allowing children to be explicitly part of policy discussions.

In 2006 Play England, a part of the National Children’s Bureau and Play Council, published Planning for Play to promote the idea that local authorities should, and could, take responsibility for providing areas for children to play. The authors of this report argue that children at play signals a healthy community and therefore play connects to broader societal goals and priorities. Their report outlines a process for implementing a play policy that will result in more play opportunities. For example, they recommend creating Play Partnerships that include community members, agencies, and organizations; to establish a process for ongoing evaluation and assessment both as a basis for measurable outcomes and as a reflective practice; and to design for operational sustainability. They also identify critical ingredients of successful playscapes such as designing for adventure and providing risk and challenge. Their goal is for children’s needs to be incorporated into planning, design and policy discussions at the local level.

In the USA we do not have a national play policy or statement of children’s right to play. We aren’t even a signatory to the U.N. Convention on the Rights of the Child.

But we do have an active citizenry and a non-profit structure that makes it possible for many local initiatives to thrive. This is where KaBOOM!’s report comes in. Play Matters rounds up successful local efforts, and summarizes why they work. In doing so, Play Matters paints a picture of an emerging movement that may be changing the public realm from the bottom up.

At the same time, Play Matters makes the case that city-by-city solutions are not a sustainable long-term plan if we hope to achieve the types of changes that are necessary. They conclude “there is a national opportunity and imperative for play advocates to connect play and spaces conducive to play as part of a solution to. . .broader public priorities, and to help inform policymaking at the federal level.”

All of this is non-trivial. There is a well-documented play deficit in this country, and it is worse in under-served communities than in well-resourced neighborhoods. And there is growing research on the negative consequences of our approach to play. What have been a series of decisions effectively made in isolation of one another have started to coalesce into a grim picture of childhood without enough physical or creative activity, opportunities to rely on ones-self, to take risks and to stretch one’s capabilities. As Jeff Levi, Executive Director of the Trust for America’s Health has written, “Today’s children could be the first in U.S. history to live shorter, less healthy lives than their parents.” We are beginning to recognize that play may offer at least a partial solution to the challenges youth face today. But there is more to be done.

The Slave Trade

Monday, February 08, 2010 06:00am on Colonial Williamsburg Podcasts
The slave trade touched the lives of people around the globe, explains Colonial Williamsburg's Educational Program Development Director Bill White.

Bat Cave: Underground

Sunday, February 07, 2010 11:00pm on Royal Ontario Museum Podcasts
ROM Video Producer, Elaisha Stokes, visits Jamaica's St. Clair Cave. A Toronto team from went to Jamaica in January 2010 to gather footage of the inhabitants of the underground structure in preparation of the opening of the new bat cave.

Douglas Bader: Fighter, Pilot

Sunday, February 07, 2010 05:00pm on RAF Museum Podcast Series
When he was a child Richard Branson's father and mother were close family friends of Douglas Bader. Accordingly, Douglas would often look after the young Richard Branson whilst his parents attended social occasions. In this podcast to commemorate the Centenary of Douglas Bader's birth on 21st February, Sir Richard Branson narrates the story of one of the most famous fighter pilots in the history of the RAF and gives his own insight into the great man.

Opening Lecture - Chemistry of Color

Saturday, February 06, 2010 06:43pm on Columbia Museum of Art Podcast
Robert Farris Thompson: Starting with an article on Afro-Cuban dance and music published in 1958, Robert Farris Thompson has devoted his life to the serious study of the art history of the...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 1: Introduction to the Exhibition

Saturday, February 06, 2010 06:40pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 2: Beverly Buchanan – S.C. House near Bull Swamp School

Saturday, February 06, 2010 06:39pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 3: Curlee Raven Holton – Quilt

Saturday, February 06, 2010 06:39pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 4: Beverly Buchanan - Ms. Mary Lou Furcron (Sitting)

Saturday, February 06, 2010 06:38pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 5: Sam Gilliam – Fine as a Cobweb

Saturday, February 06, 2010 06:37pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 6: Allan L. Edmunds – MLK’s Humanity of Man

Saturday, February 06, 2010 06:35pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 7: William T. Williams – Caravan

Saturday, February 06, 2010 06:35pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 8: William T. Williams – Blue Monk

Saturday, February 06, 2010 06:34pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 9: William T. Williams - Perdido

Saturday, February 06, 2010 06:34pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 10: Barbara Bullock – Animal Healer

Saturday, February 06, 2010 06:33pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 11: Moe A. Brooker – Spontaneous Accord

Saturday, February 06, 2010 06:32pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 12: Moe A. Brooker – The Soul is the Body of the Spirit

Saturday, February 06, 2010 06:31pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 13: John E. Dowell, Jr. – The Myth of Being

Saturday, February 06, 2010 06:30pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 14: John E. Dowell, Jr. – Del Mar

Saturday, February 06, 2010 06:29pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 15: Nanette Carter – Fire and Water #5

Saturday, February 06, 2010 06:27pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Stop 16: Nanette Carter – Long Island Sound

Saturday, February 06, 2010 06:26pm on Columbia Museum of Art Podcast
The Chemistry of Color: Contemporary African-American Artists The Chemistry of Color: Contemporary African-American Artists and its accompanying catalog chronicle the accomplishments and struggles...

www.columbiamuseum.org questions: pnugent@columbiamuseum.org

Why We Love the Shiloh Museum

Friday, February 05, 2010 08:40am on Shiloh Museum of Ozark History
Episode 74 is available for download.
(7:25 minutes, 43.1MB, MP4)

Forty-four of the Shiloh Museum's biggest fans tell why they think the museum is tops!

Purifying Pollutants | Running With Or Without Shoes?

Thursday, February 04, 2010 05:00pm on Current Science & Technology Podcast
Is it possible to use glass to remove oil from water? Is it better to run with or without running shoes? Find out here, the answers may surprise you.

A Smarthistory spin-off!

Thursday, February 04, 2010 12:18pm on Smarthistory: The Blog

J. D. Salinger, 1919-2010

Wednesday, February 03, 2010 03:15pm on National Portrait Gallery | Face to Face blog
Portrait of J.D. Salinger by Robert Vickrey, now on view

Blog_salinger
     Art © Robert Vickrey/Licensed by VAGA, New York, NY

"A lot of people, especially this one psychoanalyst guy they have here, keeps asking me if I'm going to apply myself when I go back to school next September.  It's such a stupid question, in my opinion.  I mean how do you know what you're going to do till you do it?  The answer is, you don't.  I think I am, but how do I know?  I swear it's a stupid question."
—Holden Caulfield

Jerome David Salinger had one of the great successes of all time with The Catcher in the Rye (1951). He then vanished, publishing only a few collections of short stories and emerging only to sue people who attempted to write about him; his last publication was in 1965. Yet Catcher in the Rye remains a classic. Its teenaged narrator Holden Caulfield’s account of a weekend in Manhattan continues to speak to disaffected adolescents kicking against the “phonies.” It has sold more than 65 million copies worldwide and is still occasionally banned by education administrators who fear its corrupting impact on alienated youth.

Here, in a way that Salinger (and Caulfield) would have appreciated, artist Robert Vickery interprets the book’s title literally and paints the author against an amber wave of grain. The portrait was created for the September 15, 1961, edition of Time magazine.

Blog_sallinger_hallway

J. D. Salinger by Robert Vickrey, 1961, tempera on board; National Portrait Gallery, Smithsonian Institution; gift of Time magazine

Portrait of Lena Horne by Edward Biberman

Wednesday, February 03, 2010 10:38am on National Portrait Gallery | Face to Face blog

Blog_lena_horne Singer and actress Lena Horne helped break the color barrier in mainstream popular culture in the mid-twentieth century, beginning her stage career in the chorus at Harlem's Cotton Club in 1933, where Duke Ellington and Cab Calloway mentored her.

In 1942 Hollywood beckoned, but her roles were often musical cameos that southern theaters could cut; Horne once said that Stormy Weather and Cabin in the Sky were the only films "in which I played a character who was involved in the plot."

Lena Horne became Hollywood's highest-paid African American actor, and her renditions of "Stormy Weather" and "Just One of Those Things" were considered classics. During this time, Horne also became a vocal spokesperson for civil rights. She also continued to enjoy a successful nightclub and recording career, and triumphed in the 1980s with her one-woman show, Lena Horne: The Lady and Her Music. 

Ann Shumard, curator at the National Portrait Gallery, will discuss Lena Horne at a Face-to-Face portrait talk, at 6pm on Thursday, February 11.  Her talk is part of a series of Face-to-Face talks celebrating Black History Month. 

Blog_lena_horne_installation

Lena Horne / Edward Biberman / Oil on canvas, 1947 / National Portrait Gallery, Smithsonian Institution / © 1947 Edward Biberman

James Butler "Wild Bill" Hickok Letter

Wednesday, February 03, 2010 09:00am on A Kansas Memory: The Kansas Historical Society Library and Archives Podcast
Before he became the �Wild Bill� of legend, James Butler Hickok was one of hundreds of immigrants who streamed into Territorial Kansas hoping to acquire a piece of the Indian reservation lands that were coming onto the market. After the Kansas/Nebraska Act passed in 1854, Northeast Kansas was no longer Indian Territory and it turned into a battleground between the pro-slavery and free-state settlers. James grew up in Troy Grove, Illinois, where his father, William Alonzo Hickok, was an abolitionist who helped slaves escape to the North. James was 19 when he journeyed to Johnson County, Kansas, in June 1856. Records show James tried to pre-empt a claim for 160 acres of Shawnee land in February 1858. It turned out, that land had already been claimed for Wyandotte Float Land. After that, James tried to acquire some Delaware Reservation land, but was again unsuccessful. The violence along the Missouri/Kansas border was at its peak when Hickok arrived and he mentions his involvement in the Battle of Hickory Point in this letter that he wrote to his brother Horace from Kansas on November 24 and 27th, 1856.

Episode 80 - February 2, 2010

Tuesday, February 02, 2010 03:43pm on Adler Night and Day
Up-to-date night sky activity beginning February 2, 2010 through February 15 2010.
Highlights: Gamma Rays - Jeff Grube, Ph.D.

Photographs from the Hill Family Collection

Tuesday, February 02, 2010 02:40pm on Museum Collections Up Close : MNHS.ORG
The Hill Family Collection, which includes the papers of St. Paul tycoon James J. Hill and other Hill family members, contains over 8,000 individual photographs and graphic images.   In this podcast project cataloger Jillian Odland shares just a few examples of the many photos, drawings, paintings, and posters found in the collection.

Have a Horrid Valentine’s Day

Tuesday, February 02, 2010 05:54am on Play Stuff Blog

What does Valentine’s Day make you think of? Boxes of chocolates? Bouquets of roses? Pledges of undying love? Sure, those are all part of the most romantic holiday on the calendar. On the other hand, from the 1840s into the early twentieth century, Valentine’s Day was also THE occasion to send insulting and downright nasty cards to your circle of acquaintances.

“You Are a Nerve Destroyer” valentine, 1850, from the collection of Strong National Museum of Play “The Butcher” valentine, about 1920, from the collection of Strong National Museum of Play

Somehow those proper Victorians took the tradition of sending sweet, heartfelt Valentine cards and turned it on its head. Comic valentines, also known as “penny dreadfuls” or “vinegar valentines,” made up about half the market for Valentine cards. They were amazingly cheap (and looked it) and could be found in variations to suit just about every circumstance. Your looks, your profession, your personal habits—everything was fair game for ridicule. Courtesy of the United States Postal Service, you could anonymously mock, malign, and generally mistreat anyone who’d ticked you off since last Valentine’s Day.

The museum’s collection includes plenty of pretty and sentimental valentines, but it also has its share of comic ones. Hate how someone sings? Here’s a nice rhyme:

When a pig’s getting slaughtered, the noise that it makes
Is sweeter by far than your trills and your shakes;
And the howling of cats in the backyard by night,
Compared with your singing’s a dream of delight.

Seeking vengeance on your butcher? Try:

You’re greasy as the pork you sell,
And tough just like your beef;
Your customers who know you well,
All hope you’ll come to grief.“Garage Man” valentine, about 1930, from the collection of Strong National Museum of Play

Think your auto mechanic is substandard?

You’re always working on some car,
Its parts you’re always mixing
Instead of the car, we think your head
Quite badly, needs a fixing.

And don’t forget the opportunity to trash that least-favorite teacher:

Some folks go to college and others go to school
To listen to a teacher act just like a fool.
If knowledge is great riches, then you are poor, indeed,
And words of but one syllable are just about “your speed.”

“Teacher” valentine, about 1935, from the collection of Strong National Museum of Play. Gift of Ellen Heidenreich. Whew! I’ve had some less-than-stellar Valentine’s Days in my life, but I’ll count myself lucky that I’ve never been the recipient of comic valentines like these. And if I was ever tempted to send such a nasty note—even anonymously—I’m certain that my butcher would sell me rancid meat or my mechanic would disconnect my brakes! So my helpful Valentine’s Day-shopping hint is to stick to the sweet cards filled with hearts and flowers and leave the nasty ones strictly to the museum’s collection.

J. D. Salinger, 1919-2010

Monday, February 01, 2010 10:35am on National Portrait Gallery | Face to Face blog
Portrait of J.D. Salinger by Robert Vickery, now on view

Blog_salinger
     Art © Robert Vickrey/Licensed by VAGA, New York, NY

"A lot of people, especially this one psychoanalyst guy they have here, keeps asking me if I'm going to apply myself when I go back to school next September.  It's such a stupid question, in my opinion.  I mean how do you know what you're going to do till you do it?  The answer is, you don't.  I think I am, but how do I know?  I swear it's a stupid question."
—Holden Caulfield

Jerome David Salinger had one of the great successes of all time with The Catcher in the Rye (1951). He then vanished, publishing only a few collections of short stories and emerging only to sue people who attempted to write about him; his last publication was in 1965. Yet Catcher in the Rye remains a classic. Its teenaged narrator Holden Caulfield’s account of a weekend in Manhattan continues to speak to disaffected adolescents kicking against the “phonies.” It has sold more than 65 million copies worldwide and is still occasionally banned by education administrators who fear its corrupting impact on alienated youth.

Here, in a way that Salinger (and Caulfield) would have appreciated, the artist interprets the book’s title literally and paints the author against an amber wave of grain. The portrait, by Robert Vickery, was created for the September 16, 1961, edition of Time magazine.

Blog_sallinger_hallway

J. D. Salinger by Robert Vickrey, 1961, tempera on board; National Portrait Gallery, Smithsonian Institution; gift of Time magazine

Slave Preacher

Monday, February 01, 2010 06:00am on Colonial Williamsburg Podcasts
An electrifying presence changes history. Historic interpreter James Ingram shares the details of a remarkable life.

Love Museums? We do. Love Animals? We do too. Support Zoos & Aquaria.

Monday, February 01, 2010 04:34am on Museums Now
Whew. Museums made it into the jobs bill!

Now we gotta help our bretheren in Zoos & Aquaria. According to the AAM, "language contained in the recently-passed House version of the “Jobs for Main Street Act” (H.R. 2847, Sec. 1702) prevents zoos and aquariums from accessing any funds for job creation."

Take literally 10 seconds and click here to send a note:

http://www.congressweb.com/cweb4/index.cfm?orgcode=aam

Debussy’s Chamber Music

Sunday, January 31, 2010 07:03pm on The Concert

Works for clarinet, piano and string quartet performed by clarinetist Richard Stoltzman, pianist Peter John Stoltzman, and the Borromeo String Quartet.

-Debussy: Premiere Rhapsodie
-Debussy: String Quartet in G minor, Op. 10

Compared to classical era composers like Haydn and Mozart, Debussy’s chamber music output was rather small: not counting solo piano or vocal works, he wrote only about a dozen chamber music pieces. His string quartet is nonetheless considered among his top compositions, and one of the important impressionist era chamber pieces. The music is classic Debussy in its search for unique colors and sonorities. Before the quartet, we’ll hear one of Debussy’s shorter chamber works. The rhapsodie is the more substantial of two works he composed for clarinet in 1910, written for the conservatory as a tool for evaluating their clarinet students. The previous year, Debussy had apparently been taken with the quality of the woodwind players.

Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston.

The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.

Episode Forty: February 2010 (enhanced with images)

Sunday, January 31, 2010 05:06pm on The National Gallery Podcast
Claude: a special investigating the painter's enchanted landscapes and heavenly skies. Plus Michelangelo's male nudes

Museum Podcasts  (89)