When Langston Dances

Inspired by watching a performance of the Alvin Ailey Dance Company, a young black boy longs to dance and enrolls in ballet school.

“Whole-class reading instruction has the power to harness the collective knowledge of the reading community that will foster independent readers and thinkers as they move through their literate lives.” What is the true purpose of whole-group reading instruction? Is it possible to teach standards and skills while also creating a community in which students are free to bring their whole selves into the work of reading? And how do we make this vision an everyday reality in our grades 3-6 classrooms? Elementary educators Lynsey Burkins and Franki Sibberson answer these questions and more in In Community With Readers: Transforming Reading Instruction with Read-Alouds and Minilessons. Burkins and Sibberson invite us into their classrooms as they redesign read-alouds and minilessons to support readers in whole-group reading instruction. Inside this book you’ll find: ● Ideas for co-creating a community aligned to standards and grounded in readers’ identity, independence, and agency ● A day-by-day look into what read-alouds and minilessons look like across a reading unit ● Practical and meaningful routines for helping students co-construct an understanding of the standards, the books they read, and one another’s ideas ● Planning and note-taking templates designed to center both the standards we teach and the ideas our students bring to these standards ● An illustrated step-by-step guide to the first eight weeks of whole-group reading instruction In this book, Burkins and Sibberson push back on the idea that whole-group reading instruction must be teacher-centered skill and drill, and instead offer us a way to create a truly meaningful whole-group reading community.

The 8th edition of this bestselling text provides a framework and instructional strategies for identifying, selecting, and teaching high-quality children’s literature for ages 0–8. This new edition’s emphasis on diverse literature will assist in positively impacting the lives of all young people. Effective instructional approaches for using literature as a teaching tool are coupled with developmentally appropriate methods for sharing literature with young children. This book is a foundational text for graduate and undergraduate students in early childhood education, early literacy, literacy methods, children’s literature, and literature instruction.

Discover the remarkable story of an orphaned Black boy who grew up to become the groundbreaking architect to the stars, Paul R. Williams. A stunning nonfiction picture-book biography from the Caldecott Honor–winning author and NAACP Image Award–nominated artist. As an orphaned Black boy growing up in America in the early 1900s, Paul R. Williams became obsessed by the concept of "home." He not only dreamed of building his own home, he turned his dreams into drawings. Defying the odds and breaking down the wall of racism, Williams was able to curve around the obstacles in his way to become a world-renowned architect. He designed homes for the biggest celebrities of the day, such as Frank Sinatra and Lucille Ball, and created a number of buildings in Los Angeles that are now considered landmarks. From Andrea J. Loney, the author of the Caldecott Honor Book Double Bass Blues, and award-winning artist Keith Mallett comes a remarkable story of fortitude, hope, and positivity.

Two traditionally divided strains of American dance, Modern Dance and Negro Dance, are linked through photographs, reviews, film, and oral history, resulting in a unique view of the history of American dance.

Often, the decade of the 1920s has been stereotyped with such labels as "The Roaring Twenties," "The Jazz Age," or "The Lost Generation." Historical perspective has forced reevaluation of this decade. Articles in this collection are presented in the most definitive anthology dealing with 1920s America. The contributors have put aside stereotypes to offer a valuable critique of the American dream during a time of major crises. Dancing Fools and Weary Blues also presents its readers a picture of the continual redemption and revitalization of that dream, and reasserts its basic democratic values.

February 1, 2002 marks the 100th birthday of Langston Hughes. To commemorate the centennial of his birth, Arnold Rampersad has contributed new Afterwords to both volumes of his highly-praised biography of this most extraordinary and prolific American writer. In young adulthood Hughes possessed a nomadic but dedicated spirit that led him from Mexico to Africa and the Soviet Union to Japan, and countless other stops around the globe. Associating with political activists, patrons, and fellow artists, and drawing inspiration from both Walt Whitman and the vibrant Afro-American culture, Hughes soon became the most original and revered of black poets. In the first volume's Afterword, Rampersad looks back at the significant early works Hughes produced, the genres he explored, and offers a new perspective on Hughes's lasting literary influence. Exhaustively researched in archival collections throughout the country, especially in the Langston Hughes papers at Yale University's Beinecke Library, and featuring fifty illustrations per volume, this anniversary edition will offer a new generation of readers entrance to the life and mind of one of the twentieth century's greatest artists.

The first comprehensive work in English on the three major regional styles of Uzbek women's dance – Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance. Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women's dance.