Hands up if you've ever been given lesson observation feedback that you didn't understand, didn't agree with, or just thought was plain rubbish. If your hand is in the air, you're in good company! When it comes to teachers receiving high-quality feedback that helps them improve their teaching, we have a serious issue in our schools. Teachers want to improve their teaching. They embrace any opportunity to learn. They want other professionals to watch them teach and to get into conversations about developing their practice. What they don't want is to be criticised, patronised, sent down blind alleys, or left utterly confused. Those who've been giving feedback telling teachers to 'differentiate more', 'talk less', or 'let students lead their own learning' have a lot to answer for. The Teaching Delusion 3: Power Up Your Pedagogy has been written to address the issue of teachers receiving poor feedback in our schools. As a self-improvement and coaching resource, it is essential reading for all teachers and school leaders. Through a detailed exploration of 12 key elements of pedagogy, author Bruce Robertson sets out a clear, researched-informed guide to improving pedagogy in every classroom, across every school. By highlighting key features of effective practice and a broad range of techniques teachers can focus on developing, this practical guidebook will be valued by professionals in all sectors, regardless of experience. The Teaching Delusion 3: Power Up Your Pedagogy completes The Teaching Delusion trilogy with a bang!

In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes of Mount Tamalpais, north of San Francisco. Within two years, Forti's conceptually forceful Dance Constructions had premiered in Yoko Ono's loft and Rainer had cofounded the groundbreaking Judson Dance Theater. Radical Bodies reunites Halprin, Forti, and Rainer for the first time inmore than fifty-five years. Dance was a fundamental part of the art world in the 1960s, the most volatile decade in American art, offering a radical image of bodily presence in a moment of revolutionary change. Halprin, Forti, and Rainer-all with Jewish roots-found themselves at the epicenter of this upheaval. Each, in her own tenacious, humorous, and critical way, created a radicalized vision for dance, dance making, and, ultimately, for music and the visual arts. Placing the body and performance at the center of debate, each developed corporeal languages and methodologies that continue to influence choreographers and visual artists around the world to the present day, enabling a critical practice that reinserts social and political issues into postmodern dance and art. Published in association with the Art, Design & Architecture Museum, University of California, Santa Barbara. Exhibition dates: Art, Design & Architecture Museum, University of California, Santa Barbara: January 17-April 30, 2017 New York Public Library for the Performing Arts: May 24-September 16, 2017 Events: Pillowtalks, Jacob's Pillow, Becket, MA: July 1, 2017

A landmark examination of the art and artists inspired by American dance from 1830 to 1960 As an enduring wellspring of creativity for many artists throughout history, dance has provided a visual language to express such themes as the bonds of community, the allure of the exotic, and the pleasures of the body. This book is the first major investigation of the visual arts related to American dance, offering an unprecedented, interdisciplinary overview of dance-inspired works from 1830 to 1960. Fourteen essays by renowned historians of art and dance analyze the ways dance influenced many of America's most prominent artists, including George Caleb Bingham, William Sidney Mount, Winslow Homer, John Singer Sargent, Cecilia Beaux, Isamu Noguchi, Aaron Douglas, Malvina Hoffman, Edward Steichen, Arthur Davies, William Johnson, and Joseph Cornell. The artists did not merely represent dance, they were inspired to think about how Americans move, present themselves to one another, and experience time. Their artwork, in turn, affords insights into the cultural, social, and political moments in which it was created. For some artists, dance informed even the way they applied paint to canvas, carved a sculpture, or framed a photograph. Richly illustrated, the book includes depictions of Irish-American jigs, African-American cakewalkers, and Spanish-American fandangos, among others, and demonstrates how dance offers a means for communicating through an aesthetic, static form. Distributed for the Detroit Institute of Arts Exhibition Schedule: Detroit Institute of Arts (03/20/16-06/12/16) Denver Art Museum (07/10/16-10/02/16) Crystal Bridges Museum of American Art (10/22/16-01/16/17)

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

A soldier is badly wounded in a mobile, fast-moving theatre of war. Without rapid surgery, he will die. There are no helicopters to move him out to a hospital.
This was the problem faced by the military medical authorities in the Second World War. Their solution: take the medical services to the wounded They set up mobile ambulance units, field dressing stations and blood transfusion units, all based on trucks so that they could move swiftly to keep up with the troops.
They also set up field surgical units, which were mobile operating rooms based on three trucks and managed by the surgeons themselves. They operated in everything from tents to wine cellars, abandoned schoolhouses and hospitals to monasteries and cathedrals. Working often in conditions that would be condemned in modern hospitals, they did whatever it took to save lives.
This is the story of one such unit, the 2nd Canadian Field Surgical Unit under the command of the young surgeon Rocke Robertson: from its set-up and training in England to the historic Allied landings in Sicily; through the killing grounds of central Sicily and southern Italy to the horrific Battle of Ortona on Italy's Adriatic coast. Operating in stifling heat and raw cold, fighting off dust, flies, exhaustion and malaria, they dealt with wounds and patient loads that stretched their imagination, ingenuity and strength to the breaking point.
These units were the precursors of the Mobile Army Surgical Hospitals (MASH) in the Korean War, where the wounded soldiers were transferred swiftly and smoothly by helicopter to a medical facility set up behind the lines.
Written by Rocke Robertson's son, this is a vivid and intimate account of a field surgical unit in action - saving lives while bullets fly.

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