Si. Juguemos. Juguemos como jugamos los adultos, no como juegan los ninos. Juguemos a este juego sucio que jugamos diariamente en nuestros encuentros. Pero que no sea un juego donde nos ocultemos. Este sera un juego en el bosque social en que nos movemos naturalmente donde la ambiguedad es la caracteristica basica. Esta ambiguedad senalada por el "todo vale." Nunca sabremos si este juego es verdadero o es un camino metaforico para llegar a una verdad que nunca aparecera. Nunca sabremos si esta obra es una comedia o una tragedia, porque las caracteristicas de una y de otra se iran alternando. Nunca sabremos si la comunicacion esta presente, si los personajes se aman, se odian, se aceptan o se rechazan. Como estaremos seguros de que la accion no surge de la memoria de un unico personaje? Como estaremos seguros de que los tiempos no se superponen?

Songs + fun and games = little language learners! What better way to capture children's attention and open their minds to a new language than with catchy tunes, giggle-inducing games, and beloved fairy tales? Award-winning author Ana Lomba presents Hop, Skip, and Sing Spanish for Kids, an interactive program that will help you teach Spanish to children ages two though seven. Based on the author's proven "Easy Immersion" methodology, this audio package offers 25 songs and games that use repetition and active participation to make language learning a snap while encouraging children to sing, play, and act silly for maximum fun.

Say goodbye to boredom with this globe-spanning guide to the world’s favourite children’s games, to play by yourself, with family or friends! Let's Play is a joyfully illustrated collection of games from all around the world for you to discover and enjoy. Games for one player to five players, and even large groups, are clearly explained and provide endless opportunities for playful adventure, alongside a resource for learning about cultures and traditions from countries across the globe. The exciting array of games includes: solo puzzle games like Jegichagi (South Korea) big party game Catch the Dragon’s Tail (China) head-to-head Kolowis Awithlaknannai boardgame (Zuni Native American) hilarious Oonch Neech (a variation of Tag from Pakistan) Additional sections give you the background to classic games like tag and hide-and-seek and talk you through making games of your own. Vibrant illustrations from Monica Andino carefully demonstrate the steps of the games, whilst bringing to life the fun and joy they offer. The possibilities are endless, and with this book, the fun will be, too!

The collapse of the Soviet Union in 1989 drastically altered life in Cuba. Theatre artists were faced with new economic and social realities that changed their day-to-day experiences and ways of looking at the world beyond the island. The Cuban Revolution’s resistance to and intersections with globalization, modernity, emigration and privilege are central to the performances examined in this study. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances that support, challenge, and transgress boundaries of exile and nationalism. Prizant reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. This close examination of seven plays written since 1985 seeks to alter how U.S. audiences perceive Cuba, its circumstances, and its theatre.

"Sing, play, move, create, and experience joy with living musical traditions from Guatemala and Nicaragua. Suitable for use in families, schools, or community centers, this resource contains a playful collection of 90 songs, singing games, chants, and games the author learned from teachers, children, and families while living in several communities in both countries. While the majority of the songs are in Spanish, a few in a Mayan language, Kaqchikel, are included. Field video, audio recordings, and select song histories are available on the companion website to witness the music in authentic contexts, guide in pronunciation, and trace musical origins. Ethnographic descriptions of locations where songs were learned and personal biographies of a few singers written in Kaqchikel or Spanish and translated to English allow the reader to develop a connection to the land and the musicians. Culturally responsive and sustaining teaching pedagogies are discussed alongside strategies to responsibly include the music into school curriculums. A brief history of Central America and an overview of music genres in the region are included to frame this song collection within historic, cultural, and musical contexts. ¡Ven a cantar y jugar! Come sing and play! The song pages are playfully and thoughtfully illustrated by Sucely Puluc from Guatemala. children's songs, folk music, traditional music, Nicaragua, Guatemala, Central America, Culturally Responsive Teaching, music education, Spanish, Maya, Kaqchikel"--

How can teachers of Latino English language learners actively engage their students' families in helping ELLs succeed in school? In this powerful book, David Campos, Rocio Delgado, and Mary Esther Soto Huerta provide guidance and resources to help teachers communicate and collaborate with the families of Latino ELLs. Reaching Out to Latino Families of English Language Learners includes practical tips and tools, including reproducible form letters in English and Spanish, that can help teachers solicit valuable information about students from their families, extend families' knowledge of how U.S. schools operate, and provide families with ideas for helping students with their schoolwork at home. In addition, the authors * Offer information on aspects of Latino culture relevant to student learning; * Provide lists of websites and books on Latino culture and of Latino-themed children's books for use with students; and * Outline a framework that educators can use to create a "campus task force" for engaging Latino families in student learning. The more families of Latino ELLs learn about the curriculum, policies, and procedures of their children's schools, the more comfortable they will be collaborating with teachers. Likewise, the more educators learn about their students' backgrounds, the better able they will be to help them in the classroom. This complete resource will enable educators to work diligently and harmoniously with students' families in the service of what really matters: the academic success of Latino students.

This book features effective artistic practices to improve literacy and language skills for emergent bilinguals in PreK-12 schools. Including insights from key voices from the field, this book highlights how artistic practices can increase proficiency in emergent language learners and students with limited access to academic English. Challenging current prescriptions for teaching English to language learners, the arts-integrated framework in this book is grounded in a sense of student and teacher agency and offers key pedagogical tools to build upon students’ sociocultural knowledge and improve language competence and confidence. Offering rich and diverse examples of using the arts as a way of talking, this volume invites teacher educators, teachers, artists, and researchers to reconsider how to fully engage students in their own learning and best use the resources within their own multilingual educational settings and communities.

The Musical Playground is a new and fascinating account of the musical play of school-aged children. Based on fifteen years of ethnomusicological field research in urban and rural school playgrounds around the globe, Kathryn Marsh provides unique insights into children's musical playground activities across a comprehensive scope of social, cultural, and national contexts. With a sophisticated synthesis of ethnomusicological and music education approaches, Marsh examines sung and chanted games, singing and dance routines associated with popular music and sports chants, and more improvised and spontaneous chants, taunts, and rhythmic movements. The book's index of more than 300 game genres is a valuable reference to readers in the field of children's folklore, providing a unique map of game distribution across an array of cultures and geographical locations. On the companion website, readers will be able to view on streamed video, field recordings of children's musical play throughout the wide range of locations and cultures that form the core of Marsh's study, allowing them to better understand the music, movement, and textual characteristics of musical games and interactions. Copious notated musical examples throughout the book and the website demonstrate characteristics of game genres, children's generative practices, and reflections of cultural influences on game practice, and valuable, practical recommendations are made for developing pedagogies which reflect more child-centred and less Eurocentric views of children's play, musical learning, and musical creativity. Marsh brings readers to playgrounds in Australia, Norway, the USA, the United Kingdom, and Korea, offering them an important and innovative study of how children transmit, maintain, and transform the games of the playground. The Musical Playground will appeal to practitioners and researchers in music education, ethnomusicology, and folklore.

This resource compiles and locates biographical and bibliographical information of over 700 prominent Latin American dramatists of the late 20th century and their plays in 20 different countries, and it lists over 7,000 plays arranged by country and by author. Author biographies consist of year and place of birth, education, careers, other literary genres, and awards and prizes. The bibliographic listings include various editions of plays, followed by references to the plays in anthologies, collections, or periodicals. Latin American theater is rooted in the rich historical traditions of both the indigenous cultures of the region and those of Spain. In the second half of the 20th century, immigration to Latin America from Europe, the Middle East, Africa, and Asia also proved influential, and theater became a means of social protest. The military and political dictatorships of the late 20th century often censored plays and persecuted playwrights. This resource compiles and locates biographical and bibliographical information about over 700 prominent Latin American dramatists and their plays in 20 different countries, and it lists over 7,000 plays arranged by country and by author. Author biographies consist of year and place of birth, education, careers, other literary genres, and awards and prizes. The bibliographic listings include various editions of plays, followed by references to the plays in anthologies, collections, or periodicals.

INTIHUATANA Del Quechua: Donde se Ata al Sol El tiempo no es más que espacio entre recuerdos de vida. Una vida de renacer diario que nos conlleva a aprender una sucesión de lecciones. Pasan los años como peldaños desde donde puedo ver mejor lo absurdo, lo verosimil, lo verdadero de lo vivido, en un tiempo que realmente no pasa. Pasamos nosotros que no encontramos el escondite para el elemento tiempo que nos devora hasta desaparecernos y sustituirnos entre sus fauces del plano de este mundo, más tenemos algo eterno dentro de nosotros que el tiempo no logra corroer porque no pertenece a este mundo y tiene una gran fuerza : el espíritu. Les dejo algunas memorias de unas porciones en del espacio de mi tiempo , del Intihuatana de mi vida. Con mucho cariño, espero que la disfruten. Salud!. Intihuatana es una misteriosa escultura irregular, localizada a un extremo del Templo de las Tres Ventanas, un obervatorio Inca de la Ciudad de Macchupicchu en Perú, considerada una de las maravillas del mundo. Cuenta la Leyenda Inca, que Intihuatana era utilizado para amarrar al Sol, en un esfuerzo por evitar que se fuera, o quizá sólo para alargar el día y estirar las horas de luz. El Sol era considerado el Padre y Dios de los Incas e Intihuatana era una roca labrada ubicada en casi todas las cudades incas. Con la llegada de los españoles al Perú todas las Intihuatanas fueron destruidas permaneciendo en el tiempo solo la que existe hoy en Macchupicchu. María Belén (Maribé) escucha últimamente indefi nibles sonidos en el sótano de su casa donde por años nadie ha descendido. Su prima Mercedes, de sensibilidad especial viene para acompañarla a bajar al sótano y descubrir la procedencia de ellos. Caminando entre piezas antiguas encuentran un antiguo baúl cerrado. Después de algunos intentos logran abrirlo. Entre extrañas curiosidades encuentran unas escrituras. Quién y de qué trata todo ello? Descubren que la escritora se llama Tess. La reconocen como su antepasada. La curiosidad las distrae del objetivo por el que están en el lugar. Se entretienen leyendo rápidamente, resumiendo páginas. Tess tiene muchas cosas expresadas en papel. Casi toda una vida. Se emocionan compartiendo sus letras y vivencias . Pero no están solas. Alguien más que se manifi esta de modo incomprensible. Poco a poco se dan cuenta que son prisioneras de la realidad de si mismas y desearán escapar y vivir una nueva vida. Lo lograrán?