Thursday, November 27, 2014

Random Stuff: The New-England Boy's Song About Thanksgiving Day

Happy Thanksgiving!

With Thanksgiving getting nearer and nearer, a sudden had thought struck me: where did Turkey in the Straw come from? It may as well be as old as Ring Around the Rosie, because there are several theories as to its history and even the lyrics. I wasn't able to find many consistent details surrounding it before another thought struck me.

There's that other song called The New England Boy's Song About Thanksgiving Day. I don't know when or why the title was commonly changed, but many people (like myself) know this song by its alternate name: Over the River and Through the Wood. I don't know about you, but I have always thought of this song as a Christmas song--even though I only ever hear it being sung in a Thanksgiving setting. And over the years, it has actually been adapted to toggle between Thanksgiving and Christmas to suit purposes.

Maybe it's the fact that there are a sleigh and snow in the lyrics. And where I live, we never get snow around Thanksgiving, and the only sleigh that runs through here is Santa's. Or maybe it's the wood fact, because the only woods I experience are in the mountains with the evergreens (i.e. Christmas tree relatives). But whatever the reason, it is most definitely for Thanksgiving. We know this, because its origin has not yet been lost to current customs.

The author/lyricist's name was Lydia Maria Child, and she was born in Medford, Massachusetts, where they obviously saw snow on at least some Thanksgivings. Ms. Child was one of America's earlier women who made a living off of her writing. She was a novelist, wrote many books on domestic advice, and was a political journalist, standing for the anti-slavery movement and an advocator for women's rights as well as Indian rights.

The lyrics of the song were originally her poem, published in her Flowers for Children, Volume 2, in 1844. Basically writing a compilation from a boy's perspective, she described her memories as a child, spending Thanksgiving at her grandfather's house. It is unclear to me when "grandfather" was turned into "grandmother," about whom I have been accustomed to singing. Grandfather's house was also in Medford; and today there is a house known as Grandfather's House (or the Paul Curtis House), believed to be the one mentioned in Ms. Child's poem. The poem was originally twelve verses long, but most people only sing a few. Many of these, I had no idea existed. They share her excitement, thrill, and delight that she experienced and anticipated every year growing up.

As you enjoy your time this Thanksgiving with friends and family, be sure to enjoy the full experience of singing this entire tune that so many grow up hearing yet knowing nothing about.

 Over the river, and through the wood,
            To grandfather's house we go;
                 The horse knows the way,
                 To carry the sleigh,
            Through the white and drifted snow .
    Over the river, and through the wood,
            To grandfather's house away !
                 We would not stop
                 For doll or top,
            For 't is Thanksgiving day .
    Over the river, and through the wood,
            Oh, how the wind does blow !
                 It stings the toes,
                 And bites the nose,
            As over the ground we go .
    Over the river, and through the wood,
            With a clear blue winter sky,
                 The dogs do bark,
                 And children hark,
            As we go jingling by .
    Over the river, and through the wood,
            To have a first-rate play—
                 Hear the bells ring
                 Ting a ling ding,
            Hurra for Thanksgiving day !
    Over the river, and through the wood—
            No matter for winds that blow;
                 Or if we get
                 The sleigh upset,
            Into a bank of snow .
    Over the river, and through the wood,
            To see little John and Ann;
                 We will kiss them all,
                 And play snow-ball
            And stay as long as we can .
    Over the river, and through the wood,
            Trot fast, my dapple grey !
                 Spring over the ground,
                 Like a hunting hound,
            For 't is Thanksgiving day !
    Over the river, and through the wood,
            And straight through the barn-yard gate;
                 We seem to go
                 Extremely slow,
            It is so hard to wait .
    Over the river, and through the wood—
            Old Jowler hears our bells;
                 He shakes his pow,
                 With a loud bow wow,
            And thus the news he tells .
    Over the river, and through the wood—
            When grandmother sees us come,
                 She will say, Oh dear,
                 The children are here,
            Bring a pie for every one .
    Over the river, and through the wood—
            Now grandmother's cap I spy !
                 Hurra for the fun !
                 Is the pudding done ?
            Hurra for the pumpkin pie !

Sources:
http://womenshistory.about.com/od/childlydiamaria/a/over_the_river.htm
http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/over_the_river_grandfather.htm
http://folkmusic.about.com/od/folksongs/qt/Over-The-River-And-Through-The-Woods.htm
http://www.potw.org/archive/potw64.html

Tuesday, November 18, 2014

Golden Daughter (Tales of Goldstone Wood) by Anne Elisabeth Stengl

Anne Elisabeth Stengl has written yet another marvelous addition to her Tales of Goldstone Wood. For those of you new to this unique series, it is Christian fantasy with the attributes of a good, clean book. Be assured that you do not have to read the previous books to know what is going on in this one. Every story gives a new perspective, a new era, a new piece to a large puzzle. All the stories are on one timeline, but it is not such that you must know what happened first to understand what happens next. I, myself, was introduced to this series relatively recently and have not had the time to read all of them.

Sairu is one of several Golden Daughters of the Emperor, trained in combat, accuracy of perception, and complacency. When complete in their training, they are given in marriage as secret protectors of their husbands. Sairu is given the unusual assignment to a mistress.

As Sairu is faced with the impossible task of protecting the rather cold-hearted Lady Hariawan from an unseen evil of which no one will enlighten her, we meet a slave with secrets of his own, a lovable, fluffy cat we've loved before in previous books, the malignant Dragon who is attempting to throw down the heavens, and his new personal sidekick, Sunan, whom we have also met before, but under completely different circumstances.

Anne Elisabeth Stengl has, as usual, cleverly intertwined several storylines together, while weaving in humor, suspense, adventure, pain and loss, joy and relief, many parallels to the Bible, the world, and the Christian walk, and even managed a sweet, non-disgusting romance with all its complications, grievances, and triumphs. She has a special ability of conveying the complexities of the Realm of Dreams (paralleling the existing spiritual world) in such a way that the reader vaguely understands, but enough so to grasp the concept. The way she paints her characters pulls you into their lives, their minds, and their hearts, attaching you to their world. There were really only two characters I disliked--the Dragon and Lady Hariawan (Lady Hariawan wasn't a "bad guy," but she wasn't exactly good either). All the other bad guys were portrayed in such a way that I actually felt sorry for them. We find many new characters and more than a few old characters as well. It was exciting to see the beginning of Sunan, the continuance of Eanrin, and references to past things and future things.

There were a few places in which I thought Ms. Stengl's way of wording things slightly trite, especially when writing about the "spiritual" realm. This makes sense as she is trying to describe something even she cannot fully understand and must sometimes resort to phrases and descriptions familiarly associated with the fullness of a great God.

Save for that, I think this book is my favorite of the ones I have read. She is a wordsmith, and I enjoyed many humorous one-liners. The story became more and more thrilling as all the strings of the plot came together. I would love to find out what happens to these characters in future stories.

Sunday, November 2, 2014

"Draw What You See--Not What You Know"


This simple phrase is the frequently repeated motto I've heard from my teacher since I first started. "If you see a strange line, draw it. If you see an indistinguishable blob, draw it," she says.

Often times, we don't give our brain's imagination the credit due. When we see a tree, for instance, we think without a thought, "Trunk, branches, cover the branches with leaves," and just that. One long trunk, a few thread-thin branches, and a big mass of one shade of green blotching the entire tree that isn't trunk. However, if you look closely--and we'll take the above picture for example--there are many sections--big sections even--through which the leaves allow the sky to show. There are also bits of branches or even whole branches that show. This particular trunk looks more like many trunks that begin branching out, low to the ground. The leaves are not just a blob of green, but specks of lime green, lush green, dull green, deep green, sprinkled with dark green and white, emerald in some cases. In the little part I highlighted below, notice that the leaves in fact seem to be a whiter color. Why is that? Why is it there? That's random. Who knows, but it probably didn't strike you as odd until I pointed it out.


Take a person's eye. If someone were to ask you to draw one, it might end up looking something like a football with twigs coming out the top and a circle-inside-a-circle in the center. But have you ever really looked at an eye? It is not composed of two opposing curves intersecting, but rather a series of many curves at different angles. The eyelashes are not all going in one direction and are not all one length, many times not even the same color. The colored part of the eye is never just one color, no matter what our brains tell us upon first glance. And there is no eye exactly like another. Just because you drew someone's left eye one way does not mean that the right eye will be a flipped copy. 

The way I was taught to draw is, I believe, a very effective way to learn how to draw what you see and not what you know. In some restaurants, the kiddie menu will have an activity that is a grid with half a picture on one side. Your job is to, using the grid, mirror that half to create the other half and complete the picture. Similarly, drawing a grid on your picture and a grid on your paper will help you to find out exactly where points meet, the curve of the lines, the angles of the lines. Looking at the picture in grid form helps you to see it in terms of shapes, curves, and lines, versus objects you think you know well. 

So there's a random line or blob on the picture. Why draw it? If your drawing is a copy of a picture or still life, then odds are that, although it now looks random to you for having noticed it, it didn't look random before and it will probably look wrong without it. Maybe the blob is a shadow you weren't expecting, but believe me, the shadow is there for some reason and will be missed if omitted. If you are trying to make your picture look realistic, copy real things--not your imagination. Draw with your eyes and not your head. Draw what you see--not what you know.

Wednesday, October 29, 2014

Swan Lake

On Sunday, October 12, I had the opportunity to see the Australian Ballet's Swan Lake by Graeme Murphy at the exquisite Dorothy Chandler Pavilion in Los Angeles, California. I was told before going to not expect the typical Swan Lake. I am glad I was so informed as it was definitely not the traditional ballet. Mr. Murphy created a version that was vastly different, changing the plot entirely with occasional nods to the original.

Act 1


The ballet opens with a love affair between Prince Siegfried and the Baroness Von Rothbart (loosely Odile). However, in the next scene, we find Prince Siegfried being married to Odette. The lively wedding party takes place near a peaceful lake and is brought to a sad close when Odette sees Prince Siegfried and Baroness Von Rothbart have a seemingly significant exchange. Realizing that the man she just married is actually in love with someone else, she goes insane. She attempts suicide by jumping into the lake but is hindered by a couple of men nearby, catching her just in time. A mental institution is contacted to retrieve her.

Act 2


The act opens with Odette at the mental institution, the workers taking care of her. Prince Siegfried comes to visit, and she reacts hysterically. 

When he leaves her, she enters a dream world in which she is a swan dancing with a flock of other beautiful swans. In her dream, Prince Siegfried falls in love with her and her only. There is a swan corps de ballet, including the big swans and the famous cygnets, and the pas de deux between Odette and the prince. Odette then wakes up from her dream.

Act 3


The curtain opens on a very dark stage, where everything is black except for a few dark colors and lots of glitter. We have jumped ahead a few months, and Prince Siegfried and Baroness Von Rothbart are having a party. 

All of a sudden, Odette crashes the party. She has been released from the mental institution and has come to try to win back her husband. She is composed, and conducts herself in a very respectable manner. Prince Siegfried is attracted to her and notices anew her serene beauty. He dumps the baroness in favor of Odette. Baroness Von Rothbart is enraged and calls the mental institution to come pick up Odette, claiming that she is going crazy again. At the sight of the director, Odette panics and flees the room to the lake where she had wed.

Act 4


Prince Siegfried runs to the lake searching for Odette. When he sees her, she is dressed in her wedding gown and coming down the dais. It is nothing more than a trick of the prince's eyes, but it is a powerful moment that catches him off guard, suspending him in time. The dress disappears as their pas de deux begins. By the end of the pas, Odette concludes that this relationship just isn't going to work out for whatever reason.

She jumps into the lake and drowns herself, and Prince Siegfried is left onstage in agonizing despair, forsaken and without a complicated love life forevermore.

The curtain closes.

My opinion


The choreography was amazing. There were some spots in which I thought the steps did not fit and match the music. However, the vocabulary was ingenious. Mr. Murphy created a pas de deux in the wedding scene between the prince and Odette. Her wedding gown had an enormous train, and it was amazing to see how Mr. Murphy successfully choreographed with all that material. I thought the cygnets were very entertaining, not only because of the skills of the dancers, but also the numerous ways Mr. Murphy found for the dancers to move about and weave in and out whilst remaining linked by all arms. I enjoyed myself immensely, watching the cleverness of his movement.

There were two scenes in the ballet I thought unnecessary. The opening scene took place during the overture, slightly startling me. Generally, an overture is music played without dancing accompanying it, purposed to tune the audience to the show at hand and push out the noise of their distracting lives. Having no overture felt like the show started without me, leaving me to do a bit of catching up. Perhaps they could keep the overture and make the scene a prologue to the ballet.
Besides that, the scene itself was uncomfortable and inappropriate. There are young people in the audience. I'm pretty sure there are myriad ways to portray a relationship that doesn't offend the sensibilities and innocence of some of the audience members.
The other scene was the opening of the second act as the workers of the mental institution took care of Odette. They bathed her, and her costume was her nude liner. Honestly, is there no other way to portray looking after someone's wellbeing? Why does it have to be a bathing scene? 

The music was interesting. I suppose it was okay--it just caught me off guard. As I said earlier, there was no overture to the first act; but I believe there was one for every following act (maybe not the fourth as it did not follow an intermission). The music was also arranged differently than in the original score. It had Odile's 32-fouette pirouette coda in the first act, a piece of one movement here, a piece there, and sometimes the same exact section repeated later on in the ballet. I found myself on several occasions humming the expected music next on the list and being surprised by another. It was not unpleasant--just different and unexpected. And the music always matched the story line, so it worked out well.

Now, what is my overall opinion of this Swan Lake revision? It was a nice ballet and definitely worth my time and money. However, I would not call it Swan Lake--I would call it something completely different that happened to have swans and the same music and characters as Swan Lake. I did not mind watching this ballet--I rather enjoyed it--but I would not watch it if I wanted and expected to see Swan Lake. I prefer Petipa's classic.

Tuesday, October 14, 2014

Random Stuff: Healthy...ish Alternative to Caramel Apples

Ingredients:
1 Green apple
Fill-in-the-blank Peanut butter 

Instructions:
Cut the apple into slices. Dip them into the peanut butter. Enjoy. *cheesy wink*


I know, ingenious, right? And super complicated. 

Actually, my sister grabbed from the fridge a zippy of leftover green apple slices and some peanut butter. I thought, "Oh, what a great idea," and expected to taste peanut butter and apple. But for some reason--maybe it is the way the sour juice of the apple mixes with the taste of the peanut butter--it tasted just like a caramel dipped apple slice. It was so weird. But my sister had the same reaction as I did, and my other sister and mom both tasted it. We all agreed that it wasn't just me. 

It is not as sweet as with caramel, but I like it that way, because I was never able to stomach a whole lot of the average caramel dip.

Moral of my story: In case you were curious, I will be resorting to this little bucket of joy come Halloween time.





Proper Arabesque

Happy fall, people! My favorite season!

If you've read my A Little More About Me page, then you'll know that I am an aspiring professional dancer, currently on hold. I got a stress fracture in my lumbar spine and have been MIA since May. And now I am so excited, because I have finally started minimal classes!

But that is beside the point. I am going to attempt to explain how to not get a stress fracture in the lower back via doing an improper arabesque.

In September, I had been having back pain, and when it was only getting much worse, in December, I had it looked at, and the doctor found a stress fracture in the fourth lumbar vertebra (L4). Basically, I had been taught a technique two different ways, confused them, and ended up laying a lot of stress and strain on my lower back.

What is a stress fracture?


There are cells in our bones that naturally break down and build up bone tissue constantly. A stress fracture occurs when there is excessive wear and tear on the bone, causing more break down than build up. If one is not careful to give extra resting time to rebuild the bone tissue, overtime, the rebuilding process falls way behind the break down, and a crack in the bone results.

I was performing an arabesque repeatedly with incorrect form, thus putting more stress on the bones than necessary. It was only a matter of time before a stress fracture would occur.

So how do I do an arabesque stress free?


I am still trying to figure that one out. Obviously, since I have been "out" for the past several months, I have not been able to experiment and find out what actually works with my body. But I have had quite a number of conversations with different people and read a bit by different people, so I will share what I have learned in my head, and hopefully, you will find some of it to be useful.

Square hips


Some teachers teach that in an arabesque, whether on the ground or in the air, the hips must remain "square" at all times, meaning that both hipbones should be level horizontally as well as side to side (one should not be higher than the other or in front of the other causing a twist). This is a very ideal position for the spine, because it is a very natural position, and as long as you use your core to lengthen your spine as much as possible, it will be in a pretty stress-free position.

Open hips


Some teachers teach that the arabesque should be "open," meaning that one hip can be in front of the other. Many times, a dancer will open the hip much more than necessary, resulting in not only an exaggerated twist, but also horizontally uneven hipbones.

Goldilocks


So ideally, the hips would be square, but realistically speaking, most people are not physically capable of achieving a perfectly turned out leg high in the air while maintaining perfectly square hips.

There must be a slight rotation in the hips.

(I say "rotation" and not "twist," because in a twist, one just twists the torso in its compacted state and the spine is apt to be crushed or depressed. In a rotation, there is a spiraling movement upwards, creating space between each vertebra.)

The slight rotation will allow for the leg to turn out, while keeping the spine as elongated and protected as possible. In fact, one should only rotate as little as needed to achieve a turned-out leg. So those few with abnormally perfect and beautiful turn out probably won't need to rotate at all.

The core


It is very important that the core be engaged to support and lengthen the spine as much as possible and create space for the arch and rotation in the back; and there should constantly be an upwards spiraling flow of energy. When there is not this engagement or spiral, it is apparent that the dancer has "collapsed" in his/her spine, he/she is "sitting" in the arabesque, and a lot of stress is being put on the compacted area.

It's like folding a towel. You can still fold it that third or fourth time when it's all wrinkly and is having a hard time staying aligned. But it is much easier to fold it when you take the time to smooth out the wrinkles, stretch the fabric slightly to keep it wrinkle-free just long enough to get that extra fold in.

You need to stretch your spine just so that you can "fold" it, and keep it stretched and "wrinkle-free" until you "unfold" it. This "stretching" is that lengthening job of the core.

The less rotation there is (and for most people there must be some for aesthetic reasons) and the stronger and more engaged your core is, the more protected your spine will be and the less stress laid on it.