In-Depth Night Post!

Welcome to Christina V’s In-Depth night blog post!

This year for in-depth, I learned how to sculpt with clay. My project changed a lot from the beginning of the year. My very first goal was to learn wheel pottery, then I started learning about handbuilding pottery using stoneware clay (clay that has to be fired in a kiln), and finally I settled on sculpting with paper clay (air-dry) and Fimo polymer clay (bake). I really enjoyed learning different methods and techniques for sculpting and being creative in making my pieces.

I’ve prepared a short video (3:49) that briefly explains my project and shows the process that I went through to make my favourite piece! Please watch it and ask me some questions in the comments below.

Thank you very much!

In-Depth #6

I’ve made so many pieces since my last post! I’ve used both of the types of clay that I had before (paper clay and Fimo (polymer) clay), and also tried using a homemade clay made out of white glue, cornstarch, glycerin, and baking soda. It was smoother than paper clay but softer than Fimo clay, which I really liked.

Here are some photos of my favourite pieces that I’ve made since my last post (not all of them). The first picture is the homemade clay. Each picture is captioned with the type of clay that I used (click on the photos to enlarge them).

I am also currently working on a bigger piece that combines several of the techniques that I’ve been using so far, but I would like to show it once I am done (I’ll make sure to add it to my In-Depth night presentation!). I’ve also continued to be more independent for these few weeks, but I’ve been keeping in contact with Ysabella if I have questions.

These past few weeks, I’ve focused on different ways to shape and make the clay, such as by pressing plants to create an imprint, using other items I have around the house to cut out a shape (e.g. a cap to make the earrings), and making a shape from a single piece of clay (e.g. the llama is made from one piece of clay, except for the eyes and ears).

For our In-Depth night on May 25th, I would like to show my learning through a video that combines the photos that I have taken along with some videos that I haven’t previously shared on my blog. I will also write about what I’ve learned and what I have done this year (I might do this as a voiceover during on the video). I’ll put this up on my blog as a link/embedded video and will be ready for answer questions during the evening!

I am looking forward to sharing everything I’ve learned this year in a few weeks and can’t believe that In-Depth is wrapping up so quickly. I’ve had so much fun with my project and know that I won’t let the end of In-Depth stop me from continuing sculpting!

In-Depth #5

For these past couple weeks, I’ve been focusing on developing my skills in a more self-guided way. I still keep in touch with my mentor, of course, to ask her questions if they come up, but I am now using my own creativity, as well as the internet, to help me develop my skills in sculpting more. Here is a picture of another piece that I have made (with the elephants from my previous post in the background. I painted them):

1. What kinds of learning opportunities does the mentor provide to expose you to new learning?
My mentor, even though we haven’t been able to meet face to face, is still providing me with the support that I need by giving me suggestions and giving me tools/materials that help me with my project (I came to pick them up from her studio; no close contact). Since Ysabella closed her studio, she has been giving me suggestions on other types of clay to try and pieces that I can make so that I can learn new techniques and develop the ones that I learned before spring break. Overall, even though my project has changed direction a bit because of the pandemic, Ysabella is still helping me adapt and develop my skill.

2. What kinds of learning opportunities exist to reinforce new learning?
Mostly, because I have more time now at home, I will try making the same piece multiple times. For example, I made a whole set of elephants of different sizes. This allowed me to work with big and small details. With other pieces, such as the octopus pictured above, I made the piece once, learned from the mistakes that I made, then took it completely apart and made the one in the picture, which is higher quality.

This is from my first attempt. I didn’t like the way that the legs were attached (they looked funny from the bottom/side), so I smushed this attempt and tried again.

3. What kinds of opportunities exist that might accelerate learning?
A lot of the learning that I am doing right now comes from simply “playing around” with my clay. As I mentioned in the previous question, I will make the same sculptures several times, because this allows me to understand how to work with the clay better, and allows me to take what I learned and apply it to other pieces; however, one way that I can accelerate my learning is to use the internet more. I mostly use the internet right now to find ideas, help me address specific issues, and to find some general tips, but I know that I can find more details tutorials and lessons on how to work with Fimo and paper clay (the two types of clay that I have at home right now).

4. When you get together what do you talk about?
Since we don’t get together face to face, when I do contact Ysabella, it is to ask a question. For example, my Fimo clay was quite hard and even crumbly. This seemed odd because the types of clay that I had worked with before were much more soft and more wet. I asked Ysabella if the Fimo clay is supposed to be like this and she told me that it was normal and that the moisture in the clay just needs to “circulate,” and I should warm it up in my hands, or even by bang it on the table before opening it!

5. What is going particularly well in your mentoring relationship right now?
Right now, with everything going on, I feel that I can still rely on Ysabella a lot for her help in anything.She is always very quick to give a clear and detailed answer. It looks like she is very willing to be my mentor, which I am so grateful for. This said, another aspect that I like is that I have a lot of control over my project and how I manage my learning. This comes partly because of the lack of face-to-face meetings, but also because Ysabella encourages me to make creative decisions about my projects.

6. What are you learning about one another?
Unfortunately, because I am not seeing Ysabella directly, I feel like we are not learning as much about each other as we could have. This said, I think that the biggest thing that I have learned throughout this project (other than my skill itself) is that everyone has other commitments outside of how I know/see them. Of course, I understand that I can’t expect Ysabella to always be able to immediately help/answer me, though she has been extremely good with this for the most part.

In the end, I am still very much enjoying my project and continue to immerse myself into my in-depth skill as a way to pass time and do something productive when I have free time and when I’m bored at home. I’m excited to see what else I can make with the materials I have!

In-Depth #4

Over the past couple weeks, a lot has changed about my In-Depth. Because of the COVID-19 pandemic, my mentor Ysabella, made the decision to close her studio. This meant that I wouldn’t be able to continue working with stoneware clay to create pieces. I asked Ysabella how I can keep working on my in-depth at home and she had a few suggestions. She told me I could take some of the stoneware clay home, but she wouldn’t be able to fire any pieces made outside of the studio. This is because, if made improperly, they can crack or explode in the kiln. I asked her if she had any recommendations for clay that I could air dry or bake at home, so I could still get used to working with clay and be able to get a finished product. She recommended two types of clay: paper clay (needs to be air dried after shaping), and Fimo clay (needs to be oven baked after shaping). I bought both of these at Michael’s and tried working with them at home. Here are pictures of some of the figures I created:

I will continue working with these types of clay for now. Hopefully I will get a chance to work with stoneware again before the end of the year.

1. What has been the most difficult mentoring challenge so far? Why?
Other than the obvious challenge that everyone is facing right now with not being able to see their mentors in person and work through the project like usual, a challenge that me and Ysabella faced was finding times in our schedule that we could both meet. I am usually quite busy after school, and Ysabella also has other commitments and classes. I tried my best to modify my schedule in order to match hers, but this was sometimes impossible for me to do. Because of this, we only had a chance to meet once before she closed her studio. If I have another chance to meet with her, I will try to plan our sessions farther in advance so we can both look at our schedules and find a day that we are both free.

2. What is working well? Why?
Ysabella and I have been doing a good job of keeping in touch all the time. Even at the start, when she was having trouble getting her criminal record check done, she kept me updated and told me what was happening. Now, without us being able to meet face to face, I make sure to ask her any questions I have, and she always replies quickly and answers my questions clearly. Because of this, I’m able to still do my in-depth at home. I didn’t think that I would be able to do my project at home because I didn’t have the tools and supplies, but Ysabella even gave me some tools to help me so I can keep working effectively.

3. What can be working better? How can you make sure this happens?
As I mentioned in question one, if we have a chance to meet in person again, I will make sure to schedule our mentoring schedules in advance so that we ca make sure to meeting regularly. In the meantime, one thing I would like to work on at home is doing my in-depth more regularly. I have been working with clay for several hours on one day, and then only working again a few days later. It would be more efficient, I think, for me to work on a little bit of my in-depth daily, so that I can have more consistent progress. I can make sure that this happens by setting our a time for me to work with clay daily. For example, I will say that I am going to do in-depth every day for 30 mins at 3 pm. If I feel that 30 minutes is not enough time to get anything done, I can do 60 mins or more every 1-2 days.

I hope that even with everything going on right now, I can still learn a lot about hand-building. I really enjoy my in-depth this year and look forward to continuing my project!

In-Depth #1 (2020)

For my 2020 in-depth, I have decided to learn wheel pottery. I’ve always enjoyed watching videos of people doing wheel pottery and thought that it was very interesting and wanted to try it myself. As a creative person, all types of art appeal to me; however, wheel pottery is something that I have wanted to try for myself for a long time, but the materials are expensive to buy so I never got a chance to. I would like to focus mainly on shaping a piece on the wheel, with a little focus on glazing and painting. As I said, unfortunately I do not have any of the materials at home, so I will have to look for a mentor this week with experience as well as the materials that I need.

I asked Ms. Croft if she could help me with my project, as she is the ceramics teacher at Gleneagle, but she told me that she doesn’t have enough expertise to teach me, so this coming week, I will email some ceramics classes around Port Moody to see if any of the teachers would be able to mentor me. I will try to find a mentor that I don’t have to pay; however, I will definitely offer them my help with their studio or anything else they might need in order to repay them for their help.

I am looking forward to this year’s in-depth so much and cannot wait to get started! I hope that I will be able to find a mentor soon and will then jump right into it!

CLE Interview Themes

Pieces of Wisdom:

#1: Always have a support system, whether it’s a work mentor or just someone you can talk to if you need to; being in the medical field can be very hard emotionally.

#2: Have a back-up plan; “don’t put all of your eggs in one basket.” Getting into medicine is a bit of a lottery, so be aware of this, and have an alternate just in case.

#3: Take time for yourself. Make sure you’re not always “living for tomorrow” because, as you learn in the medical field, tomorrow isn’t always guaranteed.

Eminent Introductory Post 2019

“Fight, shoot back, play trumpets, beat drums. Fight until the last moment. My victories only relied on that.” (Translated from Russian)

Maya Plisetskaya (Russian: Майя Плисецкая) was a Soviet prima ballerina assoluta, an Italian term given to the most notable female ballet dancers, known for her expressive dance and her arms that were said to be “without bones.” From a young age, she was interested in drama, and even as a ballerina, she continues to be admired for her ability to integrate acting with her dance. She was part of one of the world’s greatest ballet companies, the Bolshoi Ballet in Moscow. Her work has really left its mark and she continues to be a great influence on ballet.

Image result for bolshoi ballet maya
Photo of Maya Plisetskaya in Swan Lake with the Bolshoi Ballet in 1966. From https://en.wikipedia.org/wiki/Maya_Plisetskaya

Maya Plisetskaya was born on November 20th, 1925. Her parents, Rakhil (Rachel) Messerer-Plisetskaya and Mikhail Plisetski, were of Lithuanian-Jewish descent. Nearly her whole family was involved with the arts in some form or another, especially on her mother’s side; Maya’s mother was a silent-film actress, and her maternal aunt and uncle was a Bolshoi ballerina and dancer, respectively. When Maya was 12 years old, her father was taken and killed as a part of the Stalinist Purges, and her mother was sent to a labour camp in Kazakhstan. Her maternal aunt, Sulamith “Mita” Messerer took her in after Maya lost both parents. Sulamith was also the person that introduced Maya to ballet and continued to coach her in her youth.

Image result for майя плисецкая

Maya was only 8 years old when she joined the Moscow Choreography School, a year younger than her classmates. This was because “at home, she just [couldn’t] help dancing” and because Maya was extremely talented and quick to learn. Maya talked about her talent as a young girl even before she started taking classes, and how she knew that she was made for the stage. She didn’t always learn willingly, however. She describes her young self as “a bit of a troublemaker” and at one point she even got expelled “for violating the disciplinary demands of the class,” but returned to class in less than two weeks. 

Maya’s eminence came from the way that she danced. She modernized ballet and unofficially started the “Plisetskaya style” of ballet. Her way of dance was very expressive and she really brought out the music and the story of the ballet. She won many awards in her lifetime, such as Order of Merit for the Fatherland, Three Orders of Lenin, Hero of Socialist Labour, and many more. In 1994, a ballet competition, “Maya,” was named after her. She will be remembered for many years to come because of her style and persistence to dance, even at an older age. She stayed with the Bolshoi Ballet until 1990, when she was 65, but continued to perform when she was 70. In the video below, she is already 48, which is past when most ballerinas retire.

Maya wasn’t allowed to go on international tours with the Bolshoi Ballet until 1959 because of her Jewish heritage, as well as her defiance and stubbornness. Eventually, Soviet authorities allowed her to go on tour and she was able to leave her mark on the rest of the world. 

As a rhythmic gymnast, a sport that is heavily influenced by ballet, I am very interested in Maya as one of the greatest ballerinas in the 20th century. Maya also shares the same nationality as me, so I feel that this gives me another personal connection to her.  Her work is beautiful to watch, and knowing her story just makes me appreciate it even more. Maya Plisetskaya was a hard-working and dedicated student, which I believe is similar to me as well. However, one trait of Maya’s that I couldn’t relate to is her stubbornness. She was defiant and opinionated in her youth, whereas I consider myself to be more “easygoing.” One barrier that I would also have to connect with her are our childhoods. I grew up, and am still growing up, with my parents, but Maya had to spend 3 years of her life without either parent. I have to acknowledge the fact that she grew up in a different environment than me and be aware of this when being in her shoes. In TALONS this year, I am trying to become a more outgoing leader. I can see that Maya was very outgoing in the way that she presented herself on stage, as well as in person. I hope that I can learn how to show my true feelings and opinions like Maya was able to do and to allow others to see what I can be capable of.

When she died in 2015, it was said that ” ‘a whole era of ballet was gone’ with Plisetskaya” (Medvedev). Maya was a ballerina and a performer for over 60 years and she demonstrates the true meaning of what a human can achieve in just one lifetime. I am looking forward to learning about this wonderful person over the course of eminent and cannot wait to start planning for Night of the Notables!

Sources:

https://youtu.be/rcPUzjMCXhQ “Стихия по имени Майя”

https://www.britannica.com/biography/Maya-Plisetskaya

https://biography.yourdictionary.com/maya-mikhailovna-plisetskaya

https://www.newworldencyclopedia.org/entry/Maya_Plisetskaya#cite_note-answers-0

https://en.wikipedia.org/wiki/Maya_Plisetskaya

Career Comparisons

1- Education         2- Salary         3- Tasks         4- Skills Required         5- Job Prospects      6- Location

  1 2 3
Anesthesiologist Minimum 3 years bachelors, 4 years medical school, 5 years residency ~$150,000-350,000 Administers regional anesthesia, general anesthesia. Monitor vitals during surgery.
Forensic Scientist Bachelor’s degree and on-the-job training ~$55,000 Works either in the field or in a laboratory to examine evidence from crime scenes.
Chef Secondary school and specialty training ~$35,000 Prepare and plan food. Supervise lower level chefs. Inspect quality of food as well as tools and machinery.
  4 5 6
Anesthesiologist Critical thinking, active listening, problem solving, attention to detail Increasing opening in BC Hospitals, not very much travel
Forensic Scientist Active listening, reading comprehension, critical thinking, attention to detail Increasing opening in BC Lab or field, if in field, location not always the same
Chef Planning, coordination, attention to detail, multi-tasking Increasing opening in BC Restaurants, no travel

HAMILTALONS: The Room Where It Happens

A: Character Development-

“The Room Where it Happens,” the 28th song in the musical Hamilton, focuses on the private dinner that Alexander Hamilton, Thomas Jefferson, and James Madison attend and the feelings of Aaron Burr towards this. At dinner in 1790, they discuss Hamilton’s plans and eventually come to a compromise that gives Hamilton support for his financial plans to assume state debt and moves the US capital from New York to Washington D.C, which is closer to Jefferson’s hometown, Virginia. These two topics were separately a debate in Congress, so this compromise “[could] solve one problem with another” (Hamilton). Burr is jealous and envious of the power that Hamilton has and wants to be included in the plans that are made. Hamilton and Jefferson with Madison want different things but in general, they just want their ideas to get put into place with the government. With this, we can make inferences about the characters’ fears. Burr fears being left out of important decisions and decisions that he doesn’t approve of being made without him. Hamilton, Jefferson, and Madison fear wrong decisions being made for the country.

This is one of the first songs where we see a wedge driven between Burr and Hamilton, and in the next song, “Schuyler Defeated” Burr switches political parties and wins Phillip Schuyler, Hamilton’s father-in-law’s, seat in the Senate. Burr does this because he wants more power, as we see in “The Room Where it Happens.” Some other interesting points that we can see in this song that indicate character development are Hamilton’s uncharacteristically brief responses in Hamilton and Burr’s back-and-forth at the beginning of the song. They seem to show that Hamilton has finally decided to take Burr’s advice to “talk less, smile more.” This is confirmed a bit later in the song. This, along with Hamilton cutting Burr off when he has to go to the dinner, shows that, as opposed to the beginning of the play, Hamilton now has more power than Burr. Hamilton now has more to lose and tries to refrain from speaking too much to ruin his legacy.

B: Connections to Historical Elements-

The song is centred around what is known as the Compromise of 1790. In general, the song does a very good job of explaining what happened at the private dinner, as well as how and why it happened, but historically, after attempts to move the capital south and Hamilton’s financial plan both went unresolved, Hamilton went to Thomas Jefferson for his input. Jefferson arranged a dinner for the two of them and Madison, who was also part of the decisions, to resolve the issues, which succeeded. The capital was moved to Washington D.C, close to Jefferson’s (and other early leaders’) homes, and Hamilton was able to put a plan into place that would help pay off the huge amount of debt that the country had accumulated during the American Revolution. The debt was the more significant issue, especially to Hamilton, as the location of the capital seemed like a more aesthetic issue rather than a decision that would actually impact the country, so he was able to use the location of the capital as a compromise point to get what he really wanted.

One thing I was confused about at the beginning of the song was the mention of “good old General Mercer.” Who was he and how does he relate to the song? I found that Hugh Mercer was a brigadier general that died in the Battle of Princeton in 1777. In 1799, Clermont Street was renamed to Mercer Street in honour of Hugh Mercer. Interestingly enough, the Compromise of 1790, the private dinner that the song is centred around, happened in… well, 1790, which is 9 years before the renaming of Clermont/Mercer Street. It seems like it was just a choice by Lin Manuel Miranda to include the Mercer legacy into this song, but throughout the musical, we can see how both Hamilton and Burr care a lot about their legacy. It’s something that they can discuss and we can see the similarity between them in this way, but when Hamilton cuts Burr off and leaves, we can see how they’re also different, and starting from this song, start to have very different legacies. From these three characters, we can see that people during the American Revolution, and even now, care about their reputation and their legacy.

“The Room Where it Happens” is a great example of how “Disparities in power alter the balance of relationships between individuals and between societies.” Burr is jealous of Hamilton’s power and sway in the government and from this point forward, there’s a change in their relationship. Like I mentioned above, in the next song “Schuyler Defeated,” Burr wins Hamilton’s father-in-law’s seat in the Senate, which upsets Hamilton, as he thought that Burr was being disloyal. Their relationship goes on a downward spiral from there, and as we know from the first song in the play, Burr eventually shoots Hamilton.

C: Guided Question-

In “The Room Where it Happens” we can see lots of information about the rights, privileges, and general information about the American revolution. The first quote I’ll analyze is “We want our leaders to save the day— But we don’t get a say in what they trade away” (Hamilton). This is very similar to the big idea, in the way that those with more power get more say in what decisions are made for the country. Burr is upset that he didn’t get a say in the compromise, and he is upset that the capital is moving. This is representative of the whole American Revolution because even though the US became a democracy, citizens, and even some leaders, still didn’t get full control over the laws that got made.

The second quote is “God help and forgive me, I wanna build something that’s gonna outlive me” (Hamilton). The American Revolution was about moving away from the standards of England and building something new. Something new that is going to last into future generations. In this case, Hamilton was talking about making a new financial system that’s going to support the country, but it can be applied to the revolution as a whole, because in a way, the revolution itself was building something that’s going to outlive everyone who fought/had a part in it; the United States.

Finally, “When you got skin in the game, you stay in the game, but you don’t get a win unless you play in the game” (Hamilton). This is Hamilton telling Burr that if you take some risks and just go for it (got skin in the game and play in the game) then you’ll be able to get what you want (stay in the game and get a win). This relates to the revolution because it shows that a group of people that initiate things usually get what they want compared to those who sit around. In his song “Wait For It,” Aaron Burr is shown to wait for things to happen instead of taking action, and in this quote, Hamilton is criticizing Burr’s ways. He even goes to say “You get nothing if you… Wait for it, wait for it, wait!” which is a clear reference to Burr’s song. Hamilton gets what he wants out of the compromise because he takes action and gets things done. Similarly, the American Revolution would never have happened if no one took action and made it happen.

However, from Burr’s perspective, Hamilton is going too far to get what he wants. He is almost manipulating others and simply “[doing] what it takes to survive” as Angelica says later in “Burn” (Hamilton). It almost seems as if he doesn’t care about morals anymore and just does whatever he can.

“The Room Where It Happens,” like every other song in Hamilton, is wonderfully written and there are many more references and hidden meanings within the lyrics and the way the characters speak than I talk about above, but I wasn’t able to expand on each one and I probably wasn’t able to catch all of them either (though https://genius.com/Original-broadway-cast-of-hamilton-the-room-where-it-happens-lyrics helped me see a lot of them). I enjoy listing to this song so much and being able to dive deep and analyze it to see all of those hidden meanings was amazing!

https://genius.com/Original-broadway-cast-of-hamilton-the-room-where-it-happens-lyrics

https://www.themusicallyrics.com/h/351-hamilton-the-musical-lyrics/5418-hamilton-synopsis.html

https://en.wikipedia.org/wiki/Compromise_of_1790#cite_note-Ellis51-3