By Donla ui Bhraonain
A suite of the preferred proverbs within the Irish language, chosen by way of the editor and followed through translations or equivalents in English, Spanish (by Carmen Rodriguez Alonso) and varnish (by Anna Paluch). This assortment, illustrated via Fintan Taite, has a common relevance and makes the wealth of Irish lore obtainable to a multilingual public all over the world of every age and backgrounds.
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Extra resources for 500 Proverbs - 500 Seanfhocal - 500 Przyslow - 500 Refranes
It was composed in 1907 by Edwards Gus (1879–1945) with lyrics by Ed Gardenier. Here are the gaps in the lyrics filled in: I tell you what, kids, it’s dandy. To float through the air as you sing. See saw, see saw, see us go up and go down. Say kids, don’t it feel like an automobile. That’s riding and gliding to old New York town. While we see saw, see saw. See we’re not young anymore. We’ll give all our joys, just to be girls and boys. On the old see saw. On the Old See Saw is arguably not a great work of art, but the experience of singing it, reinforced by particular features of the song itself, encapsulate for me the joy of relationship forged through shared sense making.
Malloch (1999) described the “communicative musicality” (p. 29) that occurs in and through singing as a dynamic, sympathetic state that allows coordinated companionship to arise. With origins in studies of mother and infant communication, Malloch and Trevarthen (2008) have suggested that communicative musicality is an innate ability belonging to all people that is fundamental to their sense of connectedness. Communicative musicality was described by Malloch (1999) as the rhythmic sense of time that is felt communally through shared energy and common purpose with a focus on the capacities of pulse, quality (timbre), and narrative; all components that are featured in the opening stories we shared early in this chapter, and these components provide a frame through which we might come to understand the importance of the shared activity of singing within intergenerational curricula.
NOTES 1 2 All names have been changed. This section was co-authored with Elisabeth Davies, Western University. 21 CHAPTER 2 INTERGENERATIONAL MULTIMODAL SINGING-INFUSED CURRICULUM This chapter focuses on the curriculum-making of the singing-infused intergenerational multimodal program. Why Multimodal Literacy Matters is designed to make a contribution to knowledge and understanding in relation to multimodal literacy, wellbeing, and singing. Given the socio-cultural approach to literacy in the book, the situation in which we explored these notions is of concern.
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