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Swan Lake

Swan Lake

Swan Lake

 

 

 

 

 

 

 

 

 

 

Swan Lake 

Anne Spudvilas

Allen & Unwin, 2017

48pp., hbk., RRP $A29.99

9781743318454

Over 140 years ago, Pyotr Ilyich Tchaikovsky brought a story about first love, betrayal, loss, and good versus evil to life through a musical score he called Swan Lake. and on March 4 1877 through the choreography of Julius Reisinger and a few years later that of Marius Petipa and Lev Ivanov that music was interpreted through dance, laying the foundations of one of the most loved and enduring of the classical ballets.

Now, in 2017, it has been reinterpreted through the stunning artwork of Anne Spudvilas.   

With a synopsis of each act to explain what the reader is going to experience, the story unfolds in pictures that echo the dark, hazy, haunting mood that permeates the story – the lake at midnight, the malevolence afoot at the Grand Ball,  the storm that accompanied Siegfried’s battle with the Sorcerer and the final tragic ending. Dramatic in their composition and demonstrating how many shades of grey there really are, Spudvilas has captured the essential elements of the story while also portraying the atmosphere that the music and choreography bring to the experience.

For those who are unfamiliar with Swan Lake as a ballet it is a complete sensual experience in itself; for those like me (and Spudvilas) who have been entranced with it since childhood, it is yet another layer adding to the wonder and love of the original. 

Definitely one to add to the collection for a range of reasons – at its basic level it is the story behind a classic ballet and its  interpretation in pictures;  but at a deeper level there is so much to explore and interpret such as  the creation of mood through a monochromatic scheme; the use of imagery and colour to identify emotions or portent…

While the long-ago LP record cover that took me into a lifelong love of ballet in general and Swan Lake in particular has disappeared forever, this new interpretation will be a suitable substitute and will join the other members of my treasured collection that brings back such happy memories. And even though I know I will only ever be Odette in my dreams maybe it will spark a dream for my granddaughters!

Watch this for in the 2018 awards lists…

Colour Your Own Medieval Alphabet

Colour Your Own Medieval Alphabet

Colour Your Own Medieval Alphabet

 

 

 

 

 

 

 

Colour Your Own Medieval Alphabet

British Library

Pavilion. 2016

56pp., pbk., RRP $A22.99

9781911216001

Before the age of printing made books more accessible to the general populace, texts were painstakingly produced by hand in monasteries by monks who were among the few literate people in a community.  Artists known as illuminators embellished a text made by a scribe with a colourful, highly decorative capital letter often gilded with gold leaf so it appeared to be filled with light.  Such books were priceless and became treasured objects.

From its collection of texts, most of which are 500 years old,  the British Library has selected 26 examples, each representing a letter of the alphabet and each annotated with the origin of the original, and transformed them into intricate outlines perfect for those who enjoy the challenge of colouring in.  There are samples from medieval charters and seals, historical and literary manuscripts, from Virgil to Chaucer and Royal Statutes to the Book of Psalms and the endpapers have reproductions of the originals so there is a choice to try to duplicate the original or create something new.

While there are many benefits of colouring in for children that centre around the development of hand-eye co-ordination and spatial awareness, it is becoming a favoured occupation by those who are older for the therapeutic qualities particularly promoting mindfulness and reducing stress.  

Although photocopying of the images for multiple use in a makerspace environment would be a breach of copyright, nevertheless each page could be given to individuals in need of a break, Printed on quality paper they would make a colourful display which could spark an investigation into the origin and history of the written word, the history and origin of the process of illuminations or even life in the Middle Ages generally, particularly the role of religion which is such a driving force for many, even today.  The current anti-Islamic fervour which seems to be building around the world has very deep roots!

It could also become the ubiquitous alphabet chart found in primary libraries or even become the signage for the fiction section.  Imagine the boost to a child’s self-esteem when they see their work put to such a useful purpose!

This books offers more than just a shoosh-and-colour activity to fill in time. It has the potential to take the students on a journey into our past.

Where’s the Elephant?

Where's the Elephant?

Where’s the Elephant?

 

 

 

 

 

 

 

 

 

 

Where’s the Elephant?

Barroux

Egmont UK, 2015

32pp., hbk., RRP $A23.95

9781405276481

It starts as a simple hide-and-seek book with the reader encouraged to find the elephant, the parrot and the snake amongst a forest of trees of all shapes and sizes and colours.  Turn the page and the same challenge applies – but this time it’s a little easier because some of the trees have been chopped down.  And on the next double-spread it is easier again as even more trees have disappeared.  And then, where the trees were a house appears and then another and another.  And so it continues until there so many houses and buildings that there is just one tree, and the elephant, the parrot and the snake are clearly visible enclosed in a fence with Zoo on it.  Until they take matters into their own hands…

Stunningly illustrated by this award-winning French illustrator and inspired by a visit to Brazil where he saw the forest set alight to provide space to plant soy beans as well as the concept of Where’s Wally?, in some ways the theme of this wordless text is akin to that of Jeannie Baker’s Window. The encroaching of civilisation and its impact on the environment and the creatures within it is explored in a way that not only the youngest reader will understand but which will serve as a springboard for more mature readers to investigate. 

The colours and shapes of the lush forest evoke positive emotions but as the white of the cleared land and the muted tones of the houses and buildings take over the pages a sense of sadness takes over.  There are no words – they are not needed.

This is the perfect adjunct to a theme of Change, particularly if the focus is on how humans have an impact on the environment and the needs of creatures that dwell there.  Given Australia’s poor record of stopping species becoming endangered or even extinct, this is a focus area that demands attention and where better to start the appreciation of what we have than with the very young?