Ce Ce and Her Shadow

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Supervise the classroom assistant, aide, interns, substitutes, and parent volunteers. Provide necessary instruction and training for those assisting in the classroom environment. Ensure respectful and open lines of communication with parents.

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Be available to parents through written communication, setting up conferences, and educating parents in Montessori philosophy. Manages student behavior for the purpose of providing a safe and optimal learning environment.

Monitors students in a variety of educational environments e. Performs personnel functions e. Respond to inquires from a variety of sources e. Performs other related duties, as assigned, for the purpose of ensuring the efficient and effective functioning of the work unit. SKILLS are required to perform multiple, highly complex, technical tasks with a need to periodically upgrade skills in order to meet changing job conditions. Specific skill based competencies required to satisfactorily perform the functions of the job include: applying assessment instruments; operating standard office equipment including using pertinent software applications; teaching Arizona state recognized standards within the framework of Montessori theory and practice; preparing and maintaining accurate records.

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CE-R4S Manual. Finally, the movable parts upper arms, lower arms with hands and the associated sticks for manipulation mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.

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However, there is not strong continuing demand for the top skills of wayang craftspersons and the relatively few experts still skilled at the art sometimes find it difficult to earn a satisfactory income. The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather. Wayang wong , also known as wayang orang literally "human wayang" , is a type of Javanese theatrical performance wherein human characters imitate the movements of a puppet show.

The show also integrates dance by the human characters into the dramatic performance.

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It typically shows episodes of the Ramayana or the Mahabharata. Wayang gedog theatrical performances take themes from the Panji cycle of stories from the kingdom of Janggala.

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The players wear masks known as wayang topeng or wayang gedog. The word gedog comes from kedok which, like topeng , means "mask". Candra Kirana was the incarnation of Dewi Ratih the Hindu goddess of love and Panji was an incarnation of Kamajaya the Hindu god of love. Kirana's story has been given the title Smaradahana "The fire of love". At the end of the complicated story they finally marry and bring forth a son named Raja Putra.

Originally, wayang wong was performed only as an aristocratic entertainment in the palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well. The construction of the puppets contributes to their versatility, expressiveness and aptitude for imitating human dance. Today, wayang golek is mainly associated with the Sundanese culture of West Java. In Central Java, the wooden wayang is also known as wayang menak , which originated from Kudus , Central Java.

Little is known for certain about the history of wayang golek , but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of wayang golek are from the north coast of Java in what is called the pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely that the wayang golek grew in popularity through telling the wayang menak stories of Amir Hamza , the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak , and in Cirebon , wayang golek cepak.

Legends about the origins of the wayang golek attribute their invention to the Muslim saint Wali Sunan Kudus , who used the medium to proselytize Muslim values. In the 18th century, the tradition moved into the mountainous region of Priangan , West Java , where it eventually was used to tell stories of the Ramayana and the Mahabharata in a tradition now called wayang golek purwa , which can be found in Bandung , Bogor and Jakarta. The adoption of Javanese Mataram kejawen culture by Sundanese aristocrats was probably the remnant of Mataram influence over the Priangan region during the expansive reign of Sultan Agung.

While the main characters from the Ramayana and Mahabharata are similar to wayang kulit purwa versions from Central Java, some punakawan servants or jesters were rendered in Sundanese names and characteristics, such as Cepot or Astrajingga as Bagong, and Dawala or Udel as Petruk. Wayang golek purwa has become the most popular form of wayang golek today. Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit.

They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets.

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A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms.

The name of these figures is onomotopaeic, from the sound klitik-klitik that these figures make when worked by the dalang. Wayang klitik figures come originally from eastern Java , where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures. The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala , Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras , which tells of the adventures of a pair of village youngsters with their fighting cocks.

The Damarwulan presents the stories of a hero from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara makes a surprise attack on the neighboring kingdom and brings down Minakjinggo , an Adipati viceroy of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife.

This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy. Wayang beber relies on scroll-painted presentations of the stories being told. They have also been subject to the same fate—they have nearly vanished, although there are still some groups of artists who support wayang beber in places such as Surakarta Solo in Central Java.

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Chinese visitors to Java during the 15th century described a storyteller who unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java.

Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:. The dalang gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab a violin-like instrument held vertically begins to play, and the dalang unrolls the first scroll of the story.

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