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"Won't You Be My Neighbor"

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Won't You Be My Neighbor? Movie | Official Website | Trailers and Release Dates | Focus Features

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For over thirty years, Fred Rogers, an unassuming minister, puppeteer, writer and producer was beamed daily into homes across America. In his beloved television program, Mister Rogers' Neighborhood, Fred and his cast of puppets and friends spoke directly to young children about some of life's weightiest issues, in a simple, direct fashion. There hadn't been anything like Mr. Rogers on television before and there hasn't been since.

Though he may be best known today as a soft-spoken, cardigan-wearing children's television host, in reality, Fred Rogers' career represents a sustained attempt to present a coherent, beneficent view about how we should best speak to children about important matters and how television could be used as a positive force in our society.

In Won't You Be My Neighbor?, Academy Award-winning filmmaker Morgan Neville ( Twenty Feet from Stardom) looks back on the legacy of Fred Rogers, focusing on his radically kind ideas. While the nation changed around him, Fred Rogers stood firm in his beliefs about the importance of protecting childhood. Neville pays tribute to this legacy with the latest in his series of highly engaging, moving documentary portraits of essential American artists.

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Won't You Be My Neighbor? Movie | Official Website | Trailers and Release Dates | Focus Features

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Won't You Be My Neighbor? takes an intimate look at America's favorite neighbor: Mister Fred Rogers. A portrait of a man whom we all think we know, this documentary is an emotional and moving film that takes you beyond zip-up cardigans and the land of make-believe, and into the heart of a creative genius, who inspired generations of children with compassion and limitless imagination.

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"Akeelah and the Bee"

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Akeelah and the Bee (2006) Official Trailer #1 - Laurence Fishburne Movie HD

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"A Man Called Ove"

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"Maudie"

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"The Professor and the Madman"

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THE PROFESSOR AND THE MADMAN Official Trailer (2019) Mel Gibson, Sean Penn Movie HD

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Listen to or Read the NPR Interview with Artist Maud Lewis

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There's no rain in her clouds, no gray in her shadows; Maud Lewis' small paintings are bright with sunshine, and filled with blue skies, crystal snow and calm waters. Now, a new movie tells the true story of a painter from Nova Scotia whose joyful works hardly hint at the difficult life she led.

Lewis had rheumatoid arthritis, which made it difficult for her to work, even as a young woman. To support herself, she took a job cooking and cleaning for a peddler - a man she would later marry. In the film Maudie, the couple is played by Sally Hawkins and Ethan Hawke. (Critic Bob Mondello says the film is remarkable, click here to read his review.)

Lewis had no formal training, but she got her start painting Christmas cards with her mother, which they sold for 25 cents. As an adult, she used leftover house paint to brighten walls, bread boxes, cookie sheets - even the stove - with butterflies, tulips and swans. Canvas was expensive and hard to come by, so Lewis painted on beaver boards and Masonite - and she did it all from her own imagination.

"I've never seen any paintings from other artists," said Lewis, who died in 1970.

Lewis painted what she saw - cows, horses, cats, oxen - "often with a very cheeky sense of humor," says Shannon Parker, Curator at the Art Gallery of Nova Scotia, Halifax. The gallery has 55 of Lewis' paintings in their permanent collection.

"She's a local artist, who, if we didn't collect them - especially in the beginning - nobody else would have," Parker says.

Lewis became known in the late 1960s, as passing tourists saw her sign: "Paintings for Sale." These were landscapes, painted on boards. She charged $2.00, later, $5.00.

"She was very hesitant to ask for more money," Parker says.

A writer learned about her, there was a magazine article, then the CBC interviewed her, and eventually she couldn't keep up with the demand. She began selling her pictures while they were still wet. Now her paintings sell for $8,500 to $20,000.

Lewis' entire house - a work of art in and of itself - now has a permanent home in the Art Gallery of Nova Scotia. After Lewis and her husband died, the pint-sized house started to fall into disrepair, but it was saved, restored, and moved into the gallery in 1998. In the years before she died, Lewis told the CBC she rarely left home.

"Contented right here in this chair," she said. "Ain't much for travel anyway. As long as I've got a brush in front of me, I'm all right."

Parker thinks Maud's popularity and her story is a work of slow magic.

"They didn't have a lot of money," Parker says. "They had no running water, they had no electricity. [She] was very limited in what she was able to do with her life. And yet her artwork was what she wanted to do and it's something she was able to do. And touched so many other people. That's pretty amazing."
Radio editor Nina Gregory and Web producer Beth Novey contributed to this report.

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Home Is Where The Art Is: The Unlikely Story Of Folk Artist Maud Lewis

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There's no rain in her clouds, no gray in her shadows; Maud Lewis' small paintings are bright with sunshine, and filled with blue skies, crystal snow and calm waters. Now, a new movie tells the true story of a painter from Nova Scotia whose joyful works hardly hint at the difficult life she led.

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Origin of the "Deepest Fear" Quote and Viewer Responses to its Meaning

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In the movie Akeelah and the Bee, a quotation is displayed on a framed certificate in the home-office of a main character, and the words are incorrectly attributed to Nelson Mandela, as part of his 1994 Inauguration Speech as President of South Africa.

In the film, "Akeelah" reads the entire quote and attribution out loud. It is a moving moment in the film, and arguably summarizes the core "message" of the movie.

Alas, Nelson Mandela did not include any such language in his Inauguration Speech, and almost certainly never spoke or wrote these words at all.

In fact, this "quote" is adapted from a passage written by writer Marianne Williamson, from her book A Return To Love: Reflections on the Principles of A Course in Miracles.

Here is the (incorrect) version of the quote from the movie:

"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? Your playing small does not serve the world. We were born to make manifest the glory of God that is within us. And as we let our own light shine, we unconsciously give other people permission to do the same."

Here is the "true" complete quote from Marianne Williamson:

"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won't feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It is not just in some of us; it is in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others." Marianne Williamson, from A Return To Love: Reflections on the Principles of A Course in Miracles (Harper Collins, 1992; from Chapter 7, Section 3)

Proper punctuation for the "shortened" quote (used in the movie) would include "ellipses" to indicate where words were omitted:

"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? . . . Your playing small does not serve the world. . . . We were born to make manifest the glory of God that is within us. . . . And as we let our own light shine, we unconsciously give other people permission to do the same." - Marianne Williamson

Here is the entire quote, with the "edited out" language marked with "strikethrough lines" to emphasize the changes from the original:

"Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won't feel insecure around you. We are all meant to shine, as children do. We were born to make manifest the glory of God that is within us. It is not just in some of us; it is in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others. "

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" "Our Deepest Fear" Quote (Akeelah and the Bee) [Mark Welch's Perspective]

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In the movie Akeelah and the Bee, a quotation is displayed on a framed certificate in the home-office of a main character, and the words are incorrectly attributed to Nelson Mandela, as part of his 1994 Inauguration Speech as President of South Africa. In the film, "Akeelah" reads the entire quote and attribution out loud.

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Check out the Fred Rogers Center and the many ways they impact the world.

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Your financial support of the Institute helps us expand our initiatives and resources so that educators and children's helpers can continue to learn and grow from Fred Rogers' legacy. Thank you!

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Yes, the story is true! This short film discussed the book the film is based on!

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The Professor and the Madman - The Making of the Oxford English Dictionary

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Quote from the book, "A Man Called Ove" by Fredrik Backman

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Quote from the book, "A Man Called Ove" by Fredrik Backman

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“We always think there's enough time to do things with other people. Time to say things to them. And then something happens and then we stand there holding on to words like 'if'.”

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This film is hard to watch at times- sad, funny, unique, and affecting. It communicates great truth about relationships. Ove is grieving and may have something called "complicated grief." In case you or someone you know is grieving, I'm attaching this grief resources page. You are not alone.

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Select a Topic

Students | Faculty/Staff | General Mental Health Resources | Back to Top
Grieving Resources

Grieving

Grief is a natural response to loss. It's the emotional suffering you feel when something or someone you love is gone or taken away. You may associate grief with the death of a loved one, but any loss can cause grief, including the loss of:

Health (yours or that of someone you're close to)

A friend or love relationship

Financial stability

Safety after a trauma

A pet

How to grieve

While there is no right or wrong way to grieve, there are healthy ways to cope with the pain that, in time, can renew you and permit you to move on. How you grieve depends on many factors, including your personality and coping style, your life experience, your faith, and the nature of the loss. The grieving process takes time. Healing happens gradually; it can't be forced or hurried; and there is no "normal" timetable for grieving. Some people start to feel better in weeks or months. For others, the grieving process is measured in years. Whatever your grief experience, it's important to be patient with yourself and allow the process to naturally unfold.

You may hear people talk about the stages of grief. Understanding the five stages may help you to heal, but contrary to popular belief, you do not have to go through each stage in order to heal. In fact, some people resolve their grief without going through any of these stages. And if you do go through these stages of grief, you probably won't experience them in a neat, sequential order, so don't worry about what you "should" be feeling or which stage you're supposed to be in.

The five stages of grief:

Denial:"This can't be happening to me."

Anger: "Why is this happening? Who is to blame?"

Bargaining: "Make this not happen, and in return I will ____."

Depression: "I'm too sad to do anything."

Acceptance: "I'm at peace with what happened."

How to Heal

1. Get support from others: The single most important factor in healing from loss is having the support of other people. Even if you aren't comfortable talking about your feelings under normal circumstances, it's important to express them when you're grieving. Sharing your loss makes the burden of grief easier to carry. Wherever the support comes from, accept it anddo not grieve alone.

2. Take care of yourself: The stress of a major loss can quickly deplete your energy and emotional reserves. Looking after your physical and emotional needs will help you get through this difficult time.

Complicated Grief, Depression, and When to Seek Counseling

The sadness of losing someone you love never goes away completely, but it shouldn't remain center stage. If the pain of the loss is so constant and severe that it keeps you from resuming your life, you may be suffering from a condition known as complicated grief. Distinguishing between grief and clinical depression isn't always easy, since they share many symptoms.

Contact a grief counselor or professional therapist if you:

Feel like life isn't worth living

Wish you had died with your loved one

Blame yourself for the loss or for failing to prevent it

Feel numb and disconnected from others for more than a few weeks

Are having difficulty trusting others since your loss

Are unable to perform your normal daily activities

©Helpguide.org. All rights reserved. Full Article
Grieving Resources

Death and Grief: Article for young people on how to cope with grief and loss. Includes tips for dealing with the pain and taking care of yourself during the grieving process. (Nemours Foundation)

Life After Loss: Guide to coping with grief and loss from the University of Texas Counseling and Mental Health Center.

Griefnet.org: Online support community for people dealing with grief, death, and major loss, with over fifty monitored support groups for children, youth, and adults.

Grief and Loss : Explanation of the main phases of grieving process, with tips for helping someone who is grieving, from the University of Illinois Counseling Center.

Major Depression and Complicated Grief : The warning signs and symptoms that suggest grief has progressed to major depression or complicated grief, from the American Cancer Society.

Complicated Grief: Learn the difference between the normal grief reaction and complicated grief, including information about symptoms, risk factors, and treatment. From the Harvard Medical School Family Health Guide.

Grief After Suicide : Understanding your emotions, as well as suicide in general, may ease your grieving after suicide. From the Buddha Dharma Education Association.

General Mental Health Resources

The menu on the right will link you to information on specific mental health topics. -->
Below are additional links to excellent websites for mental health information:

Go Ask Alice: Website operated by Columbia University to answer the questions of college students on issues related to physical health, mental health, and sexuality.

Half Of Us: This engaging youth-oriented site uses video stories of students and high-profile artists to increase awareness about mental health issues and the importance of getting help.

Healthyminds.org: This website of the American Psychiatric Association offers a broad array of information on topics related to mental health.

Helpguide: Website operated by a non-profit organization offers information and resources on a broad range of mental health topics.

National Alliance on Mental Illness (NAMI): An advocacy group for people living with mental illness and their loved ones. Good source of information and resources on mental health topics.

ReachOut.com: An information and support service using evidence based principles and technology to help teens and young adults facing tough times and struggling with mental health issues.

ULifeLine.org: An online resource for college students with information about protecting your emotional health and what to do if you or friends are struggling with mental health issues.

Created Fall 2012 by SRJC Web Development Team

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Online Guide to Behaviorial Health & Resources for Students and Faculty

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Select a Topic Students | Faculty/Staff | General Mental Health Resources | Back to Top Grieving Resources Grief is a natural response to loss. It's the emotional suffering you feel when something or someone you love is gone or taken away.

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If you care for children, you may find this Fred Rogers Institute Guide to "Talking with Children about Difficult Things in the News" helpful or interesting.

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Doesn't Maudie just embody resilience? Wow. I think I cried a least 3x in this film. (Also Ethan Hawke is an absolute favorite.) My thoughts intersect with our look at Deaf Culture. Maudie's physical disabilities did not stop her art. Our world is catching up with how we view disabilities in the world of art.

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Though it often goes unnoticed by the wider artworld, the Deaf and Disability Arts movement has been gaining momentum across Canada of late.

In January, CRIPSiE (Collaborative Radically Integrated Performers Society) in Edmonton organized what is touted as one of the city's first professional presentations of Crip Theatre with their piece Love in the Margins, shown at Workshop West Playwrights' Theatre Chinook Series.

In February, Winnipeg's Canadian Museum for Human Rights opened "Sight Unseen," the first major exhibition of work by international blind photographers, which has been touring global venues-but until now, missed Canada. (The CMHR's program of related events includes a talk by Winnipeg's own Tara Miller, a legally blind commercial photographer.)

This month, in March, the disability arts festival Tangled London kicks off at the VibraFusion Lab with an exhibition of work by Barbara Greene Mann on the 3rd, KickStart Disability Arts and Culture in Vancouver holds a Disability Arts Salon on the 13th at Renfrew Park Community Centre, and Winnipeg's Martha Street Studio holds a panel on Disability + Curating on the 19th in association with its concurrent exhibition of work by disabled artists.

And coming up in April is Canada's first national Deaf and Disability Arts symposium-titled Cripping the Arts -which will be taking place at Toronto's Ryerson University. Cripping the Arts also coincides with the official opening of Ontario's first fully accessible gallery dedicated to exhibiting Disability and Deaf Art at 401 Richmond in Toronto.

The latter two milestones-the symposium and the gallery-are major projects on the go for Eliza Chandler, artistic director of the non-profit Tangled Art + Disability.

Recently, Chandler-an alumna of NSCAD University-met with Canadian Art to discuss art, disability and the progress that still needs to be made. Here are seven points that stood out during our conversation.

1. Disabled people aren't just audiences-they are artists and creators, too.

When asked what still bothers her most about the way disability is treated in the wider artworld, Chandler says it's the idea that improving accessibility only relates to disabled people as audiences.

"Typically when galleries and theatres think about including disabled people, it is as an audience," Chandler says. "Thinking about how to have wheelchair users in your audience is different than thinking about how we might include disabled people as producers of culture-as performers and artists and musicians."

Chandler notes that, on the upside, there is increasing interest from museums and other organizations about improving accessibility-but it needs that crucial shift in perspective.

"While there is this big push to make things accessible, I think it is quite focused on audience more than artwork."

2. Artists with disabilities need and deserve professional-development opportunities just as much as any other artist.

One issue that troubles Chandler is the unspoken assumption in the wider artworld that artists with disabilities don't need to-or shouldn't-try to get better at what they do.

"I think things like professional development only emerge as a possibility when you think disabled people can and should improve their art-which is a very obvious thing, but up until recently, it wasn't even a thing," Chandler says.

Previously, Chandler explains, the mindset in general was, "if I'm disabled and I produce something it's like, incredible, or it's a spectacle. There is no sort of thought that I should or I could improve my work. And maybe I can't [do that] in the same way as somebody else-but that doesn't mean I couldn't or shouldn't improve my art."

To help correct this problem, Chandler and Tangled have organized a series of professional development workshops called the Art Mechanics Lab, which covers things like grant writing, artist statements and artist talks.

After all, developing and programming an artist talk "requires us to recognize that the artist has intention, and maybe even a political motivation, in creating their work," says Chandler-factors which have often been downplayed in a limited-and-limiting mentality that just showing the work of a disabled artist is "enough."

3. Financial accessibility is as important as physical accessibility.

Another thing that can limit disabled artists' access to professional development-and disabled audiences' access to art exhibitions and events-is financial limitations.

"The barriers are so huge for disabled people," says Chandler, "because disabled people are poor-not because they can't work, but because there is a lot that can prevent us from working."

Financial obstacles can be just as dire as physical ones.

"We hear all the time that, 'I wanted to sign up for this printmaking class, but this venue was inaccessible,' or, 'I wanted to take a few classes at OCAD, but it's too expensive,'" Chandler says.

As a result, Chandler tries to ensure that what Tangled offers "is totally accessible both financially and barrier-free."

For instance, all of Tangled's professional development workshops are free of charge, and the fee structure for the April symposium is "free for Deaf, Mad, and disabled people, attendants/personal support workers, under-waged/non-waged people." And "$100.00 for everyone else."

Bottom line: physical access is just the beginning of making the arts accessible.

"Including an elevator or ramp is great, but it is the first step of many," Chandler says. "People think a lot about wheelchair access and I think that's really important, but as we are learning, there are so many other ways that art and culture can be made accessible."

4. Systemic change is needed to make a genuinely accessible artworld.

Systemic change "is something that Tangled works on every single day," Chandler says-particularly in relation to the fact that a lot of artists with disabilities can't even consider accepting newly available Disability-Arts grants for fear that it will put them at risk of losing governmental support for their essential long-term needs.

"Many people rely on ODSP [the Ontario Disability Support Program] for things like extended health care and wheelchair repairs," Chandler explains, "and they can't afford to lose these benefits."

The problem is that many disability support programs-those in Ontario and elsewhere-cap the amount of money a recipient can make or receive from various sources.

"Systemic change is needed in order to allow disabled people to access this [new] funding."

"If artists can't sell their works, or feel they can safely earn it; if they can't keep fees from artist talks or CARFAC fees," that's a big problem, Chandler explains.

"It's already a struggle to get paid as an artist," she admits. "Too many people assume that artists will work for free. But you have this added systemic barrier that needs to be addressed" in the case of disabled artists.

5. Best practices for accessible curatorial work do exist-even though most galleries and museums don't implement them consistently yet.

As Tangled prepares to officially launch its own dedicated art space in April, Chandler has spent a lot of time researching best practices for accessible curatorial work.

The Smithsonian, for example, has "a very comprehensive set of guidelines which I am learning and following and expanding on," says Chandler.

Tangled has a strong desire to set a standard, Chandler says, because "if you have a Disability Arts gallery, it has to be incredibly accessible and also done in a way that's integral to the aesthetics of the show, so that it's absolutely not an 'add-on.'"

As an example, Chandler points to the preparation for the gallery's first official show in April, featuring sculptures by Persimmon Blackbridge.

"We will install the show lower than you might typically see in a gallery," Chandler explains, "for wheelchair users, or people of shorter stature-that's a noticeable shift in the gallery, when things are hung lower."

"We will have labels in print, but also in Braille, and we will have audio descriptions of every piece, so if you come in and you have a visual impairment, you can take out an iPod and listen to someone describe the whole piece."

6. Creative problem-solving is key to making art accessibility a reality.

One of the best practices for exhibition accessibility is to create touch tours so that people can come into the gallery and experience the artwork through touch rather than simply through sight or sound.

But this presented a challenge for Chandler and Blackbridge while prepping for the April exhibition, as Chandler wanted to include a touch element, but Blackbridge's sculptures are very fragile.

Initially, Chandler says, they thought about getting "a replica of one of the sculptures produced by a 3-D printer out of plastic or rubber."

But what they ultimately agreed upon was that Blackbridge would "produce a sculpture herself out of rubber with the intention that it can be touched."

It's a solution Chandler is enthused about.

"I think that is really exciting, because it's not just about translating art in accessible way-we are actually producing art with the intention that it can be experienced in a different way."

Revisiting and revising a typical gallery install schedule is another thing Chandler is open to looking at as Tangled moves forward with shows by Blackbridge and others.

"Maybe we need to have two weeks, or maybe we need a month when the gallery is closed and the artist can install their works," Chandler says. "Because maybe asking the artist to install in a week doesn't meet their needs if they can't work a 10-hour workday. Maybe they can only work a 3-hour workday."

"I think all of those things are about changing our culture to fit people's needs, rather than expecting them to fit the way culture has always been done."

7. We can all learn from the growing national and international networks related to art and disability.

Asked for inspiration for the work that she does with Tangled, Chandler points to the biannual Unlimited Festival in London, UK, which is "very highly attended...with lots of venues," and commissioned nearly 30 new Disability Arts projects during its first outing in 2012.

Chandler also cites DaDaFest in Liverpool, which in addition to programming a biannual festival also organizes social justice lectures and participates in public art projects, among other activities.

DisArt in Grand Rapids, Michigan, is another part of this growing network. In 2015, it organized the US premiere of "Art of the Lived Experiment," an exhibit that, as DisArt's website describes it, "included some of the top international and US contemporary Disability Artists."

Harbourfront Centre in Toronto, among other venues, is now hosting what are called "relaxed performances"-a growing practice originated by UK playwright and actor Jess Thom.

As Chandler explains, "Jess Thom is a playwright and actor and she has Tourette's, so she noticed that she wasn't really welcome at theatre events" because of "her verbal tics."

"Relaxed performances," as Thom originated them, are when "theatres open their plays to folks who might not be able to sit still for whatever reason-this means folks with Tourette's, folks with autism, kids." Chandler hopes it will spread to even more theatre spaces in Canada and elsewhere.

In Canada, other Disability Arts organizations that have blossomed include Gatineau's Spill.Propagation, which "works to ignite an explosion of Deaf cultural presence rooted in signed language, within the Canadian arts and cultural landscape"; Ottawa's Propeller Dance, whose tagline is "If you can breathe, you can dance"; Calgary's Momo Dance Theatre, which offers inclusive dance classes for adults and children; and Vancouver's RealWheels Theatre, which is currently organizing a Burlesque Theatre Cabaret "to challenge the myths surrounding the sometimes-taboo topic of sex and disability."

Thanks to support from the Trillium Foundation, Tangled's own arts activities have also expanded in recent years from Toronto to London, Thunder Bay, Ottawa and Peterborough.

8. It's a good thing that interest in accessibility is surging, because we still have a long way to go.

Chandler notes that for whatever reason-possibly because the Accessibility for Ontarians with Disabilities Act is aiming to make the province's buildings more accessible by 2025-Tangled is now fielding calls from all kinds of arts organizations and centres "wanting to know what we do, and how they can do it as well."

Some of the things Tangled has been looking into for performing arts organizations, for instance, is not just having an ASL interpreter visible for a given theatrical production, but going beyond that.

"What we discovered we could do with a scripted event is that Deaf ASL interpreters could take the script, translate it into ASL-because ASL is a different language-and then perform the script... in a way that looks a lot different than just having an ASL interpreter in black, standing there."

But one thing that Chandler remains cautious about is the way artists with disabilities might be programmed in arts venues as a desire to simply check a box or fulfill part of a quota-or worse.

"We [at Tangled] are not tokenizing people, and we are not turning them into a spectacle, and I think that's how disability art has been programmed for so long-like, if you think about outsider art, it's [been presented in the context of] 'Isn't it fascinating what this crazy mind can produce?' Apart from being offensive, that doesn't imagine a [better way] of programming art based on disability," Chandler argues.

"Once art galleries and cultural spaces desire to program disability art not because it's attached to funding, and not because it's rounding out their diversity plan, but just because it is good art-you know, I think that will be when I know that we've arrived."
Tangled London runs March 3rd to 5th at various locations in London, Ontario, while Tangled Art + Disability will officially launch its gallery with "Constructed Identities: Persimmon Blackbridge" on April 28th. Cripping the Arts runs April 28th to 30th at Ryerson University. This article was corrected on March 7, 2016. The original stated that CRIPSiE developed Edmonton's first piece of professionally produced Crip Theatre. In fact, it is one of the first-there have been others.

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8 Things Everyone Needs to Know About Art & Disability

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Though it often goes unnoticed by the wider artworld, the Deaf and Disability Arts movement has been gaining momentum across Canada of late. In January, CRIPSiE (Collaborative Radically Integrated Performers Society) in Edmonton organized what is touted as one of the city's first professional presentations of Crip Theatre with their piece Love in the Margins, shown at Workshop West Playwrights' Theatre Chinook Series.

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This film like "Ove" revolved around a theme of friendship. Sometimes very different people make fantastic companions in this crazy world. Here is how YOU can contribute to the Oxford English Dictionary...

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Consider the following points:

New Words

Oxford leads the field in recording the entry of today's new words into the language. We use printed evidence of new words from magazines, newspapers, books, song lyrics, practical manuals - indeed from any published source. Slang and dialect words are also collected.

A 'new word from the past' may sound like a contradiction, but Dictionary editors are particularly keen to receive information about words from earlier centuries that have so far escaped inclusion: for example, words from books or manuals from previous centuries on any profession, trade, craft, or hobby with a specialized vocabulary, from building techniques to pigeon-fancying.

New Senses, Usage, Spelling, or Pronunciation

New senses or usages of an existing word, an unusual spelling, or evidence of a different pronunciation are all welcomed.

New Etymological and Dating Evidence

One of the principal tasks in revising the OED is describing the history of each word. New information on how words came into the English language from scholars working in this area is welcomed. Also, every entry in the Dictionary includes supporting quotations which build up a picture of a word's use, ranging from the earliest known example to one illustrating recent usage, and including intermediate quotations throughout the centuries. Editors are looking in particular for earlier ( antedating) evidence; and, in some cases, more recent ( postdating) evidence of words than is currently quoted; plus intermediate ( interdating) evidence where large gaps in dating evidence exist.

Check that the material is new to the Dictionary

You can consult the relevant entry in the online version of the OED from most public libraries in the UK, and from many institutions worldwide. First check entries for the same part of speech: e.g. walk, n. ¹ and walk, n. ² or love, v. ¹ and love, v. ², to make sure that the meaning is definitely not covered

What happens to the submitted evidence?

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Contribute to the OED | Oxford English Dictionary

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Consider the following points: New Words Oxford leads the field in recording the entry of today's new words into the language. We use printed evidence of new words from magazines, newspapers, books, song lyrics, practical manuals - indeed from any published source. Slang and dialect words are also collected.

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"A Beautiful Day in the Neighborhood"

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A BEAUTIFUL DAY IN THE NEIGHBORHOOD Vignette- Who is Mister Rogers?

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The U.S. version will be coming soon!

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The film is the English-language adaptation of the Fredrik Backman book of the same name.

Tom Hanks is tackling an adaptation of the international best-selling novel A Man Called Ove.

Hanks is attached to star in the project and will produce with his Playtone banner partner Gary Goetzman. Rita Wilson, Hanks' wife and frequent producing partner, is also producing along with Fredrik Wikstrom Nicastro, it was announced Thursday. Nicastro hails from SF Studios, one of the companies behind the upcoming tennis drama Borg vs. McEnroe . He also executive produced the Swedish-language adaptation.

The 2012 book by Fredrik Backman centers on a cantankerous widower who seems to revel in his bitterness and loneliness even as his frequent attempts at suicide seem to be thwarted by bad timing and bad luck. His life, however, takes a turn toward the unexpected when a mixed-race couple with two young daughters move into the neighborhood, leading to a heartwarming and life-affirming friendship.

The book hit No. 1 on The New York Times best-seller list and remained on the list for a consecutive 77 weeks. It has been translated into 43 languages.

The original local-language film adaptation, directed by Hannes Holm, was nominated for two Academy Awards earlier this year and was the highest-grossing foreign-language film in the U.S. in 2016. In addition, the pic was awarded the best comedy prize at the European Film Awards in 2016.

"I strongly believe that A Man Called Ove is a universal story that resonates strongly with an American and international audience," said Nicastro in a statement. "Making this film with one of the world's best and most acclaimed actors gives A Man Called Ove the best possible opportunity to once again touch the hearts of audiences worldwide."

Said Wilson: "This story about love, tolerance and hope amplifies the qualities in movies that are hallmarks of the classic films we know and love. A Man Called Ove transcended the language barrier to touch readers and audiences in ways we long for."

Hanks, who next stars in Steven Spielberg's The Post, is repped by CAA.

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Tom Hanks to Star in, Produce 'A Man Called Ove' Movie

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Tom Hanks is tackling an adaptation of the international best-selling novel A Man Called Ove. Hanks is attached to star in the project and will produce with his Playtone banner partner Gary Goetzman. Rita Wilson, Hanks' wife and frequent producing partner, is also producing along with Fredrik Wikstrom Nicastro, it was announced Thursday.

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2021- First Year African American Winner!

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2021- First Year African American Winner!

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Zaila Avant-garde, 14, is the first Scripps National Spelling Bee champion from Louisiana.

She sailed to victory by spelling "murraya," a type of plant, correctly.

She also holds three Guinness world records including one for dribbling basketballs.

Zaila Avant-garde, 14, is the newly crowned 2021 Scripps National Spelling Bee champion.

-ESPN (@espn) July 9, 2021

She is the first champion from Louisiana and also the first African American winner, according to ESPN (which misstated her age in its initial tweet).

On Thursday night, the eighth grader from New Orleans won by spelling "murraya," a citrus plant found in Asia, Australia, and Pacific islands. With a "that is correct" from the judge Mary Brooks, she leaped into the air and twirled as confetti fell over her.

She was up against the 12-year-old Chaitra Thummala from San Francisco. Chaitra managed to spell "fewtrils"- which means "things of little value" - correctly but stumbled at "neroli oil," an essential oil with an orange scent, giving Zaila an opening to win.

Zaila is also an accomplished basketball player with three Guinness world records, including one for dribbling six balls simultaneously that she obtained in January and another for most bounce juggles with four basketballs in a minute.

The Scripps National Spelling Bee is an annual competition that has been held in the US since 1925. It was canceled last year because of the coronavirus pandemic but returned this year with the first lady, Jill Biden, in attendance. Biden congratulated Zaila in a tweet.

The prodigious teen told People magazine she wanted to go to Harvard University "as a basketball player and student," hopefully paving the way for her to become a coach with the NBA. And she may also want to work for NASA in gene editing, saying "I have a lot of different things I'm interested in."

Her father, Jawara Spacetime, named his daughter Avant-garde in memory of the jazz legend John Coltrane, who has an album with the same name.

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14-year-old Zaila Avant-garde becomes the first African American to win the Scripps National Spelling Bee

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Zaila Avant-garde, 14, is the first Scripps National Spelling Bee champion from Louisiana. She sailed to victory by spelling "murraya," a type of plant, correctly. She also holds three Guinness world records including one for dribbling basketballs. Zaila Avant-garde, 14, is the newly crowned 2021 Scripps National Spelling Bee champion.

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"Minari"

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A tender and sweeping story about what roots us, Minari follows a Korean-American family that moves to an Arkansas farm in search of their own American Dream. The family home changes completely…

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"I just thought there's something so poetic about the plant [minari] as well. It's a hearty plant. It kind of grows in places where you can't grow anything else. It can take root in very poor soil conditions. And what it ends up doing is actually revitalizes the soil and it cleans up the water. It has a purifying effect and so I thought there's a poetic resonance there that this plant speaks to." -Lee Isaac Chung (Director)

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Director Lee Isaac Chung's inspiration for Minari, his semi-autobiographical film about a Korean American father who moves his family to a farm in rural Arkansas, began with a list.

Chung had been struggling to settle on a new project. Inspired by Willa Cather's writing about her Nebraska roots, he decided to look into his own past. So he went to the local library and spent the afternoon writing a list of memories from his own rural upbringing.

"I didn't set out to just write 80 [memories], but that's how many just flowed out of me in one session," Chung says. "These were little visual memories, little details."

The list included a description of the lunch pail that Chung's parents would bring with them while working at a chicken factory - and which they would sometimes use to save chicks from being killed. Chung also made a note of the mysterious herbal medicine his grandmother brought over when she joined the family from Korea, and of the minari plants that she sowed on the family's farm.

"Once I had this set of memories, I realized that there was an arc of a story there," Chung says. "This family showing up in the middle of nowhere, really, with the dad not having told anyone in the family that he was going to buy this farmland."

Although Minari began with a very personal list, its themes of family and struggle have resonated with a broader audience. The filmrecently won the Golden Globe award for best foreign language film.

"I've seen people who aren't Korean immigrants work on this film and also feel choked up and feel emotional about it because they remember their own families," Chung says. "Immigration stories are family stories. ... What often gets overlooked in that story is the fact that a lot of that is happening due to the feeling of love, that feeling of a desire to sacrifice for each other. "

Interview highlights
On the colorful grandmother character (played by Yuh-jung Youn)
She's also bringing a sense of history to the family, is the way I feel. This family is trying to move into the future, but she really carries this weight of the past. And in a way that's, I guess, counterintuitive. But she's bringing the old country in a way. And that kind of comes from personal life. My sister and I, we were two happy-go-lucky kids in Arkansas. And my mom had to start working ... [in the chicken factory] for financial reasons, and we couldn't just keep going to the workplace with them. We need somebody to watch us. So my parents brought my grandmother over from Korea and at first she was kind of a shock to our senses.

She just didn't fit in with our conceptions of what a grandmother should be and also our conception of what even Korean culture was. After everything my parents were teaching us about Korean culture, about being respectful and all these things, here came my grandmother, who is very crass and wanted to teach us how to gamble. There was just something about that relationship that was both very unsettling for me as a kid, but also what ended up proving to be just what I needed to survive. I always look back on those years and my childhood, and I think she brought so much joy and happiness to our lives. And that's what I hope she does in this film.
On how the Korean War impacted his family
When I look back now, as an adult, I'm able to see my mom and grandmother in a different way that I didn't understand as a kid. My mom grew up without a father because he died in the Korean War. And my grandmother, her life was completely upended because of that. She was 20 years old. Her husband died and she had a young daughter. She had to figure out how to raise her. ... Her whole life was almost defined by that war and that tragedy.

The fact that she came over to the U.S. to help my mom, my mom was her only child, and my grandmother sold all of her possessions in Korea. She sold this store that she was running with another Korean War widow and came over to the U.S. and kind of lived a life of anonymity. She never learned the language. She suffered a stroke. She passed away and she just kind of gave her life over to helping us not face that sort of suffering. ...

You're hearing me get emotional. ... I guess I just hope that this film would somehow capture who [my grandmother] was, someone who is invisible. I would hope that she would be seen, if that makes sense.

You're hearing me get emotional. ... I guess I just hope that this film would somehow capture who she was, someone who is invisible. I would hope that she would be seen, if that makes sense.
On keeping the project a secret from his family until it was finished
I was incredibly nervous about them finding out what I was doing. They're private people, and I felt like I might be doing an injustice in some ways by writing a story about them and trying to represent their perspectives and stuff without letting them write it, not giving them the agency to write it. But I just felt this real need to tell this story. ... I figured, I'll tell them one day if this film gets made ... but for now ... personally I need to write this script.

So I wrote it and I didn't tell them anything. Every now and then, I would talk to my mom and kind of ask her some probing questions like, "Why did Grandma bring money from Korea? How did she get that money?" I would ask all these little details and my mom would say, "You're really taking an interest in your past." I think they were getting suspicious.

So once we got financing to make this film, I just told my parents, "It looks like I can make another film. I got financing." And they were more happy about that. They didn't care what the film's about. They're just glad that I'm working. ... And they found out that Yuh-jung Youn, the actress, is on board and she is their favorite actor. ... She's a huge deal. And she was always in our home when we were growing up. She's in every favorite television show.

So my mom just thought, "You finally made it. This is great." And then she asked, "So what is she playing?" And I said, "Well, she's this grandmother." And then I told them, "And there's a mom and a dad and there are two kids and they live in a trailer home." And I didn't tell them that this is our family's story, but obviously my mom is starting to piece things together. And I think it made my parents even more nervous that I was not coming completely clean to them, that I would not tell them, "This is our story." So they were super concerned until Thanksgiving of 2019 we had finished the cut and I just decided I have to get this out of the way and finally show them. And I was a nervous wreck. I had no idea what they would think.
On watching the film with his family for the first time
We watched the film together and slowly I just started to see my mom starting to weep, my sister, my dad. And it just felt like it was such a cathartic experience for all of us. It was really special, really incredible. ...

My mother, she was telling me that she ... never was able to see my grandmother in her dreams. She said that she was always jealous of me because I would always see my grandma in my dreams. And she said, finally, after watching this film, she could see my grandma in her dreams. That was so special. And for my sister, she said that she had just blocked out so much from that time because she found it to be pretty difficult. But she loved seeing it in beauty, in the beauty of what we had in that time.
On choosing "Minari" as the title

I just thought there's something so poetic about the plant [minari] as well. It's a hearty plant. It kind of grows in places where you can't grow anything else. It can take root in very poor soil conditions. And what it ends up doing is actually revitalizes the soil and it cleans up the water. It has a purifying effect and so I thought there's a poetic resonance there that this plant speaks to.

When I was doing that exercise of writing down all the memories, the last thing that I came to was that little patch of minari that my grandmother and I would go to, that my grandmother would tend and I would throw rocks at snakes. ... Once I had that memory, it just dawned on me that this is what the name of the film is going to have to be.

And I thought, "I'm not going to translate to English. I'm just going to let it be what it is. And if it's ever made, then I guess people will have to learn how to say the word if they want to see it."

I just thought there's something so poetic about the plant as well. It's a hearty plant. It kind of grows in places where you can't grow anything else. It can take root in very poor soil conditions. And what it ends up doing is actually revitalizes the soil and it cleans up the water. It has a purifying effect and so I thought there's a poetic resonance there that this plant speaks to.
Ann Marie Baldonado and Kayla Lattimore produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.

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Lee Isaac Chung Jotted Down Some Family Memories - They Became 'Minari'

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Director Lee Isaac Chung's inspiration for Minari, his semi-autobiographical film about a Korean American father who moves his family to a farm in rural Arkansas, began with a list. Chung had been struggling to settle on a new project. Inspired by Willa Cather's writing about her Nebraska roots, he decided to look into his own past.

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I was moved by the truth of "Minari." You can feel that this someone's personal story. It isn't fiction. This is about family and how hard family can be especially when faced with external challenges. There are many themes and discussions to be had about immigration, culture, relationships, and communication through this movie. Enjoy!

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Akeelah and Javier working together in the film

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"Akeelah" starts with the character sharing that she doesn't feel like she belongs anywhere. You can see her struggle in school despite high intelligence. I think we can all relate to not feeling like we "fit in." This is a movie about someone else that prompts you to ask questions about yourself. Enjoy!

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Fred Rogers is an educational champion and in ways, a mentor to me although I never met him. I find his life story and accomplishments inspiring as a teacher and human. Any time you spend learning about him is time well-spent. Enjoy!

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I love the strange warmth of this film. Ove is cranky, and yet, he is lovable. The movie is sad, and yet, it is funny. You think a foreign film with subtitles would be hard to watch, and yet, it is a delight. If you choose it, I think you'll be surprised!