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Game PIN:

6813923

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Students will use their knowledge of at-home beauty treatments inspired by family practices, and cultural backgrounds in order to create their own skin care line.

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Students will use their knowledge of both Jazz music and Social Justice in order to dissect the lyrics of Billie Holiday's 'Strange Fruit' and their relevancy in today's culture climate.

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students will explore the elements of theatre through performance

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BAM (Black Acting Methods_ - Focuses on non-eurocentric ways of rehearsing and performing theater
National Educational Theatre Standards

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Warm Up/Entrance: Looking at the make up applications from other cultures
Answer Garden response

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Students will view classic live footage of Billie Holiday's 'Strange Fruit.' After the video, we will go through the lyrics line by line and analyze both their meaning and how that context resonates in today's climate. We will focus on key words and phrases that accentuate the undertones of the song.

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Students will learn and practice creative movement as a tool to navigate daily emotions inspired by famous influential dancers.

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Facial Expression-
1. Pantomime (10-20 minutes)
2. Leading through space with the eyes, changing levels, timing (20 minutes)
3. embodying emotions

Body Movement
1. Environment Walk (20 minutes)

2.

Sound -

Tactics-

Objectives/Intent-

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In this op-ed, beauty reporter Arabelle Sicardi looks into the history of beauty being used as a means of protest and power.
We're living in a unique moment when brands are being forced to act in response to a wave of customer demands for more and better: more employee diversity, better shade ranges, less problematic shade names, fewer whitening products, and more shelf space for Black-owned beauty brands. This is not a movement that grew overnight or out of the ether. Makeup has long been used as a method of protest and generally as a tool for political means, by all arms of the political system. And beauty has been used as a tool for community care and weaponized as a symbol of inauthentic political participation. Beauty is how we negotiate aesthetics as a character judgment in the world, and we judge people everywhere we go, from battlefields to magazine covers.

Time and time again in histories about women on the front lines, you can find nurses and factory workers talking about how their lipstick or perfume kept them sane in discomforting situations. In Heather Marie Stur's book Beyond Combat: Women and Gender in the Vietnam War Era, she shares the story of nurse Lily Lee Adams, who wore Chantilly perfume because it "made her patients think of home." On the other hand, in journals from Holocaust victims and survivors, many recalled the use of makeup and perfume by those who tortured them. One woman became infamous for it: Irma Grese, the "Blonde Beast of Berkenau. " She manipulated those who were doomed to die by her hands by coming to them perfectly made up and expensively perfumed, to remind them of what they had been robbed of. After they were forced to revisit hope for one last fleeting moment, they were sent to die. It's proof that hope can be weaponized by anyone, and that's what makes it so dangerous and volatile.

For those who have the resources to acquire beauty, it is still a secret grace given to those afforded very little. For example, in her visit to a Lebanese refugee camp, writer and activist Celine Semaan observed for The Cut in 2018: "At times, it was the only mechanism available to feel control of one's self. . . . beauty is something we can control, love, and celebrate. It is at some of the worst times, all we have left." What is left doesn't have to be product driven, and by necessity it rarely involves anything one might get at Ulta. Holistic products for skin care and cosmetics are far more common, like almond oil and homemade sugar wax, rosewater face mist, and lip balm made from crushed fruit. Self-care as self-preservation may have become cannibalized into a corporate slogan, but for the most vulnerable the bare fact of it still rings true.

For many decades, brands have had a hand in the prospect of linking makeup to protest. In World War II, Elizabeth Arden, and others, came out with shades like Victory Red; last year the brand came out with a lip color collaboration, of which 100% of the proceeds went to the United Nations group UN Women, an advocacy organization for gender equality. Philanthropic efforts have been part of many brands' DNA for decades. After the 2016 election, Lipslut garnered press for pledging portions of profits to issues and causes that tied to each of its collections. To date, according to documentation Lipslut provided to Teen Vogue, the brand has raised $190,000 for various organizations, including She Should Run, Planned Parenthood, and the ACLU.

In June, Bloomberg reported that more than 100 employees and staff of the Estée Lauder Companies sent a letter to the current chairman, William Lauder, demanding chairman emeritus Ronald Lauder be removed from the board due to "concerns about his impact on race relations within the company," as the news outlet described it based on its review of the letter. Ronald was not removed, but in response, the company pledged $10 million over the next three years to the NAACP Legal Defense and Educational Fund, Inc., Equal Justice Initiative, and The Young Women's Leadership Schools. The company has also been providing updates on its progress in reaching specific benchmarks brought up over the summer. In a statement to Teen Vogue, the Estée Lauder Companies said, "Any one individual's political decisions do not represent the views of the company. And as a company, we stand firm on the values in which we were founded: respect for the individual, equality, and inclusion. "

Lately there have been several significant movements in the fashion and beauty industries that plug in to socioeconomic inequities. Black-led activist initiatives like #PullUpOrShutUp, created and led by Uoma Beauty founder Sharon Chuter, and the #15percentpledge, led by Brother Vellies creative director Aurora James, are some of the most impactful movements in the beauty and activism space in years. Less than two weeks after the movement was established, Sephora signed on to the #15percentpledge to ensure more shelf space for Black-owned businesses, and clean-beauty seller Credo launched a mentorship program for BIPOC-owned beauty brands to help them enter the retail space.

How exactly to solve the inequities among creative industries is an evolving conversation. As the Los Angeles Times reported, an inclusion report released by the Writers Guild of America last year found that under 20% of executive producers and showrunners for TV were people of color. Black writers told the LA Times how it's hard to get promoted in Hollywood, even if they get "in the door." Also, it has largely been Black women who have directly addressed the pain points of the industry when it comes to access, resources, nepotism, lack of diversity, and much more.

But what about makeup as protest, literally? Well, for one, the first wave of feminist suffragettes loved red lipstick for its shock value and adopted it as a sign of rebellion on their marches for the right to vote ( and, unfortunately, during their racist segregationist advocacy). Elizabeth Arden herself marched with the suffragettes and handed out red lipstick. U.S. House Representative Alexandria Ocasio-Cortez (D-NY) has made headlines for her use of it as a symbol of her New York heritage and to honor the women who came before her. The very right to go to a beauty salon has been politicized as a bipartisan issue when it is ultimately a concern of public health that disproportionately impacts poor Black and brown workers.

Beauty vloggers have jumped into the conversation and used their platform to educate consumers while using makeup, and many of them do so effectively, like the now-viral TikTok makeup tutorial by an American teen that was really a call to action on China's treatment of its Muslim population, and the Thanksgiving Makeup Tutorial That Has Nothing to Do With the 566 Federally Recognized Tribes. The makeup videos that fail at this are the ones that commodify blackness as an identity that people can easily wipe off their face after participating in it as a meme, like the allyship charade of donning half blackface in "solidarity" with #BlackLivesMatter. As Ragini Nag Rao wrote for the now-defunct Rookie in 2015: "Beauty is insidious. It co-opts the language of whatever flavor of empowerment is in vogue."

For many people, beauty as empowerment is used in an act of refusing to be undone by the world. Doing your makeup on a day when you feel like garbage can be a declaration that you will not let your spirit be destroyed, and that you also value the statement of a cut-crease eye look (even if you don't have pants on for your Zoom call). When you're on the streets protesting, beauty can be used to anonymize you if you follow the tenets of antisurveillance makeup camouflauge techniques. But in uprisings amid a pandemic, where police can throw tear gas and pepper spray protesters, makeup can also be a health risk. Oil-based products on your face can exacerbate the effects of gasses and sprays lobbed at you. But that doesn't stop plenty of people from wearing a cat eye behind safety goggles on the front lines, including myself; sometimes we need beauty to help us navigate the scariest, ugliest parts of our day.

Even if makeup can be a liability on the front lines of protesting in the U.S., it is still a powerful statement in all sorts of contexts. In North Korea, CNN reported on young women daring to wear makeup to protest against the state. In 2018, the Independent reported that in South Korea, some women chose to not wear makeup to protest against the patriarchy. It is contextual and political wherever we go, whoever we are, and however we use it. One person's coping mechanism is another person's survival strategy is another person's reminder that fitting into society's definition of beauty isn't the point of living; the point of living is to define beauty for ourselves. These are not all the same thing, though they are all part of the conversation. There's no one right way to be beautiful or use makeup, and there are infinite ways to politicize it, which bestows it with uniquely violent and hopeful potential.

Makeup is a magnet for political power, whether it comes in the form of corporate empowerment, a political agenda, or a grassroots protest. It is power, however fleeting; hold it carefully.

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A Brief History of Makeup as Protest and Power

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In this op-ed, beauty reporter Arabelle Sicardi looks into the history of beauty being used as a means of protest and power. We're living in a unique moment when brands are being forced to act in response to a wave of customer demands for more and better: more employee diversity, better shade ranges, less problematic shade names, fewer whitening products, and more shelf space for Black-owned beauty brands.

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Anti-Racist Art Teachers - Rainbow of Diversity

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My Painted Face: The Traditions of Cosmetics in the Culture of Women

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Every morning when I wake up, I have a certain routine to which I abide to. Step one: roll out of be; Step Two: jump into the shower; Step Three: decide how I will present myself through clothing and cosmetics. And through this process of presentation, I not only determine how people will perceive me but also how I will interact within my daily life. But today, while applying my lipstick, I questioned why I was painting my face with a variety of products. It's a bit startling when you see the bluntness of your actions, without any of the meaning behind it. I was, in reality, smearing tinted wax on my lips. It was as if I were going to war and applying my war paint. And as dramatic as such an analogy is, I find myself discovering a simple truth of it.

Despite popular beliefs that cosmetics are merely a mask for imperfections or a crutch of superficiality, I will rather argue them to be a key component in how women want society to denote who they are. The application of cosmetics is an almost invisible and yet very much traditional ritual within the female gender. From the time of the ancient Egyptians spanning towards the modern age, cosmetics and the application of such has played a vital role for many woman across cultures to enhance their femininity, appearance of health, stature in society and sexual receptivity.

When looking back at the role cosmetics played in the evolution of history, it is astounding to see the vast array of cultures that this ritual became ingrained in and the reasons in which it was an important element in the construction of society. In ancient China, during the Chou Dynasty, a mixture of gum arabic, gelatin, beeswax and egg were used to stain fingernails gold and silver of its upperclass citizens and royalty, branding them with social status(1). Commoners were forbidden to practice this. The declaration of status through the use of cosmetics can also be seen emerging in the European Renaissance age. Because the elite bourgeois would not tend to the menial tasks of manual labour in the fields, they were much paler(5). Thus the introduction of white face paint in European fashion became a cornerstone of aristocracy during this period, tying once again into the need for social recognition.

Within the broader stigma of social ranking, sub groups of class and designation were also represented with the use of traditional cosmetics. Much like the stripes on a veteran's shoulder, Japan's geishas, famous for their use of exaggerated and elaborate painted faces, embraced a very strict regiment of regulations regarding their make-up use according to their experience in their profession and public esteem. The younger and less experienced (the maiko) were subjected to wearing their full face of make-up for the majority of their training(1). This would include everyday tasks such as grocery shopping, doing chores and practicing their instruments. Older geishas (over 30 years old) will have converted to a more subdued presentation, only donning the iconic white face for ceremonial events(3). This was to show maturity and dominance over their younger counterparts.

Each component of the geisha's face make-up was a strategic representation of what they were, most notably with the lip colour application. The geishas rarely wore their full lips painted red. Rather they would only partially paint their lips, covering the rest with their white face paint. The ratio of how much lip to paint in would be determined by the level of geisha: new maikos (geisha apprentices) would only colour their lower lips with a sliver of red; upper-year maikos would also include a sliver of red on the top; freshman geishas would colour in the top fully and leave the bottom clear; and full-fledged geishas would completely colour the top with a sliver of red on the bottom(3). This would show male suitors, as well as other competing geishas, the level of expertise that the geisha had achieved. The time-consuming application of makeup for the geisha was a vital ritual of almost religious significance to their tradition, where anything below perfection and accuracy fell short. It was a painted face depicting their achievements and beauty, intertwined within each other.

"Each component of the geisha's face make-up was a strategic representation of what they were..."

Comparing traditional applications of cosmetics with my own seems dramatic but that doesn't make the meaning any less present. As I've grown, so has my use and technique of make up, as many other females can relate to. If I hadn't adapted throughout my life, I'd still be walking around with bright pink lipgloss and baby blue eyeshadow, which would be incredibly unnerving and disjointed to who I am presently. But what doesn't work for me now as a mature woman, did work for me when I was a 15 year old girl starting on the road to self actualization and sexuality. Bright pink lip gloss showed my station in age, subconsciously self-determined by the image of what the media had told me the ideal of a female of that age should look like through the idols I adored. As I grew older, my priorities changed and so did my self image - and so the way in which I decided to apply my make-up transformed.

In my rebellious late teens, charcoal eyes and bright lip colours entered me into the world of parties and concerts, which had its own set of social norm presentation requirements. And as I began to mature, my make-up became more toned down, much like that of the mature geisha mentioned previously. The subdued choice in cosmetics present an air of responsibility and restraint to which I had limited amounts in my youth. I also wore more make-up in my youth in attempt to look older, contrasting now as I wear less to look younger. The ideal version of myself through my self image has shifted.

Much like the transition of maturity, another important aspect of what cosmetics mean to the modern woman is the ability to transform, stand out and fit in. As some men wear sport team jerseys to declare their allegiance, the way a woman chooses to apply her make-up tells the world which social group she belongs to. This is a subtle declaration but nonetheless is signifier in how that female identifies herself within the masses. A goth girl will feel comfortable wearing darker shades and a more dramatic application whereas an athlete or a naturalist might just feel comfortable at the bare minimum. Even the lack of make-up can say a lot about the female. These are choices that females make, not only due to their lifestyle, but to be identified as being a part of that lifestyle.

But despite the cultural or psychological aspects, there is a underlying reason why masses of women throughout the ages have introduced cosmetics as a fundamental ritual in their lives: the appearance of health and fertility. It is a biological urge to want to enhance these aspects in order to attract the opposite (or preferred) sex. If a subject looks unhealthy or has faulty attributes, instinctively they send the message to the mate that they are sick, less fertile or have a weaker gene pool. An example of this is skin concealer. Skin can be considered one of the key indicator of good health. If someone has clear and glowing skin, this is a sign that they are hydrated, hormonally balance and vital. A subject with bad skin gives off the impression of vulnerability to infection or disease. Thus concealer masks these imperfections. Pale skin, despite the current trend of tanning, has been considered throughout the ages to be a virtue. Because male skin is typically darker and as females age the pigmentation begins to deepen also, pale skin was a sign of fertility and youth(2). Studies have also shown that the use of make-up creates more facial contrast, therefore allow the intended mate to conceive faster gender recognition(4). As the multi-billion dollar anti-aging cosmetic industry would probably agree, youth/fertility is a driving force in the purpose of modern make-up application in the western world, much like social status was that of Renaissance age in Europe.

It's hard to think that the subconscious decisions of my morning cosmetics routine depict who and where I am in society but they do. My use in cosmetics says everything about who I see myself as a person and where I see myself fitting in. And through this, I can map out my stations of self through a timeline of my make-up case collection. My makeup is not only a tool to hide those embarrassing pimples or emerging wrinkles but it is a tradition, a ritual well built into our society and history. Popular belief may not see applying makeup as a traditional and biological practice but realistically, modern times haven't stepped too far away from that in its core. Biologically we all want mates, socially we all want to fit in to some social group, and psychologically we all want to project a certain social economic status. As I finish up my lipstick, I feel ready to go to war.

Cited:

1. Cai, Zong-qi, ed. How to read Chinese poetry: A guided anthology. New York: Columbia University Press, 2008. Web.

2. Dingman, Sherry. "Cosmetic Surgery: Feminist Perspectives." Woman & Therapy 35.3-4 (2012): 181. Web.

3. Kalman, Bobbie. Japan the Culture. Wisconsin: Crabtree Publishing Company, 1989. Web.

4. Waters, Melanie, Dr. Women on Screen: Feminism and Femininity in Visual Culture. Basingstoke: Palgrave Macmillan, 2011. Print.

5. Williams, Neville. Powder and Paint: A History of the Englishwoman's Toilet, Elizabeth I - Elizabeth II. London, New York: Longmans, Green, 1957. Print.

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My Painted Face: The Traditions of Cosmetics in the Culture of Women

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Every morning when I wake up, I have a certain routine to which I abide to. Step one: roll out of be; Step Two: jump into the shower; Step Three: decide how I will present myself through clothing and cosmetics.

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We are all different and unique! One of the many differences that can be seen is our skin color, but very rarely will our skin color match the "flesh" crayon that is in the box. We are all shades of brown and as art teachers we can teach students to think outside the box and see that there is beauty in our diversity. During this project students will learn how to recognize, accept, and celebrate their differences through a self-portrait collage painting.

To understand our own identity we need to begin by recognizing what makes us unique. Many of us were taught that it is rude to notice each other's differences and were encouraged to be color blind, but children do see color and begin to recognize differences at very young ages. By pretending everyone is the same and our differences do not matter we remove individuality. This is not practical as no two people are the same. We live in a diverse world and children are exposed to a variety of people and experiences. They can easily see that we have varied families, homes, skin color, hair, abilities, strengths, weaknesses, and points of view. Our differences make us who we are, each of us is one of a kind!

Ultimately, we want people to see us, understand us, and appreciate us for who we are. But in order to find commonality and value in others, students first need to be able to find value in themselves. By highlighting the positive aspects of individuality we will teach our students that being unique is beautiful and our differences are meant to be honored. As they learn to acknowledge, understand, respect, and appreciate their own individuality they can begin to not just accept each other, but celebrate each other.

Objective: Students will learn how to recognize, accept, and celebrate their differences through a self-portrait collage painting.

Day 1: We will use secondary colors to paint a background for a self-portrait.

Day 2: We will mix different paint colors to match our skin. Read "All the Colors We Are/Todos los Colores de Nuestra Piel" by Katie Kissinger and then guide students through the following questions:

1. What is color?

2. What is skin?

3. What is skin color?

4. Why is it important?

5. Why is it not important?

6. Why might some people find it hard to talk about this?

Then students learn how to mix different paint colors to match their own skin. They then paint an entire paper to match their skin color.

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Anti-Racist Art Teachers - Colorful Self-Portrait Collage

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We are all different and unique! One of the many differences that can be seen is our skin color, but very rarely will our skin color match the "flesh" crayon that is in the box. We are all shades of brown and as art teachers we can teach students to think outside the box and see that there is beauty in our diversity.

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Raising awareness of the historical diverse methods of expressions/movements to highlight social issues

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New beauty start ups to watch

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Make-Up Across Cultures

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When you think of all the cultural aspects that are unique to a particular country, what comes to mind? Food, language, clothing and festivals - these are often the most common aspects of a culture th...

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When you think of all the cultural aspects that are unique to a particular country, what comes to mind? Food, language, clothing and festivals - these are often the most common aspects of a culture th...

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Beginners guide to zero waste natural beauty diy | with 10 KEY ingredients

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How Different Cultures Use Make Up

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Countries in the middle east such as Egypt, Iran, Iraq, Saudi Arabia, Yemen, Syria, Jordan, Palestine, Lebanon, etc. use make up for many different reasons. They use it to feel confident and because it is very important to them that they always take care of their self and always look their best for their self or if they are married then for their husbands. They can also use it for holidays, parties their wedding or other people's weddings they may go to, etc. Mainly just the women wear face and body make up in these countries today but in ancient times men were known to wear it to such as kings, pharaohs, and ordinary men.

Life in Japan for a girl is mostly about being a Geisha which is a traditional Japanese female entertainer who acts as hostess and has skills that include performing various Japanese arts such as classical music, dance and games. Being a Geisha is very important to a young girl and is most girl's dream in these two countries because it brings honor to their self, to their family and to their country. A geisha's appearance changes throughout her career, from the girlish, heavily made-up maiko, to the more appearance of an older established geisha. Different hairstyles and hairpins signify different stages of a girl's development and even a detail as minute as the length of one's eyebrows is significant. Short eyebrows are for the young and long eyebrows display maturity. In modern times the traditional make up of apprentice geisha is one of their most recognizable characteristics, though established geisha generally only wear full white face makeup characteristic of maiko during special performances. The traditional makeup of an apprentice geisha features a thick white base with red lip stick and red and black accents around the eyes and eyebrows.For the first three years, a maiko wears this heavy makeup almost constantly. During her initiation, the maiko is helped with her makeup either by her older sister or her mother after this she applies the makeup herself.

After the foundation layer is applied, a sponge is patted all over the face, throat, chest, and neck to remove excess moisture and to blend the foundation. Next the eyes and eyebrows are drawn in. Traditionally, charcoal was used, but today, modern cosmetics are used. The eyebrows and edges of the eyes are colored black with a thin charcoal, a maiko also applies red around her eyes. The lips are filled in using a small brush. The color comes in a small stick, which is melted in water. Crystallized sugar is then added to give the lips.

Maiko who are in their last stage of training sometimes color their teeth black for a brief period. This practice used to be common among married women in Japan. It is done partly because uncoloured teeth seem very yellow in contrast to white face makeup, coloring the teeth black means that they seem to "disappear" in the darkness of the open mouth.

After a maiko has been working for three years, she changes her make up to a more subdued style. The reason for this is that she has now become mature, and the simpler style shows her own natural beauty. For formal occasions, the mature geisha will still apply white make up. For geisha over thirty, the heavy white make up is only worn during those special dances that require it.

They also use make up for parties their wedding or other people's weddings that they may go to and for holidays. They have never used body make up such as Henna as far as I know but I could be wrong.

Native Americans used make up mostly when they were going to war or if they were a chief, a queen, a prince, or a princess of the tribe other than that no one else wore it. It wasn't really make up it was more of a black, red, and white liquid and I am not sure where they got it from.

In Puerto Rico they use make up for many things such as:

*Day Of The Dead- When women, children, and men paint their faces to look like a corps and get dressed up to honor their loved one's passing and pray that their soul went to heaven. They have a big parade that they go to so they can celebrate and remember the memories that they had with the people in their life that died.

*The girls use it for traditional weddings.

*The girls also use it for fiestas which is a celebration for anything good that has happened.

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Page #4 How Different Cultures Use Make Up

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Countries in the middle east such as Egypt, Iran, Iraq, Saudi Arabia, Yemen, Syria, Jordan, Palestine, Lebanon, etc. use make up for many different reasons. They use it to feel confident and because it is very important to them that they always take care of their self and always look their best for their self or if they are married then for their husbands.

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Students will use the class references to design a make-up style that shows cultural traditions in their own or another's society.

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Today we will use our knowledge of rhyming words and repetition in order to learn about various forms of poetry.

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Reference 1: Intro to Emotions https://www.youtube.com/watch?v=jetoWelJJJk
Reference 2: Video of Cry
Reference 3: Video of Stormy Weather

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Students will apply color theory to make-up artistry to promote cultural strength and identity through the use of specific colors and color combinations.

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SEL: Grounding Exercise
5 things you see, 4 things you hear, 3 things you feel, 2 things you smell, 1 thing you taste
Social Justice: History of dancer/musician
C&C: Creating a routine for dance, parallel routine for adult behaviors

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Activity 1: Freestyle Creative movement.
Tie emotions and expression to a musical example or dancer. (Example: Stormy Weather)
Activity 2: Emotional Animals
Put students into group. Students pick an animal to express emotion. Give them 10 minutes to come up with 30 seconds of movement based on emotion given.

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http://henrycrawfordpoetry.com/Tools/Pantoum

https://poets.org/glossary/tanka#:~:text=The%20tanka%20is%20a%20thirty,7%2F7%20syllable%20count%20form.

https://www.masterclass.com/articles/how-to-write-lune-poetry#what-is-lune-poetry

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Your browser does not support the audio element.

Welcome to Pantoum Paradise. Anything worth saying is worth saying twice. The Pantoum presents the challenge of reputation according to a pretty strict mathematical form made up of a series of quatrains. In all but the first quatrain, the first line is a repetition of the second line of the preceding quatrain while the third line repeats the last or fourth line of the preceding quatrain. This pattern can go on for as many quatrains as the poet desires. However, the last quatrain must look back to the first quatrain and use the third line of the first quatrain as the second line of the last quatrain and the first line of the poem as the last line of the final quatrain and, hence, the last line of the poem.

This tool presents a helpful template to get started with a five quatrain pantoum. Fill the lines in using the textboxes on the left which will automatically populate the pantoum you are creating on the right. Enter the lines by clicking on the "set" button next to each line. Start with the first four lines and then add new lines until the pantoum is filled. The "clear" button will clear all instance of a line so you can make a new one. You can clear the entire pantoum with the "Clear All" button. When you're done, click the "Create Pantoum" button and the poem will be saved to a text file for subsequent copying into Word or other editor.

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Your browser does not support the audio element. Welcome to Pantoum Paradise. Anything worth saying is worth saying twice. The Pantoum presents the challenge of reputation according to a pretty strict mathematical form made up of a series of quatrains.

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Coconut oil salt scrub
Herb mixtures for blemish control

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The Yoruba tribe in the SW Congo venerates the color yellow for the life-giving sun. Women often paint their nails in yellow in the beginning of a growing season to promote health and growth.

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Historic context of Pantoum form

Exploration of Culture and poetry's relationship to culture.

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Many cultural groups identify with customary beauty practices. For example, make-up has its roots in cultural histories dating back to the dawn of civilization. The JCIA asserts the "primitive use of cosmetics evolved into a more aesthetic approach in the latter half of the sixth century, when rouge, powder, and other forms of makeup were imported into Japan along with other aspects of culture from the China and Korean peninsula. In 692, a Buddhist priest Kanjo is said to have been the first to make lead-based face powder in Japan, and delighted Empress Jito by presenting this new invention to her. "

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Cultural History of cosmetics | 日本化粧品工業連合会

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Founded in 1959, Japan Cosmetic Industry Association continues to actively engage in ensuring consumer safety and development of cosmetic industry.

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1. Questioning: What is poetry? What do you already know about poetry? What forms of poetry are you familiar with, if any?

2. Elements of Poetry

3. Class demonstration of pantoum (line-by-line)

4. Individual pantoum writing

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Individual pantoum writing and sharing.
How have you used the elements of poetry in your writing? Include evidence (i.e. line 4 has an example of repetition)

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Instructor Models/shares own pantoum

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Emote/Gesture