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An outdoor pavilion to gather in nature and forge greater connection with the earth. made of 1/3rd salvaged cedar and also using construction waste to brace each post together and the stair rails. Its oculi frame a changing sky and its gradient of cedar posts allows the materials to meld with...

Sixth Grade students participated in the Hobble Creek science fair. Students went through the scietific process and brought their results and conclusions to be judged. The winners will advance to the Nebo District Science Fair.

POPSUGAR is a global lifestyle media brand with content encompassing entertainment, style, beauty, wellness, family, lifestyle, and identity. POPSUGAR's team of editors, writers, producers, and content creators curate the buzziest content, trends, and products to help our audience live a playful and purposeful life.

A short guide to making eye contact.

Quilt ideas to use up all of those little pieces of fabric that you just needed to buy. Here are some scrap-happy stash-busting quilts.

NOTE: This is for the older edition of the book. Activities and Worksheets designed to accompany the Spanish novel "Donde esta Eduardo" written by Blaine Ray. These activities for the ENTIRE book include: 1) A worksheet for each chapter for reading comprehension 2) Crossword puzzle for vocabulary review for each chapter 3) A quiz for almost every chapter 4) End of book project ideas 5) Table of Contents 6) Project Rubric

NW Dance Project, “A Fine Balance,” choreography: Sarah Slipper. Photo: Blaine Truitt Covert Northwest Dance Project’s most recent Summer Premieres provided three different yet whimsical works on June 10 and 11 at Lincoln Performance Hall. The evening featured a world premiere by former NW Dance Project dancer and recent choreographer Andrea Parson as well as pieces by Artistic Director Sarah Slipper and visiting choreographer Yoshito Sakuraba. Despite the difficulties presented by a post-Covid rehearsal landscape, which resulted in skilled guest dancer and former company member Viktor Usov subbing in for multiple pieces, the performers displayed their excellent technique and refined composure throughout the three-part evening. The program commenced with MARCH, a new piece by former Princess Grace Award Winner Parson, whose reputation as a technically and artistically talented dancer has followed her to her burgeoning choreographic career. Portland-based Parson began the evening with a small ensemble piece modeled after author Louisa May Alcott’s beloved 1868 classic Little Women. Female dancers portrayed the March sisters in a work hoping to convey the wonder, determination, and struggles faced by young female authors. MARCH started with a solo featuring dancer Ingrid Ferdinand, wearing what looked like a flashy classic ringleader’s coat, earnestly gyrating and slinking downstage to the sounds of a pen scribbling against paper. As they arrived on stage, the other dancers wore billowing skirts, pale tones, and nude-coloured socks, with their hair in braids and pigtails. It was jarring at first to witness powerful adult dancers depicted as little girls flitting to the emotional and elongated string sounds of Zoe Keating, Chopin, and Brahams, but the camaraderie among performers helped settle the audience into accepting their roles. Youthful unison, duets, and solo moments focused heavily on curved movement pathways while the dancers dove into the story, which was punctuated by papers falling from the sky, a costume party in which the characters wore mustaches and a top hat, and somewhat inaudible vocalizations throughout. The false laughter that emanated from the dancers during a scene depicting the four sisters at play seemed forced and ultimately unnecessary, but the display of simplistic choreography went hand in hand with the coming-of-age tale. During the piece, I found myself contemplating the draw that many choreographers have toward combining literature with dance. Whether they are self-proclaimed writers or simply fans of books, choreographers using adaptations and literature as inspiration have seemed to trend in the last few years. Perhaps it is a sense of familiarity that dancemakers seek, the clear outline that literature provides. Or perhaps we as artists are simply magnetized toward books—which so eloquently put into words that which movement sometimes simply cannot. NW Dance Project, “March,” choreography: Andrea Parson. Photo: Blaine Truitt Covert After a short pause during which many of the audience members remained in their seats, the evening continued with Sarah Slipper’s A Fine Balance, initially created in 2004. “At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is…” read the program. This, a quote from T.S. Eliot, set the backdrop for Slipper’s piece, which was performed by Jihyun Kim and Viktor Usov. A Fine Balance began with a series of satisfying tableaux involving the dancers, a small wooden table, and one single chair, each appearing for mere seconds in illuminated amber pools expertly crafted by lighting designer Jeff Forbes. The music, by Alberto Iglesias, effortlessly glided past the consciousness, its sense of urgency fueling the languid movement without distracting from it. Throughout Slipper’s piece, Usov and Kim enacted athletic lifts with delicate intricacy, finding soft plié through dismounts and seldom anticipating the moments of physical connection. They traversed the stage with grace, occasionally appearing uncertain with small, stationary footwork before separating into a refreshing and expansive ownership of the space. With its repetitions and its chair and table props, the work had a slight reminiscence of Pina Bausch’s 1978 Café Müller, originally set on Tanztheater Wuppertal to the music of Henry Purcell. Yet where Café Müller is delightfully frantic, fraught with exhaustion, grief, and grit, A Fine Balance was exactly what its title suggests: a nicely balanced display of struggle, artistry, adoration, and what I construed to be the characters’ feelings of love; depicted by honest expressions on the dancers’ faces by the time of their final exit. Sponsor After intermission came award-winning Yoshito Sakuraba’s Nocturnal, an ensemble piece featuring sudden transitions, bright costumes, animal masks, and an Alice in Wonderland-like surrealism that included characters faking their own deaths and breaking the fourth wall via pre-recorded mini monologues. As a show of melodrama, Nocturnal kept the audience on their toes with colliding images: some dancers dressed once more as little girls, duets featuring whirling trench coats, vests and pre-war dresses, and deconstructed forest scenes including trees made from ladders and branches. “I’m sixteen … I was in love … the feeling of being forever alone …” cooed one of the many recordings. Roughly halfway through, a drumbeat propelled the dance into faster movement, followed later by a bopping unison section set to Connie Francis’s 1959 hit Stupid Cupid. The work seemed to hinge on shock-factor, ping-ponging hit-or-miss humor with depicted disaster. NW Dance Project, “Nocturnal,” choreography: Yoshito Sakuraba. Photo: Blaine Truitt Covert The program’s pieces, which uplifted—or were inspired by—written works to varying degrees, left the audience exuberant and contemplative with multi-layered messages of whimsy, devotion, and dystopia—all appropriate and welcome themes for the burgeoning and uncertain future that we face, both as artists and individuals, in an ongoing/post-Covid environment.The post Review: NW Dance Project’s Summer Premieres first appeared on Oregon ArtsWatch.

Not quite the assistant he was looking for. But maybe the one he needs…Conard County's new urban planner's juggling more than a job – she's fostering her cousin's baby, too. And Diane Finch isn't sure how her boss, Blaine Harrigan, will take to her cuddly new assistant. But the Irishman's as comfortable with babies as he is with engineering complex projects. And he certainly seems to take to Diane, too. Even if she's got a secret she fears will keep her from love...forever.

NOTE: This is for the OLDER edition of the book. Activities and Worksheets designed to accompany the Spanish novel "Mi Propio Auto" written by Blaine Ray. These activities for the ENTIRE book include: 1) A worksheet for each chapter for reading comprehension 2) Crossword puzzle for vocabulary review for each chapter 3) A quiz for almost every chapter 4) End of book project ideas 5) Table of Contents 6) Project Rubric

Blaine Bettinger's shared cM chart available at the Autosomal DNA Statistics page of the International Society of Genetic Genealogy Wiki. I use this all the time when I am analyzing my AncestryDNA matches. Although AncestryDNA refuses to offer a chromosome browser, they do offer some helpful bits of information. You can't see where you share DNA with any given cousin match, but you can see the total cM shared and how many segments shared. A typical scenario: no tree, no chromosome browser, but at least I can see that Ancestry is confident of this match and it tells me how much DNA is estimated to be shared. AncestryDNA estimated 4th cousin (avg 31 cM shared according to chart above), but it could be anything from a 1st cousin 2x's removed to a 4th cousin 1x's removed, but too much for a 5th cousin (unless there are other people you share that you don't know about). This chart is very helpful to immediately determine a likely set of possible relationships. I like that it includes both the average amount shared as well as includes the range of possible shared cM. © 2017 Copyright, Christine Manczuk, All Rights Reserved.

Teaching elementary students poetry can be fun and rewarding. If you are trying to decide what types of poetry to teach and how to assess them, here are some ideas. There is even a rubric included.