On Children’s Day, many programs and events are organized at various places in manner to celebrate it with huge enthusiasm like kids are offered toffees and chocolates at schools, arrangement of cultural programs like plays, singing, dancing and fancy dress competition, speech narration on freedom fighters, movies based on children are telecasted on television, distribution of gifts, clothes, toys, stationary and other required items among orphanage children. By making our children happy and feeling secure, we actually celebrate children’s day and remember our “Chacha Nehru”.
Jim Henson said it best himself, “Television is basically teaching whether you want it or not.” As Creator of the well beloved characters of Sesame Street, The Muppets, Henson has touched the lives of millions of children worldwide....
What makes art and literature so interesting is that it presents us with unusual things that encourage us to ask questions about what we already know. It’s about returning us, especially we older readers, to a state of unfamiliarity, offering an opportunity to rediscover some new insight through things we don’t quite recognise (as it was for all of us in the very beginning). This is perhaps what reading and visual literacy are all about - and what picture books are good for - continuing that playful inquiry we began in childhood, of using imagination to find significance and meaning in those ordinary, day-to-day experiences that might otherwise remain unnoticed. The lessons we learn from studying pictures and stories are best applied to a similar study of life in general - people, places, objects, emotions, ideas and the relationships between them all. At it’s most successful, fiction offers us devices for interpreting reality, and imagining how many such interpretations might be possible. The novelist Milan Kundera has said that we go on being children, regardless of age, because in life we are always encountering new things that challenge us to understand them, instances where a practised imagination is actually more useful that all laboriously acquired knowledge.
I know that for me, reading her poems as a child and then as a young girl already seriously writing poetry, she was a problematic figure. I first read her in the selection heavily edited by her niece which appeared in 1937; a later and fuller edition appeared in 1945 when I was sixteen, and the complete, unbowdlerized edition by Johnson did not appear until fifteen years later. The publication of each of these editions was crucial to me in successive decades of my life. More than any other poet, Emily Dickinson seemed to tell me that the intense inner event, the personal and psychological, was inseparable from the universal; that there was a range for psychological poetry beyond mere self-expression. Yet the legend of the life was troubling, because it seemed to whisper that a woman who undertook such explorations must pay with renunciation, isolation, and incorporeality. With the publication of the Complete Poems, the legend seemed to recede into unimportance beside the unquestionable power and importance of the mind revealed there. But taking possession of Emily Dickinson is no simple matter.
The lost creature is provocative rather than explanatory; you can’t help but ask questions and consider what kind of metaphor it is. For me, as a creator of picture books, it tends to represent that window of imagination: strange play, disruption and child-like wonderment that is always available, but only if you’re willing to look up and notice it.
Today’s children are the citizens of tomorrow and should be nurtured softly and carefully with extra efforts. Children are the future of nation and if a child is not able to get the basic needs and education then how he will be able to contribute in nation’s success. Thus, it is the time to take pledge for our children’s and nation’s future, that we would not allow to increase evils in our country related to child labour, child exploitation and discrimination.
91, I was allowed to wander down the halls and arbitrarily pick out which classrooms I wanted to go into. I did this on every floor of the school.
Inside those classrooms were black children much like children you can find in any ghetto across the country. Many came from broken homes and were on welfare. Yet, inside this school, they spoke in grammatical English, in complete sentences, and to the point. Many of the materials they were studying were a year or more ahead of their respective grade levels.
It so happened that I had to fly back to California right after visiting this school and did not get to talk to all the people I wanted to interview. I asked a mother who was head of the school's Parent-Teacher Association if I could call her at home after I got back to California and interview her over the phone. It turned out that she did not have a telephone. "I can't afford one," she said. That too hardly seemed middle class.
Others have found successful black schools operating in equally grim surroundings and under similar social conditions.
Recent evidence on the impact of these trends comes from the Fragile Families and Child Wellbeing Study, which is following a cohort of nearly 5,000 children born in large U.S. cities between 1998 and 2000. Roughly three-quarters of these children were born to unmarried parents. Just under 50 percent of the parents are black, while about 35 percent are Hispanic. Researchers interview parents and assess children every few years to learn about family dynamics and gauge the health and well-being of the participants.
The reason of course is quite obvious. The idea of a picture book, as a literary art form, carries a number of tacit assumptions: picture books are quite large, colourful, easy to read and very simple in their storyline and structure, not very long and (most significantly) produced exclusively for a certain audience, namely children, especially of the younger variety. Picture books are generally put on the shelves of bookstores, libraries, lounge rooms and bedrooms for young children, where they apparently belong. Picture books are synonymous with Children’s Literature. But is this is a necessary condition of the art form itself? Or is it just a cultural convention, more to do with existing expectations, marketing prejudices and literary discourse?
And it’s clear that older readers, including you and me, remain interested in the imaginative play of drawings and paintings, telling stories, and learning how to look at things in new ways. There is no reason why a 32-page illustrated story can’t have equal appeal for teenagers or adults as they do for children. After all, other visual media such as film, television, painting or sculpture do not suffer from narrow preconceptions of audience. Why should picture books? It is interesting that observe that when I paint pictures for gallery exhibitions, I am never asked who I am painting for.
The fact that single motherhood is increasing faster among women with less than a college degree means that children growing up with a single mother are likely to be doubly disadvantaged. They spend less time and receive less money from their biological fathers than children who live with their fathers. At the same time, the primary breadwinner in the family—the mother—has lower earnings than the typical mother in a married-parent family. The official poverty rate in 2013 among all families with children was 40 percent if the family was headed by an unmarried mother and only 8 percent if the family was headed by a married couple (see Figure 4). Among blacks, the rates were 46 percent in single-mother families and 12 percent in married-parent families. Among Hispanics, the figures were 47 percent and 18 percent, and among whites the rates were 32 percent and 4 percent, respectively.