Tuesday, 20 December 2016

Never Say I Can't


Never Say ‘I Can’t’
By Jeyakar Vedamanickam
Two frogs fell into a farmer’s vat
Filled with cream, milk and fat.
One licked some cream and hoarsely croaked,
“Tastes good, but what we need’s, ‘to stay afloat’”
The other one gave up with a shout,
“We are stout, we can’t get out.”
Cried he, “I can’t, I can’t”.
Bade adieu and breathed his last.
The lone stout frog, to himself, he croaked,
“To stay afloat, I’ll need a boat.
“Till then I’ll kick and beat about
To keep my breath from flaming out”;
But never will say, “I can’t, I can’t’
As was my now dead, companion’s wont”.
The kicking went on for hours – four,
Stirring the rich fat milky store;
This churned a ball of butter afloat.
Seeing the ball the frog now croaked,
“Here it is; my boat, my boat”.
Hugged his boat and stayed afloat.
Awhile the twain they lobbed and bobbed,
Till he breathed easy; not his last;
The hug had squeezed the butter dry and hard,
Into a launching pad, a pad of lard;
So he hopped aboard, crouched on all four,
And out he sprang, from the milky store.

Said he, “I am glad, I never ever chant,

This deadly phrase, ‘I can’t’, ‘I can’t’”.
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The above poem is taken from the book: 'Sculpting Angels : Parenting Lessons for Fostering Creativity in Children' by Jeyakar Vedamanickam. The book has 33 chapters. Each chapter explains a value/thought/skill that facilitates creative growth followed by an activity for the family which helps imbibe/hone the value/skill. 

Tuesday, 6 December 2016

Sculpting Angels: Parenting Lessons to Foster Creativity in Children

Last week the book authored by me 'Sculpting Angels: Parenting Lessons to Foster Creativity in Children' was released and is available in Amazon. Why is the book titled as 'Sculpting Angels'?

I borrow the idea ‘Sculpting Angels’, from Michelangelo; a great artist and a great sculptor. Interestingly, the idea does not come from his sculptures but a sonnet that he wrote:

The best of artists hath no art to show
Which the rough stone in its superfluous shell
Doth not include:
To break the marble spell
Is all the hand that serves the brain can do.

In simple terms, the poem informs that the beautiful sculpture had always existed in the uncut marble block. The sculpture existed even before the sculpting started, even before one parted the marble block from the larger rock.

This beautiful sculpture, yet unseen, is a rough stone, waiting to be free of the unwanted part of the rough stone. Along with the unseen sculpture, there is extra marble, which is not part of the sculpture. The sculptor chips away all unwanted marble from the uncut block, and the beautiful sculpture, which is inside the uncut marble block, emerges. The sculptor does not add anything to the sculpture. He only subtracts and removes what is unwanted from the uncut stone.

An artist, when he paints, on the contrary, adds and creates. He starts with a plain canvas. He adds colours, oil and paint to the canvas to create a picture that was never there before. The picture was not part of the canvas when he started out. The picture was in the artist’s mind, gradually transferred into the canvas as a painting.

A child is not a canvas waiting to become a picture. A child is a miracle, a beautiful sculpture already present, in an uncut marble block, waiting to emerge. Parents play the role as sculptors, for the beautiful sculpture to emerge. Firstly, the parent must be able to see the miracle, the beautiful sculpture, in the as yet, uncut stone. Will the sculpture be a ballerina or a warrior? How outspread will her arms be? How broad will his shoulders be? The sculptor needs to see all this, and more, within the uncut stone. The possibilities as to how beautiful a sculpture one may sculpt from a given stone are endless; limited only by his imagination, matching ability, and love for his work of art.

Next, the parent having seen the beautiful sculpture in her mind’s eye must be careful, while on the task of sculpting, engaging the chisel and hammer. The parent must not chip away part of the beautiful sculpture. Having seen a beautiful ballerina in the uncut stone, the sculptor, if he chips away a part of the marble that should have been the left forefinger of the ballerina, the sculpture can never be the same beautiful ballerina that it was meant to be. It would perhaps take shape as a smaller, shorter ballerina, a ballerina with a different hand posture, or a handicapped ballerina. Parents, like a sculptor, would therefore need to be careful while chipping away the stone, in the emergence of the sculpture. Every little work on the marble is critical to the emergence of the sculpture.

A parent fostering creativity in a child is thus similar to a sculptor sculpting a sculpture. However, a sculpture is an inanimate object, and a sculptor aspires in his work of art, an inanimate beauty. A parent on the other hand aspires for the child to blossom into someone who would personify love, peace and joy, and partner with our Creator, in shaping our world to be a better place to live in. That, in short, is to aspire for the child to grow into an angel. This explains the choice of the title for this book, ‘Sculpting Angels’.

Do you believe that parenting is like sculpting or like painting? What other imagery would be appropriate for painting. Please give your views and comments. 
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You may order for a copy of the book from the following links (one for India and another for outside India customers) in Amazon:

http://www.amazon.in/SCULPTING-Angels-Jeyakar-Vedamanickam/dp/1482883732/ref=sr_1_1?s=books&ie=UTF8&qid=1481095610&sr=1-1&keywords=Sculpting+Angels

https://www.amazon.com/SCULPTING-Angels-Jeyakar-Vedamanickam/dp/1482883732/ref=sr_1_1?s=books&ie=UTF8&qid=1481095610&sr=1-1&keywords=Sculpting+Angels