Unfamiliar Made Clear: The Pedagogical Power of Historic Lenses ? 2023 ISBN 979-8-89238-354-7”
Dr. William Anderson Gittens D.D.
CEO & Managing Director, Author -Devgro Media Arts Services Publishing?2015
"PODCAST 176 Unfamiliar Made Clear: The Pedagogical Power of Historic Lenses ? 2023 ISBN 979-8-89238-354-7”
The pedagogical lens is used to study the interplay between architecture, the ecological environment, and nature. Recently, I was drawn to Kensington Oval, the oldest cricket ground in Barbados, which was redeveloped for the 2007 ICC World Cup Series and hosted the 2010 ICC World T20 Series. This lens was employed to frame, and ventilate, in 12 chapters and verbalise in Podcast 176, in publication 314 in ISBN 979-8-89238-354-7
As an avid photographer, I use my Canon Rebel T6 and cellphone to capture authentic moments, including animals, architecture, insects, landscapes, nature, and still life, often collaborating with my camera lens to create "photo essays” admired, by friends and family globally during My photo ops. For instance Unfamiliar Made Clear: The Pedagogical Power of Historic Lenses ? 2023
While driving along the outskirts of Bridgetown and an upon reaching Kensington Oval a tourist attraction in Bridgetown, the camera's lens shifted to highlight the historical significance of this significant cricketing stadium property
The historic lens behaved like a pedagogical lens because it helped me see, process, and understand what is unfamiliarabout Kensington, the oldest cricket ground in? Barbados, having been established in 1882 and its rich history. The first test match was played in 1930, resulting in a draw between the West Indies and England. This lens also amplified the cultural view by focusing on the statues of two cricketing icons, highlighting their style, form, rhythm, and detailed content of these life-like figures in their striking poses, highlights their exceptional performances as major Bajan cricketing giants
With my wide angle lens I explored the cultural heritage of Barbados to examine the statues of two cricketing icons, at the "The Mecca," overlooking the Westerly side of outer Bridgetown. I observe the style, form, rhythm, and content used to create these life-like figures, highlighting their determination, dedication, hard work, and commitment as Barbadians.This lens brought into focus the richness of the history of what is characterised as "The Mecca" of cricket for all cricket fans in Barbados and one of the must-visit venues in the West Indies due to its importance and history.
?
I used my Super-tele-photo lens to pan-focused on cricketing icon statues, capturing their form, style, content, determination, concentration, and rhythm.The images, varying in angle, whether it was a high-angle, low-angle, and bird’s-eye view, made the statues appear engaging and graceful figures, as they navigated various cricketing grounds, creating their destiny and naming their names in history is a significant aspect of human history. Looking through the cultural lens at these imposing figures, representing our cultural cricketing landscape, caused me to see our cultural tenants of determination, dedication, hard work and commitment so aptly engraved in their faces and even in their strides, reminded me of the examples they, like so many unsung heroes of this fair land have patterned for us to become true craftsmen of our fate as proud Barbadians.
Viewing the statues through the metaphoric lens of my camera, caused me to envision and imagine each character in their “hay days.” I could just imagine the bowler “flying through the air” racing towards his opponent, “thundering” down the cricket pitch, body positioned in stride to make the delivery which would cause the said opponent to be “wishing he was anywhere else” becoming yet another casualty, and causing him to wish he never had to “come up against” such a bowler. This lens showed me however, the bowler would be on “cloud nine” having further enhanced his acumen as one of the greatest bowlers. The metaphoric 'lens' allowed me to 'see' something that was previously inconspicuous and the wide angle lens?allow me to get as close to the subject. After much cogitation I have seen what was previously unnoticed? that these landmarks tell a story, not only of its subject, but of the Bajan’s society that erected these statues help to connect the past generation to the present generation.
The focal length of the philosophical lens allowed me to showcase that even though these two silent witnesses to the everyday activity of the environs, will never say a word in any language of the goings-on around them, not even of the badly played cover drives or the poor run-ups and subsequent miscalculated deliveries seen too many times during crucial matches at the said oval, they speak volumes to those who dare to see them through the lens of deep reflection.?
What would their life’s journeys be like to afford them the privilege to reach such a pinnacle? Would they have been there had they not grasped certain opportunities as they presented themselves? What led them to even make certain decisions? Had they not make these decisions would life have led them a circuitous route? Were they risk takers, if so had they not taken the risks, would I still be gazing at them through my philosophical lens with such admiration? Did their cultural and religious beliefs play any major part in their choices which eventually caused them to climb to the heights of such striking edifices? When the “bouncers” came their way did they “duck” or faced them head-on? Can we today looking on, glean much from them which can propel us to want to strive to play the rules well and be at the top of our game, whatever game life gives us to play??
While pan-focusing the surroundings of the oval with my Super-tele-photo lens the gaze settled on the statues of these icons, clearly dramatising their form, style, content, determination, concentration, and rhythm, with the rhythm seemingly setting these structures in motion, just as they would have been “back in the day” on whichever cricketing ground they dominated. Whichever angle my camera lens focused from, whether it was a high-angle, low-angle, and bird’s-eye view, the expressions portrayed by both statues made them look like the engaging and graceful figures they were naturally as they glided along the many cricketing grounds around the world, developing and creating their destiny while writing their names on the annals of history
As good as my dedicated lens have been over the years, I must confess much commendation and congratulations must be showered upon sculptors Messrs. Karl and Virgil Broodhagen and Mr. Jason Hope. I know for sure, my lens could not have captured so much information from the statues, had the details of angles,? accents, colour, form, light, mood, style, texture, tones, not been accurately portrayed and captured into such a collaboration of a dynamic nuance of the statues.The Natural light enhanced and influenced “the aesthetics” of these statues as opposed to artificial light.?
I certainly commend sculptors Karl and Virgil Broodhagen and Jason Hope for accurately capturing the details of their statues, highlighting the dynamic nuance and natural light that enhanced their aesthetics, rather than artificial light.
Unfamiliar Made Clear: The Pedagogical Power of Historic Lenses was employed to frame, and ventilate, in 12 chapters and was verbalised in Podcast 176, in publication 314 in ISBN 979-8-89238-354-7
You see the statues my many lenses have been focusing on all along are those The statues of Sir Garfield St. Aubrun Sobers, AO, OCC, our only living National hero, were unveiled by The Prime Minister of Barbados, Rt. Honourable Owen S. Arthur, in 2002, and The Reverend Sir Wesley Winfield Hall Kt., GCM. HMB, LLD (Hons), JP, in 2020 sculptured by Mr. Jason Hope, and was unveiled on November 29th, 2020, by The Prime Minister of Barbados, The Honourable Mia Amor Mottley, Q.C., M.P.
Given the opportunity, my dedicated lenses possibly would have focused on Humanitarian, Financial, Religious, aspects of these silent witnesses. Maybe my next visit to the “Mecca” at Kensington Oval it may be done. We’ll see!
PODCAST 176 Unfamiliar Made Clear: The Pedagogical Power of Historic Lenses ? 2023 ISBN 979-8-89238-354-7
was filmed by?
?William Anderson Gittens of?
Devgro Media Arts Services?2015
On Location
Statues :The Reverend Sir Wesley Winfield Hall Kt., GCM. HMB, LLD (Hons), JP?
The Right Excellent Sir Garfield St. Aubrun Sobers, AO, OCC our only living National hero,
Barbados’ architecture, the ecological environment, and nature?
Kesington Oval Bridgetown Barbados
Special thanks to the Creator for his guidance and choosing me as a conduit to express the creative gifts he has given me and my late parents Charles and Ira Gittens. ?
Thanks to those who assisted me along this journey namely my Beloved wife Magnola Gittens, my Brothers Shurland, Charles, Ricardo, Arnott, Stephen, Sisters Emerald, Marcella, Cheryl, Cousins Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, Jackie Clarke, Uncles Clifford, Leonard Mayers,?
David Bruce, Collin Rock.?
My children Laron and Lisa.? Well-wishers Mr.and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr.& Mrs. Gordon Alleyne, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, Mrs. Ellen Gordon, Dr.Nicholas Gordon, the late Dr.Joseph Drew, Merline Mayers, Mr. and Mrs. Trevor Millington, Rev. Dr. Scofield Eversley and Rev. Dr. Margaret Eversley, Rev. & Mrs. Donavon Shoemaker, Rev. & Mrs. Clayton Springer, Ms. Geraldine Davis, Rev.Carl and Rev Angie Dixon, Mr. David Brathwaite,Mrs. Zenda Phillips,Mrs. Gloria Rock, Rev.Pauline Harewood, Mr. and Mrs. Stewart Russell, Mrs. Shirley Smith, Mr. and Mrs. Felton Ince, Mr. and Mrs. David Brathwaite, Mr.and Mrs. Ryan Miller Mr.and Mrs. Neilo Mascoll, Rev. Zenda Phillips, Mr. and Mrs. Robert Quintyne, Special mentioned is given to Dr. Joseph Drew was my advisor, mentor, and teacher during my academic tenure as a Media Arts Major at? New Jersey City University (NJCU). ?
The focus of our parting conversation was about me honing my writing skills after I had graduated and returned to Barbados.?
Between the period 1995 to 2023, I have discovered that the more that I practice this leisure pursuit profession it seemed to be infectious among other nuances.?
The other elements such as being passionate and prolific combined together with the Creator’s help, made me a productive writer to the extent that I have now published?
314E-publications.
In light of the aforesaid, I have decided to dedicate my 66 Th?publication “A Tribute to Culture” Vol 1 in memory of Dr. Joseph Drew.
All of the above information contributed to my academic developmental journey.
William Anderson ? Gittens
Author, Cinematographer, Dip., Com., Arts. B.A. Media Arts Specialists’? Editor-in-Chief? Devgro Media Arts Services Publishing?2015 License Cultural Practitioner, Publisher, Student of Film, Preliminary Candidacy Staus for the Doctor of Divinity,D.D.,CEO Devgro Media Arts Services?2015
William? Anderson Gittens, Author, Cinematographer Dip.Com., Arts. B.A. Media Arts Specialists’ License Cultural? Practitioner, Publisher,CEO Devgro Media Arts Services?2015,Editor in Chief of Devgro Media Arts Services Publishing?2015
First Edition ? 2023 All rights reserved.
No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of William Anderson Gittens the copyright owner. Typesetting, Layout Design, Illustrations, and Photography by?
William Anderson Gittens
Published by Devgro Media Arts Services ? 2015
Email address [email protected]
Twitter account William Gittens @lisalaron?
William Anderson Gittens
Bridgetown Barbados
iMovie and?
Devgro Media Arts Services?2015
Films
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Films Production In Association with iMovie
A William Anderson Gittens, Author, Cinematographer, Media Arts Specialist, License Cultural Practitioner,Podcaster , Publisher Film
Presented
Unfamiliar Made Clear: The Pedagogical Power of Historic Lenses ?2023 ISBN 979-8-89238-354-7?
Directed
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Written By
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WORKS CITED
Gittens William Anderson,Author, Cinematographer Media Arts Specialists’ License Cultural Practitioner, Cultural Theoretician Publisher, and? Doctoral Student? of Divinity,CEO,Editor in Chief of Devgro Media Arts Services Publishing?2015
Helpful Professorhttps://helpfulprofessor.com ? historical-lenses
https://en.wikipedia.org ? wiki ? Nature_photography
https://kids.kiddle.co ? Nature_photography
https://www.eaps.purdue.edu ? visualizing-nature?
Offbeat Sheffield
Philosophical Lenses - Jack Krupansky Mediumhttps://jackkrupansky.medium.com ? philosophical-lense
Wikipediahttps://en.wikipedia.org ? wiki ? Kensington_Oval
Exceptional Futures https://www.exceptionalfutures.com?
https://www.offbeat.group.shef.ac.uk ? statues ? STCK...
https://en.wikipedia.org ? wiki ? Garfield_Sobers
https://en.wikipedia.org ? wiki ? Virgil_Broodhagen
https://storymirror.com ? read ? english ? quote
https://www.thelonestar.com ? barbados-island-holidays
https://www.youtube.com ? watch
Tripadvisor
Virat Kohli cover drive!!! (compilation) - YouTube
THE espository LENS
Being the avid photographer I profess to be, armed with my trusted Canon Rebel T6 strung across my chest and cellphone as my substitute in hand, I leisurely capture authentic moments augmenting my growing compilation of pictures esteemed, by family and friends globally. My photo ops usually comprise architecture, ecological environment, landscapes, animals, insects, nature generally, and still life, from various angles. Actually, anything that piques my attention at any given time, my camera lens and I would collaborate to produce yet another picturesque story.
While driving along the outskirts of Bridgetown recently, I was drawn towards Kensington Oval. It was on reaching this locale, when I noticed my camera took on a singular personality. Focusing on the Oval, my camera changed its lens to highlight the historical component of this major piece of real estate in the cricketing arena.
The historic lens behaved like a pedagogical tool it?helped me see, process, and understand what is unfamiliar to me especially what was captured and framed Kensington to be the oldest cricket ground, in Barbados, having been established in 1882. However, the first test match was played in 1930 resulting in a draw betwee
n the West Indies and England. The lens brought into focus the richness of the history of what is characterized as "The Mecca" of cricket for all cricket fans in Barbados and for many cricketing fans world-wide, one of the must-visit venues here. due to its importance and history.?
Still navigating the grounds of the “The Mecca,” to my surprise, the lens of my camera amplified this cultural view, drawing my attention to the statues of two of our cricketing icons, overlooking the Westerly side of outer Bridgetown. Through this enhanced cultural heritage frame of the camera’s lens I gazed on the statues and discovered the style, form, rhythm and detailed content which were employed in bringing the statues to life-like figures in their striking poses, highlighting them in their element as two of Barbados’ major cricketing giants.?
Looking through the cultural lens at these imposing figures, representing our cultural cricketing landscape, caused me to see our cultural tenants of determination, dedication, hard work and commitment so aptly engraved in their faces and even in their strides, reminded me of the examples they, like so many unsung heroes of this fair land have patterned for us to become true craftsmen of our fate as proud Barbadians.
Viewing the statues through the metaphoric lens of my camera, caused me to envision and imagine each character in their “hay days.” I could just imagine the bowler “flying through the air” racing towards his opponent, “thundering” down the cricket pitch, body positioned in stride to make the delivery which would cause the said opponent to be “wishing he was anywhere else” becoming yet another casualty, and causing him to wish he never had to “come up against” such a bowler. Conversely, the metaphoric lens showed me, the bowler being on “cloud nine” having further enhanced his acumen as one of the greatest bowlers. The metaphoric lens allowed me to see something that was previously inconspicuous and the wide angle lens?allowed me to get as close to the subject. After much cogitation I have seen what was previously unnoticed? that these landmarks tell a story, not only of its subject, but of the Bajan’s society that erected these statues help to connect the past generation to the present generation.
Zooming in on the other statue, which is that of the batsman, my dedicated metaphoric lens showed me “the beauty” of the cover drive shot “in action.” Considered to be one of the most “graceful” shots of any batsman in cricket, my metaphoric lens showed me the “elegance, pride and finesse” applied to each shot as only this Master-class batsman, could have done like no other. Even though the metaphoric lens is just a theoretical construct, in reality, its application allowed me to focus and evaluate the detail of the statues’ faces the positioning of the hands and feet, the ball and bat, and the stance they are assuming which caused me to come away with a deeper understanding of some of the intricacies which make cricket such a “glorious” game.?
The focal length of the philosophical lens allowed me to showcase that even though these two silent witnesses to the everyday activity of the environs, will never say a word in any language of the goings-on around them, not even of the badly played cover drives or the poor run-ups and subsequent miscalculated deliveries seen too many times during crucial matches at the said oval, they speak volumes to those who dare to see them through the lens of deep reflection. What would their life’s journeys be like to afford them the privilege to reach such a pinnacle? Would they have been there had they not grasped certain opportunities as they presented themselves? What led them to even make certain decisions? Had they not make these decisions would life have led them a circuitous route? Were they risk takers, if so had they not taken the risks, would I still be gazing at them through my philosophical lens with such admiration? Did their cultural and religious beliefs play any major part in their choices which eventually caused them to climb to the heights of such striking edifices? When the “bouncers” came their way did they “duck” or faced them head-on? Can we today looking on, glean much from them which can propel us to want to strive to play the rules well and be at the top of our game, whatever game life gives us to play??
While pan-focusing the surroundings of the oval with my Super-tele-photo lens the gaze settled on the statues of these icons, clearly dramatising their form, style, content, determination, concentration, and rhythm, with the rhythm seemingly setting these structures in motion, just as they would have been “back in the day” on whichever cricketing ground they dominated. Whichever angle my camera lens focused from, whether it was a high-angle, low-angle, and bird’s-eye view, the expressions portrayed by both statues made them look like the engaging and graceful figures they were naturally as they glided along the many cricketing grounds around the world, developing and creating their destiny while writing their names on the annals of history.?
As good as my dedicated lenses have been over the years, I must confess much commendation and congratulations must be showered upon sculptors Messrs. Karl and Virgil Broodhagen and Mr. Jason Hope. I know, my lens could not have captured so much information from the statues, had the details of angles, accents, colour, form, light, mood, style, texture, and tones, not been accurately portrayed and captured into such a (collage)collaboration of a dynamic nuance of the statues. The natural light of the day enhanced and influenced “the aesthetics” of these statues as opposed to artificial light.?
You see the statues my many lenses have been focusing on all along are those of The Right Excellent Sir Garfield St. Aubrun Sobers, AO, OCC our only living National hero, sculptured by Messrs. Karl and Virgil Broodhagen and was proudly unveiled by The Prime Minister of Barbados Rt. Honourable Owen S. Arthur on Sunday April 28, 2002;?and The Reverend Sir Wesley Winfield Hall Kt., GCM. HMB, LLD (Hons), JP sculptured by Mr. Jason Hope, and? unveiled on November 29th, 2020, by The Prime Minister of Barbados, The Honourable Mia Amor Mottley, Q.C., M.P.
Given the opportunity, my dedicated lenses possibly would have focused on Humanitarian, Financial, Religious, aspects of these two silent witnesses. Maybe my next visit to the “Mecca” at Kensington Oval it may be done. We’ll see!?
CEO & Managing Director, Author -Devgro Media Arts Services Publishing?2015
1 年my attention to produce yet another picturesque story of dedication, commitment, and team spirit in the sport.