‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.
‘Here’s a knocking indeed!’ says the Porter in Shakespeare’s Scottish play (Act II, Scene 3) and immediately puts himself into role in order to deal with the demands of such an early call after a late night of drinking and carousal: ‘If a man were porter of hell-gate...’. But what roles does the porter of curriculum-gate take on in order to deal with drama’s persistent demands for entry? Ah, that depends upon the temperature of the times. We, who have been knocking for what seems to be a very long time, know well that when evaluation and measurement criteriaare demanded as evidence of drama’s ef cacy, an examiner stands as gatekeeper. When the educational landscape is in danger of overcrowding, we meet a territorial governor. And how often has the courtesan turned out to be only a tease because the arts are, for a brief moment, in the spotlight for their abilities to foster out-of-the-box thinkers? In this text, we meet these ‘commissionaires’ and many more. The gatekeeping roles and what they represent are so familiar that they have become cliches ́ to us. We know them by their arguments, ripostes, dismissals, their brief encouragement and lack of follow-up. And we know that behind each one (however rmly they think they keep the keys) is a nancial and political master whose power controls the curriculum building and everything in it.
Get ready for a rollicking and irresistible new mystery from award-winning artist and author Paul Madonna Amsterdam, 2019—following the conclusion of Come to Light. Former rock star turned artist Emit Hopper’s life has taken yet another strange turn. His old friend, the legendary San Francisco private detective Ronnie Gilbert, is dead, and his killer has just been acquitted. But when a disheveled acquaintance from Ronnie’s past walks into Emit’s shop, a puzzling mystery resurfaces, twenty years cold. We’re transported back to San Francisco, 1999, to when Emit and Ronnie first met. Emit has returned to taking commissions drawing people’s houses, only to be strong-armed by a shady police lieutenant into acting as her off-the-books spy. On top of that, a strange young woman claiming to be his daughter refuses to leave him alone. From there unfolds an intricate tale of corruption and murder that leads to an explosive scandal, with consequences that, two decades hence, are finally revealed. From the world of the Emit Hopper Mysteries series, The Commissions kicks off the origin story of what promises to be an unforgettable new eccentric detective, Ronnie Gilbert. In a mystery filled with suspense and surprises around every corner, Paul Madonna delivers a rich and captivating portrait of San Francisco in the last days before the turn of the millennium, brought to life by one hundred of his signature pen-and-ink drawings.
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