basketball

James Naismith was the Canadian physical education instructor who invented
basketball in 1891. James Naismith was born in Almonte, Ontario and educated at
McGill University and Presbyterian Cllege in Montreal. He was the physical
education teacher at McGill University (1887 to 1890) and at SpringIield College in
SpringIield, Massachusetts (1890 to 1895). At SpringIield College (which was then
the Y.M.C.A. training school), James Naismith, under the direction oI American
phys-ed specialist Luther Halsey Gulick, invented the indoor sport oI basketball.
Volleyball
William Morgan invented volleyball in 1895 at the Holyoke, Massachusetts, YMCA
(Young Men's Christian Association) where he served as Director oI Physical
Education. Morgan originally called his new game oI Volleyball, Mintonette. The
name Volleyball came about aIter a demonstration game oI the sport, when a spectator
commented that the game involved much "volleying" and game was renamed
Volleyball.
William Morgan was born in the state oI New York and studied at SpringIield
College, Massachusetts. Ironically at SpringIield, Morgan met James Naismith who
invented basketball in 1891. Morgan was motivated by Naismith's game oI basketball
designed Ior younger students to invent a game suitable Ior the older members oI the
YMCA. William Morgan's basis Ior the new game oI Volleyball was the then popular
and similar German game oI Faustball and a Iew other sports including: tennis (the
net), basketball, baseball and handball.
The Morgan Trophy Award is presented annually to the most outstanding male and
Iemale collegiate volleyball player in the United States. Established by the William G.
Morgan Foundation in 1995 during the centennial year oI volleyball, the trophy is
named in honor oI William Morgan.
To learn more about the history oI Volleyball as a sport read Scott Hammon's article
entitled For The Love oI Volleyball . Scott Hammon is our About expert and guide
to Volleyball .


ootball
The Ancient Greeks and Romans are known to have played many ball games, some oI
which involved the use oI the Ieet. The Roman game harpastum is believed to have
been adapted Irom a Greek team game known as "aiokupo" (0piskyros)
|3||4|
or
"uivivou" (phaininda),
|5|
which is mentioned by a Greek
playwright, Antiphanes (388311 BC) and later reIerred to by
the Christian theologian Clement oI Alexandria (c.150-c.215 AD). These games
appear to have resembled rugby Iootball.
|6||7||8||9||10|
The Roman
politician Cicero (10643 BC) describes the case oI a man who was killed whilst
having a shave when a ball was kicked into a barber's shop. Roman ball games
already knew the air-Iilled ball, the Iollis.
|11||12|

Documented evidence oI an activity resembling Iootball can be Iound in the
Chinese military manual Zhan Guo Ce compiled between the 3rd century and 1st
century BC.
|13|
It describes a practice known as cufu (, literally "kick ball"),
which originally involved kicking a leather ball through a small hole in a piece
oI silk cloth which was Iixed on bamboo canes and hung about 9 m above ground.
During the Han Dynasty (206 BC220 AD), cuju games were standardized and rules
were established. Variations oI this game later spread to Japan and Korea, known
as k0mari and chuk-guk respectively. Later, another type oI goal posts emerged,
consisting oI just one goal post in the middle oI the Iield.
$oftball
The game oI soItball originated in Chicago on Thanksgiving Day, 1887. A group oI
about twenty young men had gathered in the gymnasium oI the Farragut Boat Club in
order to hear the outcome oI the Harvard-Yale Iootball game. AIter Yale`s victory
was announced and bets were paid oII, a man picked up a stray boxing glove and
threw it at someone, who hit it with a pole.
George Hancock, usually considered the inventor oI soItball, shouted, 'Let`s play
ball! He tied the boxing glove so that it resembled a ball, chalked out a diamond on
the Iloor (smaller dimensions than those oI a baseball Iield in order to Iit the gym) and
broke oII a broom handle to serve as a bat. What proceeded was an odd, smaller
version oI baseball. That game is now, 111 years later, known as the Iirst soItball
game. SoItball may have seen its death on the day oI its birth iI Hancock had not been
so Iascinated by it. In one week, he created an oversized ball and an undersized
rubber-tipped bat and went back to the gym to paint permanent white Ioul lines on the
Iloor. AIter he wrote new rules and named the sport indoor baseball, a more
organized, yet still new, game was played. Its popularity was immediate.
story of Indonesa
The story of Indonesa was shaped by its geographic position, its natural resources, the
series oI human migrations, contacts, economy and trade, conquests and politics. Indonesia is
an archipelagic country oI 17,508 islands (6,000 inhabited) stretching along
the equator in South East Asia. The country's strategic sea-lane position Iostered inter-island
and international trade; trade has since Iundamentally shaped Indonesian history. The area oI
Indonesia is populated by peoples oI various migrations, creating a diversity
oI cultures, ethnicities, and languages. The archipelago's landIorms and climate signiIicantly
inIluenced agriculture and trade, and the Iormation oI states.
Fossilised remains oI omo 0r0ctus, popularly known as the "Java Man", suggest the
Indonesian archipelago was inhabited two million to 500,000 years ago. Austronesian
people, who Iorm the majority oI the modern population, are thought to have originally been
Irom Taiwan and arrived in Indonesia around 2000 BCE. From the 7th century CE, the
powerIul Srivijaya naval kingdom Ilourished bringing Hindu and Buddhist inIluences with it.
The agricultural Buddhist Sailendra and Hindu Mataram dynasties subsequently thrived and
declined in inland Java. The last signiIicant non-Muslim kingdom, the
Hindu Majapahit kingdom, Ilourished Irom the late 13th century, and its inIluence stretched
over much oI Indonesia. The earliest evidence oI Islamised populations in Indonesia dates to
the 13th century in northern Sumatra; other Indonesian areas gradually adopted Islam which
became the dominant religion in Java and Sumatra by the end oI the 16th century. For the
most part, Islam overlaid and mixed with existing cultural and religious inIluences.
Europeans arrived in Indonesia Irom the 16th century seeking to monopolise the sources oI
valuable nutmeg, cloves, and cubeb pepper in Maluku. In 1602 the Dutch established
the Dutch East India Company (VOC) and became the dominant European power. Following
bankruptcy, the VOC was Iormally dissolved in 1800, and the government oI the
Netherlands established the Dutch East Indies as a nationalised colony. By the early 20th
century Dutch dominance extended to what was to become Indonesia's current boundaries.
The Japanese invasion and subsequent occupation during WWII ended Dutch rule, and
encouraged the previously suppressed Indonesian independence movement. Two days aIter
the surrender oI Japan in August 1945, nationalist leader, Sukarno, declared independence
and was appointed president. The Netherlands tried to reestablish their rule, but abitter armed
and diplomatic struggle ended in December 1949, when in the Iace oI international pressure,
the Dutch Iormally recognised Indonesian independence.
An attempted coup in 1965 led to a violent army-led anti-communist purge in which over
halI a million people were killed. General Suharto politically out-manoeuvred President
Sukarno, and was Iormally appointed president in March 1968. His New Order
administration garnered the Iavour oI the West whose investment in Indonesia was a major
Iactor in the subsequent three decades oI substantial economic growth. In the late 1990s,
however, Indonesia was the country hardest hit by the East Asian Financial Crisis which led
to popular protests and Suharto's resignation on 21 May 1998. TheR01ormasi era Iollowing
Suharto's resignation, has led to a strengthening oI democratic processes, including a
regional autonomy program, the secession oI East Timor, and the Iirst direct presidential
election in 2004. Political and economic instability, social unrest, corruption, natural
disasters, and terrorism have slowed progress. Although relations among diIIerent religious
and ethnic groups are largely harmonious, acute sectarian discontent and violence remain
problems in some areas.
Indonesa nstrument
The musical identity oI Indonesia as we know it today began as the Bronze Age culture
migrated to the Indonesian archipelago in the 2nd-3rd century BC.
|3|
Traditional musics oI
Indonesian tribes oIten uses percussion instruments, especially gendang (drums) and gongs.
Some oI them developed elaborate and distinctive musical instruments, such
as sasando string instrument oI Rote island, angklung oI Sundanese people, and the complex
and sophisticated gamelan orchestra oI Java and Bali.
Instrument of gamelan
The most popular and Iamous Iorm oI Indonesian music probably is gamelan, an ensemble oI
tuned percussion instruments that includemetallophones, drums, gongs and spike
Iiddles along with bamboo Ilutes. Similar ensembles are prevalent throughout Indonesia
andMalaysia, however gamelan is originated Irom Java, Bali, and Lombok.
In Central Java, gamelan is intricate and meticulously laid out. The central melody is played
on a metallophone in the center oI the orchestra, while the Iront elaboration and
ornamentation on the melody, and, at the back, the gongs slowly punctuate the music. There
are two tuning systems. Each Gamelan is tuned to itselI, and the intervals between notes on
the scale vary between ensembles. The metallophones cover Iour octaves, and include types
like the slenthem, demung, saron panerus and balungan. The soul oI the gamelan is believed
to reside in the large gong, or gong ageng. Other gongs are tuned to each note oI the scale
and include ketuk, kenong andkempul. The Iront section oI the orchestra is diverse, and
includes rebab, suling, siter, bonang and gambang. Male choruses (gerong) and Iemale
(pesindhen) solo vocalists are common.
With the arrival oI the Dutch colonizers, a number system called kepatihan was developed to
record the music. Music and dance at the time was divided into several styles based on the
main courts in the area Surakarta, Yogyakarta, Pakualaman and Mangkunegaran.
Gamelan Irom eastern Java is less well-known than central or western parts oI the island.
Perhaps most distinctive oI the area is the extremely large gamyak drum. In West Java,
Iormerly Sunda, has several type oI gamelan. Gamelan Degung, gamelan
salendro andtembang sunda are three primary types. The Osing Javanese minority in eastern
Java are known Ior social music Ior weddings and other celebrations, called gandrung, as
well as angklung, played by young amateur boys, which is very similar to Balinese gamelan.



ance
ance is an art Iorm that generally reIers to movement oI the body, usually rhythmic and to
music,
|1|
used as a Iorm oI expression, socialinteraction or presented in
a spiritual or perIormance setting.
Dance may also be regarded as a Iorm oI nonverbal communication between humans, and is
also perIormed by other animals (bee dance,patterns oI behaviour such as a mating
dance). Gymnastics, Iigure skating and synchronized swimming are sports that incorporate
dance, while martial arts kata are oIten compared to dances. Motion in ordinarily inanimate
objects may also be described as dances (th0 l0av0sdanc0d in th0 wind).
DeIinitions oI what constitutes dance are dependent
on social, cultural, aesthetic, artistic and moral constraints and range Irom Iunctional
movement (such as Iolk dance) to virtuoso techniques such as ballet. Dance can
be participatory, social or perIormed Ior an audience. It can also
be ceremonial, competitive or erotic. Dance movements may be without signiIicance in
themselves, such as in ballet or European Iolk dance, or have
a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or
express ideas, emotions or tell astory.
Dancing has evolved many styles. Breakdancing and Krumping are related to the hip hop
culture. AIrican dance is interpretative. Ballet, Ballroom, Waltz, and Tango are classical
styles oI dance while Square Dance and the Electric Slide are Iorms oI step dances.
Every dance, no matter what style, has something in common. It not only involves Ilexibility
and body movement, but also physics. II the proper physics are not taken into consideration,
injuries may occur.

Mask makng
Masks are among the most universal oI art Iorms. There are Iew cultures, ancient or modern,
primitive or sophisticated, in which masks have not been used. Their use seems to rise Irom
instinctive needs and belieIs common to all men. To understand the meaning oI masks, one
must know their use. In our culture their use has been primarily Ior Iun by children at
Halloween and masquerade parties, but the Iroquois Indians oI the eastern United States were
mask-makers long beIore the coming oI the white settlers. With their masks, the secret
Iroquois False Face Society attempted to aid and protect the Iroquois people by warding oII
evil spirits responsible Ior disease and by promoting Iertility in their crops. To the Indian the
mask was a serious art Iorm, as it must have been to the Stone Age men who dressed in the
skins and heads oI animals Ior their special ceremonies.



Masks symbolize what they are designed to depict: animals, heroes, characters in a drama,
wind, rain, supernatural beings, spirits oI good and evil, ancestors, gods, spirits oI nature, and
so Iorth. They have been used Ior satire and buIIoonery, Ior terrorizing others, as emblems oI
special groups, to cause laughter or Iear, to cure disease, and to impresonate people or
supernatural beings. In some countries an actor never appears onstage without a mask. In
Japan, India, and Greece the mask continues to be widely used in traditional theatre.
The teacher should capitalize on this universality to make a classroom project with masks
that will both provide a means Ior personal selI-expression Ior each oI the children and at the
same time develop a better understanding oI other cultures and peoples....when we start
making masks with our smallest children, we should do so with reIerence only to those
things that might have meaning to them. They would understand masks most through their
experiences with Halloween parades and parties, so this would be the logical point oI
departure. Later, as their interests and understanding broaden, the teacher would reIer to
masks in the North American culture oI United States Indians, Canadian Indians, and
Eskimos, and as their horizons expand, the teacher would discuss the cultures oI other
countries and point out the signiIicance oI masks in each oI the cultures.
Theater
Theater (or sometimes in American English theater
|1|
) is a collaborative Iorm oI Iine
art that uses live perIormers to present the experience oI a real or imagined event beIore a
live audience in a speciIic place. The perIormers may communicate this experience to the
audience through combinations oI gesture, speech, song, music or dance. Elements oI design
and stagecraIt are used to enhance the physicality, presence and immediacy oI the
experience.
|2|
The speciIic place oI the perIormance is also named by the word "theatre" as
derived Irom the Ancient Greek0cutpov (theatron, 'a place Ior viewing) and 0cuoui
(theaomai, 'to see", "to watch", "to observe).
Modern Western theatre derives in large measure Irom ancient Greek drama, Irom which it
borrows technical terminology, classiIication into genres, and many oI its themes, stock
characters, and plot elements. Theatre scholar Patrice Pavis deIines theatricality, theatrical
language, stage writing, and the speciIicity oI theatre as synonymous expressions that
diIIerentiate theatre Irom the other perIorming arts, literature, and the arts in
general.
|3|
Theatre includes perIormances oI plays and musicals. Although it can be deIined
broadly to include opera and ballet, those art Iorms are outside the scope oI this article.