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THE FOUNDATIONS SCHOOL

Enroll Today! 2024-2025, Grades K-5 561-805-9927 | [email protected]

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Read. Create. Achieve.

Located in west palm beach, the center for creative education serves students, teachers, and families by transforming educational environments through creativity and the arts., quick facts: the foundations school at center for creative education.

Students who increased their reading proficiency.

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Students receiving some form of tuition assistance.

Maximum class size is 15 students resulting in a 4.5:1 Student:Teacher ratio.

As The Foundations School families are asked to pay only as they can afford, tuition accounts for a very small percentage of the School’s operating revenue. All other funding comes from generous individuals, foundations and corporations.

In The News: CBS12's Matt Lincoln Visits The Foundations School

Classroom Teacher, The Foundations School

"Arts really helped students create their own learning.”

"To have an in-person option was extremely helpful and productive.  ...he (my child) was able to get back on track. Thank you CCE for providing this experience for my child, we are eternally grateful."

“WOW!!! Amazing results!" "...relaxed environment, the arts integration, and how that connects the content."

“I saw more interaction, small groups, more talk, positive relationships, and fun times." "...played a role in increased reading levels.”

"These kinds of programs are extremely helpful and necessary for our children."

"My child attended 3 schools before, CCE is the only one that he constantly reminded us to pick him up later. He wanted to be the last one from CCE to be picked up!"

Aunt Mary's letter

creative education centre

Welcome  to  the  Creative  Education  Centre

We offer a unique   part-time   education for children aged between 5 and 11 near Bury St Edmunds in Suffolk. 

What makes us different is the individual teaching of the core skills using Montessori methods within a focus on the environment and creativity . 

Our aim is to develop in children a deep care and respect for themselves, for others and for the world in which they live.

We provide home educating families with a place where their children can learn and feel at home. We are a mixed age, nurturing and stimulating educational setting which forms part of a child's overall education.

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Tutankhamun comes to life

What people say about CEC: ​          'Nurturing, child-led and engaging'  ​                'Developing her inner confidence has really helped her thrive' ​                     'The most wonderful setting for any child to grow and develop'  ​                          'The depth and breadth of learning was inspiring, and the children's                             passion and independence was incredible' 

Learning about the Hindu festival of Holi, festival of colours

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CCE's mission is to enrich the social and cultural awareness of our youth and community through arts, wellness and education.

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CCE is a non-profit community center for arts, technology, wellness and cultural education.

We provide innovative, high-quality programs with a special emphasis on serving low income, minority and at-risk children and youth. The Center provides a wide array of classes in dance, music, fitness, theater, spoken word, computer arts technology and the visual arts.

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Cambridge Creat…

Cambridge Creative Education Centre

creative education centre

Accelerate Plus

Cambridge Creative Education Centre is aimed for providing diverse creative education courses for different countries. Creative Education is to use creative pedagogies and educational theories to support education in different ways. The company has a strong research team with senior researchers and lecturers from the Faculty of Education, University of Cambridge. The first course is “Learning English through Drama for Years 3-12” based on the drama pedagogy research. The course includes a full package of curriculum, teacher training, textbooks and teaching tools. The teacher training system is also developed for all English teachers around the world. The company also organises study tours for teachers and students to experience creative education in Cambridge.

Career Times

Creative Education Centre 2024 Admission Fees and Contact Information

Creative Education Centre is a great school in Gauteng , and it is open for applications and registration for new learners. Find out all information for Creative Education Centre,  such as how to register, admission, apply, how much is the School Fee, Uniform, Teachers, Subjects, Principal, Email Address, Contact Number, Application Form, and Pass rate.

Note to Parents: You as a parent know your child better than anyone else . What would encourage them to learn, progress and develop socially? Some kids love libraries and indoors activities, while others want lots of outside space and sports activities. Find out whether schools offer any particular activities or if there is a strong emphasis on reading or writing, art or sport. (adsbygoogle = window.adsbygoogle || []).push({});

About Creative Education Centre

Creative Education Centre  is located within West Rand District in Mogale City Local Municipality, Selcourt South Africa. This is a INDEPENDENT Primary School in Selcourt Gauteng.

How to register and apply at Creative Education Centre

In order to apply at Creative Education Centre , you need to contact the school contact person/ Principal or visit the school. Check contact information below:

Contact Information

For admission, study, uniform, school’s extramural activities, as well as performance, you will need to contact:

  • Phone number: +27
  • Email Address: Not confirmed
  • Physical Address: 36, Ramona Road, Selcourt, Selcourt, Springs
  • Postal Address: 20 Ariston Rd Selcourt 1567

What is the School Uniform for Creative Education Centre and where to buy it?

If you would like to know the approved school uniform for Creative Education Centre and where to buy it, please contact the school using the contacts listed above.

Which Quintile Level is Creative Education Centre?

Creative Education Centre is a quintile level:

Is there a School Fee Payable to Study at Creative Education Centre?

When it comes to School Fees, please note that this is a school. However, please confirm with the school Contact Person or Principle to get the updated information.

What is the Correct Exam Center for Creative Education Centre?

If you have been struggling to search for the Examination Center Number for Creative Education Centre, it is: N/A

How to get admitted at Gauteng Schools?

Gauteng Department of Education (GDE) is committed to providing functional and modern schools that enable quality teaching and learning, that protect and promote the right of every learner to quality, equitable and relevant education. GED will assist you regarding admission to public schools for: Grade R, Grade 1, Grade 2, Grade 3, Grade 4, Grade 5, Grade 6, Grade 7, Grade 8, Grade 9, Grade 10, Grade 11 , and  Grade 12 .

GDE Admissions for Gauteng:

Reach out to the department’s offices near you or a help desk telephonically to get assistance with ad-hoc admission queries.

  •  Tell: 0800 000 789 or 011 355 0000
  •  Email: [email protected]
  • Website: https://www.gdeadmissions.gov.za/ 

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CREATE Centre (Creativity in Research, Engaging the Arts and Transforming Education, Health and Wellbeing)

The CREATE Centre acknowledges and celebrates that Story and the Arts are central to the knowing, doing, being and becoming of First Nations Australians. We pay our respects to Elders past, present and future and note that the land was never ceded. Always was, always will be Aboriginal land.

We engage in three main areas: creativity research; the role of the arts in creative education, health and wellbeing; and how the arts transform all levels of education from early childhood through to higher education. Our researchers come from education, performance studies, medicine and health, literature, architecture, music, business, and the visual arts.

We acknowledge the central, intrinsic role creative pedagogy and the arts can and should play in the lives, learning and formal education of all people. 

Creativity and the arts are central to learning, and every Australian is entitled to high-quality creative pedagogy and opportunities to engage with creativity and the arts.

The CREATE Centre is a vibrant hub of innovation in research making creativity and arts education a critical part of the education of all Australians at every age and stage of education.

We foster innovative, arts-informed and creative research methods, integrated with more traditional methods across the University. We are developing multidisciplinary research that engages experts throughout the University’s faculties and schools to enable the pursuit of new pedagogical and methodological directions in research, and to build:

  • new knowledge in the arts, education and creativity
  • new possibilities for professional practice for the education and health sectors and beyond
  • deeper partnerships with schools, health and education providers, arts organisations and other stakeholders
  • continued focus on collecting evidence and disseminating research findings through a multiplicity of art forms (including narrative, drama, song, artworks, film and dance) to reach a wide audience inside and beyond the academy, and thus create a significant impact on the community and society more generally.

Our partners

Meet our partners.

  • Arts Health Network NSW and ACT
  • Australian Theatre for Young People
  • Barker College
  • Barking Gecko Theatre Company

Bell Shakespeare

  • Creative Agency, RMIT
  • Diversity Arts
  • International Grammar School
  • Milk Crate Theatre
  • Steiner Education Australia
  • Sydney Theatre Company
  • The Australia Council for the Arts
  • Centre for Arts and Social Transformation, University of Auckland

Selected projects

A community-devised performing arts workshop and public performance for young people. ActBack builds resilience in the face of recent disasters including floods and COVID-19 and teaches skills in disaster recovery to participant young people. Young people in Hunters Hill have experienced multiple, recent major disasters, including floods and COVID-19. This drama-based process helps them process and respond in a supportive environment.

This project was funded by the NSW State Government’s Office of Regional Youth, through the Children and Young People Wellbeing Recovery Initiative.

Arts and Culture in Disaster Management

This area of work aims to explore and advocate for the fundamental role of arts and culture at all stages of disaster management and at all levels of operation in the mitigation and adaptation to climate risks and impacts. It will consolidate existing knowledge and build evidence for policy and inclusion across the disaster ecosystem. It will build on current practice, and develop resources to position the role of culture and the arts as a vital contributor to climate resilience and its impacts on our communities’ wellbeing. 

Academic leads: Claire Hooker with Michael Anderson and Natasha Beaumont (CREATE).

Affiliated partners:  Creative Recovery Network, Alex Wisser (Kandos School of Cultural Adaptation), Jen Rae (Centre for Reworlding), The Cad Factory.

Arts Rich EAL/D

Leading an innovative process of teaching and learning. Investigating the outcomes of a multi-arts professional learning program on EAL/D teachers, learners, and teaching artists.

Academic Leads : Professor Emerita Robyn Ewing, Dr Kathy Ruston, Eliza Oliver

ASSITEJ: International Association of Theatre for Children and Young People

Investigating the value of theatre for young people globally. This study includes an evidence gap map and qualitative report produced in partnership with ASSITEJ. 

Academic Leads : A/Prof Kelly Freebody, Professor Michael Anderson, Eliza Oliver

Attending Theatre: legacies for young children

If theatre is an interweaving of memory and liveness, and learning is constructed in negotiation and dialogue, theatre education offers a powerful place to encounter the unexpected, to extend horizons of expectations and consider where we are positioned in the world.

It is material and ephemeral, and recognizes that meaning is made not only in the symbols, metaphors and narratives of drama, but between spaces and places, in the gaps and the silences of reflection as well as in the movement of and activity of practice (Nicholson, 2011, p.)  

This research will investigate the following questions from the participant children’s point of view: Does theatre matter to children? If so, how? What happens when young children are given access to three live theatre performances and related pre- and post-performance activities over a two year period? What do they: wonder about? Imagine? Hope for? Remember?  

Academic leads: Professor Emerita Robyn Ewing AM and Professor Michael Anderson, in collaboration with Barking Gecko Theatre Company .

Bell Shakespeare and the CREATE Centre, University are co-designing a two-phase research project:

Pre-Phase 1: Scoping

Initial introductory scoping of the research in Australia and internationally about the impact of engaging young people with Shakespeare and the nature of their engagement.

Phase 1 of the proposed project will focus on a multi-site case study of Bell Shakespeare’s programs in regional/remote schools including live performances and tailored artists in residence programs for teachers and students. This phase will investigate what happens when young people in remote NSW schools have access to Bell Shakespeare’s in-school residencies and Player performances and related activities from the participant young people’s and teachers’ perspectives. Data will be gathered from student focus groups; teacher and principal interviews; and participants’ arts-informed responses.

Lead researchers: Associate Professor Kelly Freebody, Professor Michael Anderson, Professor Robyn Ewing, Natasha Beaumont.

Better Strangers

This is an educational research partnership between the University of Sydney and Barker College (Sydney). The project team also includes researchers based at the Australian National University (Canberra, ACT) and James Cook University (Townsville, Qld). Better Strangers brings teachers and academics together to design, test and disseminate creative new approaches to the theory and practice of Shakespeare education.

  • Townsville Shakespeare Reloaded Imaginarium
  • Shakespeare FuturEd Conference

Academic leads : Professor Liam Semler, Professor Jackie Manuel, Professor Will Christie, Dr Clare Hansen.

Body Mapping for Support After Suicide

A collaboration with partner Standby: Support After Suicide, the Sydney Children’s Hospital, and research colleagues from Black Dog Institute, this project explores the use of body mapping to support young people and communities who have been impacted or bereaved by suicide. Body mapping allows people to explore, express and process their feelings in a safe and productive way. The project aims to provide evidence for the use of this technique with the objective of developing body mapping as an accessible tool for use in suicide prevention and support.

Academic leads : Claire Hooker (CREATE).

Partner investigators : Diane Macdonald (Black Dog Institute), Michelle Jersky (Sydney Children’s Hospital), Tania Tuckerman (StandBy), Lydia Gitau (UNSW), and Sally Nathan (UNSW).

Connected Program

In partnership with Sydney Theatre Company, this program helps asylum seekers and those with refugee and migrant backgrounds, learn English and foster social connections. It uses imaginative stories and folktales to explore character, place and meaning.

Academic leads: Zoe Hogan and Victoria Campbell.

Creative Schools Initiative

A collaboration between the University of Sydney and the University of Auckland, the Creative Schools Initiative is developing a robust index measure of creative environments in schools using quantitative data. The Creative Index draws on 11 skills and capacities taken from a review of the literature of creativity in schools. An interactive ‘creative environment’ report is provided to schools and supports developing the environment for creativity in the school culture and curriculum.

Academic leads : Michael Anderson, Peter O’Connor, Kelly Freebody, Paul Ginns, Marianne Mansour.

Find out more about the Creative Schools Initiative . 

Identity Texts Project

This project utilises inclusive pedagogy that honours the languages and cultures of the students and their agency in the learning process. It promotes translanguaging and a creative pedagogy that creates space to express symbolic understandings of students’ culture and worlds.

Identity texts are any products of students’ creative work that connect to the students' culture and community and disrupt an English only transmission pedagogy whereby students are viewed as blank slates (Freire, 1975).

They offer an accessible, focused way to draw attention to “ essential aspects of the link between identity affirmation, societal power relations, and literacy engagement ” (Cummins et al., 2015: p. 556) and, importantly for this project, they help bring the voices and languages of multilingual students to the fore as in this example:

Oute Alofa ia oe Was once said to me, I grew a tiny leaf, But it died right after I tried to pronounce it

– Year 8 student

The project commenced several years ago. We engage with primary and secondary teachers in professional dialogue and reflection and focus on identifying the literacy and wellbeing needs of their students (Timperley, 2011). We then outline strategies to help students use their home languages in English lessons and share examples of quality literature that employs translanguaging to support students to develop authentic identity texts (Cummins, 1981; Cummins 1986; Cummins, 2000; Cummins and Early, 2011).

The research data is contextualised within the socio-spatial frames of Lefebvre (1991) and Soja (1980), and the concept of Li Wei’s (2011) ‘Translanguaging Space’. These spatial theories are used to understand how the everyday practices of school and classrooms are shaped by prevailing monolingual ideologies and how ‘thirdspace’ practices can challenge deficit views, support student agency and give voice to symbolic representations of self and culture.  

Academic leads : Dr Kathy Rushton , The University of Sydney; Dr Janet Dutton, Macquarie University

  • Dutton, J., D'Warte, J., Rossbridge, J., & Rushton, K. (2018). Tell me your story: confirming identity and engaging writers in the middle years. Newtown, NSW: Primary English Teachers' Association (PETAA).
  • Dutton, J., & Rushton, K. (2018). Confirming identity using drama pedagogy: English teachers' creative response to high-stakes literacy testing . English in Australia, 53 (1), 5-14.
  • Dutton, J., & Rushton, K. (2018). Poets in the making: Confirming identity in English. Scan, 37 (3), 1-12.

Kindred Kollective

Investigating wellbeing, transferable skills, and perceived employability for young people following multi-arts workshops on the far south coast of NSW. 

Academic Leads : Eliza Oliver, Professor Michael Anderson, Professor Emerita Robyn Ewing.

Play as the Fabric of Everyday Life

A research-led practice exploring how people, particularly children, relate to the civic condition, and the ways in which ‘play’ can be integrated into the fabric of everyday life. Our projects explore ways that art in public places – and urban design more broadly – can become increasingly integrated, inclusive and interactive creative spaces. It is our goal to challenge the ways a permanent public artwork might be encountered in daily life. Developing major works of playable sculpture, we aim to expand the role of art in contributing to current definitions of ‘play’.

Pilot project: Children as architects for play

In this "playable sculpture" project, infants, toddlers and children will become the architects of their own playscape. It is our aim that the children’s encounters with their play space will reveal to us valuable insights into their perception and behaviour with environments and art objects. Through this research we will be able to deduce which physical determinants of sculptural shapes affect children’s decisions, actions, interactions, feelings and behaviours. This will be tested across key demographics, primarily age and gender categories.

Academic leads : Sanné Mestrom, artist and academic; Melissa Loughnan, curator, consultant and director of Utopian Slumps ; and Anna Ciliberto, director, Ciliberto Architects .

Project Platypus

A Partnership with the University of Texas investigating the role of applied drama workshops in mitigating climate anxiety in young people.

Regrowth Project

An evaluation of a series of site-specific drama skills workshops undertaken with young people on the NSW South Coast after the bushfires. In partnership with the Family Place. The workshops will culminate in public performances for the communities.

Lead researcher: Thomas De Angelis, Professor Michael Anderson, Professor Robyn Ewing.

School Drama

A teacher professional learning program developed by Sydney Theatre Company in partnership with the University of Sydney and Professor Robyn Ewing AM. The program aims to enable teachers to develop the confidence and expertise to use drama-rich pedagogy with literature to enhance learners’ English and literacy outcomes. Each teacher works with a Teaching Artist to embark on a unique co-mentoring partnership. Since 2009, more than 35,000 teachers and students have participated in the program.

Drrama program reimagines how we teach English - read more .

Explore the School Drama research portfolio here. 

School Drama Hub

Over five twilight workshops, teachers learn how to integrate drama across the curriculum, plan their own drama units and develop their teaching artistry. 

Find out more about the School Drama Hub .

Stories from the Future

Run by Diversity Arts Australia (2019-2020), this is a contemplative workshop series for culturally and/or linguistically diverse artists and arts workers to imagine a future where cultural diversity is present at every level in the arts.

Find out more about Stories from the Future .

Academic Lead:  Dr Remy Low, with support from Paula Abood and Lena Nalhous.

Towards a Pedagogy of Empathy

In the face of an increasingly volatile, uncertain, complex and ambiguous world, education can make the difference as to whether people embrace the challenges they are confronted with or whether they are defeated by them. And in an era characterised by a new explosion of scientific knowledge and a growing array of complex societal problems, it is appropriate that curricula should continue to evolve, perhaps in radical ways.

Understand them through their way of living and the circumstances of their lives … try to penetrate the psychology of different nations … endeavour to penetrate the psychology of persons around you toward whom you feel unsympathetic … attempt to experience what they experience (Chekhov, 1953).

If we can experience something through art, then we might be able to change our future, because experience engraves lessons on our heart through suffering, whereas speculation leaves us untouched (Sarah Kane, British playwright).

Academic lead : Dr Alison Grove O’Grady, Thomas De Angelis.

Transforming Schools and Organisations

Transforming Schools began as a project in 2017 to consider the “how” of school transformation.

Emerging from the books Transforming Schools and Transforming Organizations , the project now features more than 40 schools in long-term partnerships and several PhD, master's degree and honours students researching the how of transformation.

This work undertaken in partnership with 4C Transformative Learning  and not only researches transformation and the 4Cs (creativity, critical reflection, communication, collaboration) but investigates how schools throughout Australia are making it a reality. 

Youth and Anti-Racism Project

This project’s mission is to use arts-based methods to amplify anti-racism solutions and to explore how young people’s experiences of racism affects health and healthcare in Western Sydney. The project aims to collaborate with people striving to improve community outcomes through awareness and education, and to address issues guided by the lived experiences of the diverse local communities. Key partners are the Casula Powerhouse and the Sydney South West Local Health District Arts and Health Committee.

Academic leads: Claire Hooker (CREATE).

Partner investigators: Miriam Cabello (Casula Powerhouse), Caroline Lenette (UNSW), and Linden Wilkinson (USyd).

Our progams and activities

Our programs are flexible, arts-informed and responsive to new ideas. CREATE’s professional learning is designed in consultation with colleagues across the University, alongside education health and arts organisations and community partners. Participants are engaged in creative ideas and experiences.

The centre pursues authentic research partnerships that establish environments that enable innovative ways of thinking, doing and researching using by engaging with creative arts methodologies and processes.

CREATE’s Online Conferences (Oncons) and partnership webinars introduce distinguished experts, creative artists and community members to share new knowledge and understandings and lead provocative interdisciplinary discussions. Roundtables bring experts in a particular field together to explore research opportunities.

A regular research higher degree program encourages early career researchers to build knowledge, expertise and important networks.

Our programs apply interdisciplinary designs, drawing on expertise across dance, drama, literature, media arts, music and visual arts to enhance health and wellbeing, create and develop knowledge, innovation and develop creative and rigorous approaches to research.

CREATE leads public discourse and communicates clearly and assertively on the importance of the arts and creativities in education, health and wellbeing through existing and new networks and media channels. We lobby key policy makers at the state and federal levels arguing for reform and greater vision.

Founding Co-Directors

  • Professor Robyn Ewing AM
  • Professor Michael Anderson

Associate Director – Health and Wellbeing

  • Associate Professor Claire Hooker

Centre Manager

  • Dr Anna Kamaralli

Research Manager

  • Eliza Oliver

Research Associate – Strategic Projects

  • Thomas De Angelis

Professional Learning

  • Professor Jackie Manuel

Advisory Board

  • Professor Michael Balfour, University of NSW
  • Professor Margaret S. Barrett, Monash University
  • Professor Katherine Boydell, University of NSW
  • Professor Pam Burnard, Cambridge University
  • Associate Professor Andrea Cherise, University of Toronto
  • Professor Will Christie, Australian National University
  • Professor Sandra Gattenhof, Queensland University of Technology 
  • Professor Dan Harris, the Royal Melbourne Institute of Technology
  • Patrick McIntyre, National Film and Sound Archives
  • Professor Peter O'Connor, The University of Auckland

Management Committee

  • Professor Robyn Ewing
  • Dr Paul Dwyer
  • Associate Professor Robyn Gibson
  • Dr Andrew Lavery
  • Ksenia Sawczak
  • Professor Liam Semler
  • Associate Professor Lee Wallace

Become a CREATE member

Professional development program, co-director, associate director – health and wellbeing, for more information.

Connect with us

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creative education centre

CANADA CREATIVE

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Established in 1991, Canada Creative Education Centre became a hot spot for individuals who desired to take their education to the next level. We have quality teachers who can help ensure your child achieves their academic dream. We also offer help for international students who are new to foreign land and get accustomed to the Canadian culture. We value personal growth and success above all else. We serve students from all ages. And together, we design education systems who work for you. Education is a seedling that needs time to nurture and grow.

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A Chronicle of Current Events

For human rights & freedom of expression in the ussr, the podrabinek case, dec 1977 to feb 1978 (48.7).

<<No 48 : 14 March 1978>>

On 1 December 1977, the brothers Alexander and Kirill PODRABINEK (CCE 47) and their father Pinkhos Abramovich PODRABINEK were summoned for a chat by Yu.S. Belov, chief of a department at the Moscow City and Regional KGB. Alexander refused to appear.

“On behalf of the Committee for State Security ” (Belov told Kirill and his father Pinkhos Podrabinek)

“I suggest that you and your families leave the Soviet Union and go abroad via Israel within 20 days. There is enough material against you, Kirill Pinkhosovich, to institute criminal proceedings. You, Pinkhos Abramovich, are also known to us for your anti-social activities. An act of humanity is being offered to you both. I advise you to make use of it.”

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Alexander (b. 1953) and Kirill Podrabinek (b. 1952)

The same evening Alexander Podrabinek was arrested on the street and taken to the KGB. Belov presented him, too, with an ultimatum: all three must leave the country, otherwise criminal proceedings would be instituted against both brothers.

Belov let it be understood that the absence of an invitation and difficulties with money would not be obstacles. Belov stressed that they could only leave all together.

HOSTAGE-TAKING

Many painful disputes have sprung up around the moral problems arising from KGB’s ultimatums and blackmail. The Chronicle cannot present the arguments but at least it can accurately convey the stance of participants in such events by reproducing all their statements in sufficient detail.

On 6 December 1977, there was a press conference at Andrei Sakharov ’s flat. Pinkhos PODRABINEK read out a “Statement for the Belgrade Conference [note 1] and the Press”:

“A distinctive feature of this case is the KGB’s use of the hostage system. Not one of us can determine his own fate independently, and a decision about the fate of three people has been placed by the KGB on Alexander Podrabinek alone, in whose departure the authorities are most of all interested. “We categorically refuse to accept such conditions and insist on our right to make our choices independently…”

Then Alexander PODRABINEK read out his “Reply” to the KGB’s proposal:

“I would like to draw the attention of the world public to my brother’s painful position and to the dirty tactics of the KGB — tactics of intimidation and terror. The whole world condemns the hijacking of aeroplanes and the taking of passengers as hostages, yet the KGB is using the very same method with regard to my brother, a method commonly used by terrorists. In the situation that has arisen the most painful thing for me is my brother’s fate. “At the KGB they insistently advised me to take advantage of this ‘humane act of the Soviet government’, as they expressed it. I regard this proposal as unconcealed blackmail by the KGB. “They have given me four days to reflect. On 5 December I have to give my reply. A reply that means a great deal to me. “This is my reply.

“I do not wish to go to prison. I value even the semblance of freedom which I possess now. I know that I would be able to live freely in the West and at last receive a real education. I know that there I would not have four agents at my heels, threatening to beat me up or push me under a train.

“Over there, I know, they will not put me in a concentration camp or a psychiatric hospital for attempting to defend people who are denied their rights and oppressed. Over there, I know, one breathes easily. While here one does so with difficulty, and they stop your mouth and stifle you if you speak too loudly. I know that our country is unhappy and doomed to suffering.

“And that is why I am staying.

“I do not want to go to prison, but neither do I fear a camp. I value my own freedom as I value my brother’s, but I am not bargaining for it. I will not give in to any blackmail.

“A clear conscience is dearer to me than material well-being. I was born in Russia. This is my country, and I must remain here, however hard it may be and however easy in the West. As far as I am able, I will go on defending those whose rights are being so brazenly trampled on in our country.

“That is my reply. I am staying.”

After this Alexander Podrabinek added that he would agree to leave the country only if Kirill were to ask him to do so.

On 7 December 1977, Kirill PODRABINEK made a statement:

KGB Blackmail

1. The KGB is using the hostage-taking method. They are basically blackmailing my brother Alexander, while I am the hostage. 2. The very formulation of the question: ‘leave or we will put you in prison’, is contrary to the law. If a man has committed a crime he must be prosecuted. However, in this case the KGB does not want to stage a new political trial but prefers to dispatch us abroad. The KGB has employed a well-calculated device — to exploit the insolubility of a situation with a hostage. All this blackmail is patently a consequence of the public stand taken by our family … “If any one of the three of us is arrested and any charge whatsoever brought against him, it can only be viewed as an act of revenge by the KGB and not as a requirement of justice.”

On 12 December 1977, Kirill Podrabinek informed Belov that he had decided to leave. Belov replied that Kirill could hand in his emigration documents, and on the same day Kirill did so. On 14 December Kirill Podrabinek made an addition to his previous statement:

“On 12 December, I telephoned investigator Belov at the KGB. Permission to go abroad has been granted; there was no mention of my only being able to leave only with my brother. Does this mean that the KGB has given up its hostage-taking and will really allow me to leave? In the very near future this will become clear … In view of all the circumstances, and fearing for my life” (see CCE 47) “I have taken the decision to leave.” *

KIRILL PODRABINEK (b. 1952)

On 27 December 1977, the police in Elektrostal (Moscow Region) brought charges against Kirill Podrabinek under Article 215 (RSFSR Criminal Code: “Illegal possession of arms, ammunition” etc). Kirill refused to sign the record of this charge. Investigator Radygin obtained his written undertaking not to leave town but said he would not need Kirill before the middle of January and, if need be, he could go to Moscow.

When Kirill Podrabinek came out of the Elektrostal police station he was met at the door by KGB Investigator Belov, who had arrived from Moscow. The condition of Kirill’s departure remained unchanged, Belov said, and gave him three days in which to persuade his brother to agree to leave.

From that day onwards, KGB employees began trailing Kirill Podrabinek . (His brother Alexander had been under a similar “escort” since 10 October 1977, see below). The same day 22 Muscovites issued a statement:

“Wishing to force Alexander Podrabinek to leave the country, the KGB is openly blackmailing him with his brother’s fate. A method of hostage-taking used thus far only by irresponsible criminal-terrorists is in the present case being adopted as a weapon by the official representatives of a powerful State. This blackmail clearly demonstrates the value of the charges brought against Kirill Podrabinek. “We call upon our fellow countrymen and world public opinion to protest against the use of hostage-taking, unprecedented in the practice of civilized states. We call upon our fellow countrymen and world public opinion to follow attentively the fate of the Podrabinek family.”

On 28 December Kirill Podrabinek made a statement:

State Terrorism

“… The KGB has resorted to hostage-taking. My brother Alexander has made a statement for the press saying that he does not wish to leave, but he will leave if I so demand. “Under no circumstances will I make this demand of Alexander. In the first place, that would mean becoming a blind instrument of blackmail in the hands of the KGB, exploiting a situation created by them for my own sake. In the second place, it is impossible for me to even ask, let alone demand such a thing. “However, I have resolved to pursue my chosen line of action and try to obtain permission to leave.”

On the evening of 29 December 1977, Kirill Podrabinek was arrested.

On the day of his arrest, he declared a hunger strike. After a few days he was transferred from Elektrostal to Moscow, to the MVD’s detention centre on Matrosskaya Tishina Street.

The first response to Kirill’s arrest was “The Christmas ‘Feat’ of the KGB”, a short article by Victor Nekipelov [note 2]:

“… The arrest of Kirill Podrabinek is an act of deliberate, demonstrative revenge. The authorities know full well that they are thereby dealing the severest blow to both Alexander Podrabinek – Take that for not accepting our offer! – and to his father — While you didn’t steer your sons to a compromise!”

On 1 January 1978, Yevgeny Nikolayev (see “In the Psychiatric Hospitals”, CCE 48.12 ) sent a letter to the RSFSR Procurator’s Office, protesting against the arrest of Kirill Podrabinek.

On 4 January 1978, Alexander and Pinkhos Podrabinek asked Belov for a meeting with Kirill.

Belov refused but promised to pass Kirill a note from them, “if there are no objections on the part of the investigator”. In the note Alexander and his father asked Kirill: “Do you agree to leave if there is no need to ask Alexander to do the same?”

On the same day, at 11.30 pm, Belov came to Elektrostal to see Pinkhos Podrabinek . He informed him that the investigator “had not allowed” the note to be passed to Kirill. If Alexander handed in his application to emigrate within three days, however, all three could leave the USSR. Otherwise, Alexander  would also be arrested. Belov suggested that P.A. Podrabinek go at once to Moscow and persuade Alexander to change his mind: he even gave Pinkhos Abramovich a lift back to Moscow in his car.

On 5 January 1978, Alexander Podrabinek appealed in an open letter to Amnesty International, calling on the organisation to speak out in Kirill’s defence.

On 9 January Alexander Podrabinek telephoned Belov at the KGB. When Belov asked if he intended to leave, Alexander replied that he could only decide this matter together with his brother.

On 15 January 1978, the Christian Committee for the Defence of Believers’ Rights in the USSR called upon “world public opinion” to speak out in defence of Kirill Podrabinek and condemn the policy of hostage-taking.

At the beginning of February 1978, the Podrabineks were summoned to Elektrostal for interrogation in connection with Kirill’s case.

Pinkhos Podrabinek replied to questions about Kirill but refused to sign a record of the interrogation. Alexander declined to answer questions, stating that the case was inspired by the KGB and was being conducted with violations of norms laid down in the Code of Criminal Procedure.

ALEXANDER PODRABINEK (b. 1953)

From 10 October 1977, Alexander Podrabinek was under constant KGB surveillance. Round the clock he was pursued by two cars carrying seven or eight employees of the security services.

Whenever he was inside a building the cars stood in front of the doorway. Whenever he walked along the street or travelled in public transport there were always several agents at his side. They threatened Alexander’s acquaintances and took photographs of them. Sometimes they interfered more actively with the life of their charge: on Sunday 18 December the escort prohibited Alexander from going skiing with friends in the Orekhovo-Borisovo district [Moscow Region]. Podrabinek wrote about this incident to [KGB chairman] Andropov:

“… Since 10 October of this year I have been under the continuous and unconcealed observation of our glorious Chekists. Defending the State’s security, I understand, it is essential for the KGB to search my home, call me as a witness in the case of Yury Orlov, suggest that I leave the USSR, blackmail me, make an attempt on my brother’s life, and do much else to ensure that I do not, accidentally, undermine the foundations of the Soviet political and social system. All this I understand. “I am not even particularly annoyed when one of the eight officers who perpetually watch over me swears he will break my legs or push me under a train. I understand the full difficulty of this highly complex, responsible and dangerous work and do not get angry with these heroic young people who, performing their civic duty, freeze on cold December nights outside the entrance to my house or squeeze after me onto a city bus in the rush-hour. I am enraptured by their daring, their persistence and their indifference to the cold … “Citizen Andropov! On behalf of myself and six of my friends I beg you: Provide your employees with skis and toboggans and, please, teach them how to use them, if they do not know. Then I shall be able to enjoy my on Sundays and the KGB will be able to work normally and not violate the Soviet Constitution. This can only enhance the reputation of our valiant organs and promote their physical development.”

From January 1978, the constant “escort” was replaced from time to time by ‘ordinary’ shadowing.

The security services are trying by any means to prevent Alexander Podrabinek from continuing his activities on the Working Commission (to Investigate the Use of Psychiatry for Political Purposes). In particular, they are hampering him from meeting, in the flats of his Moscow friends, people who have been subjected to “psychiatric persecution” and their relatives. Podrabinek and his friend Dmitry Leontyev , in whose flat he was living, were fined for violating the city residence regulations. Podrabinek was forbidden to continue residing at the flat.

Alexander Podrabinek was warned that he was liable to be charged with “parasitism”. In February 1978, having given his shadow the slip, he managed to get a job as a medical orderly (he is a qualified paramedic).

The pre-trial investigation of Kirill Podrabinek ’s case was completed in February 1978.

=======================

[1] Representatives of all 35 member-States of the Conference on Security and Cooperation in Europe (CSCE) assembed in the Yugoslav capital Belgrade to discuss the implementation of the 1975 Helsinki Accords five years on.

[2] Victor Nekipelov

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Springs | Creative Education Centre Pre-Primary & Primary schools – primary & secondary

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Welcome to Creative Education Centre Pre-Primary & Primary! Our aim is parents’ peace of mind and our childrens’ happiness, we are a schools – primary & secondary in Alliance Rd Springs, Gauteng.

We focus on all pre-school age groups -starting from babies to Grade R. Our Grade R is fully integrated with the Gauteng Education Department. It is important to note that we use this as a basis for our educational programme, but are always building and expanding on that according to our childrens’ developmental needs.  

Our school hours are from 07h00 to 17h45.We provide breakfast, tea and sandwiches at 10h00, lunch from 12h00 and an afternoon sandwich at 17h15. Parents provide a snack for picnic after nap time.

Creative Education Centre Pre-Primary & Primary Contacts

Address: 49 Alliance Rd Alliance Rd Springs

Contact the principal directly below, regarding fees, applications and visits:

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Phone: 113631713 Alternative: tel:0113631713

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Physical Address: Click Here http://www.google.com/maps/place/-26.297289,28.450065 49 Alliance Rd, Selcourt, Sp…

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    NEW PALTZ LOCATION INFORMATION. CCE is a non-profit community center for arts, technology, wellness and cultural education. We provide innovative, high-quality programs with a special emphasis on serving low income, minority and at-risk children and youth. The Center provides a wide array of classes in dance, music, fitness, theater, spoken ...

  6. Creative Education Centre

    Creative Education Centre. 960 likes · 2 talking about this · 17 were here. ENGLISH LANGUAGE AND CREATIVITY CENTRE. Learn English Language and get engaged in Arts and crafts.

  7. World Center for Creative Education

    We know students (all ages) learn better when they are self-motivated to achieve beyond the classroom—learned through integrating creative problem solving, artistry, and scientific research in service to our Community's and World's needs.. We assist student, parent/community, and educator personal and professional creative vision by providing outlets and support for dialogue, production ...

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    Sector. Education. Cambridge Creative Education Centre is aimed for providing diverse creative education courses for different countries. Creative Education is to use creative pedagogies and educational theories to support education in different ways. The company has a strong research team with senior researchers and lecturers from the Faculty ...

  10. Creative Education MEd

    The MEd in Creative Education will enable you to develop the confidence to design, deliver and evaluate innovative creative education that is informed by a critical understanding of competing conceptual and policy perspectives. This will involve an exploration of new and emerging forms of creative education. A significant part of the MEd course ...

  11. What Is Creativity in Education? A Qualitative Study of International

    Timothy J. Patston was the inaugural Coordinator of Creativity and Innovation at Geelong Grammar School, founding the Centre For Creative Education. He is a Senior Adjunct at the Centre For Change and Complexity in Learning, University of South Australia, and a Senior Fellow of the Graduate School of Education at The University of Melbourne.

  12. Creative Education Centre 2024 Admission Fees and Contact Information

    Creative Education Centre is a great school in Gauteng, and it is open for applications and registration for new learners. Find out all information for Creative Education Centre, such as how to register, admission, apply, how much is the School Fee, Uniform, Teachers, Subjects, Principal, Email Address, Contact Number, Application Form, and Pass rate.

  13. CREATE Centre (Creativity in Research, Engaging the Arts and

    The CREATE Centre is a vibrant hub of innovation in research making creativity and arts education a critical part of the education of all Australians at every age and stage of education. We foster innovative, arts-informed and creative research methods, integrated with more traditional methods across the University.

  14. Canada Education Centre

    CCEC. Established in 1991, Canada Creative Education Centre became a hot spot for individuals who desired to take their education to the next level. We have quality teachers who can help ensure your child achieves their academic dream. We also offer help for international students who are new to foreign land and get accustomed to the Canadian ...

  15. Big Creative Education

    Big Creative Academy. Our Clifton Avenue Campus next to Blackhorse Road Station has over 300 learners specialising in Music, Fashion, Performing Arts, Media, Sports, Art & Design & Theatrical Media Makeup. Learn More.

  16. Creative Education Centre Suffolk

    Creative Education Centre Suffolk, Bury St. Edmunds. 866 likes · 1 talking about this · 132 were here. Creative Education for primary aged children aged 5 - 11. Opened Bury St Edmunds, September 2014.

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  19. Centre For Creative Education

    Centre for Creative Education is a registered not-for-profit teacher education institution that exists to connect every child In South Africa through creative education. 43 + graduates trained. 1000 + children reached. 253,000. Children touched through our network of partnering ECD centres.

  20. The Podrabinek case, Dec 1977 to Feb 1978 (48.7)

    1 February 2021. <<No 48 : 14 March 1978>>. On 1 December 1977, the brothers Alexander and Kirill PODRABINEK (CCE 47) and their father Pinkhos Abramovich PODRABINEK were summoned for a chat by Yu.S. Belov, chief of a department at the Moscow City and Regional KGB. Alexander refused to appear. "On behalf of the Committee for State Security ...

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  22. Center for Creative Learning: Creative Problem Solving (CPS), talent

    Our Creative Problem Solving (CPS) model will help you prepare creative and critical thinkers. CPS enables individuals and groups to manage change and deal successfully with complex, open-ended challenges. ... The LoS model guides you in meeting the needs of high ability students across many talent areas and in blending gifted education with ...

  23. Springs

    Welcome to Creative Education Centre Pre-Primary & Primary! Our aim is parents' peace of mind and our childrens' happiness, we are a schools - primary & secondary in Alliance Rd Springs, Gauteng. We focus on all pre-school age groups -starting from babies to Grade R. Our Grade R is fully integrated with the Gauteng Education Department.