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Posts Tagged ‘SEASIDE’

 

Bank holiday has come

We’re off to seaside

To have some fun,

 Let’s get sand in our shoes

Bucket and spades

Pick up the lemonade

 Sand castles are made,

The seafront is paved with

Fish and chips and candy floss,

Let’s spend our money

 in the penny slots,

Paddling pools and donkey rides

Bank holiday has come

 We had some holiday fun,

So on the bus and homeward bound

How many seashells have we found?

By Thomas Sims

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SEAA

Take me out to the ocean,
Take me out to the sea,
Show me the foamy waves rolling there,
As I breathe in the salty sea air!

Let me look, look, look at the ocean,
See the sea and explore,
For it’s fun to dive from the top
To the ocean floor!

Take me out to the ocean,
Take me out to the sea.
Show me the currents and ocean tides,
Let me see where the seaweed resides!

When you look, look, look at the ocean,
Look at all it is worth!
For the ocean covers three-fourths
of the entire earth!

by Meish Goldish,

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UNDER WATER

Outer space must be like this, I think
I’m like a feather as I sink.
Is it so quiet in outer space?
Silence surrounds me in this place.
And when I give a gentle push,
I float up, up, up with a whoosh!

by Deborah Schecter

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A lot of work goes into making a good sand sculpture. Sculptors need patience and endurance to create their masterpieces from thousands of tonnes of sand.  They can take up to two months to build and span up to 10 metres in height.

Sculptors use a special kind of sand that is also used on building sites and was most likely used in the foundations of your home. It is called heavy sand and is different to the sand you see on the beach because each grain is square, which means it sticks together better, like building blocks.  The sand on the beach is smoother and rounder so it doesn’t stay together quite as well.  Some beaches are located near the mouths of rivers have better sand for sculpting as it isn’t worn down by the surf.

The most important part of making a sand sculpture is the preparation, or what sculptors call “pound up”.  Pound up involves building wooden walls in a square or rectangle shape.  These walls are called “forms” and are about two feet tall.  After the forms are built they are filled with sand, like a giant sandpit, right to the top.  When the forms are full, sculptors set to work making sure that the sand is pounded down as hard as possible by whacking it, jumping on it and watering it.

Water is REALLY important; the water helps the sand stick together and helps it to set hard as it dries out.  Successive forms are built on top of the first and compacted down so that eventually you have what looks a bit like a wooden pyramid of forms, as high as is required, all filled to the brim with sand that has been pushed down into them.  When pounding up a couple of thousand tonnes of sand, this process can take weeks but care is very important because if the sand isn’t compacted hard enough the sculpture might collapse later.  After the sand has had time to set the sculptors climb up, take off the top form, and begin to carve into the sand block left behind.

When you are on the beach this summer you might not have the time (or equipment!) to make forms but a bucket is the next best thing.  Fill your bucket with sand that is damp, not too wet and not too dry but somewhere in between is best, then push the sand down as hard as you can into the bucket.  Be careful of the strength of your bucket because too much pressure can crack it just as forms sometimes do when too much pressure is exerted on them.  Once you are happy with your pound up, find a good spot on the beach, flip your bucket over and very carefully remove it, leaving the sand behind on the ground.  Now you have the beginnings of your sculpture.  If you want to go the extra step ask your parents if they have an old bucket that they can cut the bottom out of, that way you can start with your bucket upside down and fill the sand in from the top.  This allows you to build up on top of each layer that you pound up with cups and containers like the professionals do with their smaller forms.

Now the fun part – carving.  Carving gives the sculpture all of its detail and character.  You can use almost anything to carve and most of the professional sculptors actually use cooking and dental utensils.  You better ask your parents before you start using their icing scraper at the beach though.  There are loads of tools you can use to help you carve out a work of art from icy-pole sticks to house keys (again you better ask before you try that one) and even water pistols can be used to cut a hole through the middle of your pile.  Try to visualise what you want to carve out before you get started and then go wild!

If you can get one, a water spray bottle is a great idea to have handy while you are carving to keep the sand damp.  Every once in a while, give your sculpture a couple of sprays so it doesn’t dry out. The rest is up to you.  Try using stuff you find on the beach like sea shells and sea weed.

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EEEEEEEEEEEEEEEEEEEEEEEEEE

Come along, come with me,
Take a dive in the deep blue sea.

Put on your gear, let’s explore
All the way to the ocean floor!

See that snail wrapped in curls?
Look! An oyster wearing pearls!
Watch the octopus oh so dark,
But don’t you dare to pet the shark!

Dive on down, seaward bound,
Motion in the ocean is all around!
Dive on down, seaward bound,
Motion in the ocean is all around!

Now we’re very far below,
The lantern fish are all aglow.
Is that a tiny shock you feel?
You just met an electric eel!

Giant blue whales start to stir,
Bigger than dinosaurs ever were!
Wave good-bye to the squid and sponge,
This is the end of our deep-sea plunge!

Dive on down, seaward bound,
Motion in the ocean is all around!
Dive on down, seaward bound,
Motion in the ocean is all around!

by Meish Goldish

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110751

 

The sun is couched, the sea-fowl gone to rest, 
And the wild storm hath somewhere found a nest; 
Air slumbers–wave with wave no longer strives, 
Only a heaving of the deep survives, 
A tell-tale motion! soon will it be laid, 
And by the tide alone the water swayed. 
Stealthy withdrawings, interminglings mild 
Of light with shade in beauty reconciled– 
Such is the prospect far as sight can range, 
The soothing recompence, the welcome change. 
Where, now, the ships that drove before the blast, 
Threatened by angry breakers as they passed; 
And by a train of flying clouds bemocked; 
Or, in the hollow surge, at anchor rocked 
As on a bed of death? Some lodge in peace, 
Saved by His care who bade the tempest cease; 
And some, too heedless of past danger, court 
Fresh gales to waft them to the far-off port 
But near, or hanging sea and sky between, 
Not one of all those winged powers is seen, 
Seen in her course, nor ‘mid this quiet heard; 
Yet oh! how gladly would the air be stirred 
By some acknowledgment of thanks and praise, 
Soft in its temper as those vesper lays 
Sung to the Virgin while accordant oars 
Urge the slow bark along Calabrian shores; 
A sea-born service through the mountains felt 
Till into one loved vision all things melt: 
Or like those hymns that soothe with graver sound 
The gulfy coast of Norway iron-bound; 
And, from the wide and open Baltic, rise 
With punctual care, Lutherian harmonies. 
Hush, not a voice is here! but why repine, 
Now when the star of eve comes forth to shine 
On British waters with that look benign? 
Ye mariners, that plough your onward way, 
Or in the haven rest, or sheltering bay, 
May silent thanks at least to God be given 
With a full heart; “our thoughts are ‘heard’ in heaven.” 

William Wordsworth

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