Pub Date : 2021-06-16DOI: 10.1080/15411796.2021.1925555
Maggie Leysath, Rachel Galan
Abstract On April 13, 2019, an EF3 tornado demolished the traditional Caddo grass house and the Caddo Mounds State Historic Site museum with approximately 80 people inside. This occurred on Caddo Days, an annual event designed for Caddo people to share their culture with the surrounding community. In July 2019, survivors, community members, and Caddo people gathered for a weekend in which representatives of the International Coalition of Sites of Conscience facilitated art and ritual activities to process the events of April 13 and tell the story as a part of the history of the site and the Caddo people.
{"title":"“Shahó and the Power of Place”","authors":"Maggie Leysath, Rachel Galan","doi":"10.1080/15411796.2021.1925555","DOIUrl":"https://doi.org/10.1080/15411796.2021.1925555","url":null,"abstract":"Abstract On April 13, 2019, an EF3 tornado demolished the traditional Caddo grass house and the Caddo Mounds State Historic Site museum with approximately 80 people inside. This occurred on Caddo Days, an annual event designed for Caddo people to share their culture with the surrounding community. In July 2019, survivors, community members, and Caddo people gathered for a weekend in which representatives of the International Coalition of Sites of Conscience facilitated art and ritual activities to process the events of April 13 and tell the story as a part of the history of the site and the Caddo people.","PeriodicalId":53876,"journal":{"name":"Teaching Artist Journal","volume":"19 1","pages":"1 - 13"},"PeriodicalIF":0.2,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15411796.2021.1925555","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43814573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-20DOI: 10.1080/15411796.2021.1911600
Anita Sinner
Abstract This position paper explores how community art education students applied an a-r-tographic disposition as artists, researchers, and teachers to investigate the pedagogic potential of public art in their evolving practice. By actively engaging body-object-space, students reviewed their presumptions about art education and what constitutes curriculum through the introduction of walking as a mode of inquiry, shifting focus from the studio classroom to public spaces in community. Mapping the a-r-tographic impulse required careful interrogation of the encounter, and this process was informed by more-than-human discourses. For community art education students, the opportunity to undertake a distinct research project as part of coursework presented a new challenge, adding to their artist-teacher professionalization training in ways that expanded horizons of thought and potential trajectories in their teaching.
{"title":"Walking with Public Art: Mapping the A-R-Tographic Impulse","authors":"Anita Sinner","doi":"10.1080/15411796.2021.1911600","DOIUrl":"https://doi.org/10.1080/15411796.2021.1911600","url":null,"abstract":"Abstract This position paper explores how community art education students applied an a-r-tographic disposition as artists, researchers, and teachers to investigate the pedagogic potential of public art in their evolving practice. By actively engaging body-object-space, students reviewed their presumptions about art education and what constitutes curriculum through the introduction of walking as a mode of inquiry, shifting focus from the studio classroom to public spaces in community. Mapping the a-r-tographic impulse required careful interrogation of the encounter, and this process was informed by more-than-human discourses. For community art education students, the opportunity to undertake a distinct research project as part of coursework presented a new challenge, adding to their artist-teacher professionalization training in ways that expanded horizons of thought and potential trajectories in their teaching.","PeriodicalId":53876,"journal":{"name":"Teaching Artist Journal","volume":"19 1","pages":"14 - 26"},"PeriodicalIF":0.2,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15411796.2021.1911600","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48033893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-27DOI: 10.1080/15411796.2021.1893107
Chelsea Hackett
ABSTRACT This article is the second in a pair examining my experience leading 30 educators through professional development training on the SPEAK Young Women’s Vocal Empowerment Curriculum in Guatemala. To guide my examination, I have looked to the question, What does it take to train non-teaching artists in the skills needed to lead a curriculum traditionally taught by teaching artists? This article seeks to answer this question through the lens of our “Voz Empoderada Diplomado” or “Vocal Empowerment Certificate Program,” which took place in 2019. In this second installment, I outline the structure of the Diplomado, explore the challenges we faced, and share our lessons learned for training educators in teaching artists’ approaches in the future.
{"title":"Certified Teaching Artist? Using Professional Development to Train Mentors, Teachers, and Community Workers in a Teaching Artist’s Approach Part Two","authors":"Chelsea Hackett","doi":"10.1080/15411796.2021.1893107","DOIUrl":"https://doi.org/10.1080/15411796.2021.1893107","url":null,"abstract":"ABSTRACT This article is the second in a pair examining my experience leading 30 educators through professional development training on the SPEAK Young Women’s Vocal Empowerment Curriculum in Guatemala. To guide my examination, I have looked to the question, What does it take to train non-teaching artists in the skills needed to lead a curriculum traditionally taught by teaching artists? This article seeks to answer this question through the lens of our “Voz Empoderada Diplomado” or “Vocal Empowerment Certificate Program,” which took place in 2019. In this second installment, I outline the structure of the Diplomado, explore the challenges we faced, and share our lessons learned for training educators in teaching artists’ approaches in the future.","PeriodicalId":53876,"journal":{"name":"Teaching Artist Journal","volume":"18 1","pages":"150 - 162"},"PeriodicalIF":0.2,"publicationDate":"2021-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15411796.2021.1893107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41706785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-08DOI: 10.1080/15411796.2020.1858689
Chelsea Hackett
Abstract This article examines the challenges faced and lessons learned while developing the SPEAK Young Women’s Vocal Empowerment Curriculum and leading 30 educators through a Professional Development Training on the curriculum in Guatemala in 2019. The guiding question is, What does it take to train non–teaching artists in the skills needed to lead a curriculum traditionally taught by teaching artists? This is the first in a series of two articles that examine this guiding question through the lens of a Voz Empoderada Diplomado, or Vocal Empowerment Certificate Program, led by teaching artists for 30 educators, mentors, and community workers in Guatemala. This first installment introduces the author as a teaching artist, her approach and experience with professional development, the development of the SPEAK Young Women’s Vocal Empowerment Curriculum, the design of the training program, and the initial lessons learned.
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Pub Date : 2020-11-27DOI: 10.1080/15411796.2020.1860405
R. Smith
Abstract Most students meet Shakespeare in middle or high school, on a page in a book in an English classroom. This first encounter is a disservice to the students themselves and to Shakespeare: Shakespeare’s plays are works of both literature and theatre, and should be taught as such. A performance-based teaching approach not only provides high school students, like me, and middle school students with the richest understanding of Shakespeare’s plays but also offers a wide array of transcendent academic and social benefits. From increased vocabulary to deeper emotional connections, these benefits help middle and high schoolers grow as students and as individuals. Guided by the opinions of teaching artists, I relive my own middle and high school experiences with Shakespeare to demonstrate the merits of the performance-based approach, both under normal circumstances and during the COVID-19 pandemic.
{"title":"Let Your Students “Speak the Speech”: The Academic and Social Benefits of a Performance-Based Approach to Teaching Shakespeare’s Plays to Middle School and High School Students","authors":"R. Smith","doi":"10.1080/15411796.2020.1860405","DOIUrl":"https://doi.org/10.1080/15411796.2020.1860405","url":null,"abstract":"Abstract Most students meet Shakespeare in middle or high school, on a page in a book in an English classroom. This first encounter is a disservice to the students themselves and to Shakespeare: Shakespeare’s plays are works of both literature and theatre, and should be taught as such. A performance-based teaching approach not only provides high school students, like me, and middle school students with the richest understanding of Shakespeare’s plays but also offers a wide array of transcendent academic and social benefits. From increased vocabulary to deeper emotional connections, these benefits help middle and high schoolers grow as students and as individuals. Guided by the opinions of teaching artists, I relive my own middle and high school experiences with Shakespeare to demonstrate the merits of the performance-based approach, both under normal circumstances and during the COVID-19 pandemic.","PeriodicalId":53876,"journal":{"name":"Teaching Artist Journal","volume":"18 1","pages":"135 - 149"},"PeriodicalIF":0.2,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15411796.2020.1860405","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49549449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/15411796.2020.1851132
A. Haki
Abstract The purpose of this applied theatre essay was to observe effects and impacts on older adults engaging in theatre activities and storytelling surrounding the horrors of Detroit’s 1967 Riots. Classes were held at the Hannan Center, an organization designed to serve the older adult community offering a variety of services in the city of Detroit. The group of older adults attended weekly theatre classes, meeting for 1½ hr on Thursday mornings. The observational was conducted for 4 weeks. Using observational research methods, data were collected and analyzed. The essay summarizes the background of the Teaching Artist experience, group reflections, written reflection, group, video recordings, and individual interviews on the Detroit ‘67 Riot Theatre Project. The essay describes the author’s observation with older adults using applied theatre methods and techniques that brought their personal stories of the tragic historical events during the summer of 1967 in Detroit, to creating a community performance. Data collected from student reflections reveal the power of theatre and how they were empowered from having an opportunity, and a platform that allowed their voices to be heard from page to stage.
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Pub Date : 2020-11-27DOI: 10.1080/15411796.2020.1851134
M. Mannathoko
ABSTRACT This qualitative case study investigated the extent to which the Basic Education arts curriculum in Botswana, specifically visual arts and music, prepared learners for entrepreneurship. It involved ten teachers and twenty students who were purposively selected and interviewed. Education policies were also examined to diagnose their status in promoting entrepreneurship skills. The findings revealed no evidence of learners’ exposure to entrepreneurship skills in both primary and junior secondary school music education while in visual arts it was only taught to junior secondary level three students. Students felt inadequately prepared to become professional artists during lessons. Thus, the study recommends inclusion of entrepreneurship education in all basic education arts disciplines and in teacher-training arts curriculum to prepare teachers to integrate it when teaching the arts.
{"title":"Bringing Entrepreneurship into Visual Arts and Music Classrooms: An Evaluation of Basic Education Arts Curriculum Implementation Strategies","authors":"M. Mannathoko","doi":"10.1080/15411796.2020.1851134","DOIUrl":"https://doi.org/10.1080/15411796.2020.1851134","url":null,"abstract":"ABSTRACT This qualitative case study investigated the extent to which the Basic Education arts curriculum in Botswana, specifically visual arts and music, prepared learners for entrepreneurship. It involved ten teachers and twenty students who were purposively selected and interviewed. Education policies were also examined to diagnose their status in promoting entrepreneurship skills. The findings revealed no evidence of learners’ exposure to entrepreneurship skills in both primary and junior secondary school music education while in visual arts it was only taught to junior secondary level three students. Students felt inadequately prepared to become professional artists during lessons. Thus, the study recommends inclusion of entrepreneurship education in all basic education arts disciplines and in teacher-training arts curriculum to prepare teachers to integrate it when teaching the arts.","PeriodicalId":53876,"journal":{"name":"Teaching Artist Journal","volume":"18 1","pages":"121 - 134"},"PeriodicalIF":0.2,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15411796.2020.1851134","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42918339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.1080/15411796.2020.1851133
E. Bucura
Abstract Literature is needed to address lifeworlds of music teachers outside the scope of K-12 public school settings. This article presents narrative inquiry investigating the experiences of a teaching artist musician. I employ a social phenomenological framework and draw on literature involving sense of self and work–life balance. With a former research participant, I inquired into earlier issues of work–life balance and multiple music teaching roles. Data were collected through interviews and observations, which took place in person and online. I drew narratives from data in discussions with the participant. Themes included that a re-prioritization of music teaching and musical roles might be a continual process requiring flexibility and risk. This study supports nuanced understandings of a broadly defined music teaching profession and the challenges associated with sustaining such a career. Implications point to a consideration of what preparation might be helpful to a music teacher outside a K-12 public school setting and what professional choices are available for teaching artist musicians.
{"title":"Flexible Music Teaching and Risk","authors":"E. Bucura","doi":"10.1080/15411796.2020.1851133","DOIUrl":"https://doi.org/10.1080/15411796.2020.1851133","url":null,"abstract":"Abstract Literature is needed to address lifeworlds of music teachers outside the scope of K-12 public school settings. This article presents narrative inquiry investigating the experiences of a teaching artist musician. I employ a social phenomenological framework and draw on literature involving sense of self and work–life balance. With a former research participant, I inquired into earlier issues of work–life balance and multiple music teaching roles. Data were collected through interviews and observations, which took place in person and online. I drew narratives from data in discussions with the participant. Themes included that a re-prioritization of music teaching and musical roles might be a continual process requiring flexibility and risk. This study supports nuanced understandings of a broadly defined music teaching profession and the challenges associated with sustaining such a career. Implications point to a consideration of what preparation might be helpful to a music teacher outside a K-12 public school setting and what professional choices are available for teaching artist musicians.","PeriodicalId":53876,"journal":{"name":"Teaching Artist Journal","volume":"18 1","pages":"102 - 120"},"PeriodicalIF":0.2,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15411796.2020.1851133","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44916017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/15411796.2020.1783148
Interviewed by Matt Selman
Abstract An interview with Shawn Kinley, teacher and performer of improvisational theatre, whose work has taken him to 52 countries across five continents over a 30-year career. His diverse teaching experience includes working with scientists, opera companies, the military, family therapists, and more. Shawn shares his thoughts about the need for the teacher to also be a student in the training experience. Examples of how to engage with improvisational teaching are described. As a performer and teacher of improvisational theatre for 30 years, Shawn Kinley has taught in 52 countries across five continents. He has worked with theatre groups, schools, opera companies, the military, and therapists. In the last few years, the teaching has expanded even further to include a United Nations project on equality for women in Dubai and working with scientists at the Weissman Institute in Israel on experiments ranging from pills for creativity to the science of human connection. He is based at the Loose Moose Theatre in Calgary, Canada—established by improvisation pioneer Keith Johnstone—where he both performs and teaches. He is one of the main trainers in the International Improvisation School, which has run since 1989 teaching students from around world who come for 2 weeks of intensive training.
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Pub Date : 2020-04-02DOI: 10.1080/15411796.2020.1728171
Emily Sernaker
Abstract This paper examines what it takes to call yourself “a poet” through the lens of inclusive programming at Brooklyn Public Library.
摘要本文通过布鲁克林公共图书馆包容性编程的镜头，探讨了如何称自己为“诗人”。
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