Music Teacher Of The Year Essays Of Elia

When Melissa Salguero first arrived at P.S. 48 seven years ago there was no school song, instruments, or even a mascot. Now, the proud Tigers of P.S. 48 have an award-winning teacher and music throughout the halls. Salguero was honored Thursday night with the 2018 Grammy Music Educator Award.                   

In sync with the sunrise – if not yet with one another – fifth graders in Salguero's band arrive an hour early for practice. Instruments in hand for just four days, she guides the first-time musicians through every note, reports CBS News correspondent Michelle Miller. 

"They come in before school because we have so much need for them to be in the classroom and have them get their math and get their English," Salguero said. "So band is a before-school activity." 

Believe it not, progress comes quickly there.

"At the end of the day it's not going to be Carnegie Hall, you know, but that's not what we want. What I want is I want the kids to get the experience of working hard," Salguero said. "Teaching this age especially, it has to be something dramatic. It has to be something that is going to grab their attention."

Making a musical carrot or keyboard out of bananas can do that. 

"I've never had a teacher like this. She's different in so many different ways. It's like amazing," said student Iseel Sierra.  

Iseel, Rushawn Greene, and Luis Galvez are in the fifth grade band and chorus.

"She makes us feel special about ourselves. She doesn't care how we sing," Luis said.

"What we are trying to say is that she makes our day….She makes us feel great," Rushawn added.    

The power of a great teacher is apparent when Luis, talking about Salguero, begins to tear up. 

"Not every day you get to meet a person that is so important in your life and that will teach you a bunch of things about life and stuff," Luis said. 

But P.S. 48 has its challenges. Located in one of New York City's poorest neighborhoods, most families there earn less than $25,000 per year and 22 percent of the school's students are homeless.

"I feel like I was born to teach at this school," Salguero said. "When I started it was just me and a guitar singing 'Don't Stop Believing.'"

Gianee Martinez, one of Ms. Salguero's first music students at P.S. 48, now performs in community theater and attends a competitive performing arts high school.  

"She gave me a stage to perform on whenever I was in band and so I realized that I love being on stage and that I love to act and I love to sing," Martinez said.  

That love of performing and affection, for this music educator award winner, is why these students are up before dawn each day to practice.

"If there were no band, then I would only see Miss Salguero for one day a week. But then I'd rather see her for the whole week," Luis said.  

They come to school not just for music, but for her. 

"No one's ever put it that way….I would love for them to think back to their time here and not remember I gotta wake up early for band practice, I want them to remember I worked so hard. If they can remember that I'll be happy," she said. "I'll be so happy."  

Teachers' Academy 2012 Porto -

 

A sincere thank you to the speakers, presenters and delegates of the 5th ELIA Teachers’ Academy for making this last edition a great sucess, with over hundred participants from 17 countries.

For the first time, the Teachers' Academy was held in conjunction with the ELIA NEU NOW LIVE Festival, an annual event featuring high quality, exciting work of art graduates from all over Europe. The combination of these two dynamic events has resulted in a participatory experience covering the range of arts education pedagogy from process to production, getting together teachers, students and artists from all over Europe and beyond.

The digital version of the Teachers' Academy programme is now available for viewing and download!

For more information, please contact ELIA Conference Manager Barbara Revelli at barbara.revelli [at] elia-artschools.org

For the previous ELIA Teachers' Academy and papers from that conference, click here.

Theme: INTER-ACT


The theme of The Teachers’ Academy 2012, ‘INTER-ACT', focuses on the challenges and developments currently facing lecturers in art schools, particularly in relation to the increasingly fluid boundaries between disciplines and modalities. 

As a result of this increasing cross-pollination in the arts field and arts education, new relationships and interactions are rapidly manifesting. This development has a strong impact on the content, didactics and organisation of the schools’ programmes as well as the employability possibilities for graduates.

New pedagogies in different disciplines, forms of interdisciplinary collaborations, creative partnerships and art in context will be at the core of presentations and debates at the Porto Teachers' Academy.

Registration


Online Registration is now open!


Click here to register.


Online registration will be open till 3 July 2012. 

The registration brochure for the 2012 edition of the Teachers' Academy is also available to download.

Participation is free for the selected speakers and workshop presenters. For other participants, the following fees apply:

ELIA members early bird fee: 250 euro
ELIA members: 350 euro
Non members: 1300 euro

The fee covers participation in all presentations and workshops, 2 lunches, opening dinner reception and closing dinner and party and entrance to all NEU NOW events.

For additional information or questions, please contact ELIA Conference Manager, Barbara Revelli at barbara.revelli@elia-artschools.org

Presenters


Workshops

Samuel Guimaraes and Ines Vicente
(ESMAE, Porto)
Exchanging Materials: Collaborative Teaching Practice


Claes Peter Hellwig, Sara Erlingsdotter
(Stockholm Academy of Dramatic Arts)
Pär Gustafsson
(Swedish University of Agricultural Sciences, Stockholm)
How can an artistic experience meet an experience of a landscape and create a participant audience rather than an observing audience?

Franziska Nyffenegger
(Zurich University of the Arts)
Writing as Social Interaction

Matt Hawthorn
(Nottingham Trent University School of Art & Design)
Pervasive Performance & Pedagogy


Presentations


Barbara Bader
(Berne University of the Arts)
"Can You Hear Me?", Cultural and Educational Dialogue by Videoconferencing

Paul Barrett
(BIAD - Birmingham City University)
Written Feedback for Art and Design Students – Valuable Exercise or Time-consuming Academic Shield?

Paul Cosgroveand Justin Carter
(Glasgow School of Art)
New Undergraduate and Postgraduate Developments within the Programme of Sculpture and Environmental Art (SEA)

Uwe Derksen and Damian Chapman
(University for the Creative Arts, Farnham)
Creative Challenge – an Enterprise Intervention in Arts Education

Steve Dutton
(Faculty of Art, Architecture and Design, University of Lincoln)
In the Age of Extreme Institutionalization and Hyper-instrumentalisation of the Art School; How is it Possible for Artists/Teacher/Student Relationships to Flourish?

Bernhard Gritsch
(University of Music and Performing Arts Graz)
Thinking Out of the Box - the So-called "Interdisciplinary Project" as Cutting-edge Examination

Natasha Kidd (Bath Spa University)
Jo Addison (Norwich University College of the Arts)
"No Working Title" - a Collaborative Project

Mantautas Krukauskas
(Lithuanian Academy of Music and Theatre)
Sound Art, Interdisciplinary Involvement and Community Spaces: from SACS to IICS

John Lee, Olu Taiwo and Sally Mann
(University of Winchester, Faculty of Arts)
Teaching Street Arts

Katij Lindberg, Anna Sagström, and Inger Bergström
(Konstfack, University College of Art, Craft and Design)
Synergia

Dorian Maarse
(Utrecht School of the Arts)
Real-life Learning: Project Based Learning in Art Education

Dafne Maes
(Royal Conservatoire, Artesis University College Antwerp)
Competences and Methodologies for Dance Education/Mediation and Their Impact on the Relation between Student and Lecturer

Ruth Mateus-Berr, Michael P. Schultes, Laszlo Lukacs, Marie Theres Wakonig, Klaudia Kozma
(University of applied arts Vienna)
Applied Design Thinking Lab

Peter McDermott
(Conservatory of Music and Drama, Dublin Institute of Technology)
Grotowski and Bogart: The Personal Made Public in Student-Led Theatre-Making

Kerry Meakin
(School of Art, Design and Printing, Dublin Institute of Technology)
Nurturing and Developing Creativity in First Year Design Students

Kerstin Mey
(University for the Creative Arts, Surrey)
Skills Development Workshops on Design Research for Postgraduate Students

Daniela Moosmann and Mart-Jan Zegers
(Utrecht School of the Arts - Faculty of Theatre)
Methods for Opening Dramaturgy and Theatrical Mind-sets

Michiel Schuijer, Janneke van der Wijk, and Walter van de Leur
(Conservatory of Amsterdam)
“It’s the Faculty, Stupid!" Footholds for Research Training at Conservatories

Porto



Located along the Douro river estuary in northern Portugal, Porto is one of the oldest European centres, and registered as a World Heritage Site by UNESCO in 1996.

Porto, also known as Oporto in English, is the second largest city in Portugal and one of the major urban areas in the Iberian Peninsula. The urbanized area of Porto, which extends beyond the administrative limits of the city, has a population of 1.3 million, making it the second-largest urban area in Portugal.

One of Portugal's internationally famous exports, port wine, is named for Porto, since the metropolitan area, and in particular the adegas of Vila Nova de Gaia, were responsible for the production and export of the fortified wine.

Porto is one of Europe's most charismatic cities; it is a highly atmospheric place that has become known for its monuments by renowned architects (Gustave Eiffel's Dona Maria Bridge, Nicolau Nasoni's Clerigos Tower, Rem Koolhaas' Casa da Musica, or Siza Vieira's Serralves Museum)

http://www.visitporto.travel/

Accommodations

Rooms are on hold for ELIA delegates at three conveniently located hotels.


All hotels suggested are centrally located and at maximum ten minutes walking distance from the main venues.

Rooms can be reserved directly at modest rates, to book please use the reservation code listed below.

All rooms are Non-Smoking and the prices indicated include breakfast.
Click image for detailed view.


Grande Hotel do Porto (3 Stars)
www.grandehotelporto.com
Rua de Santa Catarina 197 
4000 Porto

67,00 € for Single Rooms
73,00 € for Double Rooms


Located on Rua de Santa Catarina, commercial district of the city centre, the hotel offers its guests a direct contact with Porto’s culture. Charming and evocative of a long-gone way of life, this is a carefully renovated relic of a hotel that's set on an all-pedestrian street with the densest collection of shops in central Porto. It has a rooftop terrace and an à la carte restaurant serving Portuguese cuisine. The elegant rooms at the Grande Hotel do Porto include a flat-screen TV with satellite channels, a minibar and a private bathroom with a bath tub and shower.

For reservations, please contact:
reservas@grandehotelporto.com
Reservation code: ELIA (valid until 1 May 2012)





Hotel Dom Henrique (4 Stars)

www.hoteldomhenrique.pt
Rua do Bolhão 223
4000 Porto

65,00 € for Single Rooms
75,00 € for Double Rooms


Hotel Dom Henrique, located near the City Hall and the Trindade Metro Station, was inaugurated in 1973. The main shopping area is only a few steps away and many monuments, including the city area recognized by UNESCO as World Heritage are also within a short walk. The facilities are everything a guest could expect from a 4 star quality hotel. The hotel has a restaurant, a bar and conference rooms for those travelling for work.

For reservations, please contact:
comercial@hoteldomhenrique.pt
Reservation code: ELIA (valid until 1 June 2012)






Vila Galé Porto Hotel (4 Stars)

http://www.vilagale.pt/pages/hoteis/?hotel=9
Av. Fernão Magalhães, nº 7
4300-190 PORTO

58,00 € for Single Rooms
68,00 € for Double Rooms


This 4-star, downtown Porto hotel is just 300 metres from Campo 24 Agosto Metro Station. It offers a spa with pool and an in-house bar. The Rua de Santa Catarina commercial district is 10 minutes' walk. Recreational amenities include an indoor pool, a health club, a sauna, and a fitness facility.

For reservations, please contact:
porto.grupos@vilagale.pt
Phone: (-351) 217 907 619
Reservation code: ELIA (valid until 1 June 2012)






Alternative Hotels Suggestions


For delegates that are looking for a more exclusive experience:

Hotel Infante Sagres (5 Stars)

www.hotelinfantesagres.pt
booking@ hotelinfantesagres.pt
(110-150 € per night)


For delegates that prefer a budget hotel:

B&B Hotel Porto Centro (2 Stars)

http://www.hotelbb.pt/
(45,00 -  50,00 € per night)

Tryp Porto Centro (3 Stars)

http://www.trypportocentro.com/en
(45,00 -  50,00 € per night)

NEU NOW Festival 2012

 

The 2012 Teachers' Academy coincides with the NEU NOW LIVE Festival in Porto. Delegates of the Teachers' Academy get free acess to all NEU NOW LIVE Festival shows. Pre-registrations can be made via the Teachers' Academy  online registration form.

This festival is an innovative international platform for talented graduating artists - coming out of Higher Arts Education Institutions and Universities across Europe and beyond – to present themselves to a wider international audience within a professional arts context.

The full program is now available on the NEU NOW Festival website. 

 

NEU NOW Festival Programme Overview


Please click on linked events for detailed view.

Wednesday 11  July

18.30-19.15 Opening Speeches (Serralves)

20.00-22.00 Food and Drinks

22.30-23.00 ESMAE Exhibition (ESMAE)

23.00-24.00 Jazz (ESMAE)

00.30 Synth Party (Plano B)

 

Thursday 12 July

10.00-20.00 Exhibition: Volume and Muschelrauschen

13.30-20.00 Gallery Opening (Galeria do Palácio)

17.00-18.00 Gallery: Introduction to the Works

                        (Galeria do Palácio)

18.15-19.30 Performance: Untitled (Galeria do Palácio)

19.00-20.30 Concert:carry [you carrying me]

                        Concert:Duo: Xenia Zemskaja & Talvi Hunt

                        After Talk

                        (Casa da Música)

19.00-20.30 Performance:

                        Kommandopiece aka Space Invaders

                        After talk      

                        (Mosteiro São Bento da Vitória)

21.30-22.30 Performance: Games without Frontiers

                        After Talk

                        (Teatro Carlos Alberto)

22.00-23.30  Cinema Programme

                         After Talk

                         (Passos Manuel)

 

Friday 13 July

10.00-20.00 Exhibition:Volume and Muschelrauschen

                        (Casa da Música)

10.00-11.00 Teachers' Academy Keynote Speech

                        with NEU NOW Artists

                        (Faculdade de Belas Artes)

11.00-13.30 Entrepreneurship Symposium

                        (Faculdade de Belas Artes)

13.30-20.00 Gallery Open

                        (Galeria do Palácio)
 

17.30-18.45 Performance: Untitled

                        (Galeria do Palácio)
 

19.00-20.00 Concert: Body With Drawing

                        After Talk                                      

19.00-20.30 Performance:

                        Kommandopiece aka Space Invaders  

                        (Mosteiro São Bento da Vitória)

20.30           Closing Party TA & Barbeque

00.30           Drum'n Bass Party

                        (Maus Hábitos)


Saturday 14 July

10.00-20.00 Exhibition: Volumeand Muschelrauschen    

                        (Casa da Música) 

10.00-12.30 Gallery Open

                        (Galeria do Palácio)

13.30-20.00 Gallery Open

                        (Galeria do Palácio) 

14.00-16.00  Artists' Talk

                        (Galeria do Palácio) 

17.00-18.00 Cinema Programme

                        (Passos Manuel)
 
 
19.00-20.00  Concert: carry [you carrying me]

                         Concert: Duo: Xenia Zemskaja & Talvi Hunt

                         (Casa da Música)


19.00-20.15 Performance: Schijnbeweging/Feinting       

                        After Talk

                        (Mosteiro São Bento da Vitória)


21.30-22.30 Performance: 
                        SPRING and HOPE = BAHAR and OMID

                        (Teatro Carlos Alberto)


22.00-23.00  Cinema Programme (Passos Manuel)
 
 

Sunday 15 July

10.00-17.00 Exhibition: Volumeand Muschelrauschen

                        (Casa da Música)


14.00-18.00 Gallery Open

                        (Galeria do Palácio)


15.00-16.15 Performance: Schijnbeweging/Feinting

                        (Mosteiro São Bento da Vitória)


17.00-18.00 Performance: 
                        SPRING and HOPE = BAHAR and OMID

                        After Talk

                        (Teatro Carlos Alberto)
 
20.30              Closing Party (Maus Hábitos)

 

 

 

Programme


Wednesday 11 July

Location: ESMAE –Politécnico do Porto
14.30–17.00 
  Registrations

17.00-18.00   Informative Presentation on  the                Teachers’Academy and NEU NOW Festival Programme
 

Location: Serralves Museum, Porto
18.30–23.00 
Opening, Performance and Dinner Reception

From 22.00    Maus – Event Hub (live music and more)

Programme


Thursday 12 July

Location: ESMAE –Politécnico do Porto

09.30-10.00 
Registrations and Coffee

10.00-11.00  Keynote Speech - João Brites
(Artistic Director and Founder of Teatro O Bando)
Established in 1974, Teatro O Bando focuses on the integration of street theatre and activities for children in schools and cultural associations in decentralization processes. Brites also serves as professor of the School of Theatre and Cinema in Lisbon, has experience as a set designer and has published several articles on the theatrical creative process and on acting.


11.00-13.00  Three Parallel Sessions (3 presentations each)

Click on title for full details.

 

Session Interactivity and Pedagogy


Session Interdisciplinarity


13.00-14.30  Lunch Break

14.30-16.30  Two Parallel Workshops

Click on title for full details.



Various Locations

17.00-22.30  NEU NOW Festival Programme

From 22.00    Maus – Event Hub (live music and more)
 

 

Programme


Friday 13 July

Location: Faculdade de Belas Artes
09.30-10.00  Coffee

10.00-11.00  Keynote Speech - Giep Hagoort
(Professor of Art and Economics at The Utrecht School of Arts and Utrecht University) His research is focused on cultural entrepreneurship and Creative Small and Medium Enterprises. Hagoort is author of several publications including: Art Management: Entrepreneurial Style and co-author of The Entrepreneurial Dimension of the Cultural and Creative Industries, a study commissioned by the EU.

11.00-13.00  Three Parallel Sessions (3 presentations each)

Click on title for full details.
 

Session Performance, Reflection and Writing


Session Cultural Initiatives and Skills



13.00-14.30  Lunch Break

14.30-16.30  Two Parallel Workshops

Click on title for full details.



Various Locations
17.00 – 20.00  NEU NOW Festival Programme

20.30-22.30  Closing Dinner Teachers’ Academy (Faculdade de Belas Artes)

From 22.00  Maus – Event Hub (live music and more)
 

 

Barbara Bader

(Berne University of the Arts)
Can you hear me? Cultural and educational dialogue by videoconferencing


Biography

Prof. Dr. Barbara Bader is Director of Studies of the BA and MA Art & Design Education as well as Head of the Arts Education Research Unit at Berne University of the Arts, Switzerland. After completing her first degree in Primary and Secondary Education from the University of Berne, she studied Illustration at UMPRUM Prague, and later obtained a second MA and a DPhil in Art History from Oxford University. She publishes and lectures internationally on assessment methods as well as on teacher education in art and design.

 

Abstract

The institutional partnership between Berne University of the Arts and the College of
Design and Innovation at Tongji University Shanghai is one of many co-operations
between Chinese and European Art & Design Universities which have been established in the past ten years.

However, evidence suggests that successfully running a sustainable – and truly interactive - intercultural and long-distance teaching and learning program is more challenging than is generally assumed. Diverse visual cultures, different languages, time zones and geographical distance are but the most obvious distinctions and obstacles that one has to deal with when embarking on such an endeavour.

The institutional partnership between D&I and BUA has been running on two levels:
student and teacher learning. It consists of a yearly VISITS (ICT-based intensive one-weekcourses for BA-students from both institutions) alternating with an annual teacher workshop (one-week, on site, alternating in Berne and Shanghai).

The main goal of our institutional partnership project has been to jointly develop, apply, and evaluate a series of teaching formats and tools, which respond to the specific challenges of intercultural teaching and learning in art and design. In addition to the didactics of cross-cultural and long-distance interaction, particular attention was paid to the potential of distant-learning models as well as contemporary information and communication technology, not last in response to ecological and financial
considerations.

The presentation aims to provide both a brief overview of our innovative
pedagogic activities and a list of intermediary findings, thereby imbedding the project into contemporary theories of e-collaboration and intercultural learning.

Bernhard Gritsch

(University of Music and Performing Arts Graz)
Thinking Out of the Box - the So-called "Interdisciplinary Project" as Cutting-edge Examination


Biography

Mag. Dr. Bernhard Gritsch, born in 1963, is associate professor of music education and currently dean of studies at the University of Music and Performing Arts Graz (KUG). He majored in Music Education/French (secondary school teacher accreditation), earned his doctorate (Dr. phil.) in 1996 after submitting a thesis on computer-assisted classroom teaching in music and his habilitation in 2004. He taught at several universities including e.g. those in Salzburg, Vienna, Oslo, Bolzano, Osnabrück and Luzern and has been lecturer at many national and international conferences and symposia on music education. He has published musical text books for classroom teaching in Austria and Germany as well as specific teaching material within the framework of an academic book series at KUG. His research interests include teacher education according to the Bologna Process, multimedia design of teaching material and research on classroom teaching.


Abstract

Until recently and very often, the traditional procedure of final artistic examinations in degree programmes for music teachers (secondary school teacher accreditation) at music universities or academies obliges the students to present an instrumental or vocal artistic programme. Due to recent challenges in the professional world of musicians and music teachers, which demand an increasing level of competence in project-oriented work, the University of Music and Performing Arts Graz (KUG), Austria (Institute of Music Education - IMPG) modified the system of artistic diploma examination by implementing an interdisciplinary project as final diploma examination. The relevant curriculum defines the prerequisites for this interdisciplinary artistic project following the classical and general criteria of project organisation: planning, realising and reflecting. The students have to present a project of 20-30 minutes as well as a reflection about it in front of an examination board, both in public. So far 93 students (2012) have completed their degree programme in accordance with these new regulations.

In 2009 the Institute of Music Education was granted the „Inventio 2008“ (category: cutting-edge music educators training, universities and institutions in a related field) for this concept of music educators training by the German Music Council and the Foundation 100 years Yamaha.

In 2010 an evaluation, based upon a standardised questionnaire and carried out by two scientists of the Karl-Franzens-University Graz (Institute of Psychology), proved the positive effects of this new form of final diploma examination on the overall professional qualification and especially on the up-to-date key skills of music teachers in secondary schools.

The Institute of Music Education generated an interactive data base where all the projects are stored for documentation purposes. Each project data set entry consists of a short video clip, an abstract, a short description of the project and a flyer (published for the live-auditorium): see www.impg.at

The paper to be presented within the framework of the Teachers´ Academy will focus on a systematic implementation report (general idea, representative examples, preparatory measures within the degree programme [e. g. establishing of compulsory project weeks – 4 times – in the curriculum], a critical review of the ongoing developments in the assessment procedure and quality assurance and a general view on the evaluation study mentioned above). Additional information will be provided if requested by the audience, just as well as prolific discussions are to be encouraged.

Claes Peter Hellwig, Sara Erlingsdotter

(Stockholm Academy of Dramatic Arts)

Pär Gustafsson

(Swedish University of Agricultural Sciences, Stockholm) 

Meeting Place - Music Theatre Landscape


Biography (Claes Peter Hellwig)

Worked as artistic director and dramaturg/dramatic writer during the last 25 years. Professor of Creative Process at SADA (fomer Dramatiska Institutet) in Stockholm since 2004.

Biography (Sara Erlingsdotter)

Sara Erlingsdotter is a Swedish theatre and opera director. She is also artistic director at Himlabacken where, since 1990, she has created high-profile productions and genre-crossing development projects.Through her career she has directed on stages in Sweden and other countries, but also extensively worked with theatre outdoors in different landscape settings.

Starting in 2007 she developed a project on theatre and landscape with both exploring performances and research activities in collaboration with the Stockholm Academy of Dramatic Arts, The Swedish University of Agriculture Science and Malmö Academy of Music. This also includes master classes where she has been lecturing.

Biography (Pär Gustafsson)

Pär Gustafsson is a landscape architect and professor of Landscape Architecture at The Swedish University of Agriculture Science at Alnarp.

He has worked with practical design and planning in many countries and over a wide range of areas such as cityplanning, planning of gardens, parks, and even outdoortheatres.

He has taught both architects and landscapearchitects and he has always tried to overbridge differencies with his often experimental teaching methods.

Pär Gustafsson has together with Sara Erlingsdotter done International the Designcours: Design – Site and Concept with a focus on landscape and stageart.

Abstract

The course is a MA in devising for stage artists and landscape architects who wants to expand and create meetingplaces and activities where the audience will meet stage art blended with the landscape as equal partners.
The idea is to investigate the process of creating a sitespecific work and develop the collaboration between different methods and languages. The question is; How can an artistic experience meet an experience of a landscape and create a participant audience rather than just an observing audience.

We work with the relationship of space and audience and how this leads to the meaning  of the landscape not as backdrop to a performance but as startingpoint of  the action.

Background
“Meeting Place - Music Theatre Landscape” is an artistic development project where the theatre group Himlabacken since 2006 collaborates with Stockholm Academy of Dramatic Arts and SLU Alnarp (Swedish University of Agricultural Sciences in Alnarp) and Malmö Academy of Music.

The focus of the project is how music and theatre experiences can meet landscape and how they can enrich each other creating new forms of experiences, and how to make the audience participate as creators of these. 
The project also investigates how to develop cultural projects in a rural landscape and how this can be of artistic value and become an important tool in getting back meaning to areas that are to become abandoned by people and commercial activities. This creates a milieu where performance becomes part of the overall experience of the landscape and the landscape becomes part of the narrative.

Interdisciplinary master course
The project has developed an interdisciplinary course at master's level as part of the collaboration between Stockholm Academy of Dramatic Arts, Swedish University of Agricultural Sciences in Alnarp, Himlabacken and Malmö Academy of Music. The course lets landscape architects and artists from different disciplines of stage art meet and work together. The main idea is the meeting of artist/craftsmen from both worlds and the development of their ability to work in complicated site specific projects were they can use ideas and crafts from each discipline. The artistic students come from a wide range of experiences (they can be directors, lighting designers, actors, writers, choreographers and performance artists) and the interchange between them have shown to be very interesting.

Dafne Maes

(Royal Conservatoire, Artesis University College Antwerp)
Competences and Methodologies for Dance Education/Mediation and Their Impact on the Relation between Student and Lecturer



Biography

Dafne Maes studied contemporary dance at The Royal Conservatoire Artesis University College in Antwerp and Cultural (Ped)agogic Sciences at the Vrije Universiteit Brussel. For her master thesis she did research about ‘Dance education/mediation in secondary schools.’

During and after her studies she was a dancer in several contemporary dance projects of Ann Van den Broek (WArd/waRD), Filip Van Huffel (Retina Dance Company), Paul Wenninger (Kabinett ad Co), Randi De Vlieghe and Goele Van Dyck (Nat Gras). For Ultima Vez/Wim Vandekeybus and Rosas/Anne Teresa De Keersmaeker she is organizing introductions, discussions, (dance) workshops and choreographic projects for/with students and teachers.

Since 2010 she conducts scientific research towards the competences and creative methodologies of dance education/mediaton at the Royal Conservatoire Artesis University College Antwerp in association with several partners: Department of Culture; Department of Education; The Vrije Universiteit Brussel; Retina Dance Company; Flemish Theatre institute; CANON Cultuurcel; Wisper and De Veerman.


Abstract

The first part is a lecture about the temporary results of my scientific research.

Contemporary dance performances cannot be experienced in a unique way. The public is challenged to give their own interpretation of this post modern, contemporary approximation of dance. The understanding and the sensation of dance is not evident, but a learning process with dynamics and crises whether or not with (educational) guidance. The necessity of guidance has a deeper reason, independent from the content of some dance performances. Due to globalization and individualization with explicit consequences, we are facing great challenges. Besides technical and social-economical competences, cultural-artistic competences gain more and more importance. The starting point for my research is dance education (guidance) as mediation, so that young people develop insight on the hybrid dance world (education in the arts) as much as developing stronger (cultural) competences to develop themselves in a changing society (education through the arts).

But who is responsible for dance mediation? Several dancers, dance teachers, teachers of regular education, cultural and art education associates… get in contact with dance mediation but often have insufficient competences to get started with it on a qualitative level and in different contexts. Therefore I have made a “basic competences profile for a dance mediator” that will guide him/her to conduct qualitative dance mediation. I’ll represent this profile together with the main question ‘Where is the balance for a dance mediator between artistic and pedagogical/didactic competences?

Moreover I will speak about international learning methodologies for dance mediation. There is an (international) tendency of traditional transmission of knowledge and techniques(instructivism) instead of stimulating creativity and self expression through constructing active knowledge linked to unique and personal knowledge (constructivism). The latter is the only methodology focusing on the individual, which is very interesting for the future viewpoint of competences and the necessity for the active public who gives a personal interpretation of contemporary art and dance.

The ‘new’ competences as well as the qualitative methodologies for dance mediation will have an enormous impact on the interaction between students and lecturer which I will discuss.

The second part is more practical, a think tank with possibility for discussion. This will focus on the second part of my research (2012) where I will develop dance educative tools/projects (websites, books, etc) that can be used by dance mediators in different contexts (education and culture). We will discuss about the objectives, content and form of different dance educational instruments useful in different contexts. This part is also an experiment to fine-tune the competences profile and methodologies, where theory meets practice.

Daniela Moosmann and Mart-Jan Zegers

(Utrecht School of the Arts - Faculty of Theatre)
Methods for Opening Dramaturgy and Theatrical Mind-sets



Biography (Daniela Moosmann)

Daniela Moosmann (1961) took bachelor degrees in New Dance and in Creative Writing. In 2005 she took a Masters in Theatre Dramaturgy at the Utrecht University. She writes for theatre and teaches dramaturgy, playwriting, and theatre making processes at the faculty of theatre of the Utrecht Schhol of Arts and elsewhere. In 2007 she published The playwright as Theatremaker (‘De toneelschrijver als theatermaker’), a research on writing processes of famous Dutch, Flamish and German postdramatic playwrights.

Biography (Mart-Jan Zegers)

Mart-Jan Zegers ((1960) took Masters in German literature and in Theatre Studies. He is a renowned dramaturg at several main Dutch theatrecompanies. At the Utrecht School of the Arts he teaches semiotics, theatre history and dramaturgy. In 2008 he published Theatre Making; pragmatic theories (‘Theater maken; pragmatische theorieën’), in which he suggests a new way of combining theory and practice in thinking and talking about theatre.

Abstract

In postdramatic theatre the position of the text in performance has changed dramatically the last 10 years. Along with that the writing process of playwrights is developing constantly. In higher Art-Education there is a longing for a new pedagogy for playwrights that fits those radical changes.

Informed by the latest theories on postdramatic theatre and theatremaking working strategies, the module ‘staging open dramaturgy’ consists of a lot of new, provocative and innovative methods. It shows step by step how a writer can develop his writing skills by literally playing with presentation and representation on the stage, with the vanishing notion of character, and with the typical postdramatic concepts of fragmentation and multiplicity. The module can be characterized and is built as practice-based research.   

Dorian Maarse

(Utrecht School of the Arts)
Real-life Learning: Project Based Learning in Art Education



Biography

Dorian Maarse (MA) combines her experience as an artist with her knowledge of Organisational Behaviour in training professionals and students in topics such as teamwork, (intercultural) communication, leadership, conflict management and negotiating as senior lecturer at the Utrecht School of the Arts (Netherlands).
She also conducted workshops and management development projects in other countries (such as Ukraine, Estonia, South-Africa, Ghana) and has her own company for team coaching (Maarse & Mensen).
Maarse wrote several articles on leadership and teamwork in the creative industry and a book ('More than an interesting project, how to improve Project based Learning', 2011) on Project based learning in Art Education.


Abstract

The image of the professional artist working alone in the solitude of his studio does no longer match the reality of all alumni of art schools. Many of them work in teams, often with other professionals from different disciplines, with various needs and mindsets.
Also in other ways our alumni will meet new demands and challenges. The future  for which institutes of art education prepare their students is rapidly changing given the enormous speed of developments such as digitization and globalization.
Therefore students need not only to develop an artistic signature,  but they also have to learn to co-operate effectively in different creative and multidisciplinary teams, and to develop an attitude of life long learning to constantly acquire new knowledge to meet the requirements of future clients.

A pedagogy of project based education with commissioners from creative industries helps students to prepare for this. Project-based education is based on social-learning psychology. In small (multidisciplinary) project teams, students work within an agreed time frame on an assignment, that is representative of the profession. They need to identify and acquire the required knowledge and set and monitor quality standards.
The teacher supervises and coaches the team in their team work, the learning process and in their project management, . As creative processes often clash with strict schedules this is an extra challenge in creative teams.

At the HKU we have years of experience with this didactic form, in which we had to find solutions for many questions, such as:

  • how to organize your project and implement education in an art college;
  • what knowledge and skills do students and coaching teachers need;
  • how to facilitate teamwork within an artistic process;
  • how to obtain project results while encouraging students to learn from their mistakes:
  • how to prevent students to focus too much on the project result while neglecting reflection and the  development of new skills and knowledge?


The search for answers to these questions has resulted in the publishing of a book (2011): 'More than an interesting project, how to improve Project Based Learning'. In this book experiences within the Utrecht School of the Arts are put in a theoretical framework.

Franziska Nyffenegger

(Zurich University of the Arts)
Writing as Social Interaction



Biography

Since september 2008 Franziska Nyffenegger (b. 1966 Bern, lives in Zurich) has been a lecturer and researcher at Zurich University of the Arts / ZHdK and
Lucerne University of Applied Sciences and Arts / HSLU D&K. Her professional experience is in public relation and marketing for the creative industry as well as undertaking independent work as freelance translator, interpreter, texter and editor. Nyffenegger's academic formation is in cultural anthropology and communication sciences (lic.phil. I). She has advanced vocational training in university didactics; recently started a PhD research in cultural anthropology at University of Basel.

Teaching areas: creative and academic writing in design, design ethnography, design and
society, design and cultural studies

Research areas: material culture, writing didactics


Abstract


Workshop participants will test different writing methods hands-on. They will experience writing as and in social interaction. They will gain insight into recent teaching experience and results from writing research, namely concerning writing across the curriculum (WAC) and writing in the disciplines (WID).

In a designers’ or artists’ professional life, working with words plays a crucial role: meetings and talks, phone calls and e-mails, briefings and proposals, offers and contracts are daily assignments. Nevertheless, design and art education traditionally neglect the training of verbal skills, even more in german speaking countries.

Students seldom use verbal language as a tool for idea generation and often fail when asked to communicate
their concepts in written texts. In addition, they do not perceive writing as a social act and neglect collaborative writing methods. They perceive writing as opposed to creative visual thinking, as a hassle to avoid whenever possible, and not as the powerful tool for idea
generation it actually can be.

To encourage students’ use of verbal language, Zurich University of the Arts offers a series of writing workshops on a cross-disciplinary level. These workshops attain two goals: first, to evidence the value of writing in creative processes, and second, to reveal
the role of social interaction in writing. Didactics are based on constructivist principles emphasizing exercise, exchange and experience. Staff includes lecturers with background in text editing, play writing, acting and visual communication.

This presentation briefly outlines the institutional background – Zurich University of the Arts offers a broad range of BA programmes in art education, design, film, art & media, dance, theatre and music. It then introduces the concept of cross-disciplinary writing workshops (“writing across the disciplines / WAC”). The main part discusses both analogue and digital tools to enhance writing in the creative process in and by social interaction. Special attention will be drawn to collaborative writing with “lines”, a tool developed by The Café Society (http://lines.thecafesociety.org), a design research group on new writing formats.

John Lee, Olu Taiwo and Sally Mann

(University of Winchester, Faculty of Arts)
Teaching Street Arts



Biography (John Lee)

Program leader of the Street Arts degree. M.Sc in Social and Political Theory,  MBA and MA in Performance Writing.  26 years professional practice as a performer/ director in 35 countries British Council
 

Biography (Dr Olu Taiwo)

Senior lecturer Street Arts, Visual Development and Contemporary Performance, University of Winchester. Publications include The Orishas: The Influence of the Yoruba Cultural Diaspora’ in Harvey and Thompson (Ed.) Indigenous Diasporas and Dislocations Ashgate (2005) The Physical Journal: The living body that writes and rewrites itself: in Susan Broadhurst and Josephine Machon (Ed) Sensualities/Textualities and Technologies Writings of the Body in 21st Century Performance Palgrave Macmillan (2009). His main interests are to propagate twenty first century issues concerning the interaction between body, identity, audience and technology.
 

Biography (Sally Mann)

Lecturer/research practitioner BA (Hons) Performance and Fine Art   Dartington College. 25 years professional practice. Artistic director Fuse Performance.  Producer and director of performance events, creating projects locally/regionally/ internationally offering training for emergent, professional artists and companies making new work.


Abstract

The teaching of the Street Arts degree is based around the pedagogical method of practice as research and engages the student through assessments that include public performances at differing levels of complexity over the three years of the program.

At the centre of the program is the practical exploration of performance in public space and the development of styles of interactive and engaging performances in a variety of found spaces.

The students learn trans cultural practices though specific modules but also though exchanges in Spain, France and Turkey in which students attend workshops and create performances with students and emergent practitioners in creation centres and festivals in these countries.  The subject is inherently trans cultural and this is a recognized feature through the degree program both in the core literature and in the study of companies.

The program is also taught across a wide variety of disciplines that centrally involve the interface of performing and visual arts. Within these art forms are a range of disciplines that range from dance, puppetry, circus arts, site specific performance, celebratory arts and carnival, spatial studies, clown and comedy, design and making technologies.

The program emphasizes the importance for the students to evolve their own singular or/and group practice .This includes modules in the study of street arts business practice and creative production. The students work from the basis of developing their  ideas of performances in public spaces, the production of those spaces to deliver those performances and the creation of business models that promote and develop creatively those productions within festivals,  self generated events, community and commercial practices. There is also a pathway through the program that allows students to follow an academic pathway to become researchers in this new and innovative art form.

The degree has invited a large amount of interest internationally and the tutors are key members of an international team that organize a number of seminars in different countries on formal and informal methods of education in Street Arts(Street Arts Winter Academy (2011) Slovenia; Winchester (2012) These are attended by key practitioners and academics from across Europe. The output of these conferences are published as consultative guides for policy makers at national and international levels of governance and share latest ideas and practices with international colleagues.

Katij Lindberg, Anna Sagström, and Inger Bergström

(Konstfack, University College of Art, Craft and Design)
Synergia



Biography (Katij Lindberg)

Katji Lindberg has a background as an artist, but is also trained as philosopher. She is also a former art critic and publishes currently on topics related to artistic knowledge production, epistemology, French philosophy  as well as contemporary art. She is holding a PhD position at Konstfack and Bodö, Norway*, and  has been teaching creative and academic writing for several years.

* The name of the project is: A Potential Space, a Hypothetical Time, an Inner Logic: on Artistic Practice in an Epistemological Perspective.
 

Biography (Anna Sagström)

Anna Sagström, born in Sweden in 1985, lives and works in Berlin. Graduated from Konstfack University of Arts, Crafts and Design in Stockholm with an MFA in textile art in 2011. Works in the borderland between textile art and contemporary sculpture and installation art, using a variety of media. Recent presentations includes the group show 'Beautiful Potential' at Mother's Tankstation in Dublin and Come Undone, a solo show at Minibar Artist Space in Stockholm.
 

Biography (Inger Bergström )

Since 2005 Inger Bergström has the position as a professor at Konstfack, University of Art, Crafts and Design, in Stockholm where she is running the master group Textile in the Expanded Field. The master group is emphasizing on textile as an area of knowledge where the conceptual as well as the purely material expression can be used in a design or a fine art context.


Abstract

Synergia

Synergy comes from the Greek word synergia, a derivate of the verb synergos, meaning “working together”. The well-known expression synergy effect, meets the logical paradox that the sum is more than the whole of its parts.

This presentation is an outline of how we (two teachers and one student) –through our different perspectives - met the challenge to use writing as a reflective method in artistic practice on MA level.

The synergy is reflected on two levels: first the level of collaboration, where the pedagogical setting in a more “remote”, but all the less, fruitful way, provided the possibilities for new ways of expression. A challenge within higher education directed towards artistic practice, is to overcome the discontinuity of the plastic-aesthetic level and the textual. In the ideal state these different levels or competences blend, but this is not always the case.

On the second level, the synergy shows in terms of a pleasing outcome. In this particular case; an intertextual essay with a certain capacity of capturing the fleeting practice. On the individual level this student´s essay embraces “figural and linguistic intertextuality”. Thus: it uses the discontinuity between image and text, instead of favoring one or the other.

With inspiration from the concept of intertextuality and a slight dissatisfaction with standardized academic writing (from the teacher´s side), the challenge of asymmetry was provoked. The actual student´s essay took its outset directly from a series of artistic works and the text intertwines the images and pieces of text like a chorus. Instead of a linear, hierarchical structure, it copies the interwoven character of the textile piece and the result is both complex and effective in terms of communication.

Kerry Meakin

(School of Art, Design and Printing, Dublin Institute of Technology)
Nurturing and Developing Creativity in First Year Design Students



Biography

A Lecturer on two programmes BA (Hons) Interior Design and Furniture and BA Visual Merchandising and Display. After 25 years in industry working in the UK and Ireland, I am now a full time lecturer in DIT. 1st year tutor for the  BA (Hons) Interior Design and Furniture and 2nd year tutor for the BA Visual Merchandising and Display.


Abstract

This research paper investigates the perceptions of first year third level design students regarding their creative thinking and the use of creative strategies, while studying a first year design based curriculum in an Institute of Technology in Dublin. The research was conducted in a three-phase, sequential project.

The first phase, questioned twenty seven students in total from both the B.A. (Hons) Interior Design and Furniture degree and the B.A. Visual Merchandising and Display degree, by issuing anonymous questionnaires to gather data on their methods of incubating design ideas, if they experienced any levels of anxiety when doing so, and their satisfaction levels in their design and creative abilities. Literature was reviewed to discover the attributes of those we perceive as creative and if those attributes can be nurtured. Further literature was researched on whether or not creativity can be measured and what are the barriers to creativity.

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