Started 7 months ago
This exclusive course is part of the program:The Basics of Teaching Artistry
Started 7 months ago
This exclusive course is part of the program:
Would you like to enroll?
Enrollment for this course has closed. But you can enroll in a future offering (please select)
Enrollment has closed
Enrollment for this course is currently closed, but the next offering will be available shortly. Check back soon!
The Sydney Opera House specialises in long term teaching artist projects with a particular focus on exploring creativity in education. The physical building of the Sydney Opera House is at the heart of all projects. This course will focus on place as an enabling driver of developing creative projects, and complement the skills learnt in the first three courses.
Teaching artists work with communities based in all kinds of physical places and spaces. In this course students explore how architecture, location and environment can be used by teaching artists as a springboard for shaping purpose, and developing projects. By provoking new ways of seeing location through play, experimentation and questioning, place can inspire teaching artists to bring personal and political lenses to activate the artistry of others in situated, relevant and unexpected ways.
This course is in scheduled mode and is open for enrollment. Learn more about scheduled courses here.
Session 1: The Physical space
This first session is an examination of places from a macro perspective as a catalyst for teaching artistry. Students examine the boundaries of place; including the physical, legal and emotional boundaries. They begin to see how places can be used to create and present art within a teaching artist context. This session asks students to consider their personal responses to particular places and question how this colours their interpretations and ongoing conceptions of their places of work.
Session 2: Nooks and Crannies
This session zooms in to investigate smaller spaces and the ways architecture, furnishings and often overlooked corners have the potential to provoke new ideas and ways of working. Students are asked to examine the many nooks and crannies found in their local workplaces as potential galleries or performance spaces . They intentionally work with, and in response to these spaces to generate workshops and exercises that lead to art making with groups.
Session 3: The Materials of Place
This session moves into a granular analysis of place as a means to activate teaching artistry. This session overviews how the physical materials, textures and details of a specific location can be explored as a way to devise new theatre, writing and visual art. Students explore how building materials, (the surfaces and design) are starting points for teaching artistry practice.
Session 4: Places and People in Time
Place denotes time as much as space. Places have histories. By understanding place in time and over time (past, present and future) teaching artists can develop skills to use the histories and stories of place to consider changed contexts and renewed understandings of place.
Below you will find an overview of the Learning Outcomes you will achieve as you complete this course.
Situating Self in Place
- Students will learn how to balance the interplay of how they ‘fit’ into the place of their work. Building on the work from the two preceding courses students develop a rich understanding of how their personal connections to a site or place can trigger unique situated artistic outcomes.
Place as Muse
- Students learn to see their physical places of work as a means to generate opportunities for teaching artistry across disciplines with diverse groups. Students develop an understanding of how to see and respond personally to the often overlooked poetic idiosyncrasies of place in order to generate located performance, installations and exhibitions.
Hidden Histories and Invisible Characters
- Places are inhabited by people with overlaying interests and intents. Laying claim to that place for any period of time must be done in consideration with various protocols. Students will explore artistic strategies that emerge from the history and communities inhabiting their places of work in order to conceive and develop relevant and impacting works of art.
Instructors & Guests
Frank is a director, producer and community arts worker. He is currently the Creative Learning Specialist for the Sydney Opera House where he runs two programs, the Creative Leadership In Learning Program and Creative Play. From 2007-2012 Frank was Terrapin Puppet Theatre's Artistic Director. During this time he directed 8 shows, toured nationally and internationally and won a Helpmann Award for Best Production for Young Audiences for Boats. Prior to that he established and was the Artistic Director of the Ashfield Youth Theatre for seven years. He has directed, produced and performed for over 18 years. He has a Bachelor of Creative Arts, Majoring in Theatre Technology, from Wollongong University. Frank’s shows have played in festivals and venues in New Zealand, Ireland, Scotland, the USA, China and around Australia including the Sydney Opera House, the Arts Centre Melbourne and the Adelaide Festival Centre. He has worked with artists such as the Dell ‘Arte Players in California, Nigel Jamieson, Nick Enright, Gary Stewart and the Tasmanian Symphony Orchestra.
Frank is also a teaching artist with extensive experience and skills in Forum theatre, physical theatre, puppetry and object manipulation, actor training, and teaching creativity. He has worked as a teaching artist in a range of settings including juvenile detention centres and schools, and with groups of architects, financial managers and local councils.
Lilly Blue is a visual artist, educator and publisher with a background in pedagogical practice, studio research and community engagement. She currently works as Creativity Consultant and Teaching Artist at Sydney Opera House and was instrumental in the development of their Creative Leadership in Learning Program and The Creativity Framework. She co-founded contemporary arts publication BIG Kids Magazine, and has worked Internationally delivering arts residencies, professional development, creative commissions and exhibitions as well as designing programming for young audiences drawn from a rigorous personal practice. Lilly has been delivering classroom based studio practice across age groups in school, gallery and community settings for twenty-five years and has a genuine devotion to the arts in education as an essential ingredient in generating significant engagement with young people. Her personal philosophy has been to provoke meaningful encounters, impact significant learning outcomes, and grow compassionate, tolerant and creative future leaders through creative practice and connection with art and artists. She exhibits her work regularly and has been commissioned by Sydney Opera House, Belvoir St Theatre Company, Manly Art Gallery, SCAF, co-works and myriad private investors.
If a student signs up for The Basics of Teaching Artistry program, it is recommended that these courses are taken sequentially.
Peer Assessment Code of Conduct: Part of what makes Kadenze a great place to learn is our community of students. While you are completing your Peer Assessments, we ask that you help us maintain the quality of our community. Please:
- Be Polite. Show your fellow students courtesy. No one wants to feel attacked—ever. For this reason, insults, condescension, or abuse will not be tolerated.
- Show Respect. Kadenze is a global community. Our students are from many different cultures and backgrounds. Please be patient, kind, and open-minded when discussing topics such as race, religion, gender, sexual orientation, or other potentially controversial subjects.
- Post Appropriate Content. We believe that expression is a human right, and we would never censor our students. With that in mind, please be sensitive of what you post in a Peer Assessment. Only post content where and when it is appropriate to do so.
Please understand that posts that violate this Code of Conduct harm our community and may be deleted or made invisible to other students by course moderators. Students who repeatedly break these rules may be removed from the course and/or may lose access to Kadenze.
Students with Disabilities: Students who have documented disabilities and who want to request accommodations should refer to the via the Kadenze support center. Kadenze is committed to making sure that our site is accessible to everyone. Configure your accessibility settings in your Kadenze Account Settings.