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This exclusive course is part of the program:The Basics of Teaching Artistry
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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 adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: The Physical space (August 20, 2019)
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.
1. Course Overview
2. Acknowledgment of Country by Rhoda Roberts
3. Introduction by Lilly Blue and Frank Newman
4. Ripping & Tearing
5. Art Making Exercise: Ripping and Tearing
6. An Introduction to the Boundaries of Place
Session 2: Nooks and Crannies (August 27, 2019)
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.
2. Glen Hansard - Stay the Road
3. Staging in Unexpected Places
4. Nooks and Crannies
5. Meaning, Narrative, and Aesthetic Choices
6. Art Making Exercise: Nooks and Crannies
7. Site Specificity
Session 3: The Materials of Place (September 3, 2019)
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 (September 10, 2019)
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.
2. Time is Vertical
3. Art Making Exercise - Time in Vertical
4. Art Making Exercise - Time in Vertical Cont.
5. BONUS MATERIAL: Access Expo Changed Circumstances: Revision to Applications Required
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.
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