The Basics of Teaching Artistry
Harmony Jiroudek is active in the fields of vocal performance, arts education technology, and instructional design.
Jiroudek, an accomplished mezzo-soprano, has participated in several American and world premiere performances, including Michael Gordon’s What to Wear, George Aperghis’ Sextuor: L’Origine des espèces, and David Rosenboom’s Attunement. Other noteworthy performances include: Igor Stravinsky’s Les Noces and Mavra, Steve Reich’s Music for 18, Bruno Maderna’s Satyricon, J.S. Bach’s Cantata 170 with guest violinist, Elizabeth Blumenstock.
She received a Bachelor of Fine Arts and a Master of Fine Arts in vocal performance from California Institute of the Arts, where she also served as voice faculty from 2012-2014
John Holyoke is currently a Lead Instructional Specialist at Lincoln Center Education. He oversees educational content design across multiple program areas and helps facilitate professional development for visiting teachers and LCE’s teaching artist faculty. John began work at LCE as a teaching artist and lead teaching artist over fifteen years ago. He has served as Assistant Director of Higher Education Partnerships at Lincoln Center Education and as Senior Program Manager for over a decade. In these roles, John helped to foster many partnerships and supported curriculum design in both Higher Education and LCE’s Focus School Collaborative, grades K-12. He has conducted countless workshops at schools of education throughout New York City, Lincoln Center’s Summer Forum, and various conferences across the region and country. His areas of expertise include experiential lesson design and inquiry driven facilitation.
John worked as an actor and writer/director for many years in both New York and Seattle, where he was a co-founder of the Compound Theater.
Jean is a teaching artist for Lincoln Center Education, working extensively in their local programs and international consultancies. She received Lincoln Center’s Directors Emeriti Award in 2012. Jean teaches Theatrical Clown and Aesthetic Inquiry for The New School for Drama’s BFA and MFA programs and has taught Theatrical Clown for The Barrow Group for over 15 years. She represented LCE at the International Teaching Artist Conferences in Oslo, Norway, Brisbane, Australia and most recently in Edinburgh, Scotland.
As a performer, Jean and director Eric Nightengale presented a trilogy of their devised work, True Hazards of Childhood, Pants and Skirts, and Elsinore or Bust for a month of performances at The Barrow Group. Jean’s earlier devised work Wild Hair was developed with a grant from the Maxine Greene Foundation and performed at Dixon Place, The Barrow Group Theatre, Mount Tremper Arts, and The Flynn Center in Vermont. Her current work, Stop/Slow (A Flagger’s Lament), will premiere in Spring 2018.
Additional performing work includes The Reclamation with Hilary Easton + Company and Snatches, a play begun at the 78th Street Theatre Lab, performed at The Edinburgh Fringe Festival and London’s New End Theatre, and presented on BBC Radio 4. Also for the 78th Street Theatre Lab: Beckett’s Rockaby, Naomi Wallace’s One Flea Spare, and Arlene Hutton’s See Rock City
Rebecca is Director of Public Engagement and Learning at Queensland Performing Arts Centre. She leads a team of teaching artists, producers and arts managers to curate and deliver programs that build context, increase participation and support audiences and communities to make meaning through live performance. One of the key initiatives produced by the team is the internationally recognised Out of the Box Festival for Children under 8. Rebecca is also the Editor of QPAC’s Story magazine, a biannual publication featuring some of the world’s leading writers, artists and thinkers exploring ideas in art, performance, placemaking and learning.
Over the last 20 years, Rebecca has worked with large and small arts organisations including performing arts centres, literary festivals, visual arts, youth programming and education, libraries and museums. Her work spans non-profit administration and leadership, strategic planning, critical analysis, conceptual development, research, consultation, programming and evaluation. She was the first Australian accepted as an International Fellow of the John F Kennedy Center for the Performing Arts in Washington DC.
Originally training as a journalist at The University of Queensland, Rebecca has a Master of Arts in Cultural and Media Policy from Griffith University.
Professor Judith McLean is the Chair of Arts Education at the Queensland University of Technology and Scholar in residence at the Queensland Performing Arts Centre. The role is a unique collaboration between the two entities and McLean’s role is to inspire and build points of connection in arts learning within arts and non-arts institutions and communities across Australia and internationally.
McLean designed and currently leads the Australia Council’s Senior Leaders Program which is a twelve-month project where leaders from across the globe meet in different Australian regions building their own and their organisation’s capacity. Mclean’s areas of expertise include: arts practice, brain based learning, developmental and psychoanalytical theory, leadership studies and adult learning.
She has led ground-breaking inroads as a teaching artist working in and across non-traditional sectors: health and engineering as well as a range of arts based programs/projects. The common thread operating across these disparate sectors over a 30-year career is an ability to re-purpose and transfer the knowledge and skills of the teaching artist’s practice to explore self-expression, identity and creativity in the workplace.
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.
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.
Many artists seek out opportunities to work with community groups and for a variety of purposes - artistic, political or social. In the US, Australia and South Korea these workers are commonly referred to as Teaching Artists, although around the world they may be known as community artists, community cultural development workers or artists pursuing a socially engaged practice through the participatory arts. This Program is for professional artists and creatives seeking to integrate their art form, perspectives, and skills into a wide range of settings such as schools, after school programs, community agencies, prisons, jails, and social service agencies.Three leading international arts organisations have collaborated to design and deliver this entry-level program for those wishing to develop their practice as teaching artists. The four courses are sequenced in a structured way. After the Kadenze Academy introduces the basic principles of being a teaching artist, Lincoln Center Education in New York illustrates the skills that effective teaching artists need. Following this the Queensland Performing Arts Centre (Brisbane, Australia) introduces central issues to the way teaching artists engage and co-create with their audiences and communities and in the final course, the Sydney Opera House, (Sydney Australia) addresses ‘place’ as an enabling driver to develop teaching artist skills for creativity and learning.
- Map the field of teaching artistry in order to engage artistically, effectively and ethically with diverse communities and cultures
- Engage with and develop the core capabilities of the teaching artist, drawn from the proven practice of lead teaching artists
- Re-frame and apply your artistic practice for community contexts through exchange, collaboration and co-creation
- Session 1: Introduction: What is a Teaching Artist?
- Session 2: The Field of Teaching Artistry
- Session 3: On Becoming a Teaching Artist
- Session 1: Building Environments for Engagement
- Session 2: Planning and Designing Workshop Experiences
- Session 3: Integrating Inquiry and Reflective Practices
- Session 4: Activating Artistry and LCE’s Work of Art Thread
- Session 1: Audiences and Communities
- Session 2: Commission and Purpose
- Session 3: Expanding Connections with Audiences and Communities
- Session 4: Collaboration and Co-Creation
- Session 1: The Physical space
- Session 2: Nooks and Crannies
- Session 3: The Materials of Place
- Session 4: Places and People in Time
- Identify and practice the fundamental skills of the teaching artist for diverse communities and sites
- Become part of a global network of teaching artists and partner organizations
- Design a TA project which caters for your interests and skill levels
- A verified Specialist Certificate that prove you completed the Program and mastered the subject.*
- A verified course Certificate for each individual course you complete in the program.*
* Each certificate earned is endorsed by Kadenze and the offering institution(s).
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Why join a Program?
Becoming a specialist in a subject requires a highly tuned learning experience connecting multiple related courses. Programs unlock exclusive content that helps you develop a deep understanding of your subject. From your first course to your final summative assessment, our thoughtfully curated curriculum enables you to demonstrate your newly acquired skills.