Tag Archives: education

Link Roundup! – 5/22/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Photograph by Bobby Doherty

This NY Magazine story about Fieldston Lower School in New York City and their experiment to combat racial bias by separating students by race is getting a lot of attention:

The program, which was also put in place this school year at Ethical Culture, Fieldston’s other elementary school, would boost self-esteem and a sense of belonging among minority kids while combating the racism, subtle or otherwise, that can permeate historically white environments. It would foster interracial empathy by encouraging children to recognize differences without disrespect while teaching kids strategies, and the language, for navigating racial conflict.

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Backstage.com, a major resource for casting directors, has changed it’s actor profile feature to be friendlier to trans actors after the casting process for Taylor Mac’s play Hir revealed some shortcomings in their their system:

As a matter of fact, the casting process of Hir has led to some big changes on Backstage.com. When we originally posted the casting notice, we were able to be specific in the text of the role description that actors auditioning for the role of Max be trans, but there was no way to categorize the role as transgender for the purpose of search; the role and profile search options on Backstage were limited to male and female options. Contacted by Playwrights Horizons, Backstage took the necessary steps to keep pace with the times.

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Link Roundup! – 5/15/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Children play with a basketball in front of a vacant home, left, and a restored home in the Reservoir Hill neighborhood of Baltimore on May 10, 2015. (AP Photo/Patrick Semansky)

A group of black students from Harvard’s Graduate School of Design, frustrated with a lack of coursework that deals with race and social justice issues in design, have compiled their own syllabus for CityLab:

“Practitioners need to improve their proficiency with regard to working on social equity issues,” says Carlton Eley, an urban planner who works for the U.S. Environmental Protection Agency. He notes that there are professionals of color in organizations like the National Organization of Minority Architects* (NOMA) who are thinking critically about these issues, but are often overlooked by the mainstream design community…“The issue is an ideology that finds its roots in architectural modernism, which eliminates ethnocultural and even sociocultural conditions from the variables that define quality architecture,” says Lee. “When we eliminate these essential considerations, we lose the ability for architecture to respond to the colloquial design languages of the people it serves.”

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At HowlRound, Julia Rada explores the terminology “safe space” and what it means for educational spaces:

I have been thinking about how we, as practitioners, almost compulsively talk about “safety” in our work, particularly in the studio or classroom, as though it is embedded in what we do. Safety is ubiquitous in our vernacular; we ensure it almost by reflex. What is safety, though? What are we really trying to get at when we talk about “safety?” Can we actually ensure it? Isn’t education and art-making intended to be risky? If we are taking risks and growing, can we ever be truly safe?

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Link Roundup! – 4/18/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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In the most recent post on Bitter Gertrude, Melissa Hillman examines the negative online reactions that the photo below received and how it highlights the importance of engaging with young audiences on their own terms:

Photo by Alvaro Garnero

We talk a lot about wanting to engage the rising generation in theatre, and I’m seeing a lot of “what can we do about this?” commentary on this picture. Listen: If you want to engage the rising generation, the first thing you need to do is stop lying to yourself about them. You’ll fail to engage them if you don’t approach them with honesty…This is exactly why 99.999% of “audience engagement strategies” fail miserably to bring in young, diverse audiences. This is why “tweet seats” failed. We’re not looking at this generation honestly. Instead we look at studies designed from the outset to confirm our hypotheses. We make assumptions about how the rising generation thinks and feels based on how they make us think and feel. We refuse to engage them on their own terms, instead dictating the terms to them and then blaming them for boorishness when they fail to meet them.

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Seth Lepore’s HowlRound essay about the importance of entrepreneurship and the blind many college theatre programs have about it has been getting lots of online buzz this week:

The blind spot of most college professors needs to be understood for what it is. A lot of college teachers who are tenure track have been in school their whole lives. Creating their own work has been in the context of academia and the relationship to both process and theory. Practitioners in the academy always have a place to rehearse and develop new work. They don’t have to worry whether people attend the performance and if it will break even or not. When showing a new work, they are part of an infrastructure that already subsidizes them. The business skill set doesn’t seem to fit into “What Would Artaud Do?” They are focused on students building a performance skill set. I’ve actually heard some of these well-meaning professors say “If they want that information, they can take a course with the business school.”

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#StaffChat: A Critical Look at THIS IS MODERN ART

Staff Chat posts feature articles and news that the C1 team discusses as part of our weekly all-staff meeting. We’d love to hear your thoughts too — hit us up on Facebook or Twitter!

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This week’s Staff Chat will focus on the conversation around the play This is Modern Art (Based on True Events), a Steppenwolf for Young Adults production co-written by Idris Goodwin and Kevin Coval. We’re looking at two reviews of the play and a few articles that examine the critical reception of the piece:

Kelly O’Sullivan (from left), J. Salome Martinez Jr., Jerry MacKinnon and Jessie D. Prez in the Steppenwolf Young Adults production of “This Is Modern Art.” (Photo: Michael Courier)

The play, inspired by a real incident, follows a group of Chicago teens who decide to cover the Art Institute of Chicago’s Modern Wing in graffiti art. In their reviews, critics Jones and Weiss briefly touch on the artistic aspects of the play (which they seem to praise), but spend most of their columns taking the show to task for its portrayal of graffiti artists. From Jones:

But here is what “This is Modern Art” barely even mentions: Graffiti comes at a price. It can be invasive, self-important and disrespectful of the property of others — and plenty of struggling folks have had to clean graffiti off something they own or love. Graffiti can be inartful, for goodness sake. More importantly yet, graffiti had the effect of making people feel unsafe in the city. It terrified people. It was only when public officials declared themselves determined to wipe it out that cities finally came back to life, with broad benefits.

You wanna go back to riding public transportation in New York or Chicago in the 1980s? I do not. You do not have to be conservative or somehow not down with youth to think it reprehensible that these issues do not have a place in a show for schools that is quite staggeringly one-sided.

Weiss continues this line of thought in her review, though she takes it even further, stating:

This play is a wildly wrong-headed and potentially damaging work — one that fails to call “vandalism” by its name, and rationalizes and attempts to justify that vandalism in the most irresponsible ways. It also trades in all the destructive, sanctimonious talk about minority teens invariably being shut out of opportunities and earmarked for prison in a way that only reinforces stereotypes and negative destinies. Counterproductive in the extreme, it deepens and solidifies racial and class divisions and a sense of hopelessness among those who need to dwell on possibility.

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Link Roundup! – 2/13/15

Link Roundups feature articles and bits of internet goodness that our dramaturgy team digs up. If you find something you want to send our way, drop us a line on Facebook or Twitter!

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Kindergartners at Wheeler paint the backdrop for their school photos. (Courtesy of Ada Leaphart/Integrated Arts Academy at H.O. Wheeler)

This piece about the Integrated Arts Academy in Vermont combining the arts with math, science, social studies and other curriculum really highlights the importance of creativity in the classroom:

What does art integration look like? Recently, a fourth-grade lesson on geometry examined the work of the famous Russian artist Wassily Kandinsky. The class talked about his work and then created their own art using angles in the style of Kandinsky. Students had to be able to identify the angles they’d used and point them out in their art.

“Higher analytical thinking and reasoning and student voice fit so well with the arts,” said Bobby Riley, the school’s principal. Teachers are seeing ways to make connections between subjects and watch as students find creative confidence and voice in their expression.

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The Boston Globe has an interview with Julie Burros, the new arts and culture chief, about her plans for Boston and what she’s learned about the city’s cultural scene since taking office:

On the relationship between the arts and income inequality, I’m curious to know: Can you use arts and culture to address that growing problem?

Maximizing people’s creative capital could help create income opportunities for people who maybe don’t see themselves fitting into the four-year college track or the corporate world. There’s another relationship in, how can unlocking people’s creative tools help them be more employable, more well-rounded employees for all different kinds of industries? And then there’s just the appeal factor. If we have more robust arts and culture offerings in our schools, it could keep kids in school longer.

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#StaffChat: Supporting Arts Education

Staff Chat posts feature articles and news that the C1 team discusses as part of our weekly all-staff meeting. We’d love to hear your thoughts, too — hit us up on Facebook or Twitter!

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Kristen Engebretsen, arts education program manager for Americans for the Arts, wrote an article about ways to support arts education for ArtsBlog that was recently posted by The Alliance for Student Activities:

Ten Ways to Support Arts Education

C1’s educational programs are a huge part of the company’s mission, so this issue is near and dear to our hearts. We are passionate about our Stage One and Apprentice programs, and always looking for ways to increase the visibility of the work our students are doing. This article is a good reminder to think about how we can ensure the future success of our educational programming and initiatives, and a solid resource for anyone who is passionate about keeping the arts in our schools.

Here are a few suggestions from the article that especially stick out: Continue reading →

The Atlantic: Art is Vital

This article from The Atlantic highlights the importance of art in education and how participating in the arts enhances success in other areas of academia. Read the article here.

The Bay State Banner: Company One Raises the Curtain for Student Jobs

Company One is featured in an article in The Bay State Banner for our Stage One program. The article highlights the apprenticeship program in addition to our programs in local Boston area schools. It also talks about the work the students do as well as the impact the program is having on those who participate. Read the article here.

American Theatre Magazine: The Technical Answer

An American Theatre Magazine article, The Technical Answer, talks about the advances in technology in theatre and how (or if) we are training the next generation of theatre makers in this new technology. Jared Mezzocchi (Astro Boy and the God of Comics) is interviewed in the article and talks about the multimedia class he teaches at the University of Maryland. Read the article here.