Written on January 18th, 2015 , Arts in Community, Arts-in-Ed, Teaching Artistry Tags: , ,

Bonnie Gale's work 1     It’s winter, and winter wonderlands bring to mind evergreens and warmer climes– for me, at least! So this blog is focused on Living Art—projects to do with your school or community that engage everyone, are stunningly beautiful, functional, and full of science and history exploration opportunities.

What the heck is Living Art?

In a nutshell, structures and sculptures made from alive plants (and some people would include running water). These are not just your king’s topiary! I was recently in Texas, and visited the Houston Museum of Natural History  and it’s adjacent Japanese Gardens in Hermann

My family at the HMNH

My family at the HMNH

Park . Gracing the grounds are wonderful huts, for lack of a better word, made of saplings. I thought immediately of my colleague Bonnie Gale. I had known about Living Art for sometime before meeting a willow-artist, but it wasn’t until I worked with Bonnie Gale of Living Willow  that I really understood its potential as a community arts medium, and as a fabulous part of any school curriculum. She writes, “Living willow structures (such as gazebos, tunnels, outdoor living rooms) have so much potential in the landscape. Structures are made from long, live willow rods that are pushed into the ground and then woven. Willow will self root and self graft so rods can literally be pushed straight into the ground. Living structures are often built in schools and communities with grant monies. In school settings, the design of the structure has been the logo, motto or mascot of the school. Living willow structures transform a bare yard into instant green three dimensional space providing shade, play and interest.”

Where Can I See Some, or Get Help?

LWS Book-coverIn addition to the amazing Bonnie Gale and Living Willow, there are a number of artists and places that specialize in this kind of work, and parks are adding more all the time. There’s Inspiration Green in the UK and the Bluestem Nursery in Canada, and I feel sure that a bit of internet searching would reveal more. Bonnie says, “The students and community members are involved in all stages of the structure from conception, design, layout, ground preparation and building through to on-going maintenance. Living structures are community building catalysts getting neighbors to communicate and work together … I love making large scale installation art. The bigger the better! Due to the recent degree in landscape architecture, I also love large scale design where the structures are incorporated with other materials, such as corten, rock and runnels. Successfully building living art which is rooted and growing in the ground, has a great deal of challenges not found with inert materials. The live material is so special and has profound energy….it clearly is a dynamic partnership.”

A Fabulous Example You Can Visit

 The Lady Bird Johnson Wildflower Center, “a public botanical garden dedicated to creating a more sustainable earth through research and education”, completely blew me away. Living structures, alive flowing water, towers, bridges, caves and pathways, and wild learning stations made this park a “must see” for me. If you are in Texas, add it to your list of fun places to be.

But no matter where you are, give some thought to finding community partners for this kind of project—long lasting, and far-reaching, Living Art is an incredible way to mix art, science, and public use space!

 

A little more about Bonnie Gale:

“My life as an artist is totally oriented to spatial containment and definition. I started with Geography at school (60’s) and southampton 001then on to City Planning (70’s) to making baskets (80’s) to being an installation artist of living structures (2000’s). It was all pretty logical but at the time, leaving the job world and becoming a basketmaker felt a complete change”.

Bonnie Gale has been a professional traditional willow basketmaker and willow artist for the past 31 years. In 1999, she was awarded an Artist’s Fellowship from New York Foundation for the Arts. Her living willow installations have been featured in Vogue, Vogue Living, House and Garden and Fiber Arts magazines. In 2009, her work was featured in the PBS “Cultivating Life” series and in 2010, she appeared on the Martha Stewart Show. She produced her first book: Living Willow Form in 2014. Her main web site is www.bonniegale.com. Her living structures can be viewed on the web site www.livingwillow.info

Written on July 20th, 2014 , Arts-in-Ed, Teaching Artistry Tags: , , ,

A Murder of ClownsBest times of my high school life.”

I just received this comment on my Facebook page after posting a PSA on how theatre transforms students’ lives. This comment does not represent a desire to goof off and party, nor is it an isolated sentiment. Theatre Education programs provide a safe place for students to be themselves, to explore relationships, to develop compassion, collaborative practices, and the idea of delayed gratification. Theatre Education programs are about understanding relationships and possible motivations behind the actions that people take.

These are the obvious take-aways.

Here’s some less obvious ones.

* Success in School. By any definition of “Youth at Risk”, the percentage of those who Song Rehearsalgraduate from high school is doubled—doubled!– when those students are coming from an arts-rich school environment. Click here to read the research study. 

At-risk students in arts-rich school environments also get better grades, have better attendance, are more likely to take upper-level classes and to succeed in them…. and on, and on, and on (more research here). For another take on how theatre education promotes success in school, watch this short (1.5 minute!) video PSA

* The business of theater is good preparation for other careers.

Here’s a short video PSA, if you prefer video, and below is an excerpt from Backstage Magazine, an article by Harvey Young (click here for the whole article).

Rahm Emanuel, the current mayor of Chicago and formerly Chief of Staff to President Obama as well as a Congressman, majored in the Humanities in college with a specialization in dance. “Value” studies would look at Emanuel and identify him as not being successful because he neither works as a professional dancer nor earns income in the field of dance. Instead of adopting this flawed logic, it is important for us to 

Fourth Grade Science Arts!

acknowledge that the skills gained through theater apply to other jobs and careers outside of the performing arts. Theater majors frequently become makers and producers oftheater but they also (and probably in equal or greater numbers) become lawyers, politicians, management consultants, marketing executives, and community educators to name just a few of the many career paths open to them.”

What Can You Do?

* Vote pro arts-in-ed.

* Find a way to support/promote arts-in-ed programs in your community

* Take a moment this week to see a performance that moves you to laughter or love or understanding or tears, or to watch a child become invested in the performance version of something otherwise challenging, or a community discovering and celebrating its voice. Then thank an arts educator.

Want to Develop your Own Skills?

There are a number of organizations that hold conferences. The New York State Theatre Education Association will be hosting its 30th Annual Educators’ Conference this year on September 19, 20, and 21, 2014 in Niagara Falls, NY. This conference is designed for anyone who uses drama and /or theatre with students – drama teachers, teaching artists, music teachers who direct shows, after-school providers, English teachers, general classroom teachers and others.

NYSTEA logoThe weekend will be full of workshops, panel discussions, and performances that will provide up to 26 hours of professional development hours and help educators and artists build on past experiences, take stock of existing standards – including the Common Core requirements, and find new strategies and inspiration for the future.

 Register at NYSTEA EDUCATORSCONFERENCE

Need more convincing? Try Impact Creativity and there are more Advocacy Links at Art USA (Americans for the Arts).

I close with this quotation of Henry Miller: The arts teach nothing…except the significance of life.

 

 

 

 

 

Written on June 11th, 2014 , Arts in Community, Arts-in-Ed, Masks, Teaching Artistry Tags: , , , ,

Hol-Masks-30Before launching into this week’s blogpost, I want to encourage you to support rabble.ca. If you are reading this post on Shearwater Productions, please take a minute to go to the rabble.ca website, read/listen/explore, and become a supporter of this amazing grassroots organization.  If you are reading this on rabble, take a moment to read something else here and become a supporter!

And now, the blog.

I have given a bunch of mask-making workshops recently, with the adult cast of a show, for toddlers, in school settings, with tweens who have disabilities, and as part of a physical theatre performance at a museum. Each time, the group members have been surprised by the ‘newness’ of it, then cautious and worried about ‘getting it right’ as they begin, then delighted and enthusiastic as the masks/characters come into being in their hands. Too often, I think, such exploration of an alien landscape is relegated to an art class when it’s power and wonder would blossom in sooo many other circumstances. I hope this article encourages you to take on a mask-making moment with your community, classroom, eldercare folks, children, women’s group…… all of it!

I have made masks out of many materials and using a variety of techniques, from traditional (wood, leather, fabric, papier mache, feathers, etc) to 20th century (latex, neoprine/acetate) to my current favorites that others are now also choosing:

Fox mask

Foxy

medical plastic (aquaplast) and believe it or not, manila folders. The Fox and the goofy pink/orange mask are examples of manila-folder masks, and I have made masks of horses and dragons that are almost three feet in length, and still light and strong. I am mad-CRAZY in love with this material!

I am deeply committed to manila-folder mask-making and spreading the love and use of this amazing material, because

  • it is so low cost (used folders are fine, and new ones can be had very very cheaply) that even impoverished schools and arts programs can use them
  • there is no need for water, so no cost there, and can be used in drought/water rationed areas
  • materials and by-products are all non-toxic, recyclable and mostly compostable
  • sooooooo easy to clean up
  • making masks like this involves creative problem-solving, geometric/architectural thinking, and artistic process!

This begs the question, why mask-making workshops? Why masks at all?

Arlecchino mask.Balinese people say that a good mask has ‘taksu’, it is a ‘spirit house’. I think that’s why people are drawn to masks—they seem to have a life of their own, their own passions, movements, intents, personalities. The better the mask, the more intensely we are excited, nervous, frightened, intrigued by them and by the idea of wearing them, performing them.

After all, why do people wear masks? To conceal identity…but that concealing is also a revealing, a taking on of a specific and ‘honed-in’ characteristics and implications. For example, the Lone Ranger and Zorro both wore simple black masks. Simple black masks, not red sequined masks with feathers or scuba masks or Scooby Doo ones. Simplicity of action and intent is part of what is implied by the mask, and the color and lack of distinguishing features implies something perhaps in the shadows. If you look at pictures of these two iconic masks, they might invoke a feeling of “strong” or “direct” as well.

Why else?

To play a specific, sharply defined character or one markedly different from oneself (as in Hallowe’en masks and Commedia dell ‘Arte masks); to play a part largely enough to be seen from farther away; to become a character beyond Mask from the Tempesthuman experience—gods, animals, trees, legendary creatures, even personified ideas. A mask also frees the self by demanding a higher level of commitment and releasing of self than other kinds of performing; the character of the mask is not only more sharply defined, but also more powerful, as the intents and emotions are amplified. Who the performer is becomes irrelevant—men, women, children of any ethnicity, language, and physical ability can become the character. It’s sort of the opposite of being a movie star, because the character has more life/importance than the performer, and different people can play the same part. How awesome is that? (Especially if the piece is political and the actor is arrested!)

There are more reasons, of course, but these are the main ones, and the ones that drew me to masked performing while growing up. I was deeply, almost pathologically shy as a child, constantly afraid of taking the wrong action, saying the wrong thing. Becoming an actor helped enormously, but exhilarating freedom came from discovering, ‘listening to’, and embodying a mask’s clear demands.

The process of making masks can be:

  • therapeutic
  • a means to connect more deeply to a cultural idea or animal legend (especially in an Elementary School Social studies or Language Arts curriculum)
  • a successful modality of expression for folks with language or writing challenges
  • WAY FUN

Sky Chief's Daughter

The Arts and Arts Education are for everyone. I hope the spirits of these masks intrigue you enough to suggest a mask performance at a local school or a mask-making project as part of a social-studies unit or elder-care facility, or for yourself to take a secret afternoon and call forth a creature from your dreams, bringing it to life with the materials in your hands. And let me know if you need pointers; I have written a few “How-to” mask-making blogs, and I am happy to share!

Written on June 1st, 2014 , Arts in Community, Arts-in-Ed, Masks, Performing, Teaching Artistry, Theatre for Social Change Tags: , , , , , ,

A Road in KabulI am walking down the dirt road, my headscarf up over my nose to keep from breathing quite so much dust and smog, averting my eyes and trajectory from any men, and looking for the cement stanchions on the righthand side that mark, for me, where I turn left. So many of the courtyard and protection walls look similar, I am still nervous about making a mistake, even though I have taken this route for over a week. My left turn takes me down another dirt road, past the home of somebody important, to the middle of the next block. There, next to a yellow metal door in the huge security wall, the building’s white facade is painted in bright colors with images of children juggling, standing on each others’ shoulders, and smiling. This is the compound of the Children’s Circus of Afghanistan.

Because I think my work with the girls there was colored/textured so heavily by the context of what is happening in Afghanistan, I want to paint a more detailed picture of what life is like there, especially for girls. As many of you know, Afghanistan has been torn by war since the 1970s, with the Taliban ‘occupation’ setting new standards for oppression and cruelty in this part of the world. When I was in Kabul eleven years ago, it was illegal to listen to music, wear bright colors, watch television or movies, illegal for girls to go to school, and for children to fly kites or play outside.

Of course, in true Afghan spirit, people did these things anyway, fighting the darkness with secret arts and education. How telling that these two phenomena, arts and education, are perceived as the most threatening things people could do!! And yet, this is what we Teaching Artists know, that arts and education are tools of immense power to instigate thinking, compassion, and action.

The dynamic and delightful blend of arts and education is the backbone of the Mobile Mini Children’s Circus/Afghan Educational Girls at FestivalChildren’s Circus, and is what took me down those dirt roads this past October and – I hope! – will again in 2014.

Although I spent half my time volunteering with the Afghan Friends Network, each day also held time with the wonderful children at the Circus school. Some days I was with them as they went to perform, some days I was the teacher for the full morning, and some days I hung out with them in their math or science or English or Dari class before being their Teaching Artist for the following hour and a half to two hours.

It’s hard for people in the US to really understand what girls ‘taking up space’ means, how important that is in and of itself, never mind the actual defiant act of girls studying anything outside of the Koran, which is still an issue (especially outside Kabul) despite official government support. Girls performing, having actions and a voice, being seen strong and bold in public and across Afghanistan deeply affects everyone—the viewers, the families of the performers, the boys in the Circus, the girls themselves.

There are so many street children here, and their situation is truly bleak. Many of the children at the circus would be walking that road without this incredible organization–which feeds them, by the way. Moreover, too often, street children and orphans do not have the opportunity nor modeling to develop social skills needed to thrive and become the agents of change they wish to be; the social skills needed to learn as a team and perform integrated juggling routines develops these skills. I was asked to help develop the girls’ sense of ‘theatricality’; what is character, how does one develop them, how/why would you include characters in a juggling routine… what is a scene… how does comedy and comic timing work… what are forms of local narrative, and how can we create work along those lines…entrances and exits… beginning/middle/end… physical theatre techniques, and so on.

SchoolSo there I am, only enough Dari to say hello, in a room full of children who typically all talk at once to each other throughout their academic classes (all learning and working, by the way), tasked with doing that listening-teaching thing in hopes of sparking their understand of and interest in various theatrical concepts. Daunting. Exciting. Chaotically beautiful. Each day I would come, not knowing if the schedule would bear any resemblance to what we had talked about the previous day, having a lesson plan of something fun, student-driven, and geared toward skill-discovery and exploration. I always came early so I could hang out with them in their other classes or as they prepared to perform, and participated in warm-ups, being extra goofy or rigorous or reflective as it felt right to do.

Some days I had some translation help from the “circus father” Hamid, sometimes my friend Eva of the Afghan Friends Network (who is not fluent but had waaaaay more Dari than I did) would help and participate, sometimes I and the girls struggled through with bits of Dari they taught me, bits of English they knew, and a great deal of gesture and pantomime. One day we played with masks and discovered characters, gestures, and walks, then let them create little scenelets (girl with mask video clip).  The next using masks they madeday we played with objects, creating scenes around them then using them to become other objects (including a hilarious one where a woman trying to smack a fly with a swatter pops another character’s heart). Another day we built on the “this object is really something else” and grew scenelets with those, focusing on humor and poignancy. We found it was easier and more fun for them with the masks, and that the ‘conceal/reveal’ nature of the masks made entrance and exit buttons more apparent. 

Slowly, bit by bit, we negotiated what was important, what was fun, when it was time for a break, when we wanted to work beyond the normal parameters. They came to trust my intent and instinct and would reach more passionately across the divide of language as well as that of theatrical understanding. They worried less and played more. On our last two of my ten days, they created a new piece based on a favorite folktale, using each other as the trees and house, discovering largess and timing and so much more, and even though it was fairly raw, it was enchanting and Hamid planned on developing it to be included in the touring show, the first piece of its kind, the first story told. This video clip is from part of the story where the father has plucked the sacred fruit, is accosted by the ogre, and in fearful desperation, promises the ogre one of his daughters in marriage. For our final day, I wanted to plan an activity that was loose and individual as well as cooperative, so they made their own masks.

Girl Jugglers_edited-1I was told I should extend my stay, which I logistically could not do, so instead we have made plans for my return, which includes grant hunting and Dari-learning. I can only believe that somehow the pieces will come together, and I will again be in a deliciously crazy situation with brilliant, brave girls who will be the first in many years to tell a story, be loud and large and take up space in front of everyone. In the grey-brown streets and hills of Kabul, my heart will be bright and full of joy and gratitude.

 

 

Written on May 21st, 2014 , Arts in Community, Arts-in-Ed, Teaching Artistry, Theater History, Theatre for Social Change Tags: , , , ,

unesco logoQUICK!!!

Turn to the nearest Arts Educator and thank them! Buy them a tea or coffee! Congratulate them on helping make the world a more empathetic place!

This week is both UNESCOs International Arts Education Week AND National Teaching Artist Appreciation Week in the United States. In honor of International Arts Education week, Routledge Education has made several Arts for Peace articles available online to peruse for free up till July 31st, 2014. See below for info and links!

National Teaching Artist Appreciation Week was established by the Association of Teaching Artists in 2012. Says founder Dale Davis, “ATA’s belief that Teaching Artists are important and integral parts of quality education and vibrant communities led to declaring the third week in May as an official celebration of the many contributions of Teaching Artists to making life better for so many children and adults. Time to pause and think and to appreciate and support the work of Teaching Artists in our schools and community.” If there is a Teaching Artist you would like to honor this year, please contact Dale Davis at ATA at ddavis@teachingartists.com.

 

ARTSEDGE logo

Want to bring more arts to your own classroom practice ? The Kennedy Center’s ARTSEDGE has class plans complete with all the attachments you need, step by step instructions…it is amazing. A great place to start and then get excited about involving a local performing or visual artist or perhaps linking more closely with the school arts teachers!

Finally…if you need a reason to believe in Arts Education, here’s an awesome study showing connections between an arts-rich school environment and success for youth at risk on many many levels  AND here’s a link to a giant pile of studies showing benefits from arts education for children, teachers and community! 

Aaaaaand as promised, Routledge Education’s Arts for Peace Article CollectionIt includes (but is not limited to):