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Sessions Year Without the Skills and Resources to Successfully Transition Friday, October 3 Beyond Bars Sessions year without the skills and resources to successfully transition Friday, October 3 beyond bars. This experiential workshop will demonstrate 9:00 am All Stars Project InterPlay forms used in prisons and jails. Come experience how Castillo Theatre Theatrical Performance as Technology: performance and play establish trust and build rapport in a The Case of Drama in AIDS Education (Dramaide) captive-audience setting. Learn three InterPlay forms used with Kennedy Chinyowa incarcerated women that you can use in this and other settings. This session examines the cultural engineering mechanisms Green Room Playing with Autism (We are not supposed inherent in applied drama and theatre practice as an aesthetic to be able to do this, are we?) bridge for engaging sensitive issues such as gender, sexuality. Paul Murray and HIV/AIDS. The session will consist of a brief talk and For one day a week for four years I worked as a theatre-maker video presentation followed by a panel discussion. The video in a residential school for 11 to18 year-olds in the UK. All of presentation deals with a drama approach to HIV/AIDS the students have a diagnosis on the Autistic spectrum. Many prevention in South Africa. have dual or multiple diagnoses included ADD and “behavioral Downstairs Theatre Impact Assessment: Do Expectations Meet problems.” As a result of this theatre work, children performed Participant Goals in Theatre for Development in ways other than they were “supposed to” (according to their Yasmine Kandil diagnoses). In what ways (if any) is this significant? Through Impact Assessment demands that facilitators look closely performance, presentation, discussion, and group theatre- at their methods in using theatre for community building. making activity, this session will seek to facilitate an exploration Do we set our standards too high in order to make our work of this question. more attractive to donors? Do we consider the needs of the participating communities, and do we give them the space to 9:00 am East Side Institute create their own project goals? We will look at the Arts-for-Youth Room 1 The Creativity of the Group: Garbage Collectors project in Cairo and consider the facilitator’s Playing with Voice and Text agenda, expectations of donors and the broader community. Flloyd Kennedy, Aole T. Miller Taking Dame June Bloom’s (The Woman Who Dreamt of an Studio 1 All the World’s a Stage: Entering into the Afterlife) model for establishing a non-judgmental, ethical World of Language Through Drama framework for participation (a framework developed in Veena Balsawer collaboration with Magdalena Brisbane), the group will explore We all tell and act-out our stories. As an Indo-Canadian teacher a range of physical theatre practices and vocal skills to devise in a Canadian state-sponsored International Language Program, short performance pieces. The aim is to provide the participants I love to share my favorite children’s stories with my students. with an experience of creating work in a sustainable ensemble How do Indo-Canadian students interpret these stories in order — one that is capable of transforming the community it serves. to create meaning, to learn a new language, and to construct their identities? In order for them to speak and practice their Room 3 The Body Politic: Performing “Power” second language, we enact these stories in our classroom. in the Playspace Drama is often a creative tool for students because it lets them Nisha Sajnani, David R. Johnson live through diverse experiences (Bouchard, 2002). In this workshop, we will draw on embodied, improvisational, and relational applied-theatre practices to materialize and then Demonstration Social Inclusion and Physical Education unsettle the ways in which we think about, repeat, and (re) Rikke Møller-Johannesen, Lars Frost produce “difference,” “desire,” and “power.” Participants will be What’s the relationship between social inclusion and physical invited to identify and examine the core processes within these education? In this panel discussion, we will present and applied-theatre practices that encourage a playful reflection on demonstrate practical methods for creating inclusivity using interpersonal, social, and political power, and which increase sports and physical education. In sports and physical education, our ability to tolerate and respond to difference. Our hope is people from different countries, from different social contexts, to offer a stimulating laboratory experience for participants, are brought together. This level of diversity demands a good to explore the tensions and hierarchies of power within our deal of tolerance and openness from participants. Participants intimate relationships. learn that their differences can be positively contributory by practicing sports together. We look to promote the possibilities Room 5 Seniors Develop Through Performance of sport and physical education to play a socially inclusive role Susan Massad, Nina Utigaard, Vicky Wallace, Ronald Wiener in more people’s lives. The All Stars Project’s Senior Theatre Workshop makes use of a Youth Conference T he Screen as a Tool for Cultural Preservation and particular understanding and practice of ensemble building — Social Peace: The Example of Nigerian ‘Nollywood namely, that seniors develop and grow by building the ensemble. This experiential workshop will bring together a panel — Olayemi Solade many of them seniors — who work in the arena of senior In this session, we will use video clips and other “playful” means to present a paper entitled, “The Screen as a Tool for performance. They will present their various performance Cultural Preservation and Social Peace: The Example of Nigerian projects and share their discoveries about what has been learned Nollywood.” We hope to answer questions that the paper and/or about reinitiating development in later life. its presentation style generates. 10:00 am All Stars Project Studio 2 InterPlay with Prisoners: The Power of Castillo Theatre He’s so queer, he probably sits down to pee: Performance and Play for Women Inmates Performing Sexuality Through Narrative Sheila Collins, Lila Morisee and Movement High incarceration rates in the U.S. and too few rehabilitation Don Halquist programs means 650,000 people are returned to society each Being gay or being perceived as gay can make growing up in PERFORMING THE WORLD Friday, October 3 most small towns difficult. Many gay boys experience isolation, PTW participants? How can we create an inspiring, creative, self-doubt, self-hatred, and are repeatedly marginalized or and highly effective global team to support the performance positioned differently through others’ words and actions. For movement worldwide? In our session, we invite you on an me, one particularly stinging comment came from a teacher. His extraordinary expedition to explore interactive “Change Theatre” remark, “He’s so queer, he probably sits down to pee,” still stings — a transformative vehicle whereby we consider and exchange today and serves as the impetus for this performance piece diverse ideas and perspectives, find common ground, and create that uses movement, text, music, and imagery to explore and a common vision. confront issues of homophobia, bigotry, and heterosexism. Youth Conference Communit y Properties, Community Change, Downstairs Theatre Lev Vygotsky: One Man’s Legacy Through Quality of Life, and Mental Health His Life and Theory Robert Kleiner, Tom Sorensen Programs of action and intervention must come out of Valerie Lowe knowledge that is characteristic of and informed by the Lev Vygotsky: One Man’s Legacy through His Life and Theory population and its social structure, as well as by our theoretical explores the life and legacy of Russian psychologist Lev S. orientation and experience. The very nature of the research Vygotsky. Born into a Jewish family, Lev spent his early years in the tumultuous time of pre-revolutionary Russia. Vygotsky problem itself and its solution is often determined by the social is best remembered for his foundational concepts of Cultural structure and psychological outlook of the community. In our Historical Theory, which remains relevant today as a tool for presentation, selected data sets will be used to illustrate the understanding human development compelling nature of this position for generating intervention and social action programs. Studio 1 Johnson Relating to Song as Historical Studio 2 and Personal Narrative The Body as the Basis of Relationship and Performance Yolanda Johnson Elaine Dove, Julie Nathaniecsz King David used songs to mark his personal struggles, along When mind and body are working harmoniously and centered with the history of Israel and its relation to God. Fanny in the Now, respect and awareness of the precious fragility of Hensel’s beautiful songs reveal a woman composing in an era life increases. Instead of seeing other people as separate from of male musical masters. The hymns and spirituals of African- ourselves and threatening, we begin to perceive the shared Americans have put to music the strife and perseverance of their humanity of the body and our common wish to relate with epic journey through slavery. From personal reflection to social others through our bodies. As students and practitioners of commentary, there is something special about the effective psychotherapy, somatics, and dance, we are curious about the interpretation of song, which connects to each individual’s life inter-reciprocity of these forms of life as a ground from
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