Contours of Inclusion: Inclusive Arts Teaching and Learning

The purpose of this publication is to share models and case examples of the process of inclusive arts curriculum design and evaluation. The first section explains the conceptual and curriculum frameworks that were used in the analysis and generation of the featured case studies (i.e. Understanding by Design, Differentiated Instruction, and Universal Design for Learning). Data for the cases studies was collected from three urban sites (i.e. Los Angeles, San Francisco, and Boston) and included participant observations, student and teacher interviews, curriculum documentation, digital documentation of student learning, and transcripts from discussion forum and teleconference discussions from a professional learning community.The initial case studies by Glass and Barnum use the curricular frameworks to analyze and understand what inclusive practices look like in two case studies of arts-in-education programs that included students with disabilities. The second set of precedent case studies by Kronenberg and Blair, and Jenkins and Agois Hurel uses the frameworks to explain their process of including students by providing flexible arts learning options to support student learning of content standards. Both sets of case studies illuminate curricular design decisions and instructional strategies that supported the active engagement and learning of students with disabilities in educational settings shared with their peers. The second set of cases also illustrate the reflective process of using frameworks like Universal Design for Learning (UDL) to guide curricular design, responsive instructional differentiation, and the use of the arts as a rich, meaningful, and engaging option to support learning. Appended are curriculum design and evaluation tools. (Individual chapters contain references.

Teaching and Professional Fellowship Report 2006/7 : The Vakhtangov Technique

Exploring a more sophisticated, coherent delivery of the Vakhtangov technique within the Drama Centre curriculum. The Vakhtangov system is centred on emotional memory and naturalistic modes of acting known as 'fantastic realism', in radical contrast to the traditional Stanislavski approach

Access, April 2011

https://scholarworks.sjsu.edu/accessmagazine/1002/thumbnail.jp

The game jam movement:disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art

Ludic Learning Lab: Serious Games for Nurses. Theatre Training Reimagined

Theatre improvisation supports the development of interpersonal skills, building verbal and physical imagination, whilst enabling compassionate interaction between people to enhance connections. Improvisation is emerging in health care as a pedagogical tool that can enhance human to human connections such as the interaction between a nurse and patient enabling experiential learning. This thesis argues that the ludic nature of improvisation exercises stimulates enhanced interaction skills (Toivanen, 2011). The ancient body-mind practices that improvisation draws on offer valuable skills to the learner, contributing to the andragogy of nurse practice and pre-registration education and training. Nurses require unique cognitive capabilities to multi-task, problem-solve and prioritise urgent needs in a fast-paced hospital environment. Human factors such as communication and situational awareness are essential to maintaining high-level patient care across a challenging environment (Eisenhardt, 2021). The World Health Organisation (WHO, 2019) and The Australian Commission for Quality and Safety in Health Care (Report The State of Patient Safety and Quality in Australian Hospitals, 2019; Fotis, 2010) found that deficiencies in human factor skills in hospital settings are affecting patient safety; fifty per cent of adverse events are preventable. Communicating for safety in training is a number one priority to reduce preventable adverse events. This thesis explores the principles and theories of theatrical improvisation through engaging with the work of Viola Spolin, Rudolph Laban, Augusto Boal, Jacob L Moreno, David Kolb and Howard Gardner. It comprises both a theoretical/critical component and a creative component which is a digital toolkit, the Improv-e-toolkit designed to be used in blended delivery, face-to-face and digital mode. The Improv-e-toolkit is a prototype that aims to unite important clinical nursing skills such as situational awareness, decision making and relationship management. I argue, drawing on the work of Hager (2004) that improvisation training develops team-based trust and effective communication to support positive nurse-patient connections which deliver favourable patient outcomes

MINDtouch embodied ephemeral transference: Mobile media performance research

This is the post-print version of the final published article that is available from the link below. Copyright @ Intellect Ltd 2011.The aim of the author's media art research has been to uncover any new understandings of the sensations of liveness and presence that may emerge in participatory networked performance, using mobile phones and physiological wearable devices. To practically investigate these concepts, a mobile media performance series was created, called MINDtouch. The MINDtouch project proposed that the mobile videophone become a new way to communicate non-verbally, visually and sensually across space. It explored notions of ephemeral transference, distance collaboration and participant as performer to study presence and liveness emerging from the use of wireless mobile technologies within real-time, mobile performance contexts. Through participation by in-person and remote interactors, creating mobile video-streamed mixes, the project interweaves and embodies a daisy chain of technologies through the network space. As part of a practice-based Ph.D. research conducted at the SMARTlab Digital Media Institute at the University of East London, MINDtouch has been under the direction of Professor Lizbeth Goodman and sponsored by BBC R&D. The aim of this article is to discuss the project research, conducted and recently completed for submission, in terms of the technical and aesthetic developments from 2008 to present, as well as the final phase of staging the events from July 2009 to February 2010. This piece builds on the article (Baker 2008) which focused on the outcomes of phase 1 of the research project and initial developments in phase 2. The outcomes from phase 2 and 3 of the project are discussed in this article

Enhanced reality live role playing

Live role-playing is a form of improvisational theatre played for the experience of the performers and without an audience. These games form a challenging application domain for ubiquitous technology. We discuss the design options for enhanced reality live role-playing and the role of technology in live role-playing games