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Preliminary Programme 2. – 8. JULI 2001 IDEA 2001 BERGEN 2-8 July 4th World Congress for Drama/Theatre and Education International Drama/Theatre and Education Association Preliminary programme Introduction General information about the registration Background information on the different events you can register for 1: Schedule for the week 2: Workshops, papers and keyhole presentations 3: SIG – Special Interest Groups 4: IDEA Summer School 5: Social Programme – Parties and Excursions Registration form 1 and 2 Introduction The paper version of the preliminary programme is presented in English. We will send out a French and Spanish electronic version in a few days. We wish we could have given you a full programme in the three official languages of IDEA; French, Spanish and English – and of course in Norwegian for the participants from the Nordic countries, but we cannot afford the expenses. The description of the workshops, papers and keyholes in all three versions are only provided in the given language of the presentation. In the ordinary programme we will present our keynote speakers, the members of the Nordic honorary committee, the members of the main committee for IDEA 2001, the Young IDEA Project, the theatre festival programme, the IDEA Student Festival, the research meetings, the morning sessions, as well as additional information about the social programme. Moreover, descriptions of the posters in the exhibition will first be available in the ordinary programme – which you will receive at the start of the congress. All delegates must register at the registration desk in Grieghallen (the Grieg Hall) to receive name badge, Congress Programme, tickets etc. The registration starts at 4 pm on Sunday July 1st. At the end of this document you will find the registration forms – for which activities you would like to take part in. Fill in the registration form as soon as you can. We have a fantastic programme – with a great range of variety. Our principle for giving you your first choice is: ”first come, first served”. Good luck with your difficult choices! See you all soon! Kari and Øystein 2 General information about events registration Form No.1 Part A: Workshops/papers/keyhole presentation: Please fill in your first and second priority for each day. In the programme presentation each event has a code. Use this code when you set your priorities. See further explanation in chapter 2.2 Form No. 2 Part B: SIG (Special Interest Groups). You find the description of the 10 groups in chapter 2.3. Please fill in your first and second priority. Part C: Observation of IDEA Summer School programme: A limited number of observers will be possible at each event. See chapter 2.4 Part D: Registration for children of delegates at the IDEA Summer School programme. Please return the forms by mail or fax to: IDEA – Høgskulen i Bergen, Landåssvingen 15, N-5096 Bergen Fax: +47 55 58 58 09 – E-mail: [email protected] Background information on the different events you can sign up for 1. Schedule for the week: Sunday 1 July Thursday 5 July Friday 6 July Saturday 7 July Sunday 8 July Morning session: Norwegian traditions in music, dance, art, and storytelling. Honorary Member: HRH Princess Märtha Louise Morning session: African music by ZICALO Morning session: Honorary Member: Trond Waage, Norway, The pantomime group PIANO, Russia SIG reports via posters in the foyer (research meeting) Keynote by Victoria Santa Cruz, Peru Information Keynote by Tadashi Uchino, Japan Information Keynote by Kathleen Berry, Canada Information Keynote by Jacques Lassalle, France Information SIG reports via posters in the foyer (research meeting) 12:15: SIG SIG 12:15: SIG SIG 12:15: SIG SIG 12:15: SIG Regional/national meetings SIG Lunch/ Student Festival Lunch/ Student Festival Lunch/ Student Festival Lunch/ Student Festival IDEA ExecutiveCommittee presentation Performances ” ” ” Congress Closing with e.g. Young IDEA Workshops/papers/ keyholes Workshops/papers Workshops/papers/ keyholes IDEA-meetings Workshops/papers/ keyholes IDEA meetings/ Festival Next congress organisers take over Workshops/papers/ keyholes Workshops/papers Workshops/papers/ keyholes IDEA-meetings Workshops/papers/ keyholes IDEA meetings/ Festival 18:00 Workshops/papers/ keyholes Workshops/papers Workshops/papers/ keyholes IDEA-meetings Workshops/papers/ keyholes IDEA meetings / Festival 19:00 Festival Festival/Regional meetings Festival Festival Festival Regional meetings/ Club Kvarteret Festival/ Club Kvarteret Festival / Honorary Member Jon Fosse rencontre Jacques Lassalle (21:30) Club Kvarteret FAREWELL PARTY 09:00 10:00 11:00 16:00 Registration 17:00 ” 20:00 Monday 2 July Tuesday 3 July Registration Morning session: A Grieg programme, Honorary Member: Vigdis Finnbogadottir, Iceland Opening Ceremony Greeting from the Mayor of Bergen City – Ingmar Ljones and the Minister of Education – Trond Giske (Honorary Member) “Break Keynote by Niels Lehmann, Denmark Information Lunch/ street theatre etc. SIG ” SIG ends:16:30 Reception in the Festival continues/ Grieg Hall – PARTY Club Kvarteret in Club Kvarteret Wednesday 4 July EXCURSIONS 4 different options: 1:Historical city tour (2hs), starts at 10:00 2: Mountain hike (5hs), starts at 9:00 3: Bus/ferry: fjords/snow (8hs), starts at: 9:00 4: Cruise: fjords/islands (6hs), starts at 9:00 3 2. Workshops, papers and keyhole presentations These events will run in parallel sessions Tuesday, Wednesday, Thursday and Friday from 16:00–18:50. Wednesday will contain a smaller number of events, since this is our Excursion Day. Two of the excursions are in Bergen and the mountains in the city area. These two each have a duration of 2–4 hours, which give you a chance to have exciting inputs on Wednesday afternoon. The workshops last for 165 minutes – or 75 minutes (the short ones start either at 16:00 or 17:35). Some workshops combine theory and practice, some are merely practical workshops, some are performances with workshops – or discussions afterwards, some workshops even use IT and will run in an IT-laboratory. The workshops have a rich variety – you have many options to choose from. The papers are set up in pairs. The first two start at 16:00 and end at 17:15 (with only a 5-minute break between the two). From 17:15 there is a 20-minute break for people to find their next event in another room or building. The second pair of papers starts at 17:35 and end at 18:50. The papers also cover a broad spectrum within the drama/theatre field. The presentation range from research to developmental projects – often connected to other subjects. The keyhole presentations are ”playful” lectures, where the presenter speaks and acts in role as a fictional character or as a historical or living person. We have two sessions each day – and each session contains three keyholes. The first session starts at 16:00, the second at 17:35. We intend to have 6 sessions (with 18 presentations). This is a new “idea”, and we have still not filled up the 6 slots (on Tuesday, Thursday and Friday). So you can in fact still send in a keyhole proposal to: [email protected]. Each day’s possible choices are: 16:00 Ws165: Workshop 16:00 – 18:50 Ws75: Workshop 16:00 – 17.15 P: Papers 1) 16:00 – 16:35 5 minutes 2) 16:40 – 17:15 K: Keyhole presentations 1) 16:00 2) 16:20 3) 16:40 17:00 – 17:15 Impro/discussion with audience Break/moving to next event Break/moving to next event Break/moving to next event Ws75: Workshop 17:35 – 18:50 P: Papers 1) 17:35 – 18:10 5 minutes 2) 18:15 – 18:50 K: 4) 5) 6) Short break 17:15 Break 17:35 18:50 Keyhole presentations 17:35 17:55 18:15 18:35-18:50 Impro/ discussion with audience In other words you can have 1 long or 2 short workshops – or 4 papers – or 6 keyholes in one day. Or – you can make your own combination before and after the 20-minute break. On form No. 1, Part A you choose your 1st and 2nd priorities. We shall do what we can to fulfil your wishes, but as we said before: first come – first served: so send in your form today! 4 July 3rd 2001 - Academic programme Venue code Time Gunnar Sævigs Hall Grieg Academy Code 123 Keyhole The Boy Who Was Rosalind Presenter Ronan Co-presenter 16:00 Paterson National Association of Youth Theatres United Kingdom “ The piece is a short performance,in the role of a member of Shakespeare’s company, looking back on the boy actors who played the girl’s parts in the Elizabethan theatre. These young boy apprentices are lost to history, but their legacy lives on in the characters that Shakespeare created for them”. Code 315 Keyhole Between duty and beauty - In role as: Fredrika Bremer Presenter Grazyna Canevall Co-presenter Fredrika Bremergymnasiet, Haninge Sweden Fredrika Bremer , den i sin tid progressiva författarinna som 17 augusti 2001 fyller 200år. Hennes våning på Årsta slott i Haninge finns bevarad, scener ur Fredrikas liv, ett möte mellan pedagogik och estetik Code 316 Keyhole 17:35 A sudden - In role as: Spiritual Narrator Presenter Chung Co-presenter Chiao Taiwan Mr. CHUNG CHIAO, the director of Assignment Theatre in Taiwan ”Earthquake happened in 1999, Sep. 21. Meanwhile on his monologue with gesture there will also show a video about “ Peoples’ theatre workshop on earthquake area ”. Both solo presentation and documentary video images together represent how theatre workshop as an adult education method being introduced in victim area. ” Code 121 Keyhole The space and the elements for expression/ (Spanish) Presenter Fernando Bercebal Proyecto Ñaque Co-presenter Spain “En realidad más que un monólogo es una propuesta de acción de deformación y redistribución y reutilización del espacio. Sería interesante proponerla antes de cualquier otra actividad que, por este motivo, se viera condicionada en su modo de presentación habitual. También es posible hacer varias propuestas de reestructuración del espacio y el grupo en distintos momentos y en distintos espacios.“ ”It’s an active proposal of deformation, redistribution and utilization of the space. The goal is to create dramatic scenesfor ethical dialogues. ” Code 317 Keyhole Realism of dreams to liberate our inconscious Presenter Mauricio Terrazas Co-presenter Peru ”integrate an audience of different ages is inspired on the concept that when we live our dreams we are everybody the same. The idea is to motivate the audience removing their inconscious through their participation, their capacity to play and to get into theraphy. ” 5 Hib_Ing_615_AUDBergen University College Code 161 Paper 16:00 This Paper is a Ritual: Building Cultural Competence Betwixt and Between Theatre and Education Presenter Larry O’Farrell Queen’s University Co-presenter Canada Theatre and education share a tenuous relationship in which education dominates and theatre serves. A theoretical exercise can reveal a more intimate, less hierarchical, relationship. Using ritual as an intermediary (as both a point of comparison and as a reflective process), it is possible to show that theatre and education are both divisions of the same behavioural category - that theatre is a form of education, that education is a form of theatre and that the primary mission of both is to build cultural competence. Code 239 Paper Theaterjugendclubs/ Youth Clubs in Theaters - A Phenomenon in German Theatres Presenter Peter Galka Bundesverband Theaterpädagogik Co-presenter Germany Theaterjugendclubs/TheaterYouthClub - meaning teenagers will perform on professional german theaters. Critical questions: * how can we realize in a professional way - with an encountered group - the possibilities of the group and come to terms with the experiences and ways of expression? * which contents (concerning the conditions of living) and aesthetics (will to create and diction) will the director emphasize by realizing his conception? Code 132 Paper 17:35 Of Bodies in Place or In Place of Bodies Presenter Kim Co-presenter Flintoff John Forrest Senior High School, WA Australia As more teachers and schools begin to incorporate information technology and especially the internet into classroom practice many are overlooking the interactive communications potential - especially the immersive forms - preferring instead to deal with it simply as an information retrieval tool. I assert that this seriously underestimates both the potential and consequence of engaging with cyberspace. This session will look at some of the big questions and some of the possibilities using readily available IT and internet resources. This session draws on and extends the material presented at Collaborarts Conference (1999) and the ECAWA Y2K+ Conference (2000) in Western Australia. Code 275 Paper Betwixt & Between New Media: The Performance Worlds of Samuel Beckett Presenter Robert D. Taylor Arizona State University West Co-presenter USA My presentation aims to catalogue and summarize current performance experiments based on Beckett’s work and to offer examples of my own multi-media performance and installation experiments, focussing on and stretching out from Beckett’s short theatrical offering, “That Time”. Hib_ing_617 Bergen University College Code 42 Workshop 75 min 16:00 ARTS LINK: Building Literacy Through Drama and Music Presenter Rachel Briley Co-presenter Western Michigan University USA This session will actively involve participants in strategies and techniques that build critical literacy skills in young children. Research from professional development workshops with in-service teachers (early elementary) will also be shared. Code 18 Workshop 75 min 17:35 Developing Cultural Confidence in Hong Kong Classrooms. Presenter Geoff Readmann Co-presenter Island School Hong Kong This practical workshop will explore some of the dilemmas of teaching Drama in Hong Kong, both in school contextsand in University Teacher Education. The Workshop will examine: * how Drama can develop teacher confidence in Hong Kong’s distinctive culture; * how Drama can enable teachers to re ~ define their role;the curriculum is due to be reformed this year; * how Drama can empower students to develop their own self - esteem within a ‘country’ searching for a new identity. Participants will be asked to consider some of the responsibilities of introducing challeging Drama within the current Hong Kong context. 6 Hib_ing_618 Bergen University College Code 75 Workshop 165 min 16:00 Hib_ing_622 Bergen University College Code 295 Workshop 75 min 16:00 The Living Traditions, A workshop on traditional African Storytelling Presenter Jacob Amadi Atsiaya Zamaleo; Museums Art Studio Centre Co-presenter Kenya Thinking As and Thinking About: Cognitive Processes in Drama Presenter Christopher Anderson Co-presenter Christine Warner Ohio State University USA The proposed session will call upon the research literature in cognition to present a cognitive analysis approach to examining process drama (Andersen, 2000), building from Courtney’s (1990) Drama and Intelligence and other drama theorists to incorporate recent cognitive psychology research in teaching and learning. During this participatory workshop the presenters will engage the participants in a process drama in which crucial aspects of the unfolding drama will be focused upon and examined. Code 38 Workshop 75 min 17:35 Staging the Subjective: A Narrative Approach to Drama Presenter Christine Hatton Co-presenter The University of Edinburgh United Kingdom This workshop will focus on the nature of the learning experience when personal narratives are used as source material for group devised performance work. A narrative approach to drama can create the conditions for transformative learning to take place by weaving together subjective and collective experiences. This type of drama allows for important dialogue to emerge about students’ lived experiences and issues that matter such as issues of gender, culture, identity and relationship. How can drama illuminate and transform our ways of knowing? Hib_ing_623 Bergen University College Code 135 Paper 16:00 Senior Drama Course - Victoria, Australia Presenter Carole Co-presenter Lander Board of Studies, Melbourne Australia Drama and Theatre Studies are two of the performing arts subjects undertaken by senior school students in the State of Victoria, Australia. The special features of the Drama course will be outlined with examples of course work and examination questions to demonstrate the cultural diversity of topics explored in the practice and analysis of Drama. Code 172 Paper The knapsack of Arssa Presenter Sanna Co-presenter Asikainen University of Joensuu Finland Paper presents a processdrama researchproject in a museum. Focus of interest is in the planning and developing of prosessdrama and its effects on the concepts of history. A different perspective can arise, new voices may be heard. The past is what we make of it. Code 216 Paper 17:35 How does Arts Speak? Presenter Carla Co-presenter Maria Conceicão, Pires-Antunes Barãoda-Cunha Universidade do Minho, Braga Portugal The thematic transversally of the Artistic Expression it’s our discuss subject, where we will put some questions about the specificity of each one of those artistic areas and their importance for the Initial Formation of Students – futures Teachers and Educators. Code 297 Paper Art connection Presenter Co-presenter Satyabrata Das Oxford University Press, Calcutta India Art and Drama, a form of learning process for children. An illustration analysis of child’s growth. Hib_ing_625 Bergen University College Code 6 Workshop 75 min 17:35 StageStruck: Drama in New Media Presenter Amanda Co-presenter Michael Morris Anderson National Institute of Dramatic Arts Australia Using the internationally award-winning CD-ROM StageStruck, as one case study, this presentation will consider the ways in which New Media provides Drama educators with a variety of means by which the creative process involved in Drama can be explored, shared and re-born in New Media. StageStruck is an educational CD-ROM, produced by Australia’s National Institute of Dramatic Art to introduce young people to performing arts. Its core activity allows students to direct and design performances on computer screen. Discussion will focus on the creative process revealed by interactive entertainment and the new forms that Drama takes in New Media. 7 Hib_ing_715_AUD Bergen University College Code 197 Paper 16:00 Romani Teater: Teater for og med en minoritetsgruppe (Scandinavian language) Presenter Berit Rusten Teater Studio 2RB, Trondheim Co-presenter Norway Foredraget er delt i tre deler: 1. Noen spørsmål basert på konkrete erfaringer i prosessen med å skape Panter Tanter Prod sin iscenesettelse Drabarni. 2. Det finnes noen eksempler på romaniteater som eksisterer pr. i dag. 3. Betydningen av å skape en iscenesettelse av og med romanifolket Code 308 Paper Pasjon 2000 (Scandinavian language) Presenter Anna Co-presenter Songe-Møller Stavanger University College Norway Pasjon 2000 var et middelalder spill-prosjekt hvor totalt 350 aktører var involvert. Det var et samarbeidsprosjekt med Høgskolen i Stavanger, Stavanger Domkirke, Rogaland Teater m.fl. Det bestod av middelalder dukkespill, sang, dans, musikk, akrobatikk. og gjøglerspill. Mysterispillet ”En fortelling om Jesus” ble vist i Domkirken. Studenter fra drama, musikk, kunst- og håndverk, idrett, dans, sang og media var en del av prosjektet, likeså 100 korsangere, 6 prester. Code 199 Paper 17:35 Legislative Theatre Presenter Co-presenter Arne Engelstad Vestfold University College Norway Augusto Boal’s Legislative Theatre is a method of creating a truer form of democracy by using theatre within a political context. My paper will include a presentation of the method and a discussion of the principles of Legislative Theatre. Code 274 Paper Caught Between a Rock & a Hard Place: Using drama to Explore Personal Concerns Presenter Janet E. Rubin Saginaw Valley State University Co-presenter Heather Smigiel USA In Australia and the United States, students struggle with educational, financial, and time management issues. This program outlines a process of (1) identifying student concerns; (2) developing and cross-culturally teaching lessons using excerpts from plays; and (3) reporting upon the impact of drama/theatre techniques in problem exploration. Co-presenter Heather Smigiel represents University of Tasmania, Australia. Hib_ing_718 Bergen University College Code 93 Workshop 165 min 16:00 Cracking Drama, Progression in contexts for critical thinking in primary and secondary drama Presenter Paul Bunyan NIAS Co-presenter United Kingdom This practical workshop will show how drama activities can be used to extend learners understanding of texts by developing critical thinking and literary analysis. The workshop focusses on an acclaimed, recently published young peoples novel, to explore the stages of dramatic progression from context setting and narrative development to engagement with literary tension and critical analysis. Hib_ing_719 Bergen University College Code 77 Workshop 165 min 16:00 Barndomsminner, mellom monolog og fortelling, mellom før og nå. (Scandinavian language) Presenter Merete Elnan Agder University College Co-presenter Norway Vi tar utgangspunkt i det fysiske uttrykket, og går på jakt etter alle slags barndomsminner. Gjennom å gi disse erindringene form kan man få et annet syn på barn, lære mer om seg selv og få et innblikk i virkemidlene til ”soloskuespilleren”. Innsikt som både gjør oss til bedre dramalærere og barneteaterskuespillere. Hib_ing_723 Bergen University College Code 107 Workshop 165 min 16:00 Drama & History Presenter Co-presenter James Pecora Education Departement of Western Australia Australia Participants in this workshop will actively explore drama techniques used to teach the history of the Holocaust at an alternative high school in New York City. Time will also be set aside to discuss the experience, view student work and imagine using drama to explore ethical dilemmas in the participant’s own communities. 8 Hib_ing_724 Bergen University College Code 224 Paper 16:00 Sticks and Stones: telling trauma, building hope Presenter Hazel Susan Barnes Co-presenter University of Natal South Africa The use of drama and music with a group of youth from the Programme for Survivors of Violence for personal, community and career development. The project included training in basic art skills; the accessing of personal and community stories; and the symbolizing and crafting of these stories into a performance. Code 178 Paper Development Agenda Versus People’s Agenda: Theatre Negotiating Diplomacy in Rural Central Nigeria Presenter Victor S. Dugga University of Jos, Nigeria / Universität Bayreuth, Co-presenter Germany This paper is based on Theatre for Development field work in rural areas of Central Nigeria. In collaboration with the Government Health ministry and UNFPA, theatre facilitators were called to use the participatory communication approach to diffuse the message of the rights of family planning and women’s rights. In different communities, we found that we could not even start off the project until we update ourselves with and negotiate around the related social crises which are of immediate concern to the people. What are the issues? How do these reflect the priority of the people? How does theatre mediate these grounds? How sustainable is the ‘Development’ objective of such TfD workshops? We discourse possible answers. Code 168 Paper 17:35 Representing and Interpreting Social Reality through Dramatic Play Presenter Zayda Sierra Universidad de Antioquia Co-presenter Colombia An educational model to approach teachers to understand better students’ perceptions and feelings about their social world, using qualitative research strategies, especially dramatic play, a more feasible way to capture their voices. Teachers learn to develop curriculum more related to students’ needs according to their gender, social, and ethnic background. Code 253 Paper Drama as a Means of Social Empowerment Presenter Ronan Co-presenter Paterson National Association of Youth Theatres United Kingdom The National Association of Youth Theatres has used drama as a means of giving a voice to some of the most marginalised young people in Britain. These young people have presented their work at the Labour Party conference and the Lord Chancellor’s Office. Hib_ing_817_AUD Bergen University College Code 159 Paper 16:00 Elements, Ethics, and Expectations: “Got your nose” Presenter Mark Danby Co-presenter Sheila Majithia Queen’s University Canada The original children’s participatory musical play, “Got Your Nose”, is a story about a villain named Htebazile (‘Elizabeth’ spelled backwards) who loves to sense the world so much that she sets out to ‘borrow’ senses from others. At the core of the play are the cross-cultural ethical elements of justice, mutual respect, communication, and solidarity. This paper describes the connection to expectations prescribed by the grades 3, 4, and 5 guidelines for the Ontario Ministry of Education, Canada. Code 179 Paper Understanding the world. Philosophy with children as basis for playing theatre Presenter Karola Wenzel University of applied sciences Osnabrück / Lingen Co-presenter Germany Thoughts are air, changing to ghosts. With forgetting, these ghosts disappear. (Niko, 9 years) The reciprocity of discourse and presentation in philosophical theatre work respects children and takes them seriously. It gives them the possibility to communicate with others about their understanding of the world and re-present it on the stage. Code 299 Paper 17:35 Linking fictional events Presenter Torunn Co-presenter Janek Kjølner Szatkowski Århus University Denmark This double take is a talk that reflects the practice of planning series of fictional events for different purposes. The examples will be drama in education and interactive multimedia. To use dramaturgy – or rather dramaturgies – as guidelines for devising artistic and educational events is related to how one understands the art of the theatre. The idea of “planning backwards” is introduced to clarify that dramaturgy can be practiced both as an analytical tool and as a poetics for creating and linking fictions. 9 Code 299 Paper Linking fictional events – continues Presenter Torunn Co-presenter Janek Kjølner Szatkowski Århus University Denmark This double take is a talk that reflects the practice of planning series of fictional events for different purposes. The examples will be drama in education and interactive multimedia. To use dramaturgy – or rather dramaturgies – as guidelines for devising artistic and educational events is related to how one understands the art of the theatre. The idea of “planning backwards” is introduced to clarify that dramaturgy can be practiced both as an analytical tool and as a poetics for creating and linking fictions. Hib_ing_819 Bergen University College Code 328 w75 16:00 Finger Games as an Intimate Theatre Form Presenter Igor Co-presenter Jelena Cvetko Sitar Slovenia The finger game is the first artistic play an adult plays with little child. In this play child’s fingers are characters in a little show and his hands are his little stage. If stage means the world, it is in the child’s hands at that moment. Moving fingers as actors is a sort of puppet animation, isnt it? Code 149 Paper 17:35 La pedagogia en la puesta en escena del Apocalipse del Brasil Presenter Marcos A. Bulhões Martins Co-presenter Universidad Federal de Rio Grande do Norte Brazil En el espectáculo “Apocalipse 1,11” el publico recorre el espacio de un presidio vacío en São Paulo,en Brasil.La pieza se estrenó en enero de 1999 como consecuencia de un proyecto artístico y pedagógico coordinado por el director Antônio Araújo y su grupo de actores del “Teatro da Vertigem”, siendo considerada por la prensa la “tercera parte de la trilogía teatral de la década” nesta ciudad,con asistencia de público mas de un año. Hib_ing_820 Bergen University College Code 64 Workshop 165 min 16:00 A Journey in Metaxis. Embodying Drama Facilitation Presenter Warren Linds Co-presenter Dep. of Language & Literacy Education Canada This workshop/presentation will explore facilitation skills used in the development of theatre for social change. Through an approach inspired by the embodied awareness work of Theatre of the Oppressed, we will use games and exercises to develop our embodied learning of drama facilitation that enables us to improvise and respond to changing situations within the collaborative drama workshop. Hib_ing_825 Bergen University College Code 91 Workshop 165 min 16:00 “Animation Theatre & Puppet Art” (Scandinavian language) Presenter Lennart Wiechel Co-presenter Ida Hamre Academy of Drama, Stockholm Sweden Animation theatre today has new actualityin dance, cinema performance, visual arts and in art of acting. It has very long cultural tradition constantly renewed - provoking with its humourous and ambiguous fashion. In the workshop we discuss the potential of learning and communication in animation theatre - for instance in making use of big figures / humanetter/ and different kind of acting with conflicts, analysing the experiences and interpretations of the audience. We will show an exhibition of actual projects in Scandinavia and Africa. Hib_ing_826_AUD Bergen University College Code 232 Paper 16:00 Drama for Reflection in Caring Sciences Presenter Margret Co-presenter Lepp School of Health Science, Borås Sweden Drama is a powerful alternative to conventional education. This presentation highlights the role of drama concerning reflective supervision in nursing education. Academic staff specially trained in drama education, guide students to manage life experiences within the caring arena effectively in a holistic perspective. Code 136 Paper Drama - Bridging the gap between home & school Presenter Julie Martello Co-presenter Charles Sturt University Australia This paper explores the use of educational drama strategies to validate children’s home experiences and extend contexts for literacy learning. In the early years of school drama activities based on popular cultural past-times, such as television viewing and electronic game playing, provide rich contexts for visual and critical literacy awareness. 10 Code 126 Paper 17:35 Cooling the Conflicts Presenter Bruce Co-presenter John Burton O’Toole Griffith University Australia The paper describes ongoing action research into the use of drama to develop conflict management skills in school students: empowering them to take over their own conflict management agenda through progressive peer teaching and an amalgam of drama techniques. The paper relates some constraints and problems encountered, and looks forward. Code 164 Paper Tools of Boal and Beyond: Woman, Students & Teacher using drama to explore Violence of the Everyday. Presenter Sarah Twomey Queen’s University, Ontario Co-presenter Canada I propose a presentation involving video clips to share and discuss how a particular group of young women from REALTALK have developed a proactive response to violence through the use of popular theatre techniques and how they are able to share and discuss their responses in the classroom. The paper/presentation, using the popular theatre techniques of Boal as a departure point, will outline how drama can disrupt hegemonic pedagogy by giving voice to students. Hib_ing_830 Bergen University College Code 65 16:00 Workshop 165 min Playing with the Play: Student Making Sense of Text Presenter Co-presenter Carolee Sturgeon Mason Perth & District Collegiate Institute Canada In bringing words on a page to life for the stage, students need opportunities to playfully explore the text in the drama studio before moving into the performance space. Working on traditional plays, poetry, or collectives, they can use improvisational strategies and drama structures to discover meaning. Participants experiment with these approaches. Hib_ing_FESTSAL Bergen University College Code 81 Workshop 165 min 16:00 “Bokseringen” - et TiU-program om ungdom og seksualitet (Scandinavian language) Presenter Åsne L. Sinnes Högskolen i Oslo Co-presenter Reidun Garthus, Carl Fredrik Olafsen, Norway TiU-gruppen HOKUS presenterer et TiU-program om “Ungdom og Seksualitet”, utarbeidet for 1. klasse ved den videregående skole. Programmet legger vekt på hvilke forventninger og valg som påvirker unges seksuelle identitet. I forestillingen møter vi Bendik som både har et ønske om å debutere seksuelt og å finne “den rette”. Historien om Bendik vil være grunnlaget for workshop etter forestillingen. HiB_ing_kantine Bergen University College Code 61 Workshop 165 min 16:00 TOWARDS A METHOD OF SELF-DETERMINATION Presenter Dan Baron Co-presenter Manoela Cohen Souza Independent Brazil This workshop will demonstrate through an interactive slideshow, a short video and specific exercises how Dan Baron Cohen and Manoela Souza use collective storytelling, empathetic maskwork and theatre-as-education techniques to decolonise the mindful-body, to create political theatre and dialogic community sculpture, and to develop democratic skills and cultural action among dispossessed and excluded communities. In particular, participants will discover the central importance of intimacy and dialogue in the quest for self-determination. NCB_1 Dance Theatre Code 90 Workshop 165 min 16:00 Playback teater som “levende dialog” (Scandinavian language) Presenter Synne Platander Co-presenter Jan Platander Alma Folkehögskola Sweden Jeg tilbyr en praktisk workshop der deltagerne får muligheten til å skape og oppleve playback teater sammen. Vi varmer opp til lekfullhet, åpenhet og tilstedeværelse (presence). Man får lære seg visse enkle, men virkningsfulle uttrykksformer som kan brukes for å speile en persons tanker og følelser. Vi går deretter igjennom de nødvendige forutsetningene/rammene for å kunne spille opp en historie. En musiker hjelper til med den estetiske innramningen, og deltagerne får prøve seg som henholdsvis aktører, fortellere og publikum. 11 NCB_2 Dance Theatre Code 293 Workshop 75 min 16:00 Arts Policy versus School Reform in Ontario Presenter Mac Co-presenter Ron Dodge Dodson Brock University’s College of Education Canada Teachers in Ontario are finding themselves between arts curriculum policy and repressive conservative reforms. In this workshop Ron Dodson and Mac Dodge will use the story “The Lute Player” to explore what happens when teachers find their classroom a battle ground with new curriculum on one side and no time, resources or in-service to deliver it on the other side. Betwixt and between artistic idealism and political “harrisment.” Code 305 Workshop 75 min 17:35 The Vacuum Presenter Co-presenter Charles Musis Kaggwa Munangoba Uganda Charles Kaggwa’s The Vaccum is about the political party conflicts insecticised with secretarism minding less about young generation leaving them to grow, work freely with no direction which leads to street life. Involving them in trade war and child abuse actions. In process they meet disease after there parents deserting them. In inter-lake regions of Africa it’s a reality. The scramble of power minding less about brother wood. Uganda being a theatrical classic country and involved in these problems I can’t fail to put this in a play to show the world the suffering and the incidents children do pass through. Rehearsal Hall Grieg Academy Code 43 Workshop 75 min 16:00 “I came To Live Out Loud” Presenter Kate Co-presenter Robert Collins Taylor Arizona State University USA I Came To Live Out Loud, a one-woman show for adolescent girls. A workshop setting explores gender awareness and social self-esteem, self-hatred, shame in one’s gender, and the sexual exploitation of a teenage girl by a teacher. It is a journey in finding strength in oneself. (A performance / workshop) Code 50 Workshop 75 min 17:35 “Bridging the Present with the Past:A Case Study of the Children’s Performing Arts Workshop(CHIPAWO) in Zimbabwe.” Presenter Kennedy Chinyowa University of Zimbabwe Co-presenter Zimbabwe This workshop presentation will demonstrate that, since the attainment of national political Independence in Zimbabwe in 1980, there has been a conscious attempt by black Zimbabweans to regenerate their past heritage through the performing arts. An upsurge of interest in reviving the past can be observed in the manner in which some cultural groups like CHIPAWO are trying to integrate the present with past modes of cultural expression. Uib_Psyk_110 University of Bergen Code 230 Paper 16:00 Drabarni - creating theatre, a qualitative study of theatre as human occupation Presenter Staffan Josephsson Karolinska Institutet Co-presenter Sissel Alsaker Sissel Horghagen Sweden The aim of the present study was to explore and identify possible occupational components in theatre production.Three actors’ process of creating and performing a theatre production was followed. Narrative data was gathered in form of qualitative interviews. Interpretative qualitative analyses were performed on data. Result showed that this kind of occupation involved large part of mastering of everyday doings and habits. Further this mastering opened for experiences of flow but also for existential and spiritual dimensions of everyday life. Both co-presenters represent the Sør-Trøndelag University College, Norway. Code 145 Paper Voices in the Head: Drama and the Collaboration Process Presenter Jennifer Simons Co-presenter Sydney University Australia This paper will explore the impact of contesting “voices” in the collaborative processes by which drama is created . The participants may use impacts other than physical “voice” to assert influence. They may use the body, space or other drama elements. The paper explores important questions such as: whose voices are heard in the drama classroom? Who gets to dominate, and how? Whose voice is repressed or assimilated into the dominant paradigm? The theoretical underpinning of the paper includes the work of Bakhtin and Merleau-ponty, but predominantly the paper is based on praxis.It reports on my work in Sydney using Libby Gleeson’s book “the Great Bear”, with illustrations by Armin Greder. This book is a good example of a pretext that is “functionally ambiguous”. It is sufficiently open to invite a variety of responses, but also sufficiently mythic to push for similar meanings in a variety of 12 Code 276 Paper 17:35 Negotiable Space: Adolescent Females & the Performance of Liberation Presenter Philip Valle Arizona State University Co-presenter USA This paper’s concern is the space or locus of magico/sacredness in the theatrical performances of female adolescents. This inquiry addresses a form o possession—-of how the dispossessed female adolescent can act as an agent of her own assimilation into the larger communitas through the act of performing her self. Code 252 Paper The Performance of Memory: Drama and Autobiography Presenter Helen Nicholson Co-presenter Royal Holloway, University of London United Kingdom This paper will explore the relationship between the body, oral history and drama praxis. It will raise theoretical questions about how oral histories and personal testament might encourage young and old people to construct autobiographical narratives in dramatic form. Taking feminist notions of a performative identity, it will explore the significance of the body in memory, and relate this to the processes of dramatic exploration. Uib_Psyk_118_AUD University of Bergen Code 248 Paper Researching Audiences for Educational Theatre Presenter Tony Jackson Co-presenter 16:00 University of Manchester United Kingdom This paper addresses some philosophical and methodological issues arising from a recent audience research project undertaken into a theatre-in-education programme (dealing with parenting and teenage pregnancy). The research focused upon the nature of the theatrical event, audience recall and ‘ownership’, and the interplay between art form and social purpose. Code 163 Paper Building a Culture of Competence in Educational Drama and Theatre Practice Presenter Juliana Saxton University of Victoria Co-presenter Carole Miller Canada How do we build into drama teacher education a strong culture of competence that can withstand the conscious or unconscious comfort of already embedded patterns of traditional delivery, and enable mastery? Until we can assemble a critical mass of such teachers, drama/theatre education will remain on the margins of pedagogical consciousness. Code 277 Paper 17:35 Building Cultural competence trough Theatre Training - Problems and Prospects Presenter Owen Seda University of Zimbabwe Co-presenter Zimbabwe A group of U.C,T. students under my supervision worked in two different communities using Drama in the form of Theatre to identify families with disabled members and to encourage them to seek help and rehabilitation. Since our first intervention we have taken the project forwards by running workshops with volunteers from both communities. Code 262 Paper Creating Videotaped Student-Made Dramas in the Spanish as a Foreign Language Classroom Presenter Tim Collins National-Louis University, Chicago Co-presenter USA The presenter discusses the steps his university Spanish students followed to write and videotape a television play in Spanish. The presenter uses multiple-intelligence theory to analyze the benefits for students, including greater Spanish fluency, increased knowledge of the new culture, improved attitude toward language learning, and increased motivation and self-confidence. Uib_Psyk_215 University of Bergen Code 49 Workshop 165 min 16:00 The last romantic Presenter Co-presenter Thi Minh Ngoc Tran Nguyen Huu Tran Huu Trang Theatre Vietnam Youngsters in Vietnam have been involved to the worldwide modern means of communication, and they don’t concern much about the art of traditional stage, national characters and even historical personagers. Their lifestyle incline to pragmatism more than aspiration for awareness and the concern to people around. Through traditional stage and dramatic forrum methods, we introduce into schools so that the students can approach the good and the beauty of tradition and history. 13 Uib_Psyk_519 University of Bergen Code 162 Paper 16:00 Construire une compétence culturelle à l`ecole primaire: une défi ambitieux mais stimutant Presenter Diane Saint-Jacques Université de Montréal Co-presenter Canada Le nouveau programme de formation de l’école primaire québécoise (Canada) s’est donné une visée d’intégration d’une dimension culturelle. L’analyse de réponses à un questionnaire sur les pratiques culturelles et pédagogiques d’enseignants du primaire (nb: 800) rend compte des outils dont disposent les enseignants pour aider leurs élèves à construire une compétence culturelle, notamment à travers l’art dramatique. Code 213 Paper Des voies de l`analyse dramatique á l`école Presenter Maria V. C. Co-presenter Lopes Universidade do Minho Portugal L’école en tant que noyau culturel à travers le théâtre. L’analyse dramaturgique du texte littéraire est le point de départ pour le croisement de plusieurs langages à travers lesquels on stimule la création artistique des élèves en deux voies: celle de la miseen-scène et celle des arts plastiques. Code 251 Paper 17:35 When Worlds Collide- Possibility and change through Drama anf Conflict Education Presenter Morag Morrison University of Cambridge-Faculty of Education Co-presenter United Kingdom What impact does drama education have on the real lives of the young people we work with? What is the intersection betwixt and between what we explore in fictional contexts and the sense young people make of this for their own lives? This paper explores preliminary findings from a research project exploring conflict resolution with young people through drama. Affirming the local Presenter Gay Morris Dept of Drama, University of Cape Town Co-presenter South Africa Code 226 Paper Rurally-based teachers, in South Africa’s semi-desert Great Karoo, struggle with aching poverty and lack of confidence. Workshops on expressive skills encouraged greater use of own, local cultural practices and developed teacher’s communicative confidence. Power relations between teachers of different race groups underwent shifts and reversals which proved liberatory for all. Uib_Psyk_520 University of Bergen Code 180 Paper 16:00 The Argonauts are coming back to the University of Thessaly, in Volos, Greece: From a Drama Project to a Cultural Event Presenter Alkistis Kondoyianni University of Thessaly Co_presenter Greece Bruner’s central thesis is that cultura shapes the minds, that means that it provides us with the tool kit by which we can construct not only our worlds but our conceptions of our selves and powers. Only if we know the cultural setting and its resources and participate into it, we can understand, learn, remember, talk and imagine. Code 272 Paper Incorporating the History of Islamic Drama in the Curriculum of Institutes of Higher Learning in Ethiopia Presenter Mohammed Hamid Mohammed Addis Ababa University Co-presenter Ethiopia Incorporating the history Islamic Drama in Higher Institutes of Learning in Ethiopia Living in a world that is increasingly aware of its diversity, the student of drama should not be denied any opportunity to examine his/her politico-cultural environment and work with a culture of which s/he wants to feel proud. With this leading idea in mind, I want to explore the possibilities and limitations of incorporating Islamic drama in the University curriculum at Addis Ababa University in Ethiopia where about half the students are Muslims. 14 Uib_Psyk_521 Code 147 Paper University of Bergen 16:00 Playback Theatre: The healing in learning, the learning in healing Presenter Peter Wright Co-presenter University of New England Australia This paper will describe a research project that looked at the audience’s lived experiences of Sydney Playback Theatre. These experiences were used to illuminate the themes and elements embedded in this interactive theatre form, revealing the potential for education across the strands of personal and social learning, healing and theatre. Code 221 Paper Imagetic Strategies for Psychological Development: A Performance in Drama Presenter Judite Zamith-Cruz Universidade do Minho, Braga Co-presenter Carla Pirez-Antunes Portugal In teachers training we aim to develop the acquisition of narrative skills – “teaching” of a transformational force of the self to create alternative and pleasant metaphors for life. Through an aesthetic work of imagination and performance in Psychology and Drama, we will show some ingredients to stimulate human change: (1) creative thought, through means of imagetic strategies; (2) self expression and communication – fantasies and images; (3) the power of suggestion and self-suggestion; (4) control of the emotional processes through analogical representations; (5) recognition and reflection of experiences from life story; and (6) human sensibility concerning other. Code 310 Paper 17:35 A cultural space for Children Education Presenter Shyamoli Co-presenter Mazumder OWDEB, Organisation for Women’s Development in Bangladesh OWDEB( Org. for Women`s Dev. in Bangladesh ) is a non-government development organisation (NGO) that aims to work against the causes of human sufferings in various forms. In it’s capacity as a development agency of Bangladesh, OWDEB supports self-help and work for improvement for it’s target irrespective of race, gender or religion. Code 311 Paper Drama as a language learning strategy of aboriginal Australians Presenter Maggie Young Co-presenter Australia The paper focuses on the Drama strategies used to bridge links between two cultures so that meaningful English language learning could take place. The presentation includes photos, studentworks and videoclips. 15 July 4th 2001 - Academic programme Venue code Time GH_Exhibit Grieghallen Exhibition Area Code 339 Workshop 75 min 17:35 Figments Presenter Co-presenter Dan Lipschütz Kordainstituttet Sweden Early one summer morning three years ago, I went down to the dock to get into my kayak and paddle my usual course to my favourite cliffs where walls of rock rise vertically out of the sea. Not one puff of air rippled the mirror-flat water surface. I had just the day before returned form a months visit to Australia and had stopped off in Hongkong and on the way home visited Bali. A workshop based on a photo exhibit. Gunnar Sævigs Hall Grieg Academy Code 36 Workshop 75 min Ugandan Drumming and Xylophone Playing Workshop Presenter Milton Wabyona Co-presenter Robert Musiitwa 17:35 Makerere University Kampala Uganda Uganda The blind despite their physical disability,have the interllectual capacity to learn and perform or awaken their hiden tallents like in the above two subjects. This would also increase the scope of participation of these categories of people as part of this congress. To instill a spirit of brotherhood between the different cultures through this kind of exchange.Making a stage a cultural meeting place and art as a medium of communication. Hib_Ing_615_AUDBergen University College Code 231 Paper 16:00 Communicating Moods in Space - Visions & Reality Presenter Marika Kajo Co-presenter Interactive Institute, Malmö Sweden The vision is to create a virtual narrative space and event scenarios that inspires collaborative creative processes and establishes a meaningful relation between virtual space and reality. Scenarios are designed using methods for play- and theatre-improvisation and character movement and possible ways of interaction drawing inspiration from physical theatre. Code 261 Paper Code 193 Paper Exploring the boundaries between drama and Information and Communications Technology Presenter Joe A. Winston University of Warwick Co-presenter Miles Tandy United Kingdom 17:35 This paper explores the possibilities of incorporating creative play around dramatic themes using software packages now commonly avaiable to all primary schools in the UK and to most children in the developed world. Using text as a starting point, children create images with digital cameras; explore the possibilities of using computer software to alter the images; add text, voice and sound to create a performance scenario that can then become part of a multi media performance, to include live performance work. No Wai Tenei Taonga? Whose treasure is it? Presenter David Chambers Christ’s College Co-presenter Lin Clark New Zealand We are interested in process and in the feed-forward of text endowment. Our paper revisits a series of explorations of the same base text by young people from different cultural backgrounds. We report on what changes when students are invited to make text their own and how the process changes them. Code 184 Paper “Inventing stories to know better yourselves and your world.” Presenter Elisabetta Ticcò Co-presenter Scuola Polo Italy From a curricular job about short stories’technical analysis for second year classes to an afternoon drama course using David Booth’s stories to read aloud. A storytelling start, for coming then to Playback Theatre and still images techniques for rebuilding a story. 16 Hib_ing_617 Bergen University College Code 298 Workshop 165 min 16:00 Drama and literacy Presenter Co-presenter Helen Juliet Fry Blackmore Nicky Robey The Playhouse, Birmingham United Kingdom This practical workshop will link to the ‘building cultural competence through drama/theatre’ strand of the conference and will draw upon two Language Alive educational theatre programmes, Little Red, and The Paper Chase. Little Red, originally directed by Jonathan Neelands in 1998, aims to build a rich literary experience around the scaffold of a familiar fairy story. It seeks to draw the audience’s attention to how the simple story of Little Red Riding Hood has been transformed by detailed settings, complex characterisations and surprising twists. The Paper Chase, is an exciting and dramatic experience which aims to enhance pupils study of poetry by giving them the opportunity to consider why people write poetry and to argue for the validity of poetry as an art form. Hib_ing_618 Bergen University College Code 30 Workshop 75 min 16:00 Fortellersete (Scandinavian language) Presenter Marit Co-presenter Ulvund Hogskolen i Volda Norway Fokus i Fortellersete er den muntlige fortellingen og framføringen, og fortellerteknikk og presentasjonsteknikk. Opplegget er lagt opp slik at det skal gi deltakarene erfaring med metoder som de selv kan bruke i samhandling med barn/unge. Foruten å legge vekt på kommunikasjon, kropp og stemme, blir det introdusert fortellerremser, ekkoteater og teaterleker. I tilknytting til det praktiske arbeidet vil det bli vist til relevant teori og erfaring fra gjennomføring av slike opplegg. Code 23 Workshop 75 min 17:35 “Carmen in Tel Aviv” Presenter Peter Co-presenter Harris Tel Aviv University Theatre Israel The libretto “Carmen in Tel Aviv” redeviced as a local story by my community group through improvisation around the plot, theme and characters of the original and put to the music of Bizet. The project became a very special experience, bringing “high culture” to grass root level and “street culture” to the opera. The workshop will present the project and include improvisations. Hib_ing_622 Bergen University College Code 89 16:00 Workshop 165 min Refugees Presenter Co-presenter Rosemary Linnell — United Kingdom Objective = to explore, through participation in a drama experience, feelings of nationality and culture, tradition and memories and how alienation can either strengthen or debase cultural differences. Opportunity for de-brief and discussion. Written back-up material provided. Hib_ing_623 Bergen University College Code 76 Workshop 165 min 16:00 Fixing, Unfixing and Re-fixing Positions and Conditions: What’s TfD Got To Do With It? Presenter Christopher Odhiambo Moi University Co-presenter Kenya The proposed topic will take a dual approach. It will from a theoretical perspective explore the powers and potentials of TfD as a didactic and pedagogical enterprise capable of transforming the individuals as well as their material conditions. The proposed paper and workshop claims that TfD can indeed enable people to confront their reality and their world and through its imaginative and transforming powers enhance their perception of their reality and experiences. And in that sense reconstruct such experiences, realities and worldings with new and alternative meanings and possibilities. The paper component of the proposal will take one hour while the workshop component will be three hours. 17 Hib_ing_625 Code 80 Workshop 165 min Bergen University College 16:00 Natthistorier ostenfra - fortelling og teater (Scandinavian Language) Presenter Gunnar Horn HiA Co-presenter Norway En fortellerteaterforestilling, en arbeidsdemonstrasjon og en fortellerworkshop. Forestillingen er en nordnorsk variant av eventyr fra 1001 Natt og varer ca 40 minutter. Workshopen deretter vil ta for seg tekster og eksempler fra forestillingen. Man arbeider praktisk med ulike fortellerteknikker, og går spesielt inn på problemstillingen “alene med publikum” i forhold til fortelling og teater. Workshopen passer for alle som er interessert i å skolere seg innen fortellerkunst. Hib_ing_715_AUD Bergen University College Code 243 Paper 16:00 The action of teaching in role:an exploration through the practice of David Booth, Cecily O’Neill, and John O’Toole. Presenter Judith Ackroyd University College Northampton Co-presenter United Kingdom This paper develops a rationale for a broader concept of acting and argues that teacher in role can be seen as acting behaviour. In contrast to the theoretical argument posed in Ackroyd’s Acting, Representation and Role, this paper considers the issue in the light of three case studies with exceptional practitioners. The teacher role practice of Booth, O’Neill and O’Toole is considered alongside the practice of actors who have also constituted case studies in this research project. The actors include Simon Callow and Fiona Shaw. Code 337 Paper Myth and Metaxy and the Myth of Metaxis Presenter Tor Helge Co-presenter Allern Nesna University College Norway The concept ‘metaxis’ is used in dramapedagogics (Bolton, O’Neill, O’ Toole) to describe the relationship between fiction and reality, i.e. the possibility to relate to two worlds at the same time; the fictional and the real world. There is, however, no such concept in Greek. Both Plato and Aristotle describes the relationship between fiction and reality, and the possibility to know reality from fiction, but they don’t us this ‘concept’. The important concepts in their discussion is metaxy, methexis and mimesis. This paper tries to clarify these concepts and relates the discussion both to myth and dramapedagogics. Code 338 Paper 17:35 The Cultural Dance and its Role in the Society - with Examples from Agikuyu Community Presenter Hoglah W. Kuria Wanjiku Kenyatta University Co-presenter Kenya This paper will look at the role of dance in our Kenyan society bearing in mind that our culture interprets and expresses different values, events, customs, beliefs etc through music and dance. This paper will highlight the following areas - dance as an art of communication, semiotic significations and meaning of symbols, dance styles and movements, cultural identity and preservation of cultural heritage. Finally the paper will give examples of cultural dances performed by the Agikuyu community in Kenya and their purpose. Code 268 Paper Our Problems -Our Solutions Presenter Catherine Co-presenter 1. 2. 3. 4. Kariuki Kenya What are the challenges that face theatre practioners in dealing with the street children? How can we influence the community in theatre for development to look at the street children positively ? Developing a positive mental attitude in the street children What are our challenges in this millennium and how can we share our experiences the world over ? Hib_ing_718 Bergen University College Code 9 Workshop 75 min 16:00 “Moving Below - Text, Subtext and the Body” Presenter David Co-presenter Van Vuuren Marist Sisters’ College Australia This fun and spirited workshop utilizes an eclectic range of techniques, intertwining acting theories with compositional concepts. A key focus is the physical interpretation of Australian texts in order to reveal subtextual tensions between the characters. Participants will explore their own physicality and harness their bodies to create effective meaning. Code 37 Workshop 75 min 17:35 Visions of the Future Presenter Deidre Co-presenter Griffin Goldsmiths College University of London United Kingdom The workshop will reference research on Drama and Education for a Sustainable Future, undertaken with PGCE Drama students at Goldsmiths University of London, on projects funded by Oxfam Education and WWF. The key questions which will inform the workshop are: How can Development Education inform and enrich the Drama curriculum? What are the implications of this kind of provision in terms of initial teacher training for Drama? 18 Hib_ing_719 Bergen University College Code 181 Workshop 75 min 16:00 Code 34 Workshop 75 min 17:35 Dark side of Moon - Video presentation Presenter Lopamudra Co-presenter Das Odissi Films Pvt. Ltd. India A video presentation along with paper presentation. The video presentation describes of the young village girs deprived of social rights and receive no protection from the society nor the law enforcement nor the justice system. Even the families cover up and donot want to get further defamed in the community. To stand for the justice can cause the loss of jobbs and further social harashment. A young scool teacher comes to a minister requesting a transfer so that she can worh in her village government school for children and in the same time help her old poor parents. The minister calls her up for a meeting to a guest house to disscuss the problem and there after along with another frien of the minister rapes her and finally not allowing transfer.The film continues with a paper presentation as a follw up. DRACON - Drama and Conflict Theory Presenter Anita Grünbaum Västerbergs Folkhögskola Co-presenter Margaret Lepp Sweden Can drama promote understanding and learning about conflicts? Dracon, an international research project has been in operation since 1995, with pioneers of drama and conflict researchers from Australia, Malaysia and Sweden. The Swedish program for drama and conflict management with teenagers is focused on third party intervention. Verbal and non-verbal exercises, role-plays, a modified form of Forum theatre and its reflection are presented in this workshop. Hib_ing_723 Bergen University College Code 109 Workshop 165 min 16:00 Character Explorations with Psychodrama Presenter Eberhard Co-presenter Scheiffele West Chester University USA In this active, playful workshop we will use improvisational theatre and psychodrama techniques to learn about fictional and non-fictional characters. Participants will be guided in transforming their psyche to experience a character’s psychological truth, thus gaining emotional connection, empathy, and insight. These tools are useful in teaching history, literature, theatre, social studies, psychology, among others. Hib_ing_724 Bergen University College Code 102 Workshop 165 min 16:00 A tour round the world in 80 minutes: Activities for Multicultural Classroom Presenter Hee-Sun Cheon Kansas State University Co-presenter USA / Korea This workshop demonstrates how drama and arts can be utilized to increase children’s curiosity and cultural competence. It begins with theatrical games along with cultural spectrogram, and moves to the world journey. We will explore how cultural dialogues can be enriched through theatre. Please wear clothing for movement. Hib_ing_819 Bergen University College Code 10 Workshop 75 min 16:00 Psychodrame Pédagogique Presenter Sheila Co-presenter D. Maluf Université Fédérale d’Alagoas Brazil L’atelier du Psychodrama Pedagogique conduit l’individu à travers ses nouvelles découvertes, à des niveaux chaque fois plus susceptibles d’abstraction et de généralisation, en se donnant pour objectif de favoriser la meilleure identification possible entre ce qui est déjà connu et ce que l’individu est en train de onnaître, c’est-à-dire de développer les possibilités d’intégration par le Faire. Code 62 Workshop 75 min 17:35 The Theater Game as a Construction Game Presenter Ingrid Dormien Co-presenter Koudela University of Sao Paulo Brazil The Theater Games aims the shift from theater taken as dramatic imagination to stage reality. When physicalizing the object, he/she will abandon static frameworks and relate to the events in the environment and the relationships of the game. 19 Hib_ing_820 Code 31 Workshop 75 min Bergen University College 16:00 “Alene Elena” (Scandinavian language) Presenter Anne Co-presenter Nina Eriksen Matzow Tromsø University College Norway Presentasjon av teaterforestilling med etterarbeidsdel. Forestillingen er et FOU-arbeid av høgskolelektorene i drama, Anne Eriksen og Nina Matzow, ved Høgskolen i Tromsø. Forestillingen er beregnet for barn/ungdom i alderen 10-15 år, og handler om barns livsvilkår i en familie med en psykisk syk foreldre. Manus er skrevet av dramatiker Harriet Nylund, basert på Gerd-Ragna Bloch Thorsens bok Elena. Regi: Linda Wilhelmsen Skuespillere: Anne Eriksen og Nina Matzow Musikk: Svein-Hugo Sørensen Scenografi: Hilde Hauan Johnsen Forestillingen har beregnet premiere i mars 2001. Vi ønsker å presentere vårt prosjekt med å spille teaterforestillingen og fortelle/evt. demonstrere fra etterarbeidet. Prosjektbeskrivelse kan ettersendes om ønskelig. Hib_ing_820 Bergen University College Code 302 Workshop 75 min 17:35 Emotional recovery of children with problems of war, violence and disasters in Nicaragua Presenter Augusto Carrazana Gil “E & A”, Managua Co-presenter Douglas Valverdi Nicaragua An interesting project is going on in Nicaragua after the hurricane Mitch: emotional recovery through psycho-therapy by puppet-theatre for childeren. That means that through this program is tried to recover lost emotions for all their sufferings in order to refind the necesary equipment to go on living on a rather balanced way. Tis program is nót directed to all childeren in the form of a presentation. On the contrary, the team works in sessions depending on the themes to aborder: agressivity, timidity, fear for loosing more family, for water, for noise, for darkness and suffering for having lost parents, sisters and brothers and animals..… The team consists of Augusto Carrazana Gil, a Cuban actor, artistic director a specialist for many years in this field in Cuba and Douglas Valverdi, Nicaraguan musician and actor. Hib_ing_825 Bergen University College Code 88 Workshop 165 min 16:00 Att fly eller flytta - på törskeln till det nya landet med bagaget från det gamla i handen (Scandinavian Language) Presenter Nadja Gruberg UniKrea Co-presenter Sweden Vad händer i mötet mellan nu och då, mellan framtidens utmaningar och det förflutnas längtan? Mellan bagagets rädslor och minnen och det nya landets förhoppningar? Med röst och rörelse, berättande, rollspel och bildskapande utforskar vi styrkan och svårigheten att leva i mellanrummet med flera identiteter. Hib_ing_830 Bergen University College Code 32 Workshop 75 min 16:00 Word & Action Presenter Co-presenter Jorunn Seljeseth Hogskolen i Agder Norway Litt om Word & Action: Dette er en metode for å lære å lage fantasifulle historier. Den kan erfaringsmessig brukes i alle aldersgrupper. Et av målene er å stimulere fantasien. I utgangspunktet legges det mest vekt på prosessen. De fantasifulle historiene kan imidlertid bearbeides med teatrale virkemidler og bli til teaterforestillinger. Det er deltagernes historier som skal formes. Som leder av denne prosessen må en være åpen til alt en slik fantasihistorie kan inneholde. HiB_ing_kantine Bergen University College Code 67 Workshop 165 min 16:00 Commedia del Mondo Presenter Dan Co-presenter Olsen Slagelse Seminariet Denmark The purpose of the workshop is to introduce the principal theory behind Commedia del Mondo and Drama Production. Commedia del Mondo is international theatre without words. It is possible to understand the comedy across borders and cultures. The play is for both children and adults. The ideas for the comedy generate from many sources: Creative drama, Dario Fo, Mr.Bean, Walt Disney and the Danish children’s professional theatre. Content of the Workshop: Excersises in drama production to produce a Commedia del Mondo performance. The play is the fairy-tale “The Ugly Duckling” by Hans Christian Andersen (Danish storyteller). Rehearsal Hall Grieg Academy Code 292 Workshop 165 min 16:00 Experiencing the Malay movements of Pencak Silat and Its Relevance to the Preparation of An Actor Presenter Zainal Abd. Latiff University of Science Malaysia Co-presenter Malaysia In this workshop, participants will be introduced to Pencak Silat, a Malay form of Martial Arts. Participants will be shown how the movements of Pencak Silat examplifies the philosophy and the culture of the Malays. “Flowery” movements of the Pencak will be demonstrated and participants will realise how those flowery movements can be transformed into “deadly” movements. 20 July 5th 2001 - Academic programme Venue code Time Gunnar Sævigs Hall Grieg Academy Code 113 Keyhole An enlightened beeing from the Australian desert - In role as: Edith Cowan Presenter Divyam Sue Gibson Quantam Theatre Co-presenter Australia 16:00 “This very colourful character is mischevious and humorous although she becomes deadly serious when commenting on cultural development in Australia and other parts of the world. She exists in a liminal state ,between the two worlds of black and white and her mystery is accentuated by a heightened sense of the desert and its space” Code 114 Keyhole Writing and Acting Yourself Well - What Working With Teen Sex Offenders Has Taught Me Presenter Clem Martini University of Calgary Co-presenter Canada “For the past ten years I’ve taught drama at the Phoenix Program, a designated national program for the treatment of teen sex offenders in Canada. My clients are between the ages of 11 and 19 and have all either committed sex offenses, or are considered at risk of committing sex offenses. These clients are often resistant to the notion of participation in Drama, but from the moment they first invest of themselves in the project, interesting things begin to happen, and change occurs. This presentation will explore the process of self investment and the nature of change.” Code 120 Keyhole 17:35 A new story of Harry Potter: Imagine a fascinating project in Primary School. Presenter Rui M. Correia Silva Portugese Primary School Co-presenter Portugal ”creating internal motivations in children, in order to act and understand certain “actions”. We begin with the conception that we want to develop critical and creative students with autonomie, and be able to establish intimate relationship in life, with strong self - esteem and self concept, in order to have a safe organized climate. ” Code 119 Keyhole Brightening Images from childhood Presenter Ana Paula Co-presenter Macedo University of Minho Portugal “we created a dialogue with children of rural area or urban area, of the North of Portugal, about their forms of playing (“...with whom?”, “...with what?”, “...and where?...). We also observed their plays through videotapes, as a way to identify today’s forms of play in childhood; and from there, established a comparison with the description of the childhood forms of playing given by the 2º year students for teachers training.” Code 115 Keyhole The Development of Pre-school Age Children’s Acting Abilities Presenter Vida Kazragytê Co-presenter Institute of Pedagogics, Vilnius Lithuania ”In informational multicultural society the role of a person’s cognitive, creative and communicational powers assumes more significance. These powers are taken care of starting with pre-school age. R.A.Smith, B.Reimer, J.M.Parsons, H.Gardner invites teachers to explore, what abilities determine the fact, that children create an expression form of acting (a system of symbols).” Hib_Ing_615_AUDBergen University College Code 223 Paper 16:00 Creative impact of Puppet Worlds Presenter Elena Boreisha Co-presenter Elena Pokorskaya Ivanishina Russian Institute for Cultural Research Russia Russian theatres teach the lookers to create their spiritual world in many ways. Puppet theatres are among the most innovative cultural/educative institutions. “The Shadow” theatre has staged original synthetic plays that combine the elements of lecture, game, different art patterns and styles: puppet opera, ballet, parts of stories and fairy-tales, sound and color improvisations etc. The scenes of performances of several Russian theatres and analysis of some approaches to contemporary theatre education in Russia will be presented. Code 233 Paper A scenic approach to history - playroom for experiences Presenter Gunilla Lindqvist Co-presenter University of Karlstad Sweden In this article I will present a study about historical consciousness built on play and drama pedagogical methods. The study has been carried out as a form of action research. A theme work has been tried in a Swedish “grundskola” (comprehensive school) with 98 pupils (6—11 years old) and 8 teachers. They have been working with a historical theme from the 19th century about emigration from Sweden to America with the title: Far from home compared with nowadays immigration from different countries. 21 Code 130 Paper 17:35 Pre-adolescent dramatic play: Creating and sustaining illusions of ‘realness’ Presenter Julie Dunn Griffith University Co-presenter Australia What can a study of pre-adolescent dramatic play offer drama educators? This presentation reports on the findings of a recent research project that was developed to examine the socio-dramatic play of one group of pre-adolescent girls. Exploring the territory ‘betwixt and between’ the fields of drama and play, the paper will offer new insights into the ‘inner experience’ of dramatic play and outline a number of significant findings that have implications for drama educators. Code 201 Paper Innovative Dramaturgies in Drama & Theatre for children Presenter Faith Gabrielle Guss Co-presenter Oslo University College Norway Based on doctoral research on the aesthetic, reflexive and cultural dimensions in children’s playing, I will discuss possibillities for drama and theatre dramaturgies that are inspired by the ways in which children explore and express experience in their spontaneous dramatic playing (“play-drama”). In the analysis of the play-drama I have applied theory from social anthropology, theatre studies / dramaturgy, performance studies, and cultural studies. Hib_ing_617 Bergen University College Code 83 Workshop 165 min 16:00 Informance-Workshop on Theater in Education in the Philippines: PETA Experience Presenter Beng Santos-Cabangon PETA Co-presenter Raol Alfonso Philipines One of PETA’s trusts which has guided its work through the years has been on people’s empowerment through theater. Empowerment, as a vital concept in developmental work, can be quite abstract and can manifest in several ways. Such intangibility has prompted PETA to spell out a more specific benchmark – people’s participation – to gauge degrees of empowerment. With its Children’s Theater Program and the Metropolitan Teen Theater League at the front line, PETA has embarked on understanding, promoting and advancing children and youth participation, which shall be featured in this paper and living report. Hib_ing_618 Bergen University College Code 14 Workshop 75 min 16:00 Theatre Complete: A Program for Change Presenter Susan Co-presenter Alan Ralph Rankin Queen Elizabeth Collegiate Canada Ten years ago we developed a high school theatre program for students in Eastern Ontario, Canada. Theatre Complete has proven to be a unique program in our board, in our province and in our country. Through this workshop we hope to inspire and to encourage the creation and development of programswith similar goals. Hib_ing_622 Bergen University College Code 60 Workshop 165 min 16:00 Happenings for Empowerment Presenter Helen Co-presenter Sandercoe Deakin University Australia This practical workshop will explore how to develop Happenings to deal with contemporary social issues, such as bullying. Happenings are multi- arts and multi-media events which incorporate, movement, other dramatic techniques such as mask, visual theatre, creating an environment for the space, projecting a wide variety of visual images, sound and music. Hib_ing_623 Bergen University College Code 234 Paper 16:00 En arena för förståelse av dramapedagogikens demokratiska fostranspotensial (Scandinavian language) Presenter Mia Marie F. Sternudd Högskolan i Dalarna Co-presenter Sweden I de svenska läroplanerna och den svenska läroplansforskningen finns ett intresse för skolans demokratiska uppdrag. Sett i relation till en läroplansteoretisk utgångspunkt väcks frågan vad dramapedagogisk verksamhet kan tillföra en läroplan som vilar på vissa uttalade demokratiska principer. För att få klarhet i vilken demokratisk fostran som kan möjliggöras i användandet av dramapedagogik genomfördes en textanalys (Sternudd 2000). Litteratur granskades utifrån intentionen att undersöka om det existerar olika särskiljande dramapedagogiska perspektiv. Utifrån en didaktisk analys där relationen mellan mål, innehåll och metod är utgångspunkten formuleras en dramapedagogisk topologi där även möjliga reflexionserbjudanden synliggörs. 22 Code 169 Paper Code 176 Paper “Æstetiske læreprocesser” (Scandinavian language) Presenter Bennye Austring Co-presenter Mette Sørensen 17:35 Hindholm Pædagogseminarium Denmark Foredraget tager sit udgangspunkt i et igangværende lærerbogsprojekt : ”Æstetisk og pædagogik – en bog om æstetiske lærerprocesser”. En æstetisk lærerproces er en unik måde til gennem kunstneriske udtryk at bearbejde indtryk og oplevelser, og herigennem tilegne sig ny erkendelse og viden. Den æstetiske læreproces er ikke bundet til det talte sprog og vor umiddelbare bevidsthed, men har gennem sit symbolske formsprog yderligere adgang til vore ubevidste, endnu ikke erkendte og førsproglige lag. Inter-connected scenarios for ethical dialogues in Drama Presenter Beatrize Cabral University of Santa Catharina Co-presenter Brazil This study looked at the deconstruction of a text and the following approach to its fragments through interactive drama. The text, “Childhood”, by Graciliano Ramos, reveals distinct forms of violence and abuse in, or around, a child’s life. `Violence in childhood’ responded to the teachers’ request at an in-service training in Brazil. Code 129 Paper “Dark Play” & Cross-cultural Dialogues: Researching a Drama / Theatre project in a School Community Presenter Kate Donelan The University of Melbourne/Drama Australia Co-presenter Australia This paper draws on a two year ethnographic study of an intercultural theatre project in a secondary school. Collaborative ethnographic research methods were used to document the `liminal’ experiences of a diverse group of participants in the project, and to interpret the educational and aesthetic outcomes. Hib_ing_625 Bergen University College Code 85 Workshop 165 min 16:00 Drama and Values in the Teaching of English as a Foreign Language Presenter Maria Vilanova Vila-Abadal Co-presenter University of Barcelona Spain The use of drama as a learning medium is more and more common in educational contexts. An active teaching style based on communication and thought demands methodologies geared to significative and reflexive learning. The aim of this workshop is for participants to experience the learning process that a student of English undergoes, when learning English through drama. Hib_ing_715_AUD Bergen University College Code 227 Paper 16:00 “Hier Kom Die Mal Bus” (Here comes the Mad Bus): Using Drama to Reckognise and Rehabilitate People with Disability Presenter Elisabeth van Breda University of Cape Town Co-presenter South Africa The Drama Department of the University of Cape Town was approached by the University’s Occupational Therapy Department with a request to use Drama as a means to identify families with a disabled member and to encourage these families to seek rehabilitation and help. A group of UCT Drama students under my supervision began work with these two distinctly different communities. We confronted the communities by performing Theatre pieces and we used Boal techniques to make them aware and provoke involvement from community members. Code 246 Paper Beyond The Barriers - Disability Theatre and Schools Presenter Tony Horitz Co-presenter Bournemouth Theatre in Education United Kingdom This Paper shares findings from ongoing projects involving disabled people as actors and educators: TOPS Theatre Group (people with a learning disability) and DATCO (physically disabled people), devising new plays for primary and secondary schools. As well as gaining self-esteem, participants may challenge stereotyped attitudes and advocate powerfully for inclusivity. Hib_ing_718 Bergen University College Code 58 Workshop 165 min 16:00 Drama/Theatre - between the learning and the teaching: what do we have to teach so kids learn drama/theatre Presenter Robin Pascoe Education Deparment of Western Australia Co-presenter Australia There are four parts to this workshop 1. New literacies for the multi-media generation 2. understanding developmental learning in drama/theatre 3. Implications for teaching drama/theatre: planning programs for teaching and learning 4. Developing a coherent model and shared understanding of essential learning in drama.theatre The workshop draws from the experiences of implementing the Arts curriculum framework K-12 23 Hib_ing_723 Bergen University College Code 111 Workshop 165 min 16:00 The Probability of ‘The Giver” Integrating Mathematics and Science using Drama as Inquiry Presenter Christine D. Warner The Ohio State University Co-presenter Christopher Andersen Cecily O’Neill USA This participatory workshop will demonstrate an alternative method of using drama as a way to integrate the teaching of mathematics, science, and literature through inquiry. The drama will be based on the young adult novel “The Giver,” in which a boy inhabits an “ideal” world without conflict, poverty, unemployment, divorce, injustice, violence or inequality but where change is considered ethically inappropriate. Hib_ing_724 Bergen University College Code 167 Paper 16:00 Un teatro realizado en la escuela para una vida entendida como acción Presenter Ernesto G. Perez University in Colombia Co-presenter Colombia Un teatro realizado en la escuela para una vida entendida como acción Ernesto Galindo Pérez Cuando a los hombres de la selva les brotaron las semillas de las manos y dentro de la tierra brotaron las verdes fuentes de la vida y de las ramas de los árboles salieron los rayos del sol, un gran árbol comenzó a dar sus frutos, eran tan inmensos que los hombres lo llamaron el árbol de la abundancia, entonces fue cuando el hombre de la selva decidió cortar el árbolpara tenerlo. Code 215 Paper Project “Monde du Spectacle” Presenter Maria Helena Co-presenter Peixinho Le Monde du Spectacle Portugal Le théâtre et toutes les autres arts sont un grand potentiel et ont un grand pouvoir sur l’éducation humaine, à la formation personnel, à la création d’une identité, à la promotion d’une conscience culturelle envers la compréhension et la tolérence. Toutefois, on vérifie qu’il y a une manque de réponses au niveau de l’état - formation de cadres spécialisés dans ce domaine, absence de centres de doccumentation et d’expérimentation, inexistence d’un programme de formation continue, absence d’une politique capable de donner consistence aux projets que naissent, timidement, ici et ailleurs. Le “Monde du Spectacle” a remarqué ça et, en 1990, a surgit et a essayé de provoquer la communité scolaire, l’autarchie, la famille afin de leur montrer tout un travail avec un certain sens subjacent déterminé et avec une effective continuité . Le project s’articule sur l’apprentissage de la langage théatrale, où se réunissent de différentes aereas d’expression artistique, la capacité de conduire un parcours artistique sans se firmer dans le spectaculaire. Code 124 Paper 17:35 The Cars that ate Bathurst and other stories: developing multiple competencies in drama educators Presenter Michael Andersen Department of Education and Training Co-presenter Australia This paper explores the development of cultural, professional and personal competencies in the work of drama educators through the stories of their professional lives. These stories reflect each drama teacher’s journey and explores the development of an understanding of their role within the school environment and the importance of developing multiple competencies in their own professional development. The paper is based on a research project that followed the development of drama educators over the course of a year. Code 245 Paper The Spectrum of Circumstance: the interconnectivity of context, role and frame in process drama Presenter Pamela Bowell Kingston University Co-presenter Brian Heap United Kingdom This paper will examine the interconnectedness of three elements of process drama - context, role and frame - and the impact that this has on pupils through its potential for generating a broad, subtle spectrum of fictional circumstance in relation to a learning area. This spectrum of circumstance liberates both pupils and teachers from the traditional notion of cultural specificity, opening the way for exploration of a learning area from differing cultural perspectives. Hib_ing_726 Bergen University College Code 54 Workshop 165 min 16:00 Drama and the Internet (made easy) Presenter Justin Co-presenter Cash St. Kevin's College, Melbourne Australia Take a guided tour of the presenter’s recently created web site, linking you to hundreds of drama and theatre sites from across the globe on theatre history, practitioners, companies, venues, genres, styles, musicals, online plays, playwrights, education institutions, arts organisations, classroom resources, set/lighting/costume designs and more. 24 Hib_ing_817_AUD Bergen University College Code 192 Paper 16:00 Bicultural Theatre as an Agent for Healing: Marae Theatre in New Zealand/Aotearoa Presenter Susan Battye Epsom Girls Grammar School Co-presenter New Zealand This video/paper presentation looks at the way in which an indigenous, bicultural theatre form continuously promotes behavioural change and healing among young people and adults in prisons, youth detention centres and schools throughout New Zealand. Ceremony, dance, drama, song, chant and knowledge of ancestry underpin this work. Code 70 Paper Theatre with Migrant Workers in Hong Kong Presenter Charito Co-presenter Mok Chiu De la Cruz Yu Asian Migrants’ Theatre Company Hong Kong We implemented a very unique theatre activities for the Asian migrants in Hong Kong. This first ever theatre artsand cross-cultural collaboration project has been on for 3 years now and is believed tobe highly successful. Our long term objective is to use theatre as a toolforadvancing migrants’human rights whose numbers are quitely increasing but are often subject to the so-called 3D jobs (dirty,dangerous,demeaning).Migration have become a phenomenon specially now that we are int eh globalization era. And we believe this is one reality that we want to share to the participants int he conference and how we explored theatre to showcase reallife stories of migrants’lives, their struggles and their dreams.Plus the attempts to educate the local people about the migrant issues through their participation in many cultural collaborations we havebeen doing. Code 196 Paper 17:35 “En usedvanlig estetikk” (Scandinavian language) Presenter Rikke Gürgens Co-presenter Hogskolen i Harstad Norway Avhandlingen baseres på to feltarbeid; ved det nyopprettede profesjonelle tegnspråkteateret i Oslo og det integrerte Alfheimteateret for psykisk utviklingshemmede i Tromsø. Feltarbeidene danner grunnlaget for utvikling av ny teori. Fordi undersøkelsen jeg utfører er basert på uutforsket empiri, og dermed representerer grunnlagsforskning innen drama/ teater, arbeider jeg med metoden “grounded theory”. Med bakgrunn i feltarbeidene konstruerer jeg ulike idealtyper for å rendyrke de tendensene jeg finner i feltet. Innlegget vil presentere et empirisk materiale som er blitt analysert og systematisert teoretisk, gjennom tre perspektiv; et estetisk, et sosiologisk og et pedagogisk. Disse fungerer som et innledende utgangspunkt og veiviser for analysen av det empiriske materialet. Denne analysen munner ut i ny “grounded viten” om feltene Code 203 Paper Den stygge andungen (Scandinavian Language) Presenter Jorunn Seljeseth Co-presenter Hogskolen i Agder Norway Den stygge andungen. Dette er figurteater av den kjente historien til H.C. Andersen. Utgangspunktet var et FOU arbeide som ble utført i en barnehage i Kristiansand i 1998. Arbeidet resulterte i en teaterforestilling for barnegruppen. Den er inspirert av barns symbollek. Forestillingen viser en lek med H.C. Andersens historie. Både folkelighet og humor er brukt som virkemidler. Den kan sies å være en noe rå utgave av den opprinnelige historie, og tilpasses den aldersgruppe den spilles for. Figurene er ullgarn i forskjellige formasjoner Forestillingen har blitt vist som både barneforestilling og voksenforestilling. Hib_ing_819 Bergen University College Code 110 16:00 Workshop 165 min Representing Childhood: Theoretical Constructs & Pracital Implications Presenter Co-presenter Manon Sharon Grady van de Water University of Wisconsin-Madison ,Stephani Etheridge USA This drama/theatre workshop strives to unsettle preconceived notions of “childhood” in drama and theatre for youth as an arena for ethical dialogue. The session will question constructions of the “child” and explore diverse meanings embedded in the landscape of childhood through multi-media examples, paper presentations, and practical exercises on the performative construction of childhood and of children in popular culture, the fine arts, and self-representations. Hib_ing_820 Bergen University College Code 264 Workshop 75 min 16:00 Playing in the Dark with Flickering Lights: Teaching and Learning Human Rights in Northern Ireland Presenter Brian Edmiston The Ohio State University Co-presenter USA This interactive workshop and discussion will focus on some of the questions with which I have been struggling as I have used drama in teaching and learning about human rights in secondary classrooms (ages 11 - 18) in the country of ny birth – the divided society of Northern Ireland. 25 Code 26 Workshop 75 min 17:35 Three Heads Against Aids Presenter Evans Bundi Nyukundi Co-presenter George Oongaga Obiri St Mary’s Gils Nyabururu Obino Nyambane Kenya A workshop and a plenary session of three narratives; `The Thorn’, telling of careless unprotected sex and wife inheritance which causes the prick consequently causing AIDS,`Memba’, warning of loose morals with AIDS as the scarecrow and ` Phanthom Positive ’highlighting on positive living with AIDS victims. Hib_ing_825 Bergen University College Code 250 16:00 Workshop 165 min Interventionist Theatre: The Crossing the Bridge Project - and creation of a Palestinian, Israeli, Jordanian Theatre Company and the play “The last Presenter James P. Mirrione Bretton Hall College Co-presenter United Kingdom As an introduction to interventionist theatre both a practical and presentational workshop will be presented. Participants will engage in the same dramatic techniques that were employed to create the first Middle East theatre company and the play THE LAST ENEMY. The documentary of the same name will also be presented. Hib_ing_830 Bergen University College Code 95 Workshop 165 min 16:00 Pudding Proof -a workshop about Workshop. Presenter Tony Co-presenter Gee Far and Wide Theatre Co. United Kingdom This will be a practical session in which you get a chance to make a puppet and a theoretical session which will investigate ‘Workshop’ as a form. We will do, we will move, we will chat and we will discuss. So, it will be a very serious and, at the same time, a completely frivolous session. Hib_ing_FESTSAL Bergen University College Code 57 16:00 Workshop 165 min Drama at the Centre of Learning: A Primary Educational Model Presenter Co-presenter Tiina Geraldine Moore Peters Eltham College Australia The Sydney of the Olympics 2000 began as a humble convict settlement. Join a drama teacher and a classroom integration specialist to combine knowledge of Australian history with a variety of Arts strategies and forms. The winners of The Best Innovative Curriculum, 2000 in Victoria, Australia will take an ethnographic perspective on cognitive, social and aesthetic learning. HiB_ing_kantine Bergen University College Code 84 Workshop 165 min 16:00 Flying like a bird over the stage - Spectator Scholl presentation Presenter José Gil Co-presenter Adelaide Alves Escola do Espectador Portugal Portugal The story of a bird is like athe story of a old actor who live in a sky blue near the fire and the sun. About Saramago Nobel Prime and The Memorial of the Convent NCB_1 Dance Theatre Code 53 Workshop 165 min 16:00 Playback Theatre Presenter Co-presenter Cymbeline Buhler Theatre of the Sun Australia Playback Theatre makes real life stories into small plays. The conductor speaks directly to the audience: “How are you tonight?” “What did you do today?” “What are your dreams? Your visions? Your daydreams?” (This presentation is scheduled both Thursday and Friday - workshop Thursday, performance Friday - see programme) NCB_2 Dance Theatre Code 96 Workshop 165 min 16:00 Telling Our Own Stories: theatre, gender and development Presenter Julie McCarthy Co-presenter Karla Galvao University of Manchester United Kingdom This workshop will present techniques for gender issues work from the DfID funded Resource for Theatre and Participatory Development, drawing on experiences of working with women’s groups in Brazil and Peru - and on our partnership with the Brazilian NGO “PAPAI” whose projects address issues of masculinity and fatherhood with young Brazilian men. 26 Rehearsal Hall Grieg Academy Code 265 Workshop 75 min 16:00 Searching for Open Unity : Ethnodrama and Storried Lives as Research Method and Phenomenon. Presenter Lorenzo Garcia University of North Texas Co-presenter USA The proposed session has three distinct features. First, two student-teachers and I will begin with a performance of an ethnodrama, what Meinczakowski describes as a turning of ethnographic narratives into a dramatized form. Engaging in this kind of exploration through theatre suggests that, borrowing the words of Behar, we have attempted to occupy “a borderland between passion and intellect, analysis and subjectivity, ethnography and autobiography, art and life” (174). Three research questions framed this investigation: How can researching by our own lives serve us as teachers/artists? What do we learn about teaching and performance by returning to our childhood memories? How do we want to be known in the classroom and studio? (…) Code 8 Workshop 75 min 17:35 Using Drama to develop visual literacy skills Presenter Heather Co-presenter Smigiel University of Tasmania Australia In this workshop I will aim to develop participants understanding of the place and function of visual literacy in contemporary culture, to explore the use of visual texts as sites for teaching and learning and to develop understanding of the place of drama in developing visual literacy in classroom contexts The workshop will be interactive and participants will be involved in exploring innovative approaches to teaching about and through texts in the classroom. Uib_Psyk_110 University of Bergen Code 15 Workshop 75 min 16:00 REALITY AS METAPHOR: RISKS &REWARDS Presenter Vlado Co-presenter Krusic Educ. Dept. Zagreb Youth Theatre Croatia How can we use documentary material in drama work with the outsiders, i.e. those who have not experienced the reality to which the material refers? What are the limits? And what are the possibilities of this work? The documentary material used in this workshop will be the photos taken during the last decade in Croatia and Bosnia and Herzegovina. Code 20 Workshop 75 min 17:35 ‘From Etheral to Terrestial’ : Dance-Drama for Stress Management Presenter Kasturi Pattnaik Co-presenter Odissi Research Center India The Indian classical Dance tradition has continued through centuries with its roots steeped Into antiquity. The canon of the age old classical dance forms perhaps unerringly crystallized in the second century A.D., as by them a comprehensive treaties on dance , drama , music and poetry called “Natyasastra” had been written by sage Bharat. This laid down (much like the western classical ballet , a millenium and half later ) the formalised actions of a dancer that would follow specific rules regarding the position of arms, feet , body etc . Uib_Psyk_118_AUD University of Bergen Code 143 Paper 16:00 Distance lends Enchantment to the Vice: Exploring the Paradoxes of Drama Education Presenter John O’Toole Griffith University Co-presenter Australia This paper begins by exploring mastery and transgression in drama, using examples of process drama and other forms. Drama’s potency may see it traduced into ethically odious ends, which raises questions of who are to be the moral guardians. The paper challenges some recent trends towards correctness in drama education. Code 86 Paper The Drama Tool - International Meetingpoint for Drama / Theatre and Education Presenter Åse Bjurström the Drama Tool Co-presenter Cathrine Kariuki Sweden Rad and EATI examines how the grassroot-drama will be strenghten by an IT-based network, the Drama Tool. Starting from a dramaproject with streetchildren in Nairobi reflections upon obstacles, possibilities and visions is shared , from a local, regional and international perspective. The presentors will emphasis a dialogue with the participants. The co-presenter is from Kenya. Code 312 Paper 17:35 Drama for Advocacy: Girl child education in Ghana’s rural districts. Presenter Mary Yirenkyi University of Ghana Co-presenter Ghana This paper discusses factors affecting girls’ education in Ghana. These include cultural practices like early betrothal, wrong perceptions of the values of girls’ education etc. I will describe how drama has been used to concientice all stakeholders in education about the values of girls’ education; parents, authorities, school children. 27 Code 24 Paper Multiculturealism & Nation (Re)Construction in Recent Cameroon Anglophone Drama Presenter John Tiku Takem University of Bayreuth Co-presenter Kamerun This paper proposes to examine the way recent Anglophone Cameroon drama with specific reference to Epie Ngome’s ‘What God Has Put Asunder’,Bate Besong’s ‘Beasts of No Nation’and Bole Butake’s ‘And Palm Wine Flow’- engages the plitical union between Anglophones and Francophones. In the portrayal of the cultural, historical and ideological affiliations that inhabit the plays,I try to understand how these shape the manner in which individuals in the community express their belonging or otherwise to the hegemonic discourse on nation formation. Uib_Psyk_215 University of Bergen Code 309 Workshop 165 min 16:00 A la découverte de notre culture á l´aide de jeux - betwixt and between Presenter Marcel Gubler Pestalozzianum Zürich Co-presenter Switzerland L‘ association Suisse pour le développement du jeu théâtrale (SADS) a crée le project des camps de théâtre pour des enfants de 11 à 13 ans de toutes langues et cultures en Suisse. Nous avons fait un voyage dans quatre régions différentes ou une cinquantaine d‘enfants ainsi que leurs animateurs et accompagnats provenant des quatre régions culturelles et linguistiques de la Suisse se rencontraient. Pour participer au camp, il faut être intéressé par le théâtre en général, mais aussi souhaiter communiquer avec les autres, échanger des connaissances, partager des moments forts et découvrir du nouveau. Jouer ensemble pendant la vie du camp et dans les atéliers devrait éveiller chez les enfants la compréhension vis-à-vis des autres, des personnes différentes qui vivent chez nous. La richesse des idées et l‘imagination de tous les participants sera utilisé en accord avec l‘environnement naturel et ses possibilités de jeu. La connaissance d‘autre langues n‘est pas exigée mais plutôt la curiosité et l‘intérêt à se mélanger avec des personnes d‘une autre langue. Je propose un atélier pour présenter l‘idée et les experiences en faisant un bout de chemin ensemble avec des technigues théâtrales et utilisant toutes les langues possibles.Imaginez des scènes italienchinois-turques. Uib_Psyk_519 University of Bergen Code 188 Paper 16:00 THEATRE FOR LIFE Presenter Co-presenter Albert Wandago Alwan Communications LTD. Kenya Traditionally theatre has been part of leisure time in Africa. However, during the last decade there has been a realization that theatre can be much more than a past time. Kenya, like other African countries have been struggling to combat so many problems: Poverty, illiteracy, unemployment and now AIDS. Direct financial and structural interventions don’t seem to work against these problems. Hence the theatre is now continually being brought in to assist essentially as a motivation and behaviour-change factor. This will therefore be the thrust of my presentation. A short video demonstration shall be used. Albert Wandago Drama & Film Director Code 237 Paper Theatre as Cultural and Political Interventions Presenter Ybrahim Co-presenter Yerebakan Atatürk University Turkey If the last decades of the twentieth century have taught us anything, it is that violent actions are no longer sustainable, and that a significant progress must be made towards a culture of non-violence. The main challenge for humanity at large these days is crystal clear; how can corrupt and unjust political and social systems around the world be transformed into the system? Having been deeply involved in dramatic literature, I tend to believe that theatre can play the role of cultural catalyst in the restitution of a culture of non-violence. Code 212 Paper Code 210 Paper 17:35 Being through Drama in a multicultural primary portuguese school Presenter Isabel Bezelga University of Evora Co-presenter Lucia Valente Portugal Since the “carnation revolution” in April 1974 Portugal suffered big changes in political, social, cultural and economical areas. WE are today a more open and multicultural society. Intercultural education became a concern in the last years. This situation prompetd the authors to integrate an international multicultural project - MUS-E (ARTISTS IN SCHOOLS)which developped in 80 schools in Europe, using creative arts - music, theatre, dance and visual arts as a tool of intervention. Educated by Ritual: Interaction and Ritual in the Polish Alternative Theatre of the nineties. Presenter Marek Jezinski Polish Academy of Sciences Co-presenter Poland In the paper, the groups’ performances are analysed in the context of everyday life rituals fixed in typical day-to-day interactions which are supposed to influence the audience in the long run. Such education embraces negative and positive idealisations of rituals since the companies critically comment on contemporary world problems 28 Uib_Psyk_520 University of Bergen Code 183 Paper 16:00 The quest for peace: some reservations on peace education via drama Presenter Shifra Schonmann University of Haifa Co-presenter Israel This paper raises some reservations on peace education via drama, reexamines the value of drama projects aiming at peace education, in light of the renewed outburst of war between Israelis and Palestinians. October 2000 has left me with a terrible feeling that we have made no progress toward peace, which seemed a real possibility beginning back in 1993. What has become abundantly clear is that hatred, racism, and nationalism in this part of the land have not been reduced. This work will examine the ‘contact model” of solving problems - meaning, Jews and Arabs co-working on theatre performances. Code 236 Paper Holding a Mirror to Challenging Concerns in the Modern World: David Hare’s “A Map of the World and Fanshen” Presenter Mehmet Takkaç No Company Specified Co-presenter Turkey David Hare reveals that the problems in the world can only be solved with the participation of all nations. He especially focuses on poverty, misrepresentation in the international institutions and inequality in the world, and proposes that basic principles of the troubled world are to be reestablished. He is of the opinion that moral, cultural and humanitarian principles should be of prime importance if the world is to be made a more liveable place, and reflects his views on these issues in A Map of the World and Fanshen. Code 144 Paper 17:35 Masculinity in the Drama Classroom Presenter Richard Co-presenter Sallis Drama Victoria Australia This paper is based on research I am conducting for my Master of Education at the University of Melbourne. It focuses on the way the teaching and learning of drama in single sex boys’ schools enables the students to explore their gender, sexuality and the multiple facets of their masculinity. Code 257 Paper The Relationship of Real and Fictional Narratives in Drama Edcuation Presenter John Somers University of Exeter Co-presenter United Kingdom Drawing on practical experience, philosophical debate and psychological and literary theory, this presentation will examine two linked concepts that are central to an understanding of the dramatic experience. The first, NARRATIVE, is central to the ways in which we make meaning of our identity and existence. We “know” the world through stories that we are told about in excess of the “real” experiences we gain. We develop personal narratives in which we structure our view of the past and our expectations of the future. These narratives connect with those of others - family, wider societal groups and the nation state. 29 Uib_Psyk_521 University of Bergen Code 195 Paper 16:00 Marked for Life: Drama’s Role in Countering the Stigma Associated with Mental Illness Presenter Peter O’Connor New Zealand Ministry of Education Co-presenter New Zealand Marked for Life. Stigma and Discrimination associated with Mental illness became the focus of a nation wide five year campaign from 1998. One of the tools used to help people reflect on the issues has been process drama. This paper looks at a series of workshops where mental health professionals and consumers dialogue through drama to confront discrimination in their institutions. Code 242 Paper Drama and Theatre for an inclusive society Presenter Erik Co-presenter Szauder Eötvös University Ungarn This paper would concentrate on the integrating effects of educational drama/theatre. The paper would argue for the emancipatory effects arts in general, and drama/theatre in particular, can provide in education for all. The paper would present case studies to support the argument that drama and theatre can, and therefore should be used as a means of transgressing the concept of ‘disability’ for the sake of the concept of ‘different abilities’. Code 318 Paper 17:35 Broadening the Base - Drama and other Cultures Presenter Hamish Fyfe Co-presenter Ireland This paper is concerned with a perceived need for drama/theatre to broaden its theoretical base. The discourses of sociology and psychology have tended to proscribe the parameters of theory for those involved in using drama for learning. This paper suggests that moving outside the usual frames of reference for drama, particularly through engaging with the discourses of anthropology can allow for a revisioning and potential reivention of drama. It is argued that anthropology seeks to address the role, nature and function of drama within a total cultural context as opposed to the relatively narrow speher Code 336 Paper Arts and Entertainment Presenter Patrick Co-presenter Tom O’Shea McNamara Macarthur Girls High School Australia Our Drama Department currently teaches Drama from Year 7 to Year 12 and provides the NSW exit credential to University for Drama students. The Department and District is also trialling the implementation of a Drama approach to the very popular national educational agenda of vocational education. The school will train Mr McNamara and Mr O’Shea or give credit for prior learning experience in the areas of Front of House; lighting;sound; stage management and so on. For the first time in Australia there exists National qualifications for vocational education and training in the theatre industry. The new course which we will be implementing covers occupations in technical areas, and venue operations for all types of events, including multi-media expression. 30 July 6th 2001 - Academic programme Registration Code Time Hib_Ing_615_AUDBergen University College Code 207 Paper 16:00 “Gen-Gangere” a Drama and Science Educational Project Presenter Marianne Ødegaard Co-presenter Per Arne Øiestad De Naturhistoriske Museer Norway ”Gen-gangere” is an interdisciplinary project in upper-secondary school. It is a collaboration between a drama-class, a drama educator and a science educator from the university. The result is a play, “Gen-Gangere” and is based on a research project about public understanding of biotechnology, Henrik Ibsen’s plays, and the students’ own perceptions. Code 200 Paper Henrik Ibsen as Stage Director in Bergen 1851 - 1857 Presenter Ellen Karoline Gjervan Co-presenter Hogskolen i Agder Norway In 1851 Henrik Ibsen found himself in Bergen as a stage director. He was then sent abroad to study directing. How did this trip influence the way Ibsen solved his new job? Did Ibsen develop as a stage director while in Bergen? Was Ibsen any good at directing? Code 269 Workshop 75 min 17:35 PANEL: Ethical Dialogues in Dramatic Arenas: Ethical Considerations in Inter-cultural and Cross-cultural Research Presenter Laura McCammon University of Arizona Co-presenter USA This panel of experienced drama / theatre education researchers and practitioners will explore two questions from their own unique perspectives: What ethicla guidelines (accepted rules of conduct) guide their work and what ethical dilemmas do they face ? Those in attendance will be invited to contribute to the ethical practice and ethical dilemmas dialogues. Panel Co-Chairs: Dr. Laura A. McCammon(USA), Dr. Margaret Lepp (Sweden). Panel Members: John Carrol Ph.D (Australia), Dr. Debadutta Das (India), Dr. Abuelgassim Gor (Sudan), Dr. Shifra Schonmann (Israel), Dr. Christine Warner (USA), Warren Linds (Canada), Shu-hwa Jung (Taiwan) Hib_ing_617 Bergen University College Code 22 Workshop 75 min 16:00 Using “Mantle of the Expert” to achieve new Dimensions in learning perspectives Presenter Irma Segal Goodman Moshav Bet Herut Co-presenter Israel This method will focus on The Ibsen Project-The Doll’s House, created by Drama students from Nesna College. The method “Mantle of the expert” will be presented as used during the two stage project. Discussion groups will then share and present further ideas using the method with different subjects, ages and countries. Code 29 Workshop 75 min 17:35 The group, the body, and the real Presenter Janinka Co-presenter New Zealand Greenwood Christchurch College of Education This workshop reports on aspects of a drama project with teacher trainees in the remote North of New Zealand, and examines the impact physicalisation and group process had on learning. It also examines the ways in which the cultural context of the students and of the location informed the drama. The workshop extends the report of the research into practical exploration of the issues and themes that arise. Hib_ing_618 Bergen University College Code 17 Workshop 75 min 17:35 Instant Theater i börnehaver & småskoler Presenter Merete Co-presenter Sørensen Roskilde Pædagogseminarium Denmark Instant Theater in Kindergarden and Primary school The workshop presents a dramamethod to create a play with the children spontanesously on the floor. The method is designed to be as close to the chidrens own roleplays as possible. In the workshop fantasy will be in focus- but the method can as well be used within socialrealistic genres. 31 Hib_ing_622 Bergen University College Code 56 Workshop 165 min 16:00 Being ‘Leaderly’: The Conduct of Process Drama Presenter Brad Haseman Co-presenter Queensland University of Tech. Australia This workshop will examine the complexities of planning and leading process drama. In recent years a species of repeatable process dramas has grown up as participants run and re-run favourite process dramas. These dramas frequently take on a fixed structure, at odds with the notion of openness and flexibility which is the promise of Process Drama. In response to this move towards fixed structure, the notion of ‘leaderly authorship’ will be demonstrated in this workshop. Leaderly authorship incorporates the key features of multiple pre-texts, a reservoir of resources and group control of the action. The process drama played out in this workshop will centre on the conference theme ‘Reality at stake’. Brad and the workshop participants will examine common representations of reality which saturate highly mediated ‘culture’ societies (McRobbie) to ‘write’ a contemporary performance piece of the real, the virtual and the surreal Hib_ing_623 Bergen University College Code 258 Paper 16:00 Mutual Narratives: The Playwright in Residence Presenter Amanda Stuart Co-presenter Embassy Theatre United Kingdom Drawing from ongoing research, this presentation explores the interactions and relationships that are established within a playwright in residence project. It will propose that playwright in residence projects need to develop clear ethical theories in order to create mutual narratives that are both responsive and responsible. Code 211 Paper Audience activating techniques in recent performance and their educational efficacies. Presenter Edyta Lorek-Jezinska Nicolas Copernicus University Co-presenter Poland The paper examines and classifies audience activating techniques in recent Polish and British performance in order to establish a correlative between participation and educational efficacy. The analysis of the audience’s involvement is based upon the concept of authentic optation (expanded Turner’s liminoid optation), a genuine ability and right to make choices about creative processes. Code 182 17:35 Paper Between two cultural extremities - seeking an alternative praxis in Irish Drama Education Presenter Co-presenter Michael Finneran Mary Immaculate College Ireland This paper will centre around identifying and examining two contrasting, yet complementary areas of Irish dramatic heritage. The ‘oral and communal aesthetic tradition’ and the ‘literary and private aesthetic tradition’ co-exist, but the challenge lies in forming an inclusive praxis for schools, under the umbrella of drama education. Code 273 Paper Bridging cultures where life hangs on the edge: Examining student-created dramas from North Canada Presenter Adrian Rodgers University of Toledo, Ohio Co-presenter USA The Labrador Creative Arts Festival annually brings northern Canadian school children of all ages from remote areas together to share and perform student-written dramas. This session describes the operation of the Festival and examines the content of the student’s plays. The way in which student-created drama bridges the gap between a child’s local understandings and the larger world will be considered. Hib_ing_625 Bergen University College Code 33 Workshop 75 min 16:00 Between Broadway and Bangkok: “The King and I “as an arena for ethical dialogue. Presenter Kjell Skyllstad University of Oslo Co-presenter Tipaporn Luksanahot Norway Ever since the birth of musical theatre the ethical dialogue has been a focal point in the evolution of the drama. In our media age with its ever growing popular appeal through stage, film and TV versions the musical could afford important teaching material involving students in fruitful debates on aesthetic ideals, ethical standards, cultural norms and human behaviour.The workshop intends to focus on such learning processes in an intercultural perspectiv. The copresenter is educated at Chiang Mai College of Dramatic Arts and at Bussakorns Department of Music at the Chulalongkorn University. 32 Hib_ing_715_AUD Bergen University College Code 241 Paper 16:00 The Life and Future of Children in War Zones Presenter Mercy Mirembe Co-presenter Ntangaare Makerere University Uganda The world’s big wars today might be in Africa, and involve children directly either as soldiers or as refugees. Both ways, the children are the worst victims, besides the women. Those not killed are maimed, orphaned, and lpopped into a future worse than their past, uncertain as their present. But why? The Performance of Narrative: An Analysis of the Emergence of Sigana, or Kenya’s true theatre? Presenter George Odera Outa University of Nairobi Co-presenter Kenya Code 186 Paper This paper explores the newer imperatives of theatre in Kenya, and especially the curious notion of performing Sigana (‘narrative’) as a theatre genre. Conventionally, sigana presupposes, a somewhat passive audience. In a Luo-Kenyan context, such sigana would be shared in an old grandmother’s hut, just before retiring to sleep. The paper details how they have been re-deployed in a modernist context as to result in what has been widely acknowledged as the arrival of ‘a truly Kenyan form.’ Code 255 Paper 17:35 Playing Betwixt Indigenous Knowledge and Between Formal Education Presenter Tim Prentki King Alfred`s College Co-presenter United Kingdom “This paper is about children’s rights and values in relation to formal and informal education and the contribution that Theatre for Development can make in enabling children to form their own agendas of learning. We start from the premise that Western, neo-colonial formal education has largely failed the children of the majority world by silencing their voices and ignoring their needs.” Code 229 Paper Arenas of learning - Educational aspects of Sri Lankan dramatic arts Presenter Kala Keerthi Kulatillake Co-presenter Kjell Skyllstad (Oslo) Institute of Aesthetic Studies Sri Lanka Sri Lankan village theatre has since times immemorable afforded a setting for the dissemination of cultural and social learning to the younger generation, including sex education and preparation for adult life. The paper will examine these learning processes within traditional dramatic forms facing an age of rapid transition and modrnization. How can traditional arenas of learning serve present and future educational needs in developing countries ? What educational strategies do they teach us ? Hib_ing_718 Bergen University College Code 66 Workshop 165 min 16:00 The Dragon’s Cave Presenter Co-presenter Charlotte Ida Lorenzen Bugge Kobenhavns Pædagogseminarium Denmark Once upon a time there was a king’s son, who travelled out into the world. His royal hair was yellow, and his two royal shoes were firery red. They were so firery red, that wherever he set his foot, the grass caught fire. And all the long way to the princess, clouds of fire rose behind him. But he arrived too late. The princess was dead, and only the dragon was left. It was lying under the castle crying bitterly (...). - from a fairytale by Louis Jensen The theme of the session is drama and verbal concience in the first years of school. The session is a teacher-in-role structure, which incorporates other techniques of drama: statues, hotseat interview, improvisation, storytelling and Hib_ing_719 Bergen University College Code 103 Workshop 165 min 16:00 The Therapeutic Classroom: Drama Therapy and Adolescents with Severe Emotional Disturbances Presenter Lanell Finneran Bert Nash Community Mental Health Cen Co-presenter USA The Therapeutic Classroom is a cooperative effort in Kansas (USA) between the Lawrence Public Schools and the Bert Nash Community Mental Health Center to provide a community-based academic and therapeutic program for adolescents with mental illness. 33 Hib_ing_723 Bergen University College Code 28 Workshop 75 min 16:00 Didactics of Drama and Art Presenter Henriette Co-presenter Coppens University Leiden Netherland In my presentation I’ll show that the learning cycle introduced by Kolb provides a model to construct the learning of Drama and the other arts for students with different learning styles. We will discuss the thesis that to learn Drama and other arts, a specific learning style is needed. Code 25 Workshop 75 min 17:35 Dramatizing Modern Rituals: The Politics of Justpeace in East Africa Presenter Babu Ayindo Amani People`s Theatre Co-presenter Rosemary Okoth, Maurice Amollo Ouma Kenya The workshop will examine how the artiste and the political chieftain are struggling to advance a peace culture in East Africa through the dramatization of modern rituals. The workshop will critically and experiantially explore how artiste and rulers in the three East African nation-states of Kenya, Uganda and Tanzania have responded differently to the challenge of enhancing a peace culture through public rituals, control of artistic space and cultural intervention. Hib_ing_724 Bergen University College Code 127 Paper 16:00 The Theatre of Surveillance: Invisible Theatre for Invisible Audiences Presenter John Carrol Co-presenter Charles Sturt University Australia The Theatre of Surveillance research project deals directly with the growing centrality of image consumption within the wholesale adoption of information technologies in contemporary society. This performance form occupies the contested space of public and corporate vision and offers an artistic reflection on the process of surveillance itself. Code 140 Paper Schlock Horror: Images of Reality as Constructed in Student Drama Videos Presenter Mary Mooney University of Western Sydney Co-presenter Australia This paper aims to engage participants in the exploration of new dramatic expressions by young people in their video constructions. We will explore how Senior High school Drama students manipulate video in a contemporary multimedia society to extend their dramatic expressions of reality and how their constructed representations for the small screen dramatically portray issues which concern them in real life, in particular, the issues of suicide and horror. Code 307 Paper 17:35 Drama, theatre and healthy living Presenter Iain Co-presenter Steve Smith Ball Playhouse Birmingham United Kingdom The paper will examine the common elements inherent in health promotion and arts education and will examine the ways in which The Play House places drama and educational theatre at the centre of the health promotion process. Code 191 Paper Beyond Once Upon a Times - Helping young children to navigate. Presenter Tanya Robyn Batt Co-presenter Self Employed New Zealand An abandoned nest, a stolen trophy, quests to save life and spirited adventures. The imagined worlds work to contain and frame the troubles and dilemmas that children experience in their daily lives. Where do I belong? How do I make sense of the world that I live in? Through music, movement, music, drama, puppetry and storytelling children are actively encouraged to engage in the process of meaning making. 34 Hib_ing_817_AUD Bergen University College Code 133 Paper 16:00 Drama Praxis - Art Workers and Lifelong Learning - a phenomenological study Presenter Divyam Sue Gibson Quantam Theatre Co-presenter Australia A framework for conceptualising community-based arts and lifelong learning with a focus on the performing arts is presented. The relationship between community-based arts and lifelong learning is made, as well as recommendations for further research that requires attention from councils, arts bodies, and educational organisations. Code 158 Paper “The Bricks & Earth Circus Gift”, a strategic plan to bring drama / theatre / circus skills to aboriginal yout Presenter Kathleen “Mooky” Cornish Green Fools Theatre Society Co-presenter Xstine P. Cook Canada A presentation on findings from a research project, The Bricks and Earth Circus, “The Gift”, a performance and teaching project which combined circus, theatre, and traditional aboriginal performance. Circus founders Xstine P. Cook and Kathleen “Mooky” Cornish present theories from working for two seasons on Canadian aboriginal reservations, teaching circus and theatre skills to youth, and providing opportunities to perform. Includes a video presentation of conditions, and response to circus drama/theatre classes. Code 214 Paper 17:35 Maths & Drama: An Experience in Kindergarten Presenter Ema Mamede Co-presenter Carla Pires-Antunes Minho University Portugal This paper raised from an interdisciplinary work existed between the subjects of Maths and Drama. In this context, it was developed a work with kindergarten children, in which regularities are explored through physical patterns, patterns with objects and pictorial patterns, allowing Mathematics and Movement to work together with the purpose of: a)recognise, reproduce and create regularities; b) develop the capacity of predicting; c) develop communication. Drama is used as a didactic tool for development of the Mathematics skills. The main strategy is the use of several Laban’s notions of space, movement and time. Code 137 Paper If you were a bear: 6 year olds negotiating reality through drama Presenter Lorraine McDonald Co-presenter AUSTRALIAN CATHOLIC UNIVERSITY Australia This paper offers a poststructuralist reading of some drama lessons which allowed Kindergarten students to experience a multiplicity of roles “playing betwixt and between” possible identities. In role, the students played out discourses of rejection and anger. Selected video images will enable participants to observe the embodiment of shifting identities. Hib_ing_819 Bergen University College Code 11 Workshop 75 min 16:00 EL JUEGO EN LA EDUCACION Y EL TEATRO Presenter Marco Almeida Co-presenter Morales De Teatro Para Ninos - Montreal Canada En nuestro taller, jugaremos a la simplicidad del SER. A traves del movimiento y el sonido, descubrimos, sentimos, nos expresamos. Simplicidad, esencia y lenguaje del taller. Durante una hora las diferencias corporales, culturales, linguisticas se encontraran de manera divertida, delirante, emotiva, creativa. Como al inicio de la vida, en libertad. Code 3 Workshop 75 min 17:35 In Between Identities Presenter Patrizia Co-presenter Ferrara Immigration Museum Australia The workshop will explore the meaning and understanding of multicultural drama/theatre. It will also highlight issues including cultural identity, ethnicity and immigration. The workshop will allow participants to view an extract of a multicultural performance, understand Australia’s multicultural drama/theatre history and participants will undertake various cross-cultural drama activities. Hib_ing_820 Bergen University College Code 177 Paper 16:00 “Les deux voyages de Jaqcques Lecoq” - A presentation of Jacques Lecoq’s teaching. Presenter Lucien Nicolas TCI Co-presenter France The videos were made two years ago, just before Lecoq died, for the French and German TV (ARTE). During the first IDEA congress, in Porto, Jean-Gabriel Carasso decided with Jacques Lecoq to write a book about his teaching, and, if possible, to make a video. Eight years after all is done : the book is published in French, German, Japanese, and English (in november 2000). The video exist (2 parts of 45 minutes each one), in French with English subtitles. All this project was born during the first (and historic!) IDEA congress in Portugal in 1992. Lucien Nicolas will present the material on behalf of Jean-Gabriel Carasso. 35 Hib_ing_825 Bergen University College Code 329 Workshop 75 min 16:00 The space and the elements for expression/ (Multilingual) Presenter Fernando Bercebal Co-presenter Cristina Ruiz Proyecto Ñaque Spain The idea of our presentation, as it is said in the title has to be more with space and elements than speaking. We are only to speak some questions and orders to reorganize and feel the differences between several structures and schedules according to the space - phrases joined to actions and movements in and with the space. The questions and orders will be spoken in several languages, with the idea of beeing understood by anybody who wants to be there or, in some ocasions, with the idea of beeing understood by only a few people or nobody on purpose. Code 303 Workshop 75 min 17:35 Jazzin’: How we be livin’ in America Presenter Gwendolen Co-presenter Carmen Harwick Kelly The CAT, New York University USA This TIE presentation is a new work specifically designed to explore the sociopolitical conflicts in black women/girls lives in America. Utilizing The Creative Arts Team acclaimed methodology implemented by its Junior and Senior High School Program this presentation will merge different theatre forms, educational theatre strategies and African American style and ritual. While based in Boalian/Freirean theory and practice it is uniquely American… the Joker as preacher/liberator. Hib_ing_826_AUD Bergen University College Code 160 Paper 16:00 Doing and Researching Drama: Ethical Dialogues Presenter Kathleen Gallagher Co-presenter Ontario Institute for Studies in Education of the Canada Many contemporary Canadian playwrights and performers have re-cast historical relationships by using drama to probe ethical dilemmas. Considering contemporary Canadian theatre’s attraction to the re-visioning of ethical “problems” facing us, this presentation will explore the ways in which playwrights, directors, and actors have reclaimed a troubled history and invented perspectives from which to re-imagine our relationships to the world and each other. Likewise, classroom drama practitioners have often drawn on role-play and creative writing to facilitate other ways to see and hear the problems that plague young people in our times. As researchers of this work, the ways in which we speak the stories of our research participants in drama studies raise critical and ethical questions about representation central to classroom practice and theatre production. ‘Screenage’ culture and aesthetic learning in the secondary drama classroom Presenter Edgar John Wegner Macleod College Co-presenter Australia Code 146 Paper This paper discusses the findings of the M.Ed. thesis conducted by EdgarJohn Wegner at the University of Melbourne in 2001. ‘Screenager’ is a term coined by David Rushkoff to indicate the amount of entertainment time a teenager spends in front of a small screen. This study investigates the impact of these ‘screenage’ narrative devices on the artistic and aesthetic choices made by secondary students. Drama teaching in the Australian context is also a topic which will be discussed in this paper. Code 138 Paper 17:35 “Acting Healthy” Presenter Co-presenter Tom Patrick McNamara O’Shea Macarthur Girls High School Australia About a community partnership where Health and Education converge in order to provide theatrical expression for students as well as broaden the range of audience/performance, space/content development experience for Drama students. Drama is at once the methodology used to create the preformances, but also to allow the two groups to interact. Code 254 Paper «The role of collective creation in Theatre for Development» Presenter Marcia Pompeo Nogueira Co-presenter State University of Santa Carina/Exeter University Brazil The recognition of people’s knowledge and the importance of their analysis in overcoming their problems required a new type of theatre which, instead of trying to convince them to change, following an outsider pre-determined direction, would contribute to a collective understanding, and open an arena for possible solutions to emerge. What are the limits and possibilities of a collectivist approach in a world dominated by a neo liberal capitalism, which is based in individualism? 36 Hib_ing_830 Bergen University College Code 73 Workshop 165 min 16:00 The Green Children Presenter Co-presenter Ruth Elisabeth O`Connel Rose-Browne Pakasha Arts Ireland The Green Children, suddenly thrust into a foreign land and unable to return home, are discovered by local villagers, and both groups must learn to live peacefully together. PAKASHA Arts will give a workshop for adults exploring the model of this successful children’s programme, exploring attitudes towards cultural differences in our society using participatory theatre approaches. Hib_ing_FESTSAL Bergen University College Code 104 Workshop 165 min 16:00 Creation Stories for Cultural Transformation Presenter Alistair Co-presenter co/presenters via Martin-Smith Program in Educational Theatre, New York University R. Spiegel/B. Fisher USA Transformation This proposal forges new arts and education partnerships, bringing together young people, artists and educators from three international sites. These groups, one in the United States, one in Norway, and one in Canada, will share creation stories reflecting their cultural diversity and unique perspectives. The three stages of the process will include an in-depth exploration of selected creation stories, using text and image-based Internet exchanges, and rehearsal and performance via broadband videoconferencing. HiB_ing_kantine Bergen University College Code 98 Workshop 165 min 16:00 Vita Nova (With the Vita Nova Group) Presenter Sharon Co-presenter Muiruri Bournemouth Centre of Community Arts United Kingdom Vita Nova, a group of recovering addicts create a play from their own experiences and form a theatre group. 18 months age a completely mixed group of people most of whom had never acted before joined me (Sharon Muiruri director / facilitator) with two things in common they were recovering addicts who wanted to make a play. That group became Vita Nova meaning new life. The drama process gave meanings to the group’s stories and led to the creation of the play Scratchin the Surface seen by over 7000 people The workshop will focus on the drama process and will include a Performance of Scratchin the Surface and group discussion NCB_1 Dance Theatre Code 53 Workshop 165 min 16:00 Playback Theatre Presenter Co-presenter Cymbeline Buhler Theatre of the Sun Australia Playback Theatre makes real life stories into small plays. The conductor speaks directly to the audience: “How are you tonight?” “What did you do today?” “What are your dreams? Your visions? Your daydreams?” (This presentation is scheduled both Thursday and Friday - workshop Thursday, performance Friday - see programme) NCB_2 Dance Theatre Code 78 Workshop 165 min 16:00 Klovn i verden (Scandinavian language) Presenter Marit Wergeland Co-presenter Morten Egilstad Liene Agder University College Norway Deltagerne skal finne sin egen klovn. Klovnen er naiv, åpen, leken og full av følelser. Utgangspunktet er å forsterke/forstørre personlige trekk, og deltakerne jobber sammen to og to, og hjelper hverandre til å utvikle klovnen. Noe av det sentrale er det å tørre å slippe seg utfor uten å vite hvor det ender. Rehearsal Hall Grieg Academy Code 2 Workshop 75 min 16:00 gener8@rts : generating original drama through new technologies Presenter Josephine Fantasia Co-presenter Educational Consultant Australia The workshop will take participants through a process for creating ‘new media arts’ which the presenter has developed together with the Festival Director, of AWESOME, Perth’s International Arts Festival for Young People. The process emphasises the importance of the long tradition of ‘art of festival’ alongside the challenge of creating contemporary drama with and for young people. These artistic aims also enable students from 5 to 15 years old to achieve generic ‘overarching’ and Arts learning outcomes described in the Curriculum Framework of Western Australia. 37 Code 1 17:35: Workshop 75 min “Substances, Stereotypes and Social Critiques the use of drama techniques and forum theatre in a harm minimisation approach to drug education.” Presenter Helen Cahill Australian Youth Research Centre Co-presenter Australia Explore the processes used in drama workshops and forum theatre events conducted with young people as the basis for developing drug education curriculum for Australian schools. Sample techniques used to research risk-taking behaviours, and to explore pressures and influences affecting behaviour. Strategies will be relevant to drama educators and those working in health promotion. Uib_Psyk_110 University of Bergen Code 222 Workshop 75 min 16:00 International Chekhov Lab Presenter Victor Co-presenter Goultchenko Interantional Chekhov Lab Russia The International Chekhov Fund (ICF) is in process of its foundation under recommendations of the Council of world culture history (Russian Academy of Sciences), and Chekhov’s commission (Russian Academy of Sciences). The Chekhov Lab is aimed to deep an audience into the poetic world of Chekhov’s plays using organic combination of theoretical and practical studies. Code 44 17:35 Workshop 75 min Building cultural competence through drama to enable overseas students to excel in the australian tertiary educational system Presenter Rosemary Dansick University of Melbourne Co-presenter Australia Cultural competence is critical to overseas students’ successful tertiary study in Australia. Without the use of theatre, the language-based approach is manifestly inadequate. Using theatre as a bridge, from one way of life and behaving, to accessing another, enables the student’s identity to blossom and flourish in the challenge. Uib_Psyk_519 University of Bergen Code 153 Paper 16:00 The Learning Play and The Theatre Teaching Presenter Geraldo Salvador Co-presenter de Araújo Universidade Federal do Rio de Janeiro Brazil The experiment with the Learning Play, while giving prestige to the construction of the aesthetic form, allows the student to experience a pedagogical work that exercise him in becoming aware of the reality. Consequently, the Learning Play enables, through “denial of denail” as Horkheimer, or even Brecht pointed out with his “assoziale” characters, the development of a critical awareness that leads him to adopt a new reflexive attitude in face of reality. This student, therefore, starts to exercise, in a dayle basis, instruments of reflection - congnitive strutures - that score him, as I said, to dismantle the behaviorist and homogenizing apparatus of mechanical attitudes represented by unfair, uneven and inhuman relations with social values and principles that are consecrated as immutable. The arts as a force of cultural regeneration: considering a school-based or community based example Presenter Jo Trowsdale Institute of Education University of Warwick Co-presenter United Kingdom Code 260 Paper This study considers the impact of the work of theatre artists engaged in city theatre based project and of theatre artists engaged in a school and community based project as cultural education / regeneration. It seeks to investigate these projects separately, comparatively and in the context of other national and international initiatives in the field. Code 156 Paper 17:35 Cultural Action Theatre and Theatre for Development Presenter Anne Tanyi-Tang Co-presenter University of Yoaunde Cameroon This paper aims at analysing plays by the people themselves (I have termed these plays Cultural Action Theatre) and plays produced by outsiders for people in a given community (which I call Theatre for Development). The aim is to bring out fundamental differences and similarities between Cultural Action Theatre and Theatre for Development. Code 259 Paper Theatre and minefields: ethical dilemmas in Sri Lanka’s civil war Presenter James Thompson Co-presenter No Company Specified United Kingdom This paper will examine the ethical dilemmas encountered by the author in recent projects with young people displaced or traumatised by the civil war in Sri Lanka. This programme has been sponsored by UNICEF and has involved training play workers, teachers and psychosocial care workers in participatory theatre techniques for use with youth. The training courses and projects have been run in refugee camps, rehabilitation centres, orphanages and schools. The courses have been run with participants from both sides of the divided community and have taken place in areas of ongoing conflict. 38 Uib_Psyk_520 University of Bergen Code 296 Paper 16:00 Imagination, Visions and Action - exploring environmental issues through drama. Presenter Marie Jeanne McNaughton University of Strathclyde, Glasgow Co-presenter Scotland This paper describes some of the central issues and recent developments in Environmental Education for Sustainabilty. The focus links the 1999 “Scotland the Sustainable?” report with key European directives for Environmental Education in the 21st century. It continues by discussing techniques and strategies in educational drama which might be useful tools for helping children to develop understandings, skills and values relevant to sustainability. It examines some of the key ideas about the role of the imagination in educational drama. Code 228 Paper The Skeleton in the Basement: Educational Drama, Science and Ethics Presenter Michael Carklin University of Glamorgan Co-presenter Wales When, in Shelagh Stephenson’s play, An Experiment With An Airpump, the 200 year old skeleton of a young girl is found in the basement of a house, it sparks a range of ethical debates about genetics, scientific experimentation, cloning, anatomical dissection, and discovery. We have chosen to use the metaphor of the skeleton in the basement to report on the work we have been undertaking in investigating the potential of educational drama & theatre techniques for encouraging dialogue on scientific issues. Code 174 Paper 17:35 The Creative State - What is it to be in between Presenter Teija Kettunen Co-presenter Jyväskulä University Finland I´m going to research the professionality of the drama teacher and the creative state in relation to the drama teacher´s own artistic work and learning. I set the following questions: How does the drama teacher develop professionally through her or his own artistic work? What does that mean to teaching and reflection? Are there special pedagogical aspects to achieve the creative state with the pupils. What is the drama teacher´s artistic consept like and what it her or his ethical responsibility? Key words: educational philosophy, professionality of drama teacher, creative state, artistic growth, artistic concept. Code 175 Paper Diastema - en dramateoretisk betraktelse Presenter Ellinor Co-presenter Silius-Ahonen No Company Specified Finland This paper presentaion will take the audience to a space in between art and pedagogy to survey some of the implications in drama theory. The aspects that are raised are factual and fictional dimensions in a learning event, here read as body, space and metaphors. These are understood as dialogues, communication between the individual and her surrounding. My interest lies in the movement in that speace in-between. Personal knowledge is looked as the outcome of that power field of transformations. 39 Uib_Psyk_521 University of Bergen Code 189 Paper 16:00 A global country made of Art...? Presenter Fre Hooft Co-presenter Berith van Huysduyen Danse The Theatre Embassy Netherland The Theatre Embassy is a young ,Holland-based organisation that wants to focus on the importance of creative exchange between theatremakers/educators from western and non-western countries. In our presentation, we first take the audience back to our experiences as theatremakers/educators in Nicaragua and Namibia. In here we want to challenge and opnely discuss the issue:Intercultural theatre : a common experience?? Code 313 Paper The home video phenomenon and its impact on Nigerian drama and family life Presenter Stella Ogunleye University of Ibadan Co-presenter Nigeria The Nigeria Home Videography-dramatic features shot in video, packaged and marketed on cassettes, sometime screened publicly with video projectors or television monitors-compared with its celluloid precursor, is the most popular art form in contemporary Nigeria entertainment industry. The Home Video has been enjoying a tremendous boom consequent upon the Nation’s comatose economy, the prohibitive cost of film making and its highly sophisticated technology, requiring a high degree of capacity building. Code 314 Paper 17:35 Role-playing for Life Presenter Shereen Co-presenter Khackik Norway “Mye PÅ Spill” ( a lot at stake) is an action research project lead by Bjørn Rassmussen at NTNU in Trondheim. We are investigating the use of pedagogic role play and sosiometrics in a school context with 16-18 year olds. We are now in the 5th year of research and have extended the work from one, to four different 6th form colleges(videregående skoler). We aim to shed some light upon the life worlds of these teenagers, and how it can affect their performance, effort and attainment in school.At the same time we are investigating the relevance and value of the dramatic and aesthetic experience, in a non drama, non performance orientated context. Code 142 Paper Diverting risktaking behaviour in young people through performing arts programs Presenter Angela O’Brien University of Melbourne Co-presenter Australia This paper will posit that young people who are engaged in personally or socially dangerous risktaking behaviour, viz, drug abuse or criminal activity can be diverted into the “safer” risk taking activities of drama/theatrical performance. The paper will consider the personal/psychological and social motivations/needs for risk taking behaviour and question whether these can be fulfilled through arts activity. 40 3. SIG – Special Interest Groups 2. Tertiary training of Drama/theatre teachers and leaders – theatre, education or in between? This group will be a forum for drama/theatre educators working in tertiary institutions to discuss course content and other issues related to training of drama/theatre teachers and leaders. It will raise questions related to appropriate professional education for work in educational contexts. Some relevant issues for discussion: which skills are required for ‘leadership’ in drama/theatre, how can tertiary education help in building such skills, course content and organisation, networking, recruitment, professional development, practitioners as researchers. The work may be organised in subgroups representing different course orientations: teacher training for early childhood, the primary school or secondary school, drama courses for those working in vocational and work-place settings, and those engaged in professional development and in-service courses for drama/theatre educators. This is a kind of symposia where different competencies will meet; researchers, teachers, artists; a forum where you can meet colleagues and discuss the theory and practical aspects of interest within drama/theatre and education. The special interest groups are to function as meeting points throughout the weeklong congress – and are intended to provide the participants with certain themes. In all of the SIG fora, the relationship between theory and practice will be a common denominator. A new SIG-aspect in comparison to former congresses, is to link research perspectives to the group work of the SIGs – and to divide IDEA’s research network up into groups with this in mind. You sign up on the SIG you are most interested in, but you can also fill in your 2nd priority (see form No. 1, Part B). You will follow your SIG throughout the congress, starting with the first meeting on the first day. The ten SIGs are: The Group Chairpersons: John Somers works in the Drama Department at the University of Exeter, UK. He specialises in Drama and Theatre in Education and recently completed TIE programmes on bullying, alcohol education, racism and young people’s selfawareness. He is director of a masters course Applied Drama, editor of the journal Research in Drama Education and director of an international research conference. Christine Comans lectures in Theatre and Teaching Studies at the Academy of the Arts, Queensland University of Technology in Brisbane, Australia. She teaches instruction for secondary school drama teachers and a variety of courses in the arts industry. She was Executive Officer of IDEA ‘95 and is currently Director of Publications and editor of NJ for Drama Australia. Faith Gabrielle Guss is Associate Professor of Drama at Oslo University College, Early Childhood Studies, Norway. She has co-designed the national curriculum for the required preschool teachers’ drama/theatre course. Based on doctoral research of children’s dramatic playing, she experiments with new dramaturgies for drama and theatre for children. 1. Drama/theatre and schools – exploring form and meaning This group will study classroom practices and the relationship between pedagogy and art in the drama curriculum. Relevant issues: classroom dramaturgy, curriculum content, learning outcomes, progression, assessment, evaluation and research in the drama classroom. Research projects and research results concerning the quality of text produced in action will be discussed. The work can be organised in subgroups representing drama in early childhood, drama in primary schools, drama in secondary schools. Different ways of understanding the role of the artist and teacher in drama/theatre and education will be explored, e.g. the drama educator as a ‘teacher-artist’ compared to the concept of ‘partinariat’ (French) where the professional artist and the teacher work in partnership. The Group Chairpersons: Kate Donelan is Head of Drama Education at the University of Melbourne. As a teacher educator, her work focuses on drama in primary and secondary schools and qualitative research in drama and arts education. Her doctoral research is a collaborative ethnographic study of a secondary school intercultural drama project. She was the IDEA Vice-President and Congress Director for IDEA ‘95 in Brisbane, Australia. Francine Chaîné is an Associate Professor at the University Laval, Quebec. She teaches Drama Education to undergraduate students in Art Education and also to master degree students in the Art Program. She uses children’s art works as well as multi-disciplinary art works. Anna Lena Knip Östern is Professor of Drama Education at Jyväskylä University in Finland. She is a teacher educator, and her research in the field includes drama and cultural literacy, and exploring arts education. She is co-ordinating a planned drama research network for the Nordic countries, called “Drama Boreale”. She is also acting as a Visiting Professor at Bergen University College in Bergen, Norway. 3. Theatre for Community Development – between theatre aesthetics and ideology This group will look at drama/theatre under the headings of ‘community theatre’, ‘theatre of awareness ‘, ‘theatre for change’, ‘popular theatre’ and ‘theatre of self-determination’. Methodological questions are central in this type of theatre: who defines the issue: the facilitator, or the community? What are the shapes of this kind of participatory theatre: how to get beyond the discourse? The limits of intervention: interaction and empowerment or domination and control? How to open space to different voices in the community? The financial constraint and the need for political independence and long-term projects. The impact of theatre: evaluating the visible and invisible achievements of theatre. 41 The Group Chairpersons: Marcia Pompeo Nogueira teaches at the Drama Department of the State University of Santa Catarina, Brazil. Marcia has developed long-term community theatre projects as well as collaborated with a Brazilian landless rural workers movement (MST) in a Theatre for Development project. She is currently researching “Theatre for Development” as part of a PhD at Exeter University, UK. Subodh Pattanaik, the founder director of Natya Chetana, a leading well-known Indian centre for theatre action, training and documentation. He is a graduate in drama from his local university and has developed theatre methodology for awareness called “cyco theatre” and “intimate theatre” which is a result of his 15 years of involvement in research based activities at the grassroots level in Orissa, India. He has been invited to share his ideas in many international events in Europe, USA, Australia, Africa, and in the Asian region. has directed most of Ajoka’s plays since then and has won critical acclaim at home and abroad for her innovative work as a director, linking folk and traditional theatre forms with modern techniques and contemporary themes. She has been the convenor of the South Asian Theatre Committee. Madeeha is also a well-known TV actress and a women’s rights activist, and she also is the director of Ajoka’s Children’s Theatre. 4. Drama/theatre in a multicultural world – encounters between cultures Possible areas for exploration in this group are: intercultural theory and practice, today’s society of ethnic divisions, religious prejudice, ghetto-organisation, stigmatisation of young immigrants, cultural and economical globalisation, the relationship between indigenous theatre forms and the theatre of colonisation, etc. Relevant issues include: How can drama/theatre contribute in the cross-cultural communication? How can drama and theatre contribute in the development of political awareness and cross-cultural understanding? The Group Chairpersons: Helen Nicholson is a lecturer in drama at Royal Holloway, University of London. Helen’s interest in feminist drama and theatre practice has also led her to consider issues surrounding masculinity in drama education. For Helen, the highlight of the IDEA Congress in Kenya was hearing inspiring stories from women around the world about the power of drama and theatre in their lives. Penny Bundy is a drama lecturer at Griffith University, Brisbane, Australia. She has experience working as a playwright and director. She was a special interest group coordinator (Young People’s Theatre) for the Brisbane IDEA Congress and is currently co-ordinating the Australian “Women Sharing Stories” project. Anne Tanyi-Tang is a Senior Lecturer in the Department of Arts and Archaeology, the University of Yaounde, Cameroon. Apart from teaching and research, she also writes, produces and directs plays. She has published a collection of plays as well as several articles in national and international journals. She has her own theatre troupe – called Bubbles. 5. Drama/theatre and gender issues – gender identities, politics and education This group will focus on the implications of feminism, identity politics and gender in a range of drama and theatre contexts. Relevant issues may include: the relationship between the processes of working in drama and diverse art forms, gender, equality and teaching methods, performance and gender identity. An IDEA-project called “Women sharing Stories” will be a part of this group’s focus. The Group Chairpersons: Susan Battye is the National President of the New Zealand Association for Drama in Education and Head of Drama at Auckland’s Epsom Girls’ Grammar School. A published playwright and writer of drama teaching resources, she has worked extensively with a Maori Theatre in Education company, Te Rakau Hua O Te Wao Tapu. She co-wrote and presented with one of her Chilean students, Tenemos Las Manos Limpias, “Our Hands Are Clean” at IDEA ‘95 in Brisbane. Mok Chiu Yu is Executive Secretary of Arts with the Disabled Association Hong Kong since 1995. He is founder of the Asian People’s Theatre Festival Society and is the co-ordinator of various multicultural theatre projects including Asian People’s Theatre Festivals, Big Wind, Yours Most Obediently, Macau 123, the Bursting of the Asian Economic Bubbles, etc. Presently, he is a co-organiser of the one-year long migrant workers cultural project, which includes workshops and performances. He is an actor, director, and dramatist since 1980 and received the Drama Achievement Award by the Hong Kong Arts Development Council in 2000. He is a facilitator in forum theatre, playback theatre and basic integrated theatre arts workshops. Madeeha Gauhar received her training as theatre director from Royal Holloway College, London and is the founderdirector of Ajoka Theatre, Pakistan (Pakistan’s pioneering and leading theatre group). Madeeha played a leading role in founding the alternative theatre movement in Pakistan in the early 80s, when Zia-ul-Haq ‘s Martial Law was at its peak. She 6. Defining our practice – between tradition and innovation In keeping with the Congress theme ‘Betwixt and Between’, this SIG will explore postmodern and performance theories, and the ongoing debate concerning semiotics and language which has continued to plague our field, and has possibly contributed to the alienation of our work within the worlds of drama, theatre and education. This SIG recognises that the use and complexities of terminology rise more than theoretical problems for defining and classifying Drama (in) Education. It shapes how drama is taught, and the way in which the curriculum is organised and administered. Relevant questions to be explored include: What has been the effect of the development of hybrid forms of practice throughout the century? How can performance theory developments help us to understand and describe our practice? Are these merely labels used to describe the same activity or is there a qualitative difference in their specific focus and underpinning philosophy? Is what we do “all Theatre” or is Theatre a subset of Drama? 42 The Group Chairpersons: Carmel O’Sullivan lectures in the Education Department at Trinity College, Dublin, Ireland. She has done post-graduate work in Drama in Education at the University of Central England. Her current field of research includes the Theatre of the Oppressed, Education that liberates, and the role of Drama in Education (DIE) in a child-centred, humanising philosophy of education. Owen S. Seda is a lecturer in drama at the University of Zimbabwe, Harare. He has published a number of articles on theatre and popular culture in Zimbabwe and has also produced plays with the UZ based student theatre company: Play Productions. Owen works closely with the Zimbabwe National Arts Council as an advisor for the annual World Theatre Day celebrations and is on the national advisory panel for the introduction of a theatre arts syllabus in Zimbabwean secondary schools. His research area is in the oral traditions and their dynamism and influence in contemporary forms of drama. Brad Haseman is a lecturer at the Academy of the Arts, Queensland University of Technology in Brisbane, Australia. He has been a teacher and researcher for over 30 years pursuing his fascination with education, aesthetics and forms of contemporary performance and pedagogy. In 1995 Brad was co-convenor of the second International Drama and Education Congress held in Brisbane. During 2001, he will be working as dramaturge and co-librettist with IHOS Opera, a leading Australian experimental music/theatre troupe. Kim Flintoff is the creator and maintainer of the DramaWest website and the DramaWest E-Mail Discussion List. He is formerly the Technology Officer of DramaWest. He teaches High School Drama in Western Australia and has an extensive background in professional theatre production. While currently working on a Master’s thesis entitled “Of Bodies in Place: In Place of Bodies”, which examines the role of technology and virtual domains in educational drama, Kim is also interested in NLP, Brain Based and Accelerated Learning applications in drama. He is the co-founder and former chair of Class Act Theatre (Theatre-in-Education). Liliana Galván, artist and educational psychologist, is the Director of Quality in Education Department at the Peruvian University of Applied Sciences in Peru. Since 1974, she has worked with children and young people in an Integral Art Educational project named Integrarte; to stimulate aesthetics, creativity and personal development through the arts. At the moment, she is the director of the Young Theatre University group. She has written her first book about creativity, concentrating on drama methodology and collaborative learning. She trains faculty members at the university in creative and active learning. 8. Drama/Theatre and education of young people with special needs – building identities and cultural competence This group will focus on children and young people with special needs. It will also raise the issue of gifted children as one kind of special need. Other relevant issues include: how can drama/theatre give young people a voice, strengthen their self identity and provide expressive means with which they can answer the world? How do you create meaningful aesthetic and learning opportunities for young people with special needs? How can the creation of aesthetic meaning be constructed with young people with special needs? What possibilities exist for international research, development and co-operation of workers in drama with young people with special needs? Workshops will be built around pretexts that allow participants to explore the above. 7. Drama/theatre in popular culture, new art forms and media – between reality and virtuality This group will examine new concepts and forms within the performing arts such as; ambient theatre, choreography theatre, virtual reality, digital theatre etc. Relevant issues include the importance of fiction/reality awareness. To what extent can new forms of drama legitimately be places where students can develop understanding of the various “dimensions of human experience” (the physical, emotional, intellectual, aesthetic, social, moral and spiritual)? Can students engage in the “authentic” expression and construction of a self-concept (identity), and community awareness through arts practice, specifically drama, enacted in virtual environments? How does the new media change ‘process drama’ and theatre production? How can the drama educator adapt old methods, invent and develop new methods? What are the implications of these new forms for drama educators? The Group Chairpersons: Erik Szauder is a Special Education and Drama lecturer at the Faculty of Special Education, Eötvös University, Budapest, Hungary. For many years, he has also been working as a freelance drama practitioner of Drama in Education in mainstream and special schools and colleges. He is a member of the Presidium of the Hungarian Drama and Theatre in Education Association. Peter O’Connor is the National Arts Co-ordinator: Drama for the Ministry of Education, New Zealand. Peter has previously worked with young people with special needs for many years. He brought the Pegasus Players, a group of twenty young people with special needs, to perform at the IDEA Congress in 1995. Erik Bentsen holds an MA from the University of Aarhus (Major in Dramaturgy), Denmark. He has taught the mentally and physically disabled for the last seven years and has established Kompagni Karavana, which is a theatre group for disabled people. The Group Chairpersons: Klaus Thestrup is a trained pedagogue, has an MA in Drama and Theatre from Aarhus University in Denmark and is a drama lecturer at Jydsk Pædagog-Seminarium, National Institute for Social Educators. Klaus has worked on several practical projects, where drama, children, popular culture and the new media were combined. He is inventing new methods and tries to formulate an educational platform for using drama and media. 43 9. Theatre and young people – theatre, education or in between? This group will focus on the diverse practices that are embraced by two broad terms: theatre with, by and for young people, such as Young People’s Theatre (YET) and the emerging field of “Applied Theatre”, including Theatre in Education (TIE), theatre in the criminal justice system, and theatre in non-traditional settings – such as the rapidly expanding use of theatre in museums and heritage sites. Relevant issues include themes, art form, repertoire and targeting the audience. Topics for exploration in these groups can also cover: issue-based versus concept-based theatre, theatre as an arena for learning, the participant perspective, the double expertises of the TIE-worker, and what it means to be a ‘teacher-artist’ in the 21st century. Some of the performances at the student theatre festival and work samples of participating TIE companies can serve as a starting point for analysis. The Group Chairpersons: Abuelgassim Gor is an Associate Professor , Head Dept of Criticism , Faculty of Music and Drama at the Sudan University of Science and Technology. Dr. Gor is the founder and Director of the Sudan Center for Theatre Research (SCTR). Dr. Gor is well known in Sudanese government circles and other centres around the globe as a peace culture specialist. Together with the late Dr. Mumma of Nairobi, Kenya, he formed the Africa Association of Drama for Peace (AADP), which is now based on SCTR. Vladimir Krusic is the Head of the Educational Dept. of the Zagreb Youth Theatre, Croatia, and one of the founders of the Croatian Center for Drama Education (Croatian Center IDEA). Vladimir dealt with the issue of drama work in the context of war in his papers presented at the Brisbane and Kisumu IDEA Congresses. In 1998, he became the Croatian co-ordinator for the “Playing Against Violence” project which embraced the countries of the former Yugoslavia as well as Bulgaria, Albania and Romania. Bruce Burton is the Director of Professional Teaching Practice at Griffith University, Brisbane, Australia. He has twenty five years of teaching experience in drama and theatre direction in both Australia and England, and he has written eight books on drama. He was the head of the IDEA Secretariat from 1995 to 1998. Margret Lepp is an Assistant Professor at Borås School of Health Sciences, Sweden. She is involved in drama as a researcher and consultant with students, health care professionals and university academic staff. She is currently involved in the DRACON international research project on drama and conflict handling in schools. She is co-chairperson of the IDEA Research Group. The Group Chairpersons: Sharon Grady is an Assistant Professor in the Dept. of Theatre and Dance at the University of Texas at Austin,USA, and is an Associate Fellow at the Central School of Speech and Drama in London. Her areas of specialisation include drama and theatre practices in education as well as the qualitative research methods application in arts education. Her first book, Drama and Diversity: A Pluralistic Perspective for Educational Drama, was recently published by Heinemann. In addition to her academic duties, she works extensively as a teaching artist in schools. Tony Jackson is Senior Lecturer in Drama at the University of Manchester (in the Centre for Applied Theatre), UK. He teaches courses and has published widely in the fields of modern theatre and Theatre in Education (his books include Learning through Theatre (Routledge, 1993). His current research focus is on the use of interactive theatre in heritage sites and museums. He is a Drama Adviser to the Northwest Arts Board. Vigdis Aune is an Assistant Professor at the Department of Art- and Media at the Norwegian University of Science and Technology, NTNU, in Trondheim, Norway. Her areas of specialisation include drama and theatre practices in education and in social and cultural contexts outside of art institutions. She is Drama Adviser at the Centre of Continuing Education, NTNU. Since Spring 2000 she has been working on a doctoral thesis about young peoples’ fascination for localhistorical plays. 10. Playing Against Violence – Drama for Peace Culture This group will take a closer look at the possibilities for using drama/theatre in attitude-building work in this field. Relevant issues include: How close to reality is it relevant to work in drama? Who are dictating the premises – children or adults? Which methods are suitable/justifiable? Where is the border between learning and therapy? Input here is based on the IDEA-projects “Playing Against Violence” (Balkan), “Preparing of Peace Education” (Pakistan/India), and “Drama for Peace Culture” (Sudan). This group will also look at a model for conflict-solving in schools, based on an IDEAproject called the Dracon project. 44 4. IDEA Summer School IDEA Summer School consists of activities for children from 1-13 years of age who either live in Bergen or visit the town during the congress week. Congress participants’ children should register for these activities in the preliminary program. Assisting Personel will help with translation when needed. There will also be a limited amount of seats for participants who want to observe the activities. The Summer-Bergen programme (a yearly summer activities programme for children in Bergen) might be interesting for delegates who bring their companions or children. Please ask for more information when you arrive. IDEA - Summer School Venue / Barnas Hus Sted: Time / Tid: 10:00 Date / Dato: 03.07.2001 Code: 319 Kampen om Iduns Epler Presenter: Co-presenter: Institution: Grete Nyhagen Hansen Hedmark University College Norway Gudinnen Idun har noen livgivende epler som gudene i Åsgård er avhengige av for ikke å bli gamle og dø. En dag bortføres Idun av en av fiendene til gudene, jotnen Tjatse, og han fører henne langt inn i berget Trymheimen. Gudene i Åsgård blir fort gamle og spørsmålet blir om de finner Idun før det blir for sent … En fortelling for 5 - 6 åringer. Storytelling performance for 5 - 6 year olds, Scandinavian language. Venue / Barnas Hus Sted: Time / Tid: 11:30 Date / Dato: 03.07.2001 Code: 320 Pakken Presenter: Co-presenter: Institution: Siv Ødemotland Bergen University College Norway Moa har funnet en pakke på trappen sin. Hvem er den til ? Hvem er den fra ? Hva kan være inni ? En forestilling for 1 - 3 åringer. Theatre Performance for 1 - 3 year olds. Scandinavian language. Venue / Nordnes Bydelshus Sted: Time / Tid: 13:30 Date / Dato: 03.07.2001 Code: 326 Thircus ! Presenter: Co-presenter: Institution: Xstine P. Cook Kathleen “Mooky” Cornish Green Fools Theatre Society Canada Theatre and Circus Fun for Youth of All Ages ! Workshop med varighet 2 t. 45 min, fremføres på engelsk. For 7 - 13 years old children. English language. Venue / Barnas Hus Sted: Time / Tid: 10:00 Date / Dato: 04.07.2001 Code: 321 Den lange reisen Presenter: Co-presenter: Institution: Wendy Lathrop Meyer Hedmark University College Norway En jente ser en kurv og oppdager en masse hodeplagg i den. Gjennom lek med hattene kommer hun ut på en lang “reise” ut i verden hvor hun møter forskjellige dyr og mennesker. Reisen går gjennom dag og natt hvor hun opplever spenning, nye utfordringer og pussige situasjoner. En soloforestilling for barn i alderen 2 - 4 år. Theatre performance for 2 - 4 years old children. Scandinavian language. 45 Venue / Nordnes Bydelshus Sted: Time / Tid: 13:30 Date / Dato: 04.07.2001 Code: 327 Klovn i Verden Presenter: Co-presenter: Institution: Marit Wergeland Egilstad Morten Liene Agder University College Norway Dette er en workshop hvor deltagerne skal finne sin egen klovn. Vi har alle en klovn i oss. Dette er ikke en sirkusklovn men en teaterklovn. Klovneri er en kunstart som krever fysisk beherskelse, dramatisk talent, forståelse av den menneskelige natur, fantasi, vidd og en god fornemmelse av komikk. Varighet 2 timer og 45 minutt. A workshop on clowning for children of 10 - 13 yrs. Venue / Barnas Hus Sted: Time / Tid: 10:00 Date / Dato: 05.07.2001 Code: 322 Bjella Presenter: Co-presenter: Institution: TIKA teateret Oslo University College Norway En abstrakt forestilling som bygger på de minste barnas lek - imitasjon / hermelek og borte-tittei. Det er historien om to venner, og to venner til, og om noen bjeller som blir borte. For barn fra 0 - 3 år. Theatre performance for 0 - 3 years old children. Scandinavian language. Venue / Kunstindustrimuseumet Sted: Time / Tid: 10:00 Date / Dato: 05.07.2001 Code: 323 Hvor er general Munthe? Presenter: Co-presenter: Institution: Kari Thorkildsen Linda Rios Bergen University College Norway En vandreforestilling i Kinasamlingen på Vestlandske Kunstindustrimuseum. Kari Thorkildsen er lærer ved Høgskolen i Bergen avd. Lærerutdanning og Linda Rios er førskolelærer med dramautdanning fra Høgskolen i Bergen og fra Brisbane, Australia. Fra 4 - 9 år. A theatre performance for children of 4 - 9 years at the West Norwegian Museum of Decorative Art, the Chinese Collection. Scandinavian language. Venue / Nordnes Bydelshus Sted: Time / Tid: 13:30 Date / Dato: 05.07.2001 Code: 330 Small Clowns Presenter: Co-presenter: Institution: Drama Departement Agder University College Norway En improvisert klovneforestilling som passer for alle de fire kongresspråk. An improvised clowning performance suitabel for all four congress languages Venue / Nordnes Bydelshus Sted: Time / Tid: 14:00 Date / Dato: 05.07.2001 Code: 331 The Beetle and the Rat: A Fable about bullying and meditation Presenter: Co-presenter: Institution: Carmine Christine Tabone Warner USA Workshop, duration 1h 15 min. For children aged 7 - 9. A long time ago, Beetle was just plain gray, and because of this, Rat used to always make fun of her. One day Parrot, who did not like what was going on, proposed a race between the two of them. Using various dramatic forms to teach numerous lessons on the subject of harassement, consequences and the importance of meditation. Venue / Barnas Hus Sted: Time / Tid: 10:00 Date / Dato: 06.07.2001 Code: 324 Du kan få perlekjedet mitt … Presenter: Co-presenter: Institution: Hanna Karlsson Janne Regin Gro Reidun Nytun, Bergen University College Synnøve Engelsen Norway Forumspill for 5 - 6 åringer. Stykket handler om tre små jenter som prøver å leke sammen. Lederene for denne aktiviteten er dramastudenter ved Høgskolen i Bergen og har utviklet dette prosjektet i praksis i en førsteklasse. A forum theatre for 5-6 year old children. Scandinavian language. 46 Venue / Barnas Hus Sted: Time / Tid: 13:30 Date / Dato: 06.07.2001 Code: 333 Fortellersete Presenter: Co-presenter: Institution: Marit Ulvund Volda University College Norway Hvem forteller, hva fortelles og hvor fortelles ? Vi hører historier, lager historier og spiller historier. Vi setter fokus på fantasi, spontanitet og kommunikasjon. Foruten å legge vekt på bruk av kropp og stemme, skal vi spille ekkoteater, lage fortellerremser og bruke fabelglass. Kanskje rekker vi å spille “hvem og hva” også ? Varighet: 1 time og 30 minutt. A storytelling workshop for 6-9 year old children. Scandinavian language. Venue / Nordnes Bydelshus Sted: Time / Tid: 13:30 Date / Dato: 06.07.2001 Code: 334 Dance, sing and play Presenter: Co-presenter: Institution: Bundy Evans George Ongaga Obiri Nyakundi Obino Nyambane Kenya The plays will be a wonderful experience for both the young and oldas we bring forth ancient blended unknown songs of Kenya. We’ll cut cultural barriers and sing, dance and play inter-cultural songs of the Kenyan people. Workshop for 6 - 12 year olds. Duration 1h 15min. English language. Venue / Schötstuene Sted: Time / Tid: 13:30 Date / Dato: 06.07.2001 Code: 332 En pest og en plage Presenter: Co-presenter: Institution: Eventus TIU Based in Bergen Norway Et TIU-program som berører menneskelige dilemma: Hva skjer når vi må handle under press, når valgene vi tar får betydningsfulle konsekvenser ? Utgangspunktet er middelalderbyen Bergen i tiden da Svartedauden kom til byen. Merk spillested: Schötstuene. Varighet 1 time og 45 minutter. A TIE-program on the Black Death performed in old buildings at Bryggen. Scandinavian language. For 9 - 13 year old children. Venue / Barnas Hus Sted: Time / Tid: 13:00 Date / Dato: 07.07.2001 Code: 322 Bjella Presenter: Co-presenter: Institution: TIKA teateret Oslo University College Norway En abstrakt forestilling som bygger på de minste barnas lek - imitasjon / hermelek og borte-tittei. Det er historien om to venner, og to venner til, og om noen bjeller som blir borte. For barn fra 0 - 3 år. Theatre performance for 0 - 3 years old children. Scandinavian language. Venue / Nordnes Bydelshus Sted: Time / Tid: 12:00 Date / Dato: 07.07.2001 Code: 335 Motifs dancing Presenter: Co-presenter: Institution: George Ongaga Obino Nyambane Nyakundi Obiri Bundy Evans Kenya This is a participatory workshop whereby African dance body decorations will be apprecciated as an integral part of a dance performance. For 6 - 13 year old children. English language. Venue / Schötstuene Sted: Time / Tid: 12:00 Date / Dato: 07.07.2001 Code: 332 En pest og en plage Presenter: Co-presenter: Institution: Eventus TIU Based in Bergen Norway Et TIU-program som berører menneskelige dilemma: Hva skjer når vi må handle under press, når valgene vi tar får betydningsfulle konsekvenser? Utgangspunktet er middelalderbyen Bergen i tiden da Svartedauden kom til byen. Merk spillested: Schötstuene. Varighet 1 time og 45 minutter. A TIE-program on the Black Death performed in old buildings at Bryggen. Scandinavian language. For 9 - 13 year old children. 47 5. Social Programme – Parties and Excursions Bryggen area (the wharf) and Vågsbunnen. The walk will also include some of Ludvig Holberg’s and Henrik Ibsen’s footsteps. (Optional museum visit available. Entrance fee is included in this walk). Price: NOK 50. The Opening Party: After the reception in the Grieg Hall, hosted by Bergen City, we move on to our congress club - Club Kvarteret. This is a short walk from the Grieg Hall – and there we start our party with entertainment, a few speeches and live music. Earlier we had a meal included and a price of NOK 100for participation. We have now dropped the meal and the party is for free for everybody. Those who have already paid for this will get a refund. Mountain hike, 5 Hs. Starts at 9:00 Hiking boots or good solid shoes are required for this trip from Mount Ulriken across Vidden to mount Fløien. We start by the Ulriken cable car, and come down by the Fløybanen funicular. During the hike you will experience wonderful views of the fjords, mountains and islands surrounding Bergen. (Tickets for cable car and funicular included). Price: NOK 100. The Farewell Party: We hope that you all will take part in this party. This is your last chance – at the IDEA 2001 congress – to bond with people from all over the world. A meal, live music for dancing, and we hope for entertainment from you – the IDEA delegates. If you would like to contribute you can contact us now or later: [email protected] Price: NOK 200. Those who have not yet booked for the party can do that through our PCO: [email protected] , fax: +47 55 23 00 70 With bus and ferry to fjord and snow, 8 Hs. Starts at 9:00 We go by bus to Tørvikbygd, and cross the famous Hardangerfjord to Jondal. From here we continue by bus to a point where we get a good view at the Folgefonna glacier. Hotel lunch in Jondal will be provided. On our way towards Tørvikbygd we will stop at Steinsdalfossen, and walk behind the waterfall. On our way back we may stop in Nordheimsund and visit Hardanger Boat Preservation Centre - a living boat building and coastal culture museum. (Option. Entrance fee to museum is not included in the tour fee). Price: NOK 350. Evening programmes – Club Kvarteret (CK1): In the evening we need to relax, meet new people, chat, and maybe even continue our discussions. We heartily welcome all congress delegates to Club Kvarteret, which will be open every night from 20:01–01:00. Club Kvarteret is meant to be a meeting place for all. The programme contains different forms of music like jazz (with jam session), folk music, DJs, pop music and dance. Bring your own instrument for the jam session! Veteran ship cruise to fjords and islands, 6 Hs. Starts at 9:00 We go by the veteran ship “Granvin” through narrow fjords to the island Lygra. After a short hike on gravelled paths, our hosts at the Lyngheisenteret (heathery heath centre) will serve you a rich wild sheep soup with the local thin wafer crispbread (flatbrød). Subject to the number of delegates opting for this tour, bus transport will be used in one direction and “Granvin” for the other. Price: NOK 330. Come and share a song with us... Every evening you will have the opportunity to learn songs from other countries. If you want to give us a song that other can learn from you please give a message to this email: [email protected] We will advise delegates who want to explore on their own how to get to other places in and around Bergen, for example to Helleneset fortress (2nd world war), Fantoft Stave Church (1150/1999), Fana Kirke (12th century stone church), Lyse Kloster (ruins of a Cistercian Abbey), Troldhaugen - the home of the composer Edvard Grieg (1843-1907), or Lysøen Island - the villa of the violinvirtuoso Ole Bull (1810-1880). Fjellveien is well suited for romantic evening walks. If the weather is good, we will also arrange some trips to some lovely spots for swimming! For those who are interested, a day trip can be organised (by Travel Planners) from Bergen to Voss via Flåm by train and then back to Bergen by boat. This is a popular tourist excursion called “Norway in a Nutshell”. We advise delegates to bring a warm sweater and raincoat, and solid shoes - just in case... One night there will be theatre sports in English for the brave ones, young and old alike. This will start with a performance and continue with an “open stage” where the audience can participate. If you would like to contribute in any way at Club Kvarteret, contact: [email protected] FREE entrance all nights! Excursions: Wednesday 4th of July will be set aside for trips, guided tours and excursions of varying length and cost. We have organised four excursions especially for IDEA 2001 delegates: Meals: There are no meals included in the congress fee – except breakfast in all the hotels on our booking list. Historical city walking tour, 2 Hs. Starts at 10:00 This trip will guide people to the main historic attractions in Bergen, such as the medieval buildings around the 48 Registration form No. 1: Our code NAME ADDRESS Street Address Postal Address (City, State/Province and ZIP or Postal Code) Country E-MAIL AND PHONE e-mail phone (home) phone (office) Section A: Workshops, papers, and keyhole presentations Enter the codes of the activity/activities you want to participate in each day: 1st priority either here: 2nd priority either here: or here: TUESDAY 3 July WEDNESDAY 4 July THURSDAY 5 July FRIDAY 6 July Please return the forms by mail or fax to: IDEA Høgskulen i Bergen Landåssvingen 15 N-5096 Bergen fax: +47 55 58 58 09 e-mail: [email protected] 49 or here: Form No. 2: Our code NAME ADDRESS Street Address Postal Address (City, State/Province and ZIP or Postal Code) Country E-MAIL AND PHONE e-mail phone (home) phone (office) ParB: SIG Write no. and title of the SIG you wish to take part in - add also your 2nd priority: 1st priority 2nd priority Part C: IDEA Summer School – OBSERVATION Enter the codes of the activity/activities you want to observe: Tues Wed Thurs Fri Sat Fri Sat 10:00-11:00 14:00-16:00 14:.00-16:00 Part D: IDEA Summer School – DELEGATE’s CHILDREN Enter the codes of the activity/activities your child wants to take part in: Tues Wed Thurs 10:00-11:00 14:00-16:00 14:.00-16:00 50
