Session B (Sat. AM) 11:00 am – 12:15 pm

B1  Residential Schools – A Process Drama


Matthew Sheahan is a Drama and English teacher, who is the head of the Arts and First Nation, Metis and Inuit department at Prince Edward Collegiate Institute in Picton.  He has an Honours Specialist in both Drama and English, and several AQ courses in teaching FNMI subjects and students.  Matthew is the CODE Eastern Regional Rep, and has dedicated his life to advocating for the arts, and utilizing drama as a means to provoke social change.


THIS workshop is a process/story drama focusing on Residential Schools.  The activities in this workshop are derived from the work of Dr. Jonothan Neelands, combined with ideas found in the work of Juliana Saxton and Carole Miller.  Participants will take part in a process drama, exploring the ideas found in the children’s book “Not My Girl,” and see how various drama strategies can be used to explore the issues, as well as spark further dramatic performance and inquiry.

Best Panel/s: Secondary Drama

B2/C2 (Double Workshop)  Moving our Stories / Abstracting Our Voices


Charmaine Headly:  As Co-Founding Artistic Director of COBA, Collective of Black Artists, Charmaine Headley is a champion of Africanist dance. Through her work as an artist, choreographer, teacher and mentor she advocates for the recognition and inclusion of the contributions of ethno-cultural dance practices in Canadian dance history and culture today. Headley pushes for a broadened societal appreciation of these art forms and advocates for reflexivity within curricula. A graduate of the School of Toronto Dance Theatre and a strong believer in the healing power of dance, Headley holds an honours diploma in Gerontology/ Activation Coordination and has created a movement-based senior’s program for her Master’s thesis at York University. She has implemented and continues to run an intergenerational program in collaboration with Malvern Family Centre and COBA, where seniors and elementary students in the Malvern area are brought together to explore and share their story through dance.

Mother of one, Trini-Bajan by birth and culture, Headley’s life is cradled in a crucible of dance. Her 30-year career started in Barbados on scholarship at the School of Barbados Dance Theatre. She went on to dance with the Barbados Dance Theatre Company for four years before moving to Canada to further her studies at the School of Toronto Dance Theatre. After graduating Headley was a guest with both the Gina Lori Riley Dance Company and the Danny Grossman Dance Company; she was a member of Usafiri Dance & Drum Ensemble, Mei’rim Dance Company and the OMO Dance Company.
Charmaine uses her choreographic voice to address socio-political and cultural inequalities. One of her motto’s is “Our stories move me.” Charmaine’s works to date include MEME: #OurLivesMatter (2017); Meme: #IdentityFaithHope (2016); LEGACY (2013); UNFINISHED SIN…4 ME (a tribute to a creative soul who was killed senselessly); BEFORE MADNESS (1993): REBIRTH in (1994); BUSH BATH (1997); JUSTIFYE: A SOLO FOR FIVE (2000); INSPIRIT (2001): WHAZZUP (2004), PASSAGE (2009), LEGACY (2011) and was commissioned to create a work for Winnipeg-base, Nafro Dance, PORTAGE (October 2011). She has worked with TDSB Co-op Dance program and TDSB Creates as a mentor. She also served as choreographer for the Inner Stage Theatre, Jobs Ontario Youth Program (JOY), Ache Women of Colour, Fresh Arts Youth Program and Usafiri Dance and Drum Ensemble where she also taught Caribbean Indigenous Folk and Contemporary dance.

BaKari I. Lindsay:  Born, Eddison B. Lindsay on the sunny isle of Trinidad, West Indies, BaKari  Ifasegun Lindsay has been perfecting his crafts for the past 30 years. He is a dancer, choreographer, singer, musician, costume designer/ maker and researcher. Trained at the Alvin Ailey American Dance Theater, The School of Toronto Dance Theatre on scholarship and with various teachers from the Caribbean and the African Continent. Bakari holds a craftsman diploma in Style and Design and Masters Degree in Dance Ethnology and Bachelors in Education, from York University, Canada. In completion of his masters thesis BaKari researched and developed  “A-Feeree – The Physical Language,” an innovative training method for dance practitioners working in an Africanist movement aesthetic.

He co-founded COBA Collective Of Black Artists in 1993, and danced for the Danny Grossman Dance Company (Canada), Jubilation Dance Co (USA), Toronto Dance Theatre (Canada), Artcho Danse Repertoire (Haiti) and several independent choreographers in Canada, the United States and the Caribbean. BaKari also appeared as an original cast member of Disney’s The Lion King from 2000 to 2002.

As choreographer, BaKari as created works for Les Enfants Dance Company in Trinidad and Tobago, Entre Duex in Moncton New Brunswick, The National Dance Company of Trinidad and Tobago, and various schools in the Toronto District School Board while also creating over 30 works on COBA Collective Of Black Artists where he also designed and constructed most of costumes.

BaKari has served on the faculty of Ryerson University, York University, Humber College, Lester B. Pearson School for the Performing Arts, and several dance schools, and institutions and community groups. Along with his many artistic endeavors BaKari teachers full time with the Toronto District School Board at the Africentric Alternative School where he continues to research pedagogical strategies supported by African history and legacy. Bakari’s artistic vision is to create a harmonious balance between artistic practice and traditional cultural values.

PARTICIPANTS will explore physical expression giving voice to their stories, using African contemporary dance to create choreographic explorations.

Outcome: Participants can utilise this experience to engage and create movement essays from their students’ stories.

Best Panel/s: Secondary Dance

B3  What Does Home Mean? What Does Less Mean? Rebuilding Identities Through Drama and Embodiment


Kari-Lynn Winters:  Dr. Kari-Lynn Winters is an Associate Professor at Brock University, where she teaches drama-in-education and language arts to teacher candidates. Kari-Lynn holds a PhD from UBC in literacy education, a teaching degree from University of Toronto, and a certificate in Technical Theatre from the National Theatre School of Canada. Her research interests include: body image, embodied pedagogies, children’s literature, drama, and multimodal literacies. Kari-Lynn is also an award winning children’s author, scholar, playwright, and performer.

BUILDING on 2 qualitative studies, one that explored the experiences of 8 marginalized individuals facing life challenges such as addiction, mental illness, poverty, homelessness and unemployment and another that explored body-image with post-secondary and elementary-aged children, this research-based and hands-on presentation introduces at-risk adults to dramatic role play, community practices, and embodiment, and also young children to difficult topics such as homelessness and body image. Using similar drama and movement strategies, this blended presentation demonstrates how groups of people (e.g., marginalized adults, post-secondary students, and elementary-aged children) alike can use dramatic, embodied, and artistic expressions to voice their ideas, and rebuild their identities.

Best Panel/s: Elementary Drama

B4  My experience, My voice, my “SOULo”


Meagan Schroeder B.F.A. Hons., B. Ed., OCT, Hons. Spec. Dance

Megan Schroeder is a Dance Educator with the Toronto District School Board. For the last 11 years, she has been employed by Claude Watson School for the Arts where she teaches Dance to grade 4 – 8 students. In addition to receiving her undergraduate degree in Dance from York, she also received her Junior/Intermediate teaching qualifications from YU’s Faculty of Ed. in the specialized Fine Arts division. After completing her Honors Specialist in Dance at York University in 2007, Megan has gone on to take an active role in professional dance, and dance education initiatives across the province.  She currently sits on the Board of Directors for Little Pear Garden Collective, as well as the Executive committee for the Pulse Ontario Dance Conference. She has also been involved in curriculum reform, and has taken the lead on various writing projects for the Ministry of Education. These experiences have ignited her passion for providing professional development opportunities to Ontario Certified Teachers in order to help increase the presence of quality dance education in our province’s schools.

THIS elementary level workshop will focus on putting student voice at the centre of the creative process. Participants will be given a compositional framework that merges literacy with student voice as a catalyst for creation. Using authentic source material as the inspiration for what will be called “SOULos” students will learn how to use their own experiences as the jumping off point for creative work. Please come to this workshop prepared to move and explore.

Best Panel/s: Elementary Dance

B5  Let’s Connect


Bridget Ogundipe obtained an Honours Bachelor of Arts in Theatre and Drama Studies from the University of Toronto and an Acting Diploma from Sheridan College. She is a passionate and hardworking actress, dancer and educator, whose work can be seen across all mediums.

Her passion for teaching and working with young people to inspire growth and success has empowered her to open an Acting School, Reel Talents T.O, whose mandate is to develop aspiring artists through building, exposing and supporting, while connecting them with a creative ecosystem of professionals, and accentuating the artists’ own uniqueness.

Bridget has been traveling to schools all over the GTA, giving lectures and workshops in Film/TV Acting, Theatre, Music, Dance, and Movement.  Bridget Ogundipe also instructs and develops an alternative research therapy program at the Possibilities Clinic, using drama and movement as a vessel to assist children with ADHD, Autism and various learning disabilities.

BRIDGET will move participants through movement and breath work to centre them in the present moment.  We will then move on to social drama exercises to loosen them up. She will end off with improvisation exercises and possibly a short script for interpretation.  The purpose of this session will be to explore and demonstrate the importance that breath, movement and dramatic arts plays in human healing, development and forward growth.

Best Panel/s: Secondary Drama

B6  Finding Your Place in the Arts Landscape


Patty Jarvis  has been working for the past 30 years as an arts advocate with a focused commitment to audience development, community building and arts education. Patty’s leadership roles include Executive Director of Prologue to the Performing Arts (2010-2017) and Director of Audience Development and Education with Canadian Stage (1999-2008). She has consulted independently with such companies as Studio 180 Theatre, b current Performance and the Toronto District School Board. In 2010, working in partnership with The Creative Trust, Patty developed the Performing Arts Education Overview, a first-time report into the work of arts organizations with schools and communities in the GTA. Patty is currently the President of PAONE (Professional Arts Organizations Network for Education), a not-for-profit, volunteer run organization committed to strengthening the role of artist educators and the partnerships between the arts and education communities.

Carrie Hage is an actor, artist-educator and facilitator with an MA in Applied Theatre from Goldsmith’s University, London, UK.  She has collaborated on arts-education projects with Young People’s Theatre, Story Planet, PAONE,  L’Arche Toronto, Miles Nadal JCC, and the Toronto District School Board.  Most recently, with the generous support of the Ontario Arts Council, and of Unity for Autism, Carrie has created and delivered The Storytelling Project in partnership with the South Asian Autism Awareness Centre in Scarborough, Ontario.

THIS practical session will provide an exploration into how we each identify on the artist-educator continuum. From the inquiry question: Where do we fit into the landscape of arts advocacy? participants will begin by creating a large theoretical map of the arts landscape using materials (such as fabric, wool, rocks, wood, craft supplies.) This map will become the groundwork for the session, and participants will be invited to investigate, challenge, vocalise, and reflect on their ‘identities’ in this space through sociometry and image work. Following a discussion of these identities, participants will work in small groups to either physically change aspects of the landscape,  or redefine discussed identities. Participants will benefit from a process of self-reflection to explore personal identities in the current and collectively created arts landscape as well as learn practical approaches to addressing topics related to identity for use in the classroom.

Best Panel/s: Secondary Drama

B7  The Elegance of the Ordinary


Lola Ryan: teacher, performer, choreographer, poet and writer. England to Ontario to Vancouver to Ottawa – for now. A lifelong love affair with transition brings her to here, to now, to the glory of  growth, and sharing.  She has taught movement and dance for actors at  the University of Ottawa, the National Theatre School, Algonquin College, Studio 58 (Van), and the Vancouver Playhouse Acting School. She also teaches extensively in Ontario schools, via the Ontario Arts Council. She was the main subject of a CPAC documentary on transgender issues in Canada. For Orpheus Musical Theatre, she recently choreographed ‘Spring Awakening’, a show dealing with coming of age in a repressive society. She had an extensive athletic career in rowing, competing internationally. Lola counts herself fortunate in that everything she has done in her life has been additive and affirmative, and informs the work that she does.

THE majority of action in theatre involves three basic bodily movements: standing, walking and sitting. They reveal our personal and social comfort, our relation to people, the effect we have upon others, and finally, how we look our best on stage.  Standing: Feel Tall, Stand Tall –  How to become taller by releasing your weight into the earth, thus allowing your body to stand and move as if it were lighter than air.  Walking: Taking Life in Stride – Here you will develop your personal walking style that reflects positively on who you are, while enabling you to move with ease and attractiveness.   Sitting: Pride of Place – Sitting is an action, placing  more pressure on the spine than does standing, so it is important that we sit correctly and consciously. Here you will learn how.

Finale: We put it all together into an organic and powerful whole.

Best Panel/s: Secondary Dance

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Conference Co-Chairs
Cameron Ferguson
Liz Burnip

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