Session C (Sat. PM) 2:00 pm – 3:15 pm

C1 Exploring Media through Tech, Soundscape and Movement

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Michael Limerick has been in Arts education in the TDSB for over 15 years.  He is currently the Assistant Curricular Leader of the Arts at Monarch Park Collegiate.  Michael enjoys teaching Drama and working with the Arts Community in Toronto.

 

 

Alex Stamp has worked in the TDSB for 17 years in the areas of Drama, Arts Dramatiques, French and sometimes Spanish, careers or civics.  Throughout his career he has focused on social justice issues and global citizenship.  Alex has taught additional qualifications for York University, presented and mentored for within the TDSB and embeds dramatic arts in every course he teaches.  In his spare time, Alex can be found either improvising or performing in comedic theatre productions in Toronto.

THE recent media around politics, race, gender and class in our country screams out that equity is something that we all must continue to work on. Through the lens of mass media, participants will first analyze news stories, video and music relevant to equity and social justice in Canada. Then, this media will serve as the stimulus toward dramatic work, primarily through the dramatic genres of soundscape, movement and technology.


Best Panel/s: Secondary Drama

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

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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

C3 Your Way Begins on the Other Side: Exploring Notions of Community and Culture through Drama and Dance in the Primary Classroom

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Megan Park is a graduate of the Drama in Education program at the University of Windsor and holds a graduate degree from OISE/UT. Meghan has taught at Young People’s Theatre, The Drama Workshop, The Linden School and is an Ontario Arts Council Artist in Education grant recipient. She has been an arts educator for nearly 20 years in both schools and community settings. Meghan has presented arts workshops for students and teachers with ETFO, ETT, OAEA and CODE. Meghan currently teaches the arts in TLDSB.

 

 

Aqilah Goraya 

HOW do objects convey identity, culture, history?  How does passing on and preserving artifacts allows us to have a glimpse into the lives of people’s pasts?  How can drama and dance help us to reflect on and respond to cultural artifacts from the Muslim Diaspora?

In this workshop, participants will be introduced to a unit that was developed in partnership with the AGA Khan Museum, The Ministry of Education and CODE. Using artifacts from the permanent collection at the Aga Khan Museum as a jumping off point, participants will explore themes of personal narratives, journies, community, transmission of culture and creating community. Choral Speaking, Tableau, Role Playing and Dance exercises will be used to explore the Muslim diaspora. Although suitable for all elementary teachers, the workshop and unit is intended to complement the grade 2 and grade 4 social studies curriculum.


Best Panel/s: Elementary Dance/Drama

C4 Feel the DHOL Beat!

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Alan Faigal is an education/movement specialist who teaches for Ryerson University. Alan is also the National Youth Outreach Director for Culture Shock Canada (hip hop troupe). Dance floors and academic lecture halls are avenues for his dynamic teaching methods.  Professional core values include: anti-bias, inclusion, and social justice.   He has studied and performed Bollywood with Lopa Sarkar and Divine Heritage Artistry.  Alan is also an ambassador for the Masala Bhangra Workout and received training from creator Sarina Jain.

WITH every musical beat and pulse we can build bridges between cultures and artistic genres.   We build community, family and identity in and through Dance.  

Driven by a powerful mandate of accessibility and community building, Alan will engage participants with his signature Urban Dance Experience combined with the folk of Bhangra and the glitz and glamour of Bollywood! With a focus on fusion, intuitive teaching and guided improvisation, Alan will demonstrate the simple yet profound enrichment that happens when one dances to their own beat.

Workshop Objectives

– Adding to one’s movement repertoire (Bollywood, Bhangra, Classical /Folk Indian Dance, Urban/Funk)

– Understanding/avoiding Cultural Appropriation

– Fostering Dance as a medium for social change and advocacy

– Fostering Dance as a medium for authenticity and self-worth

– Celebrate and groove…Bollywood Style!!!


Best Panel/s: Elementary Dance

C5  Your Story – Your Voice: Interactive Storytelling as Wellness and Mental Health Practice

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Pavla Uppal is an applied theatre artist and educator. She is passionate about stories and encourages the human agency for active art-making as an expression of civic engagement and as a tool for learning and professional growth. Her practice is based in participant-centered philosophy and critical pedagogy. She graduated from the MA in Applied Theatre program in New York City and holds a Bachelor of Education degree from OISE in Toronto. In her work in the Czech Republic, USA, Malaysia, and Canada she shares transformational faculties of Image Theatre and story-telling with educators in her unique training that invites interaction, reflection, and transformation.

FEELING like you are working in isolation? Aching to have your voice heard – tell how it is for YOU? This workshop focuses on embodied story-telling creating non-judgemental environment for teachers to share their stories and have the opportunity to dialogue about issues that are vital to them. It will facilitate the healing process of finding and using one’s voice as an act of self-care. You will transform collective stories into images through Image Theatre, a modality of Theatre of the Oppressed. Using dynamic and fun exercises, you will be able to reflect on your teaching practice, your vision, and your interactions with the school community. The benefit is twofold – you will experience the effects of this approach, and you may choose to take the storytelling practice to your classroom for wellness improving environment to your students.  


Best Panel/s: Elementary & Secondary Drama

C6 Panel Presentation

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Keri-Lyn Durant  is an actor, director, and playwright and has worked as a drama specialist for over 30 years. Trained at Central School of Speech and Drama, she is a qualified teacher of Expressive Arts. She and her puppet entertain and educate on the paeds ward at the TBRHSC; she is also a standardised patient at NOSM and in the Lakehead University Faculty of Nursing’s palliative care program. Keri-Lyn is pursuing her PhD at Lakehead University.

 

Michael Z. Li is an Assistant Professor in the Faculty of Education, University of Macau. He has taught at different institutions and professional dance companies including Beijing Dance Academy, Tokyo Arts Center, York University, and the University of Wisconsin – Madison. He frequently leads workshops and master classes at schools, teacher training venues at local, national, and international conferences. His research spans dance/drama pedagogy; cross-cultural studies; gender and masculinity; to technology in education. He is an innovative and exploratory educator and constantly challenges the status quo on what good teaching is.

 

Casa Pueblito bio and description to follow.

Keri-Lyn Durant:  APPLIED theatre is a tool to explore issues where fear and distance prevail; thus, it is ideal in death education. Teachers state a reluctance to implement death education in their classrooms; to facilitate comfortable and compassionate implementation, an arts educator in tandem with a mental health professional could aid in its inception and delivery. Terms such as dying, death, grief, and bereavement could be used normatively in classrooms.

Michael Z. Li:  ELECTRONIC devices have shrunk in size as personal preferences for computing started with desktop computers but quickly morphed into laptops, netbooks, tablets, and now mobile phones. The use of mobile technology is gaining popularity in education as institutions (almost all levels) embrace Bring Your Own Devices (BYOD) to enhance teaching and learning experiences. This presentation focuses on the mobile teaching/learning in theater arts classrooms. It begins with research findings on students’ perspectives of mobile learning. Then, it shares challenges and insights gathered from educators on mobile teaching. The third part exhibits how mobile devices are integrated in a blended theater classroom. Student works under mobile enriched teaching/learning environment are also highlighted at the end of the presentation.

Casa Pueblito:  TBA

 


Best Panel/s: TBA

C7  Revitalizing Our Classrooms with Indigenous Knowledge

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The First Nations, Métis & Inuit Education Association of Ontario ( FNMIEAO) is a subject association for educators teaching First Nations, Métis and Inuit Studies, and Native Languages in Ontario, Canada. We support and help all educators understand issues related to First Nation, Métis and Inuit Peoples in Canada as well as offer strategies for teaching this content to all learners.

 

 

 

WITH the Calls to Action from the Truth and Reconciliation Commission, there is an increasing focus on the inclusion of First Nations, Metis and Inuit education across the curriculum. In this workshop, we will equip teachers with strategies on how to embed Indigenous Knowledge into classroom instruction. Examples of how to examine historical and contemporary First Nations, Métis and Inuit challenges and achievements through culturally appropriate instructional strategies will also be shared.  We will identify and unpack a variety of resources to support educators.


Best Panel/s: TBA

Contact Us

Conference Co-Chairs
Cameron Ferguson
Liz Burnip

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