Parallel and Poster sessions

Each parallel session is 20 minutes and followed by a 5 minute Q and A (unless otherwise noted)
Titles in orange indicate sessions that will be presented in French.
Titles in purple indicate sessions that will either be bilingual or simultaneously interpreted.

Les titres en orange indiquent les présentation qui seront présentées en français.
Les titres en violet indique des sessions qui seront bilingues ou interprétées simultanément.

October 19 Parallel Sessions

11:00 a.m.
Mikw Chiyâm: Promoting Student Retention in Indigenous Communities Through Arts EducationMikw Chiyâm is an interdisciplinary Arts program commissioned by the Cree School Board and co-supported by the Cree Nation Government’s Department of Justice and Correctional Services. This program works to develop decentralized, immersive and alternative learning environments for students and teachers to work alongside professional Canadian Indigenous and non-Indigenous artists. Through project-based learning and in-school artist residencies, we aim to promote student retention, accountability, empowerment, cultural connection and celebration through the Arts.
As a living Arts program, Mikw Chiyâm is tailored to respond to the needs of each particular educational context while also creating a broader learning community across the Eeyou Istchee. This presentation will discuss how the Mikw Chiyâm program is based on an adaptable framework that embraces feedback and input in order to guide the program’s future development in each community, promoting the diversity of all those involved.
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Katie GreenKatie Green is the Program Director of Mikw Chiyâm and is known for bridging the gap between artistic and educational worlds through designing and implementing alternative learning programs that encourage collaboration between students, teachers, administrators and professional artists. Katie’s current role as Program Director for Mikw Chiyâm capitalizes on her previous experience as artist, educator, community curator and administrator, promoting the development of sustainable, community-driven programming.
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David HodgesDavid Hodges is the Executive Director of Mikw Chiyâm and of N'we Jinan, a non-profit arts education organization that works across Canada. He is a hip-hop artist turned full-time producer and music educator from Montreal, Quebec. He encourages creativity and passion and has been actively building his social enterprise for over 6 years. David travels to schools and communities across North America to provides music programming that offers youth an opportunity to create their own songs and market them into the public world.
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Sabrina BejbaSabrina Bejba is the Educational Consultant for Mikw Chiyâm. Her experience as an art educator is highlighted by her years teaching Visual Arts to secondary students in Montreal. Her drive to connect students to their communities has lead Sabrina to collaborate with various art festivals and community events. Sabrina’s role as part of the Mikw Chiyâm team is to provide mentorship and curriculum support to each artist and teacher, throughout the school year.
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Lina MorenoLina Moreno is the Director of Research and Development at Mikw Chiyâm. She is an artist, educator, and researcher based in Montreal. She has a Masters in Art Education from Concordia University where she explored generative forms of conversation in relation to objects, texts, and images. Her work at Mikw Chiyâm seeks to incorporate quantitative and qualitative data analysis to orient program development in alternative art education.
1:45 p.m.
Music Care TrainingMusic Care Training (MCT) is a 3-level, 52 hour continuing education program that trains professional and family/volunteer caregivers in the theory and application of music in care. The training is complimentary to other scopes of practice, particularly allied health providers, providing these caregivers with musical tools and theoretical context to enrich their care practice. Participants receive a certificate of completion.
The objective of MCT is to support caregivers in integrating music into regular care practice. by developing understanding of the music care approach, musical elements, and an evidence base for using music in care, giving tools and strategies to use music more freely and intentionally in professional and personal life, and creating an individualized music care initiative for care context.
The curriculum has been developed and is delivered by the Room 217 Foundation, an organization dedicated to changing the culture of care through music. Level 1: The Fundamentals of Music Care: Theory and Context is a baseline training with a mix of music care framework and 10 specific strategies. Level 2: Caring for the Whole Person with Music looking at 10 different effects of music from current research literature, providing an evidence base for music in care Level 3: Becoming Music Care Advocates is a mentorship program using 10 tools for advocacy and develops practical music-related skills, and deeper insight into personal connection to music. Demonstration of a completed music care initiative is required. Since 2014, more than 700 caregivers have been trained across Canada in eight provinces. Results consistently show increased caregiver confidence using music, and increased music-based initiatives and interventions in care across a variety of populations including palliative care, long term care, classrooms, hospitals, and mental health settings. Room 217 is developing a model of MCT for international use starting in the UK.
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Bev FosterBev Foster is an experienced music educator, and the Founder and Executive Director of the Room 217 Foundation, an organization dedicated to changing the culture of care through music.
, Room 217
2:15 p.m.
Hands United for Peace: A Community Partnership in Arts EducationHands United for Peace, a multi-disciplinary arts in education project completed in 2016 in Kingston, Ontario, brought together in collaboration a local elementary school, faith community and peace organization to raise awareness among participating children, youth and adults about peace and peace-building as core values for Canadians. Through the design, creation and outdoor installation of a large banner, through the development of soundscapes to accompany an indigenous-style story of truth and reconciliation, and through the intergenerational learning and sharing of choral songs about peace and building bridges, the project fostered deeper understanding and closer relationships in community. A key element of the project was the detailed documentation of planning, process and delivery, serving as a template for individuals and groups who might wish to mount similar endeavours. Description for inclusion in the program: Hands United for Peace, a collaborative multi-disciplinary arts in education project, brought together in a local elementary school, faith community and peace organization to raise awareness among participating children, youth and adults about peace and peace-building as core values for Canadians.
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David Melhorn-BoeDavid Melhorn-Boe's life work as an artist-educator, musician and choral facilitator is inspiring people of all ages to embrace creativity, as together we build a more loving world.
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Margaret MoncrieffMargaret Moncrieff is a Children’s Choral Director, Occupational Therapist and Educator who encourages meaningful participation in community, inspiring a love of music as a way to nurture a reverence for life.
3:00 p.m.
J'apprends le français pour atteindre des sommets Dans cet atelier, nous présenterons un projet multidisciplinaire, incluant les Arts plastiques, pour l'Enseignement du français langue seconde à de nouveaux élèves arrivant de la Syrie et qui ont fréquenté une classe d'accueil. Le but de ces leçons interdisciplinaires a non seulement été l'apprentissage d'une nouvelle langue mais aussi le développement individuel et global de l'élève et son insertion dans la nouvelle société. Ce projet peut s'appliquer aussi bien pour l'apprentissage du français que de l'anglais comme langue seconde. Cette initiative de l'école arménienne Sourp Hagop, à Montréal, s'est méritée le premier prix du 'Conseil pédagogique interdisciplinaire du Québec'.
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Léna KadianLéna Kadian est la directrice générale de l'école arménienne Sourp Hagop. Elle a exercé ses fonctions aussi bien à Ottawa comme enseignante de français langue seconde et d'anglais langue seconde que comme directrice d'école, pendant 15 ans. Elle dirige l'école arménienne de Montréal depuis 7 ans.
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Houry Dalalian, and Christian BayginHoury Dalalian et Chrisitan Baygin sont respectivement des enseignants d'Arts plastique et d'éducation physique à la même école. Ils ont enseigné à plusieurs niveaux du primaire et au secondaire, en collaboration, pour des projets interdisciplinaires.
Out of the Margins: Opening Spaces for Creative Communities in Mainstream Education--Integrating Community Based Arts ProjectsUsing Gultang’s theory of Structural Imperialism – with the centre and its periphery, I will show that in school-based settings, the curriculum privileges a hierarchy of knowledge, with subjects such as science and mathematics which is core and at the centre and the arts at the periphery. The arts have never been serious ‘subjects’ like maths or science, because it cannot be readily reduced as quantifiable data. This positioning of inner and outer legitimises an inequality between fields of knowledge as hierarchies are the quintessential manifestation of power. They signify higher and lower ranks in a given order of domination and subordination, being either of greater or of lesser value, prestige and influence.
We need to rethink ‘education’ and ‘learning’ by challenging the hidden curriculum that privileges one way of learning and knowing by showing an alternative to what is currently accepted as the only way to know and learn. Until then, the dynamic of inner and outer, centre and periphery, will continue to denigrate the arts and we must redress this imbalance. Community-arts based learning connects us as interdependent, and as opposed to being independent and separated, and which is so often valorised in mainstream educational settings. At its centre, is the participatory inclusion of learners who work in a holistic process of adapting to the world and in the many knowledge generation trajectories. In this learning space interacting among people, the arts and the environment becomes a process of Friere’s conscientization, in the cycle of action and reflection. This presentation will be used as a platform for the advocacy of using the arts as a central tool in alternative learning spaces - spaces that permit learning as a collaborative experience of working together as an arts-based community
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Simone NicholA dreamer, teacher, theatre practitioner. Simone has dedicated her life to alternative arts- based learning spaces and actively pushes for the arts to be put right where they belong - the centre.
Exploring the Rights of the First Nations Child through the Arts: Our Dreams Matter TooThis session will acquaint delegates with the two-year research/creation project, Exploring the Rights of the First Nations Child through the Arts: Our Dreams Matter Too. The disregard for the UN Declaration of the Rights of the Child relative to First Nations children in Canada is central to this project as is UNESCO’s Road Map for Arts Education (March 2006). Designed as a community arts project, the seven arts education residencies were conducted with grades 3, 4, and 5, at J.R. Nakogee Elementary School in Attawapiskat, Ontario, Canada. Applying an aboriginal pedagogical approach, four educator/artists guided the children in an exploration of ten UN children’s rights (i.e. name, nation, family, protection, play, health and wellness, education, shelter, freedom of expression, food and water) through the arts of dance, drama (story-telling), visual arts, and music (drumming). Subsequently, the dance/theatre social justice piece, Our Dreams Matter Too: Guardians of the Muskeg was created using a local Cree story, the Guardians of the Muskeg that had been gifted to educator/artist, Jacqueline Hookimaw-Witt, by two Attawapiskat Elders, Emily Toomakatik and John Hookimaw. The story reveals the roles of the Spirit Guardians—Otter, Waterlynx (Mishebeshu) and Bear—in protecting land and culture. By incorporating Turtle into the story, Jacqueline made a connection to the activism of Shannen Koostachin and her Attawapiskat classmates who successfully lobbied the Canadian government to build a new school in their community. Our Dreams Matter Too: Guardians of the Muskeg, a social justice theatre work, was constructed in a manner showing how the story still informs life and actions of the Mushkegowuk (Swampy Cree) today. This project built numerous bridges through research, partnerships, best practices, and advocacy in and for arts and learning. The dance/theatre piece was performed in the first assembly at the new Kattawapiskat Elementary School, September 19, 2014.
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Mary-Elizabeth ManleyProfessor Manley, the facilitator/mentor of the Roots Research and Creation Collective, directs groups of Indigenous artist/educators who engage First Nations young people in community arts projects and presentational work.
3:30 p.m.
LGBT Inclusivity in the ArtsToo many Arts organizations do not have publicly published anti-harassment polices based on the Ontario or Canadian Human Rights Acts.. I make the case as to why such policies should exist and the need for education is essential for an inclusive, safe and successful Arts organization.
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Peter ZanettePeter Zanette has been active in the arts and LGBT communities for over 30 years. Colours Care is to support and celebrate LGBT composers.. He continues to work/volunteer doing stage and production for classical music ensembles. My heart is into the Arts.
Using a diversity of artistic media to reach a diverse audienceSince 1989, almost one million young audience members around the globe have been introduced to classical music through Platypus Theatre. Drawing on a wide array of musical and theatrical techniques, Platypus Theatre reaches a broad diversity of audiences on three continents proving that music really is the universal language. Music and storylines are woven together to create mesmerizing performances featuring colourful masks, puppets and costumes that draw the audience in and create an unforgettable musical experience for all. In 2006, one of Platypus’ most cherished productions How the Gimquat Found her Song was produced for TV and went on to win several awards including Best Children’s Program at the prestigious Banff World Television Festival. In 1991, Platypus was the subject of a nationally broadcast documentary on CTV, followed by a PBS full-performance broadcast in 2000. During its 25th anniversary year, Platypus premiered its eighth original production, Presto, Mambo! in partnership with four orchestras across Canada. Other Platypus Productions include Emily Saves the Orchestra, Rhythm in your Rubbish, Bach to the Future, Charlotte and the Music-Maker, Flicker of Light on a Winter’s Night, and Peter and the Wolf.
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Peter DuschenesThousands of young classical music fans have Peter to thank for introducing them to symphonic music. He co- founded the Platypus Theatre touring company in 1989 to make orchestral music accessible for youth, and more than half a million concert-goers have benefitted from his creativity. As an award-winning playwright, Peter’s writing credits include - among others - all eight Platypus productions, the television adaptation of How the Gimquat Found Her Song which won Best Children’s Program at the prestigious Banff World Television Festival in 2008. In addition to his roles in Platypus shows, he has also acted and directed with companies across Canada and the United States. When Peter isn’t busy helping the Gimquat find her song, he and his wife Sarah are helping their children, Magda and Theo, find their socks their children, Magda and Theo, find their socks.
4:00 p.m.
"Yan zi / The Swallow": A Cross-cultural Choral ProjectThis presentation will discuss the outcome of a cross-cultural choral project that mixes a folksong from China's Xinjiang province with a Canadian folksong from Newfoundland. Examining how music is tied to notions of place, identity, and belonging, this talk not only addresses questions about best practices, but reveals music's ability to build bridges in a pluralistic society by promoting community engagement for under-represented groups through the arts.
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Dr. Jeanette GallantSpecializing in world music and vocal pedagogy, Dr. Gallant has held academic posts in Canada, England, and Hong Kong. Her most recent publication appears in the Yale Journal for Music and Religion.
Supporting the Arts for Learning: What the GECDSB is doing.A presentation by staff and administration of the Greater Essex County District School Board in Windsor, Ontario. A school board that has proudly supported the arts in diverse communities for years.
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Dr. Clara HowittDr. Howitt has been an educator and leader for over 20 years. She has been a classroom teacher, school Principal, system Program leader and Superintendent of Education throughout her career. During the last decade Dr. Howitt has been in service as a Superintendent responsible for Curriculum and Program K-12 as well as Leadership Development. Dr. Howitt has a particular interest and knowledge of change theory, program evaluation, educational policy and leadership development.
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Dr. Bernadette BerthelotteTeacher Consultant for the Arts K-12
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Tina DeCastroTeacher consultant, FNMI communities
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Karen McLellanLearning Through the Arts, Manager, Windsor & Region
Permission to Speak: Partnerships, Development and Execution of the Coyote ProjectThe Coyote Project was a multimedia drama, puppetry, drumming and photography presentation facilitated in the Spring of 2017 with Grade 10 and 11 students at a high school in rural Ontario. While Initially the genesis of this project was Manitoba artist, Jaime Black's visual arts response to missing and murdered Indigenous women (The REDdress Project, 2011), as we approached the start of our project, a small, remote town in Northern Ontario near James Bay came into the news when more than eleven young people from this First Nations community of 2,000 attempted suicide in a 24 hour period. This story touched our students, and our work shifted with a desire somehow incorporate into our project the issues that this story brought into sharp relief.The theme of our work became an investigation into voice and voicelessness. Who has it, who doesn't, why that might be, and how it could be different? Working with partners in our local community, including collaborators from our closest Reservation, the most local Anishnaabe Healing Centre, the Indigenous Studies department of a nearby University, and artists, we struggled with how to talk about and devise artistic work around these issues, asking questions such as:
Should we and how do we share stories, perspectives and experiences that are perhaps not ours to tell?
If our intention is to create awareness about social justice issues in our own province, how might we do that in a compelling and yet culturally responsible way?
How do we resist appropriating voice?
How were our usual artistic processes challenged in this process?
How do we act as witnesses and agents for change in a respectful, artful, and impactful way?
This talk will include images and video from the project as well as an outline of the process, resulting product and next steps. Description for inclusion in the program: Outline of the process, questions and product resulting from a high school presentation of drama, puppetry, drumming and photography inspired by the youth in Attawapiskat, created with community partnerships.
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Jessie KennedyJessie Kennedy is a teacher in rural Ontario. She is a curriculum writer, international presenter, and sits on the Executive Board of the Council of Ontario Dance and Drama Educators.
4:30 p.m.
Partnering with your Art Gallery: Opportunities for Professional Growth
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Dr. Peter VietgenDr. Peter Vietgen is an Associate Professor of Art Education in the Faculty of Education, Brock University, and is the current President of the Canadian Society for Education through Art.
, Brock University, and
Dr. Audrey HudsonDr. Audrey Hudson is the Manager of School & Teacher Programs at the Art Gallery of Ontario and also teaches at OCAD University. Audrey is dedicated to art as a vehicle for social change in museum settings and beyond.
, Art Gallery of Ontario (AGO)
Exporting Canadian Creativity: The Shaken and the Stirred Tour the UK: Bridges & RootsFor the past three years, Canadian writers have been arts and learning trailblazers across Canada and around the world showcasing exquisite Canadian content through their poetry and novels.
Presented by the Centre for Creative Learning www.centreforcreativelearning.com , Catherine Graham and Ian Burgham invite you to join them as they discuss the necessity of poetry as inspiration, a place to explore delicate subjects and the range of feelings we experience as humans. Together, they will outline how the 2017 Shaken and Stirred UK tour celebrated Canada’s 150th, in all it’s complexities. They will discuss poetry and its value, how it is an engaging teaching/learning vehicle, how it bridges boundaries and borders, how poetry doesn’t take sides but explores them. How poetry is able to embrace ambiguity, and not be afraid of it. How poetry is an accessible art form and spoken work is central to all cultures. As such, poetry is universal and connects to our universal psyche.
Poetry has staying power! Why does poetry continue to exist and yet there is so little awareness and support? Because it matters! Poetry lasts, and lasts. CCL is a true supporter of poetry, a rarity in Canada. Highlights of the 2107 tour:
  • London, University of East London
  • University of Manchester, Anthony Burgess Foundation
  • Edinburgh Fringe Festival, Scottish Arts Centre
  • Northern Ireland:
  • Seamus Heaney HomePlace:
  • Linen Hall Library: Canadian High Commissioner and Canadian Consul there to support.
  • Bangor’s Open House Festival…… and much more
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Catherine GrahamWinner of IFOA’s Poetry NOW, Catherine Graham is the author of the debut novel Quarry and six acclaimed poetry collections including The Celery Forest. Visit her at www.catherinegraham.com
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Ian BurghamIan Burgham is the author of six poetry collections. Winner of the Queen’s Well-Versed Poetry Award, recent international readings include Mexico, Northern Ireland, Scotland and England.
Re-imagining the Holocaust: An arts-integrated history projectThere is great educational potential for integrating the visual arts in Holocaust education. This presentation will highlight one project where secondary students gained new and meaningful perspectives on what life was like for those targeted for extermination by the Nazi regime by creating an art installation that explored the lives of young victims of the Holocaust.
The project was designed to challenge the dominant narrative surrounding victimhood during the Holocaust—the popular notion that Anne Frank’s experience in the secret annex in Amsterdam was the archetypal Holocaust experience. Not all Jews found places to hide, nor could they all write with the sophistication and grace she did. Through this project, our students discovered that there was no single Holocaust victim experience.
After exploring diaries written by young people during the Holocaust, we introduced our students to art installations as a means to express historical understanding. They then identified the physical objects needed to represent the histories of their assigned Holocaust victim using a suitcase motif. The final assemblage was an opportunity for the students’ creativity to come to the fore. They strategically positioned their representational artefacts in suitcases to achieve maximum didactic and emotional effect. Installation at a local gallery included placing each completed suitcase on a giant painted canvas map of Nazi-occupied Europe. We then hosted a grand opening reception to celebrate the students’ hard work which kicked off the exhibition’s ten day run at the gallery. Student achievement and post-project reflections illustrate the power of adopting an arts-integrated orientation to Holocaust education.
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Michael PitbladoMichael Pitblado is a high school history teacher at Leahurst College in Kingston, Ontario. He is also a doctoral student in the Faculty of Education at Queen’s University, specializing in Holocaust education.
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Agnieszka ChalasAgnieszka Chalas earned an MA in Art Education from Concordia University, is the former Co-Executive Director for Programming at ArtsSmarts and Director of Public Programs and Education at the Kitchener-Waterloo Art Gallery. Currently, she is a doctoral candidate in the Faculty of Education at Queen’s University and teaches visual art at Leahurst College in Kingston, Ontario.
, Queen's University 

October 20 Plenary and Parallel Sessions

10:00 a.m.
Plenary: Learning from Indigenous Artists and ArtThis workshop focuses on how to use Visual and Media Arts to engage participants in furthering their understanding of Indigenous perspectives. Participants will look at representation through the four R’s framework: respect; reciprocity; relevance; and responsibility, (Verna Kirkness), and will share how teachers are expanding their personal knowledge to facilitate inquiry-based learning within Visual and Media Arts. Links will be made to the United Nations Declaration on the Rights of Indigenous Peoples, The Truth and Reconciliation Commission of Canada: Calls to Action, The Canadian Museum of Human Rights, the AGO the ROM and others.
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Tanya SenkTanya Senk is a Métis/Cree/Saulteaux educator, artist and scholar. She has been working in the Toronto District School Board for two decades. During this time she has been a classroom teacher, a course director at York University, in the Faculty of Education, both at the Urban Diversity and Regent Park program sites, an Instructional Leader, Program Coordinator and Central Coordinating Vice-Principal in Indigenous Education. She is currently the Centrally Assigned Principal for Indigenous Education with the Urban Indigenous Education Centre, TDSB. While seconded at York University she also worked on a collaborative three year research project with SCEE (School and Community Engaged Education Project), a partnership between York’s Faculty of Education through YCEC, the Toronto District School Board and the Indigenous Education Centre. Tanya holds a B.F.A. 4 year Specialized Honours in Visual Arts/Studio, a B.Ed., an Interdisciplinary Masters (Arts/Education) with a focus on Indigenous Arts as Pedagogy, as well as an Honours Specialist in Visual Arts AQ. As a PhD candidate at York University, Urban Indigenous Education, her research interests include Indigenous Arts and knowledge(s) in Institutions of Public Education, Museums and Galleries, Decolonizing and Indigenizing Arts Education, Professional Learning and Teacher Education.
She has written academically and reviewed with publishers such as Pearson, Goodminds, Nelson, Emond Montgomery, ETFO, Pembroke and Canadian Diversity – on Indigenous Education and the Arts. Tanya has worked collaboratively on many projects with both Indigenous and non-Indigenous peoples in schools and community that have taken on multi-disciplinary/media approaches. Recent collaborative projects include, Nishnabek Debwewin - An Indigenous Digital Storytelling Project, a SSHRC Funded Knowledge Mobilization Project by Dr. Susan Dion, Dr. Carla Rice, Tanya Senk and Hannah Fowlie, TDSB AEC, York University and the University of Guelph, 2017. York University, Guelph University REDLAB, screened at York University, Guelph University, Brock University, Chicago Art Institute, 2014 – 2016. In 2013, Kinoomaage-Asin: Teaching Rock ( HD Video 5min - Co-writer, Conception) was an official selection at the imagineNative Film and Media Arts Festival, Toronto and an official selection at The Agua Caliente Cultural Museum’s 13th Annual Native Film Fest 2014; In Between, a digital story was presented at John B. Aird Gallery, Toronto, 2013. Katipâmsôchik, a digital story, Istanbul University, Turkey, 2013.
and Mervi Maarit Salo
10:30 a.m.
Plenary: The Music Circle Project: A Collaborative Music Making ExperienceThe Music Circle project is a program developed collaboratively between the National Arts Centre and Lotus Centre for Special Music Education with the objective of providing a multi-modal music making experience for individuals with special needs. Since the program's inception, partnerships have been created with many community organizations to provide access to adapted music education, including special needs classrooms and adult recreational organizations. The program includes both workshops and concerts that are adapted for the learning and sensory needs of people with exceptionalities of all ages. Topics discussed will include how the project has adapted to community needs, challenges in program development, and next steps that will be taken to continue to increase capacity.
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Erin ParkesDr. Erin Parkes founded the Lotus Centre for Special Music Education in 2012 to provide adapted music education programs for students of all ages with exceptionalities. Dr. Parkes completed her PhD in music education from McGill University in 2015, where her research focused on training studio music teachers in educating students with autism spectrum disorder. At Lotus Centre, Dr. Parkes continues to teach students of all abilities and increase capacity through teacher training and research into best practices in special music education.
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Sophie Reussner-PazurSOPHIE REUSSNER-PAZUR joined the National Arts Centre (NAC)’s Music Education Department in 2015 as the Music Education Associate of Youth Programs and Community Engagement. Her main responsibilities include promoting and administering local school and community outreach activities including the Music Circle Workshop series for developmentally challenged youth and adults, NAC Orchestra student matinee concerts, Open Rehearsals, the Musical Adventures in My School program, chamber concerts in long-term care facilities, and TUNETOWN pre-concert activities, to name a few.
Sophie holds a B.A in Business Administration from her native France, and a B.A. in Education from the University of Ottawa. Prior to working at the NAC, Sophie was a supply teacher for four years in several English and French school boards in Ontario. Additionally, she coordinated in-school multi-disciplinary artists’ residencies for an arts and education organization in Ottawa. Sophie currently plays the bassoon with the Kanata Symphony Orchestra and enjoys learning the piano.
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Kelly RacicotKELLY RACICOT is the Education Officer of Youth Programs and Digital Learning at Canada’s National Arts Centre (NAC). She currently manages the overall planning and production of the youth programs and community engagement events in Music Education, most notably the NAC Orchestra’s TD Family Adventures, Student Matinees, and KinderNACO concert series. As part of the NAC Music Education team, she and her colleagues manage over 40 local, national and international programs that engage young audiences, artists, and teachers, as well as adult learners and community organizations. Collectively, these programs reach close to one million individuals in person and on-line each year.
Kelly completed her Bachelor’s degree in Music and Performing Arts Administration at the University of Ottawa in 2005. Upon graduation, she joined the National Arts Centre Music Education Department in the capacity of office administrator for the Summer Music Institute (Young Artists Program), an internationally- renowned artist training program for exceptionally talented classically trained young musicians. She was later promoted to the position of Music Education Associate of Schools and Community Programs in 2007 and to her current role of Education Officer in 2016.
Prior to joining the National Arts Centre, Kelly owned a private music studio specializing in piano and flute performance. For over ten years, she was a performer at various special events in Ottawa, including for the House of Commons of Canada at the Parliament Buildings.
11:15 a.m. - 12:15 p.m.
The Regent Park Project ~ Intercultural Dialogue in Action!Kick Start Arts Society started in 2013 as a not-for-profit organization. The Regent Park Project is one of our key initiatives - building bridges using collaborative filmmaking techniques to engage inner city youth from diverse groups within the Canadian mosaic. Art can play an intrinsic role in identity formation, both personal and social. By collaborating and creating with others whose backgrounds are different than their own - sharing their stories - the participants learn who they are, and find new ways of fitting into the world. Our project gives them training, provides hands-on experience in all aspects of film creation, develops a profound sense of community and helps them find a sense of purpose, and provides supports.
This is a hands-on film-making initiative. Young people ranging in age from 13-27 receive free training in acting, writing, and production. They then participate in all aspects of film creation; idea generation, script writing, blocking, design, filming and editing. Many professional artists volunteer their time and expertise.
During the summer of 2016 we were thrilled to film our first season. Eight episodes were created using our unique collaborative process. Participants demonstrated significant skills as actors, as members of the production crew, and as creators of original content – but just as importantly they have learned a lot about one another, and what it means to be an active citizen of our diverse country. The tangible end product is a web series that explores stories meaningful to them, and drawn from their own ‘lived experiences’.
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Mandeq HassanMandeq Hassan is a 19 year old actor, writer and filmmaker hailing from Regent Park. She has been creating her own short documentaries since high school and has also participated in The Regent Park Project as a 'Company Member' in both writing and acting capacities. Her focus is to bring to light the diversity of stories that she has found in he life through film. She is currently enrolled at Concordia university studying History and Film and hopes to continue to discuss social themes in her future work as well as within her community.
Tanya Senk open session follow-up for educators.
11:15 a.m.
Welcoming Newcomers To Young People's TheatreYoung People’s Theatre (YPT) provided 341 free tickets to Syrian newcomers to many productions in the 2016/17 season courtesy of the Canada Council for the Arts and Sun Life Financial for The Arts and Cultural Welcome Refugee Initiative. The season theme of “no one is alone” acted as the underlying focus for staff as they used this project as a catalyst to reflect on how YPT, as an organization, welcomes a new audience. We quickly realized that ticket costs are a major, but not the only barrier to participation for newcomer families. The language and cultural hurdles extend further than understanding the play. It was our aim to find ways around roadblocks to participation that families face -- even before stepping into our building.
In this presentation, we will discuss our unique approach to this project, along with the successes, challenges and implications of this work for the broader organization. We will discuss the tactics YPT staff employed, working interdepartmentally between Education & Participation and Marketing & Sales, to deliver this initiative. The design included the creation of a website and a booking system in both English and Arabic as well as an Arabic voicemail. YPT also recruited and trained a team of eight Arabic-speaking welcome host volunteers to assist in the promotion of the program and integration of families on their visit.
This presentation aims to provide insight into YPT’s approach while encouraging other participants to reflect on best practices of welcoming new audiences into professional arts spaces across Canada.
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Amber EbertAmber Ebert is the School & Community Programs Manager at Young People’s Theatre and sits on the board of the Professional Arts Organizations Network for Education (PAONE).
Workshop: Foundations of B-BoyingMembers of Bboyizm Dance Company transmit their passion and respect for the history and art of B-boying (“breaking”), educating participants about the roots and various techniques of breaking. This workshop offers a unique chance to learn the fundamentals of B-boying and hip-hop culture, in a safe way, from dedicated professional dancers who have a passion for teaching.
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Bboyizm Dance Company and “Crazy Smooth”Yvon SogloDancing since 1997, Crazy Smooth is one of Canada’s top street dancers, performers, choreographers, instructors, judges, and community leaders. He is the founder and artistic director of Bboyizm, an award-winning street-dance company that has been instrumental in the preservation and proliferation of street dance in Canada and internationally. He was the first b-boy to obtain a Canada Council grant to hone his art and is the recipient of numerous awards, including the Diamond Jubilee Award (2012), the Urban Dance Generation Choréart Trophy (2008), the Most Valuable B-boy Award at Kings of New York (2006), and the Absolute Canadian B-boy Award at Cypher North (2005). cities and events throughout North America and Europe. In 2004, Smooth founded Bboyizm and the company has successfully brought authentic street dance into the professional theatre setting. Three of his full length creations— The Evolution of B-boying, IZM, and Music Creates Opportunity—have toured throughout Canada. The company has been nominated for a Dora award (2012), and won both the Atlantic Presenters Association Touring Performers of the Year Award (2013) and the Ontario Presenters Network Emerging Touring Artist of the Year (2012).
Building Bridges through the Arts: An Arts-Based Knowledge Translation (ABKT) Planning Framework for ResearchersArts-based knowledge translation (ABKT) is a process that uses diverse art genres (visual arts, performing arts, creative writing, and multimedia) to communicate research with the goal of catalyzing dialogue, awareness, engagement, and advocacy to provide a foundation for social change. We propose a four-stage ABKT planning framework for researchers: (1) setting goals of ABKT by target audiences; (2) choosing art form, medium, dissemination strategies, and methods for collecting impact data; (3) building partnerships for co-production; and (4) assessing impact. The framework is derived from examples across sectors of the different art forms currently being used in ABKT, and discusses how researchers have attempted to evaluate the impact of their ABKT efforts. Ultimately, our goal is to provide a practical ABKT framework to assist researchers, but more work is needed to explore the four dimensions in practice.
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Tiina KukkonenTiina Kukkonen is a visual artist, arts educator, and PhD student in the Faculty of Education at Queen's University. Her research interests include collective creative processes, arts-based research, and place-based arts pedagogy within northern and remote areas. She is currently working as a research assistant for CNAL on their arts and learning mapping project, and recently co-authored a position paper for the Canadian Commisson for UNESCO aimed at reinvigorating the Seoul Agenda for arts education worldwide.
11:45 a.m.
Indigenous Language Labels in the Canadian and Indigenous Galleries at the National Gallery of CanadaOn June 15th, 2017, the National Gallery of Canada opened its newly re-installed and re-named Canadian and Indigenous Galleries. In these transformed galleries, the stories that have shaped our land are told through art. For the first time in the Gallery’s history, all art produced in Canada is shown together. Beginning with art from 5,000 years ago, and ending with abstract painting in 1960s Canada, this presentation features masterpieces of Canadian and Indigenous art.
The integration of the collections of Canadian art and Indigenous art is a defining choice and a key feature of the new galleries. From the outset, the Gallery made a decision to include Indigenous voices and Indigenous languages in extended label texts. These texts have been traditionally written by Gallery curators but this time, for a selection of works of Indigenous art, experts from the artworks’ communities of origin were invited to author them. These extended labels are presented in the galleries in the Indigenous language of the artwork’s community of origin as well as in the usual English and French. Gallery staff reached out to 13 authors and 21 translators to produce more than 50 extended and group label texts describing 145 artworks in 17 Indigenous languages and dialects from across Canada. Included are Indigenous languages from the north, the west, the Plains, the Great Lakes and St. Lawrence basins, and the east.
This project relates to the CNAL’s theme of “Building bridges in a pluralistic society through Best Practices in Arts and Learning”. With it, the National Gallery has established connections and relationships with Indigenous people and communities in all parts of the country and has permanently included their words and their languages in the public home of the national art collection.
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David GillandersDavid Gillanders has worked as an Education Officer at the National Gallery of Canada since 2012. He previously worked for 18 years in Education at the Montreal Museum of Fine Arts.
Brazilian Carnaval Arts: An Example of Communities Built Out of Pluralistic "Multi-Ethnic" GroupsTraditional cultures around the world can be easily bridged by the arts practices they incorporate. Music and dance translate across language and cultural barriers, and each tradition strengthens through interactions. Inspired by Brazilian traditions of Carnival where music, dance and colorful costumes intertwine creating a spectacle of large proportions, Luciano brings you a multi-arts cultural experience that will spark curiosity and appreciation for the arts. Brazilian traditions teach about multiple ethnic groups coming together to create an unified cultural identity. Traditional music and dances carry clear references to Aboriginal origins from Guarani and other groups, as well as the perhaps more obvious references to African influences from several different ethnic groups and European influences from another wide variety of origins. Luciano’s teaching style translates across cultural barriers and stimulates curiosity, creativity, focus and tolerance among the most diverse groups. With origins in central Brazil Luciano has specialized himself in Brazilian percussion ensembles through years of performance with Toronto's top performing groups. He has presented as part of the Ontario Arts Council roster of Artists in Education and through it has reached isolated communities in Northern Ontario. The experiences are real and visible and workshops transform into legitimate rehearsals when the parts synchronize together! The magic that comes out of this experience impacts the lives of kids for years. Luciano's work can take the form of hands-on workshops where participants play real instruments, learn rhythmic parts, songs and dance steps; or hands off performances where he demonstrates movements, costumes, several exotic instruments and tell stories about the traditions he has experienced, for this conference a short version of Luciano's performance will be presented. Luciano is fully fluent in English and French and has conducted workshops and performances in both languages extensively. Description for inclusion in the program: Inspired by Brazilian traditions of Carnival where music, dance and colourful costumes intertwine creating a massive spectacle, Luciano offers a multi-arts cultural experience packed with surprises.
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Luciano PortoLuciano brings his passion and experience with Brazilian traditional music styles into classrooms across Canada. Surpassing 1,200 workshops taught he engages learning through rhythms and colours.
Social Practice, Art, Engagement, and Alternative Pedagogical Experimentation.As an independent artist, I have been engaged in various social practice art projects throughout my time as a graduate student. Two of such projects were titled Summerhill on Major’s Hill and (Un)school. They have been inspired by the free school movement of the late 1960s and early 1970s, A.S. Neill’s (1973) Summerhill School, as well as other democratic and alternative schools and educational movements. During Summerhill on Major’s Hill, I, along with members of Blink Art Collective and artist Adam Brown, organized and facilitated events, workshops, and film screenings at what was formerly known as Blink Gallery in Major Hill’s Park, Ottawa, Ontario. A participatory arts-based community of families and their children emerged.
At (Un)school, a second pedagogical experiment that took place in the “courtroom” of Ottawa’s ArtCourt, artist and curator Cara Tierney and I collaborated on three sessions (un)focused on (un)learning topics suggested to us via an online consultation. Gender/sexuality, mobility/corporeality and fear/institutionalization were deconstructed and explored through emergent participatory pedagogies.
Through art and pedagogy as social practice, these projects centred on exploring spaces and narratives while taking into account the needs and interests of participants. The projects' objectives were to provide the Ottawa community with opportunities to determine what alternative methods and philosophies met their needs. We experienced multiple emerging ideas to explore further, including public space, how it it utilized, democratic planning, pluralism, spatialities of difference, what ‘freedom’ means, self-directed learning, conflict de(re)solution, and how these function with, from and between art as social practice and participatory pedagogy. Description for inclusion in the program: Alternative education, pluralism, spatialities of difference, conflict de(re)solution and other emergent themes emerged out of art as social practice and participatory pedagogies in Ottawa.
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Genevieve CloutierGenevieve Cloutier is an artist/facilitator/researcher who received Social Science and Humanities Research Council funding for a PhD on arts-based research. She is also an independent social practice artist
12:15 p.m.
Partnerships? Diversity? : Shaping Meaning CollaborativelyWords such as “partnership”, “diversity”, “learning”, “collaboration”, “community” are used freely within the lexicon of civil society frameworks, but what does it really mean to create partnerships in order to build a foundation for creative learning? What are the components of meaningful partnerships? With whom and how do we begin a process of authentic connections that enable the core values of respect, inclusion and shared learning to exist for all participants. Join us to explore a collaborative leadership model that will:
  • Outline some critical components of school/community partnerships
  • Address the intentions and desired outcomes for partners
  • Discuss how partnership models reflect the values of all participants and ensure a platform where all voices are heard and included in all aspects of planning and implementation?
  • Highlight some examples of meaningful partnerships from amongst the session participants
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Christine JacksonChristine Jackson has provided arts leadership in a variety of contexts, as a teacher and Arts Coordinator at the Toronto District School Board, Arts Education Officer at the Ministry of Education, President of the Council of Ontario Dance and Drama Educators, and faculty member at OISE/UT and York University. Christine advocates for the arts as pedagogies of connection, civic engagement, and empowerment in all initiatives, and in her frequent talks and workshops. She is inspired by bold creative collaborations with teachers, students, and artists, and draws upon this work to design innovative projects and arts education resources. She participated as a Fellow in the inaugural Toronto Arts Council Cultural Leader’s Lab, and deeply values the relationships that were inspired across a diverse range of arts experiences and practices. Christine sits on the Boards of Kaeja d’Dance and Theaturtle, and is a member of the Educational Advisory Boards for Canadian Stage and the Art Gallery of Ontario. She also is a member of the steering committee for the 2018 National Round Table for Teacher Education in the Arts. Currently, Christine is Sessional Lecturer at OISE/UT and provides consulting services to Boards of Education.
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Patty JarvisPatty has been working in the arts community in Toronto for more than 30 years with a passionate commitment to arts education, audience development, and community engagement. In her early career Patty worked with Second Look Community Arts developing creative projects focused on youth, health and poverty. She has worked for Theatre Passe Muraille, Studio 180 Theatre and as a consultant for b-Current Performance and the Toronto District School Board. Patty was the Director of Education and Audience Development for Canadian Stage from 2002-2008 and the Executive Director of Prologue to the Performing Arts from 2010-2017. Patty is co-founder and current Chair of PAONE (Professional Arts Organizations Network for Education) and is on the Advisory Committees for CNAL – Canadian Network for Arts and Learning and CPAMO – Cultural Pluralism in the Arts Movement in Ontario. She is a past Chair of the Toronto Theatre Alliance (now TAPA) and past Board member of Ontario Presents. In 2010, Patty worked with Creative Trust on the PAEO – Performing Arts Education Overview – a first-time analysis of the education activities of Toronto's arts organizations. Patty is currently the Interim Associate Director, Education and Outreach for the Canadian Opera Company.
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Melanie FernandezMelanie Fernandez is currently consulting and teaching. Clients include, Living Art Centre in Mississauga where she is Acting, Director of Performing Arts; she worked as Interim Director at Lifeline Syria, with Mural Routes, the woodland Cultural Centre and others. Previous, Melanie worked as Director Cultural Engagement and Activation Department at Harbourfront Centre and Artistic Director of the summer festival season for 14 years. She was responsible for community cultural development initiatives, the multidisciplinary festival activities, life-long learning programmes, vendor programmes and volunteer services. During her tenure many new programme initiatives such as the city-wide Planet IndigenUs (an international exploration of contemporary Indigenous arts), Culture Shock: Voices of an Emerging Generation Youth Arts Festival, Learning for Living, Carnivalissima, Masters of World Music, Luminat’eau, What Is Classical?, China Now!, and many other programmes have been launched. For six years she worked as Community Arts Officer (as well as Acting Visual Arts Officer and Acting First Nations Arts Officer) at the Ontario Arts Council. During this time, Melanie led a comprehensive policy review of community arts in the province that resulted in new definitions, directions and programs. Following this position Melanie was Head of Education and Programmes at the Art Gallery of Ontario. In addition, she taught a course in community arts at the Ontario College of Art and Design for five years and has written extensively in the areas of cultural diversity and cultural production, education, Indigenous cultural production and community arts/engagement. Melanie has served on numerous Boards and advisory committees including: Cultural Pluralism in the Arts (University of Toronto), Community Arts Ontario, A Space Gallery, Art Starts Neighbourhood Cultural Centre, the Canadian Commission of UNESCO, and Canada Council for the Arts Racial Equity Committee, Toronto Arts Council, CAPACOA, Arts & Cultural Committee for the Pan Am Games, and others.
Making Songs with Students: Some Ideas and ExperiencesSongwriting is a great way to gets students creating. Most students like songs and have an intuitive understanding of how they are put together. Song writing can be approached in a number of ways—from the melody, the lyrics, the rhythm, the mood—allowing students to find their own entry point. Even so, when asked if they can write a song, most students say “no.” The best way to overcome this is simply by helping them get started. There are many ways to demystify the process. In this session, Trevor Strong will talk about his techniques and experiences in getting students to make songs (both on their own and in groups). From the benefits of going through a creative process first and explaining it later, to the importance of knowing the difference between technical skills and creative thinking, to the self-perpetuating momentum that comes when students are given the conditions to create.
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Trevor StrongA writer, educator, and Arrogant Worm, Trevor delivers creative workshops in schools, universities, and literary festivals. He is in the Phd program at Queen’s Faculty of Education.
The Language of Art: Elevating the Voice of the ChildFraser Mustard Early Learning Academy is an all-Kindergarten school in the Toronto District School Board. Many of our 650 children come to us from families who are new to Canada. In a school with more than 30 home languages, the arts have the potential to act as an additional language through which our children can express themselves. Our poster will highlight a year-long project undertaken by our staff to promote the idea of young children as artists and active citizens. Our aim was to promote articles 12, 13 and 29 of the United Nation Convention on the Rights of the Child which outline the child’s rights of expression and to facilitate an equitable school environment through inclusive art pedagogy. We will explore building bridges through advocacy for arts and learning by building capacity in the visual arts and sharing our passion and learning with parents and the greater community. Through our roles as teacher-researchers, we advocate on behalf of our youngest learners for the importance of having opportunities to communicate and self-regulate through the language of art. We will reveal how teacher workshops and pedagogical documentation provide teachers with explicit teaching strategies that meet the diverse learning needs of students and acts as a means of reflection for teachers and students to aid programming. Finally, we will display highlights from the culmination of our project in a school-wide art exhibition focusing on identity formation in young children and its role in demonstrating the cognitive and expressive capabilities of Kindergarten students.
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Catherine UreCatherine Ure has been the Principal of Fraser Mustard Early Learning Academy since it opened its doors in 2013.
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Niki SinghNiki Singh is the Arts Specialist teacher at Fraser Mustard Early Learning Academy in the TDSB.

October 20 Poster Sessions

Advocacy through Youth Led ResearchYouth represent members of a body of knowledgeable individuals who are often not represented in the realm of music education, yet are directly affected by governmental legislation. Through Coalition for Music Education in Canada's initiative, the Youth4Music(Y4M) Research and Policy Team, youth are being given the chance to speak out and advocate for their music education through youth-led research. This presentation seeks to introduce the Y4M Research and Policy Team as well as the youth perspectives raised across Canada at national and community based Y4M events. Starting by introducing why music education is important to youth and why youth perspectives must be valued, this presentation will discuss the goals that provincial policy should hope to achieve based on youth values as well as the challenges that impede this goal. This presentation will also introduce a larger series of planned projects related to research advocacy: challenges and suggestions, policy goals, and youth perspectives on music education. These opinions, perspectives and ideas come from the hundreds conversations and different events that have been held across the country with Y4M. Many of the topics, issues and opinions that will be presented will become topics of further discussion by youth across Canada.
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Galen BoulangerGalen Boulanger is a Youth 4 Music ambassador and Team Lead of the Youth4Music Research and Policy Team, studying music and science at the University of Ottawa.
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Shannon McLarenShannon McLaren is a Youth4Music Ambassador, and Youth 4 Music Research and Policy team member, studying public administration and political science at the University of Ottawa.
How to train an artist teacher at University in art education?Francine Chaîné is full professor at École d’art of Université Laval. She is Director of the undergraduate Art Education program. Her teaching focuses on drama/theatre and art education. Her current researches are on the accompaniment graduate students in visual art and theatre (Master and Doctorate), on the creation process in theatre writing and in teenagers’ drama (SSHRC), but also in the autobiographical arts approaches.
More specifically, for the past half a decade, her research has focused on the artist-teacher in a context of university-level training in art education and has been developed in the classroom with her students whom she observed and who become real collaborators.
She is involved as a guest editor for L’Annuaire théâtral (2015), Éducation et francophonie (2012) and Theatre Research in Canada (2007). She is an executive member of CNAL. She is co-founder and co-director of FRÉA collection (Formation et recherche en éducation artistique / Training and research in Art Education) at the Laval University Press (https://www.pulaval.com/collections/frea-formation-et-recherche-en-education-artistique/117). She also published articles in Quebecois, Canadian, Australian and European reviews. She is editor and author of the following books and reviews.
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Francine ChaînéFrancine Chaîné is professor at École d’art of Université Laval, and is Director of the undergraduate Art Education program. She has been widely published in articles nationally and internationally.
Disenchantment and Disengagement: Art about School by AdolescentsUsing visual art elicitation, the researcher collected stories and opinions about the schooling experience from five adolescents living in an urban environment in Ontario, and will present preliminary findings using poetic inquiry, and a framework of self-determination theory and the aesthetic theories of Dissanayake (1992).
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Kimberly EyersKimberly Eyers is completing her Master of Education from Queen's University as she teaches high school classes at the First Nations Technical Institute in Tyendinaga Mohawk Territory. She obtained her Bachelor of Arts in English Literature from McGill University, and her Bachelor of Education from Queen's University, through the Artist in Community Education program. When Kimberly is not helping young adults and adolescents build valuable skills, she loves to paint and write poetry about her experiences travelling, and living in Ontario.
Introducing - MASC!MASC is committed to providing schools and communities with experiences of artistic excellence and creative process that give vivid demonstration of the richness of Canada’s cultural diversity, awaken creativity, deepen awareness and encourage understanding.
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Catherine SiroisCatherine Sirois is the MASC Francophone Program Director.
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Cheryl CarmanCheryl Carman is the MASC English Bookings Coordinator
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Music Tool Suite: Transforming Music Learning in The Digital AgeMusic Tool Suite is a collection of digital tools created to build bridges digitally, supporting music learning in studio music instruction and in music classrooms. Four tools have been developed: Cadenza, Notemaker, DREAM, and iSCORE. The tools are currently available without charge.
All of the tools in the Music Tool Suite have been developed through a partnership between Queen’s University, Concordia University, and The Royal Conservatory (The RCM). The RCM left the partnership on February 28, 2017. Two new partners joined the team in 2017: The Curious Piano Teachers (UK) and the Canadian Coalition for Music Education.
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Jodie CompeauJodie Compeau is an innovative piano teacher, music educator, and workshop facilitator based in Kingston, Ontario. She maintains a studio of 60 students, and runs a summer camp aimed at providing high-quality engaging arts-based activities from children aged 5-12. Jodie is a well-known workshop facilitator providing workshops to classroom and studio music teachers.
Canadian Society for Education through ArtThe Canadian Society for Education through Art is the national art education association representing art educators within Canada. It is a voluntary association founded in Quebec City in 1955, and is the only Canadian national organization that brings together visual art educators, gallery educators and others with similar interests and concerns. Membership represents all levels of education: elementary, secondary, college/university, ministries of education, art galleries/museums, and community education.
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Genevieve CloutierGenevieve Cloutier is an artist/facilitator/researcher who received Social Science and Humanities Research Council funding for a PhD on arts-based research. She is also an independent social practice artist.
AOE Arts CouncilAOE Arts Council has been working with Ottawa’s arts community for 30 years to build a vibrant and sustainable sector. As a dynamic, bilingual arts service organization, the Arts Council works with the community to support, promote and develop the vitality of the arts in Ottawa by creating opportunities for artists, providing promotional, professional development and shared resources and an informed voice for the Arts..
by Lisa Cruickshank, President. Kathy McLellan, Past President, and Victoria Steele, Executive Director
Mapping Arts & Learning in OntarioGet on Canada’s Map of Arts and Learning The Canadian Network for Arts & Learning is entering their second year of a major ‘Mapping Project’ – an innovative digital map representing arts and learning across Canada. With the support of the Ontario Trillium Foundation, we have mapped more than 1200 contacts across Ontario, including artist-educators, arts organizations, museums and more. We are moving into the second phase where we are documenting arts education in schools. We want YOU to be part of this conversation. Have your say and help guide the development of this vital tool for arts and learning.
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Kaitlyn BoisResearcher and Database Administrator, The Canadian Network for Arts & Learning.
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