scholarly journals The governments new career strategy: an end to placements for English Higher Education performing arts students?

2018 ◽  
Vol 11 (2) ◽  
Author(s):  
David Hockham
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Technical Theatre

A look at what the governments new career strategy may mean for placements in technical theatre and urges further investigation and thought in this area.

scholarly journals The Dimension of the Body in Higher Education: Matrix of Meanings in Students’ Diaries

Human Arenas ◽  
2021 ◽  
Author(s):  
Ramiro Tau ◽  
Laure Kloetzer ◽  
Simon Henein
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Teaching And Learning ◽  
Educational Practice ◽  
The Body ◽  
Cultural Perspective ◽  
General Process ◽  
Emotional Dimension ◽  
The Matrix ◽  
The Mind

AbstractIn this paper, we attempt to show some consequences of bringing the body back into higher education, through the use of performing arts in the curricular context of scientific programs. We start by arguing that dominant traditions in higher education reproduced the mind-body dualism that shaped the social matrix of meanings on knowledge transmission. We highlight the limits of the modern disembodied and decontextualized reason and suggest that, considering the students’ and teachers’ bodies as non-relevant aspects, or even obstacles, leads to the invisibilization of fundamental aspects involved in teaching and learning processes. We thus conducted a study, from a socio-cultural perspective, in which we analyse the emerging matrix of meanings given to the body and bodily engagement by students, through a systematic qualitative analysis of 47 personal diaries. We structured the results and the discussion around five interpretative axes: (1) the production of diaries enables historicization, while the richness of bodily experience expands the boundaries of diaries into non-textual modalities; (2) curricular context modulates the emergent meanings of the body; (3) physical and symbolic spaces guide the matrix of bodily meanings; (4) the bodily dimension of the courses facilitates the emergence of an emotional dimension to get in touch with others and to register one's own emotional experiences; and (5) the body functions as a condition for biographical continuity. These axes are discussed under the light of the general process of consciousness-raising and resignification of the situated body in the educational practice.

scholarly journals BENTUK LAGU MARS FKIP UNIVERSITAS PGRI PALEMBANG IRINGAN MUSIK FORMAT ORKESTRA

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Silo Siswanto
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Arts Education ◽  
Academic Community ◽  
Musical Form ◽  
Science Center ◽  
Study Program ◽  
Education Study ◽  
Performing Arts Education

<p>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2018 in the FKIP University of Palembang PGIP judicial event held at the Science Center building at the PGRI University in Palembang. Regarding the form in the Mars song, of course, this song has pieces of melody that are often known by the term phrases or musical sentences that make up the song. while the accompaniment music is arranged in an orchestra format. The formulation of the problem. (1) What is the form of Mars FKIP University PGRI Palembang song. (2) How is the accompaniment of Mars FKIP Palembang PGRI University music with orchestra format. The results of the discussion FKIP march song has a poly metric musical form where the antecedent phrase and consequent phrase do not have the same number of bars for example period C has 9 bars consisting of the phrase d 4 bars and the phrase e 5 bars.</p><p><br />Keywords: Song Form, Mars Song, Orchestra</p>

scholarly journals Bentuk Lagu Mars FKIP Universitas PGRI Palembang Iringan Musik Format Orkestra

2020 ◽  
Vol 5 (2) ◽  
Author(s):  
Silo Siswanto
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Arts Education ◽  
Academic Community ◽  
Musical Form ◽  
Science Center ◽  
Study Program ◽  
Education Study ◽  
Performing Arts Education

<p class="SammaryHeader" align="center"><strong>Abstract</strong></p><p><em>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2018 in the FKIP University of Palembang PGIP judicial event held at the Science Center building at the PGRI University in Palembang. Regarding the form in the Mars song, of course, this song has pieces of melody that are often known by the term phrases or musical sentences that make up the song. while the accompaniment music is arranged in an orchestra format. The formulation of the problem. (1) What is the form of Mars FKIP University PGRI Palembang song. (2) How is the accompaniment of Mars FKIP Palembang PGRI University music with orchestra format. The results of the discussion FKIP march song has a poly metric musical form where the antecedent phrase and consequent phrase do not have the same number of bars for example period C has 9 bars consisting of the phrase d 4 bars and the phrase e 5 bars.</em></p><p><strong><em>Keywords :</em></strong><em> Song Form</em><em>, Mars Song, Orchestra</em></p><p align="center"><strong>Abstrak</strong></p><p><em>Motto Universitas PGRI Palembang yakni kampus melaju dengan mutu. Maka suatu kebutuhan bagi fakultas-fakultas membuat suatu stragi dalam memberikan dorongan dan motovasi kepada civitas akademika untuk melaksanakan tri dharma perguruan tinggi. (FKIP) Universitas PGRI Palembang melalui pimpinan tertingginya di fakultas memberikan surat tugas untuk penggarapan lagu Mars FKIP Univesitas PGRI Palembang kepada salah satu dosen seni musik di prodi pendidikan seni pertunjukan bernama Silo Siswanto, M.Sn. Kemudian lagu Mars tersebut selesai dibuat tanggal 23 juli 2018 dan di launching pada tanggal 31 juli 2018 dalam acara yudisium FKIP Universitas PGRI Palembang bertempat di gedung Science Center Universitas PGRI Palembang. Mengenai bentuk dalam lagu Mars tersebut, tentunya lagu ini memiliki potongan-potongan melodi yang sering dikenal dengan istilah frase atau kalimat musik yang membentuk lagu tersebut. sedangkan musik iringannya diarransemen dengan format orkestra. Adapun rumusan masalahnya. (1) Bagaimana bentuk lagu Mars FKIP Universitas PGRI Palembang. (2) Bagaimana musik iringan lagu Mars FKIP Universitas PGRI Palembang dengan format orchestra. Hasil pembahasan Lagu mars FKIP memiliki bentuk musik poli metrik dimana frase antecedent dan frase consequent tidak memiliki jumlah birama yang sama misalnya periode C memiliki 9 birama yang terdiri dari frase d 4 birama dan frase e 5 birama.</em></p><strong><em>Kata kunci </em></strong><strong><em>:</em></strong><em> Bentuk  Lagu, Lagu Mars, Orkestra</em>

scholarly journals Building Visual Artists’ Resilience Capabilities: Current Educator Strategies and Methods

2016 ◽  
Vol 5 (7) ◽  
pp. 24 ◽  
Author(s):  
Eileen Maree Siddins ◽  
Ryan Daniel ◽  
Robert Johnstone
Keyword(s):  
Higher Education ◽  
Visual Arts ◽  
Performing Arts ◽  
Creative Industries ◽  
Visual Artists ◽  
Critical Feedback ◽  
Sustainable Employment ◽  
Embedded Development ◽  
Resilience Capabilities

<p>Enrolments in higher education programs in the creative and performing arts are increasing in many countries. Yet graduates of these degrees, who enter the broad sector known as the creative industries, face particular challenges in terms of securing long-term and sustainable employment. In addition, creative and performing artists face a range of mental challenges, caused by such factors as: the solitary nature of much creative practice, critical feedback by audiences and gatekeepers, or the general pressures associated with maintaining artistic relevance or integrity. The concepts of resilience and professional wellbeing are therefore highly relevant to those who pursue a career in creative industries, and while there has been an emerging body of work in this area, to date it has focussed on the performing arts area (e.g. music, theatre). Hence, in order to expand knowledge relevant to resilience and artists, this paper sets out to explore the extent to which current educators in the Australian context specifically address these issues within higher visual arts curricula; specifically the areas of illustration, design, film and photography. This was achieved via interviews with seventeen current academics working in these areas. The findings propose that higher education providers of programs in the visual arts consider placing a stronger emphasis on the embedded development of resilience and professional wellbeing capacities.</p>

scholarly journals Teaching through performing arts in higher education: Examples in engineering and psychology

2020 ◽  
Vol XIV (2) ◽  
pp. 1-25
Author(s):  
Laure Kloetzer ◽  
Simon Henein ◽  
Ramiro Tau ◽  
Susanne Martin ◽  
Joëlle Valterio
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Bachelor's Degree ◽  
Individual Interviews ◽  
Sociocultural Approach ◽  
Teachers And Students ◽  
University Level ◽  
Collective Creation ◽  
The University ◽  
École Polytechnique

This paper introduces two courses making use of performing arts at university level. The first course, taught by Prof. Simon Henein and his colleagues, called Improgineering, aims to teach collective creation through improvisation to master’s degree students in engineering at the EPFL (Ecole Polytechnique Fédérale de Lausanne, Switzerland). The second course, taught by Prof. Laure Kloetzer and her colleagues, aims to introduce the Psychology of Migration via a sociocultural approach to bachelor’s degree students in psychology and education at the University of Neuchâtel (Switzerland). After briefly introducing the topic of performing arts in higher education (section 1), the paper offers a description of the two courses (sections 2 and 3). These are complemented by teachers’ and students’ impressions of the course, as analyzed from individual interviews, focus groups and students’ learning diary entries (section 4). The conclusion presents some reflections on the convergences of the pedagogical designs of the courses, drafting a pedagogical model for using performing arts within higher education (section 5).

ACCESS AND INCLUSION FOR STUDENTS WITH DISABILITIES IN PERFORMING ARTS HIGHER EDUCATION

2021 ◽  
Vol 2 (47) ◽  
pp. 15-44
Author(s):  
Elena Sánchez-Vizcaíno ◽  
Allison Allison Amidei
Keyword(s):  
Higher Education ◽  
Students With Disabilities ◽  
Performing Arts

El campo mundial de las artes escénicas se enfrenta a una adversidad histórica. Dado el malestar social y político actual, las organizaciones están reexaminando la producción de modelos con un enfoque en la equidad. A medida que la industria avanza hacia un futuro más inclusivo, la injusticia racial sistémica se convierte en el centro de atención. Sin embargo, sería un error ignorar un tema igualmente importante que niega a un número significativo de personas participar en la creación de una producción teatral: la accesibilidad y la inclusión. La discapacidad es interseccional: afecta a todas las razas, etnias, edades, géneros y religiones. Teniendo en cuenta que el 15% de la población mundial experimenta algún tipo de discapacidad, las artes escénicas en su conjunto solo pueden beneficiarse si se prioriza el acceso en todas las áreas. Este trabajo debe comenzar en los programas de formación universitaria en artes escénicas. Sostenemos que el verdadero cambio transformador comenzará en el aula; la cantera de futuros creadores. Este artículo aborda estos problemas tanto en Estados Unidos como en España. La metodología utilizada incluye entrevistas a profesionales de las artes escénicas y con experiencia en el sector de la discapacidad. Utilizando los principios de diseño universal, el objetivo del artículo es establecer las mejores prácticas para la accesibilidad y la inclusión en la educación de las artes escénicas.

scholarly journals For What Do We Need Performance Philosophy?

2015 ◽  
Vol 1 (1) ◽  
pp. 4 ◽  
Author(s):  
Esa Kirkkopelto
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Global Capitalism ◽  
Philosophical Thinking ◽  
Performing Artists ◽  
Philosophical Discourse ◽  
Academic Practice ◽  
Academic Role ◽  
Artistic Research

In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up a new academic practice in which performance, performance makers and performers can make contact with philosophical thinking without the advocacy of intermediary disciplines and in equal dialogue with them, learn to think in their own terms, and become understood by others. It builds upon a collective attempt to give an answer to what performing arts and artists can do in an age where ‘performance’ has become a denominator of global capitalism.

scholarly journals Recommendations for Promoting a Performative Teaching, Learning, and Research Culture in Higher Education

2018 ◽  
Vol XII (2) ◽  
pp. 52-56
Author(s):  
Bärbel Jogschies ◽  
Manfred Schewe ◽  
Anke Stöver-Blahak
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Teaching And Learning ◽  
Academic Discipline ◽  
Drop Out ◽  
Learning Approaches ◽  
Research Culture ◽  
The Sustainable Development ◽  
Constructive Dialogue ◽  
Teaching Learning

The twenty-first century is the century of the performative.1 Claire Colebrook (2018) A performative teaching, learning, and research culture can emerge wherever an academic discipline enters into a constructive dialogue with the performing arts. Many challenges of the 21st century (see the Sustainable Development Goals of the UN)2 require creative solutions. Creativity is, however, not yet sufficiently promoted at universities, thus an artistic reorientation in teaching and research is imperative. As early as 2006, at the UNESCO World Congress in Lisbon and again in Seoul in 20103, there were calls to strengthen the role of the arts in education. Implementation of these recommendations has, however, been very limited thus far. Studies in cognitive science show that performative teaching and learning cultivates a deeper understanding of content and improved long-term retention of knowledge.4 In fact, it has been shown that the use of performative teaching and learning approaches leads to more creative, better learning outcomes; students relate more strongly to their studies and drop-out rates decrease. In addition, overall willingness to learn within the university context has been documented, as well as increased complexity and closer connection to practice in higher education, thus affording graduates better job placement opportunities. At the ...

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