The Reflexive Teaching Artist

Kathryn Dawson is assistant professor in the Department of Theater and Dance at the University of Texas at Austin and serves as director of the Drama for Schools program. Daniel A. Kelin II is director of drama education at the Honolulu Theater for Youth and teaching artist on the national roster of the John F. Kennedy Center for the Performing Arts.

• IntroductionPart 1: A Teaching Artist Reflects Chapter 1: The Teaching Artist Chapter 2: Reflective Practice Part 2: Collected WisdomChapter 3: Intentionality Intentionality Case StudiesLearning to listen: Lessons for Teaching Artists from a Minneapolis mosque – Sarah MyersStories of my life: A Teaching Artist reflects on cultural consciousness – Roxanne Schroeder-ArceDevised performance in a gender-specific juvenile probation program – Amanda HashagenAudition notice(d): Taking steps to align mission and admission – Lisa M. BarkerRemaking how a site is perceived and experienced: The ghosts of Waller Creek Project – Michelle DahlenburgChapter 4: QualityQuality Case StudiesWhat does quality theatre for young audiences look like? – Tamara GoldbogenSuit My Heart: Staging foster youth narratives that hit home – Michelle HayfordHow do we find relevance? – Gary MinyardOn both shores: Teaching across personal/political distance – Nicole GurgelBalancing artistic and language-learning goals in Lincoln Center Theater’s Learning English and Drama Project – Kati KoernerChapter 5: Artistic PerspectiveArtistic Perspective Case StudiesDeveloping ‘dramatic metaphor’ to teach concepts of science – Jo Beth GonzalezThe art of relationship: Intergenerational theatre – Marsha GildinBridging the divide with Shakespeare: Theatre as moral education in Bosnia and Herzegovina – Andrew GarrodDramaturgy by students – Carol T. (Jones) Schwartz and Kim Bowers-Rheay-BaranWhat’s Happened to Queen Fancy Fish? Deconstructing an applied theatre lesson for the early childhood classroom – Karina NaumerChapter 6: AssessmentAssessment Case StudiesCapturing the story: A Teaching Artist’s attempt to assess a documentary theatre project in rural Alaska – Ryan ConarroThe applications of theatre as pedagogical and research methodologies: Scenes and waves of investigative dialogues across the Nordsjøen (North Sea) – Heli Aaltonen and Stephanie KnightEngaging the outliers: One theatre educator’s journey to reach her most challenging students through choice, rigor and empowerment – Tracy KaneReflection as a bridge between program evaluation and instruction – Cory Wilkerson and Jennifer RidgwayNaming our learning along the way through arts-based assessment – Bridget Kiger LeeChapter 7: PraxisPraxis Case StudiesThe vagabond’s dilemma: Representing host culture as a guest – Jamie Simpson SteeleActivating community: Process-centered philosophy in a product-oriented world – Gillian McNallyPlaying at praxis: Locating youth voices in history – Megan AlrutzEnacting liderazgo: Where drama praxis and Latino leadership intersect – Christina MarínEssentializing residencies: Collecting trophies of the oppressed – Peter B. DuffyPart 3: The Reflexive PractitionerChapter 8: Participatory Action ResearchFinal Reflections

'There’s so much here that can be adopted, adapted, and used by teaching artists, no matter where they practice. This is a very well done, practical, and important addition to the field.'