You are currently browsing the tag archive for the ‘CUNY MA in Applied Theatre’ tag.

A Sunny Fall Day

October 18th marked my second month in the United States. It feels like I’ve been here longer and I mean this in the best possible way. What’s lovely about being an international student, and one who has never been to America before, is a lot of things are new and exciting. Every moment is an opportunity to learn.

I’m fortunate enough to have experienced the seasons turn from Summer to Fall. Having come from a tropical country, the Philippines, I can’t help but marvel at those who have dealt with cold climates all their lives. I’ve been warned it’s only going to get colder.

While freezing isn’t exactly on top of my “things to do in New York” list, the warmth of the everyone I’ve encountered—from the MA in Applied Theatre Program to the Creative Arts Team and beyond—will last me a lifetime of winters.

I’m excited to be part of this weblog. I look forward to sharing with you my experiences as an international student.

Laura is a teaching artist from the Philippines. She is a graduate student in the MA in Applied Theatre Program and is also an Apprentice in the CUNY Creative Arts Team. She enjoys theatre, music, literature, and silliness. This is her first time in the United States. While she finds New York City full of delightful surprises, she has to admit Netflix has made quite an impression on her.

Sarah Chalmers graduated from the CUNY SPS MA in Applied Theatre program in 2010. In 2012 she started her own company, Civic Ensemble, and was recently awarded the Civic Leader Fellowship from the Cornell University Public Service Center. She will teach applied theatre techniques to Cornell students and engage them in the community-based play process. Below is a reflection on her road to success:

Sarah Chalmers is a graduate of the MA in Applied Theatre program at CUNY SPS

My life since completing the MA in Applied Theatre with SPS in 2010 has been a whirlwind. I promptly left New York City for Ithaca, NY for what many might think would be a quieter life. While we certainly drive slower up here and, unlike NYC, it is against the rules of decorum to honk at someone sitting still at a green light, we do keep busy. My son was born in July of 2011 and I spent a glorious year almost exclusively hanging out with him. In June 2012, ready to scratch my applied theatre itch, a few colleagues and I started a new theatre company, Civic Ensemble. The theatre scene here is thriving and I am thrilled to be a part of it.

While Ithaca has many small community theatre companies and two well-established regional theatres, there was an opening for a new company committed to engaging communities in theatre-making as well as theatre-going. Civic Ensemble is focused on just that. In our first year, in addition to producing a reading series of new plays by women, we implemented several applied theatre programs which we put under the heading of Civic Engagement.

We were commissioned by the Sciencenter (a children’s science museum) to create an interactive theatre workshop about hydraulic fracturing for young children which included debate on both sides of this contentious issue. This workshop was conducted throughout the summer of 2013 and continues into the fall. We also conducted a free two week summer youth theatre for teens ages 13-21 to explore topics of importance to them. This project was in partnership with the Greater Ithaca Activities Center and was funded by the City of Ithaca. We hope that becomes a year round program in the future. Also this summer we implemented a program at a detention center for young men in Lansing using Augusto Boal’s Theatre of the Oppressed techniques to provide a structure for participants to step back and think critically about their lives and the external forces that shape their circumstances as they explore the ways that they can effect change in their lives. For this project, funded by the State of New York Office of Children and Family Services, and for the Youth Theatre, we hired my fellow MA in Applied Theatre alum Ernell McClennon (’10). It was a wonderful reunion and chance to work with someone who speaks my language completely!

The cornerstone of Civic Ensemble’s season every year is a community-based play. The play tells our collective story as devised by the participants with the guidance of Civic artists. All members of our community are welcome to participate in these plays. The topic of our first play was parenting and resulted in a production called, Parent Stories. Our topic this year is Safety: Community-Police Relations in Ithaca. This is a hot-button topic here in Ithaca, as in many communities in America. Through the sharing of personal stories and perspectives, participants can examine this challenging topic and potentially rethink entrenched positions. We will take these personal stories and craft a play that we will then rehearse and perform for the broader Ithaca community.

Sometimes I am overwhelmed by the response to Civic Ensemble and the work that we do with communities. When I look at what we’ve done in one year I am convinced that the applied theatre techniques we bring are needed by our communities. People are hungry for a way to connect and having the tools to facilitate that connection means I am able to create the life I want, doing work that is meaningful to me.

While NYC wilted in the sticky, sweltering weeks of early July, twelve fortunate members of the SPS Master of Arts in Applied Theatre program (eight students, three faculty members, and Linda Key, a MAAT alumna who returned to Rwanda as a Fulbright Specialist) spent seventeen dry and temperate days and nights in Kigali, Rwanda. This was the fourth such annual venture, a partnership between SPS/MAAT and the Kigali Institute of Education through which K IE undergraduate drama majors receive practical training in such areas as play-building, teaching through theater, and Theater of the Oppressed, and CUNY graduate students hone their skills as teachers and facilitators and absorb the transformative culture, beauty, and contradictions that are present-day Rwanda.

Professor Helen White and students from the Kigali Institute of Education and the SPS Master of Arts in Applied Theater

Professor Helen White and students from the Kigali Institute of Education and the CUNY SPS Master of Arts in Applied Theater

In 2010 Rwanda was still digging out from under the psychic, social, and political rubble of the 1994 genocide that killed up to a million citizens and catapulted this tiny, lush, and previously obscure nation onto the world stage. With unprecedented candor, Rwandans remember the slaughter and pay tribute to the dead with local and national memorials, in village churches and roadside monuments, and at the Genocide Memorial Museum in the capital. Many of these sites include underground crypts and display skeletal remains, clothing, ID cards, rosary beads, and other personal belongings of the victims so that history cannot be denied. Pledges of “Never Again” appear on signage. Alongside remembrance and mourning, Rwandans pursue justice and reconciliation, a 21st Century economy, and universal education.

In 2010, the Rwandan Education Board added drama to the national curriculum, believing that it could be a vehicle for national dialogue. KIE, the central teacher-training institution, initiated a drama major. But Rwandan performance tradition consists mainly of music and dance. There is no national theater or body of dramatic literature, and few Rwandans were trained in acting, directing, or playwriting. The KIE curriculum was based in the theoretical study of other theater traditions, primarily European, until a fortuitous connection brought KIE and CUNY together in the summer of 2010.

Ariyan McDaniel (’14) shares some hip-hop during an afternoon of cultural exchange with KIE students.  The author, Professor Amy Green, follows along (back left).

Ariyan McDaniel (’14) shares some hip-hop during an afternoon of cultural exchange with KIE students. The author, Professor Amy Green, follows along (back left).

This summer, KIE students who were in their first year of study in 2010 are graduating. They worked consistently with MAAT founding faculty Chris Vine (Academic Program Director) and Helen White (Director of the CAT Youth Theatre) every summer and credit them with revolutionizing their ideas about the power of theater and helping them acquire the skills and confidence to create meaningful performances with and for a wide variety of school and community participants. They are the first cohort of Rwandan students to have served their teaching internships as drama specialists, and they will be the first professional drama teachers. My role this summer was to observe the program and begin to assess its impact now that the first KIE-CUNY cohort is ready to move on to professional careers.

Eva Burgess (’14) and colleagues perform a scene from "The Great Sleep."

Eva Burgess (’14) and colleagues perform a scene from “The Great Sleep.”

What I saw and heard was nothing short of remarkable. In ten intense days, the KIE-CUNY collaborators performed Forum Theater about sexual harassment in the workplace, corruption and gender discrimination in hiring, alcoholism, and domestic abuse; and the plight of orphans and stepchildren (hundreds of thousands of children lost parents in the genocide); analyzed and dramatized Langston Hughes’ “A Dream Deferred”; created scenes with props and fabric and their bodies; and rehearsed and performed two plays for a public audience of approximately two hundred. Creating together fused the KIE and CUNY groups, enabling us to share artistic, academic, and personal stories and concerns.

Rwanda is re-creating itself. As Professor Vine said, on behalf of SPS and CUNY at our closing celebration with KIE students, faculty, and administration, “We are honored to have played a very small part in this remarkable transformation.”

Check out the Project Rwanda Blog for a daily recap and reflection.

Piper Anderson is a 2011 graduate of the CUNY SPS M.A. in Applied Theatre program. She is currently the Director of Education & Artist Development at Young Audiences New York. She is also a performance artist, writer, educator, and life coach. Below is her reflection on the question “Where are you from?” based on time spent in Rwanda working at the Kigali Institute of Education. 

The busy stretch of road from the Kigali Institute of Education to Hotel Civitas is about a 20-minute walk on a narrow sidewalk. J’nelle and I slowed our pace and fell into step together similarly feeling reflective and inspired by all that we were seeing and experiencing in our brief time in Rwanda. Sharing our growing expertise in Applied Theatre was exciting. Learning about a new country and the ways Rwandans were finding creative solutions to the call for reconciliation and healing was powerful and confirmed the deep resonate value of our work. But there was another layer to this trip that I wasn’t quite expecting: “Where are you from?”

It’s a question that I get on Brooklyn streets or the Walmart in small town USA. But when an African asks me this question while standing in a school yard surrounded by the lush hills of the Rwandan country side, I’m not quite sure where to begin. “I’m from the U.S.,” but of course that’s not useful. Africans move to the U.S. all the time seeking opportunities, an escape, a new beginning. The question is not where you ended up. No, where are you from? Where do you begin? So I began with what I knew of my history. I began with the Transatlantic Slave Trade. Which for many Rwandans sounded like some legend, some Grimms tale used to trick naïve children into obedience; it couldn’t possibly be true. But I told the story again and again with the certainty that hours spent in my small public library after school reading every volume on that one bookcase devoted to African American literature. That history finally came in handy on the streets and in the schoolyards where I met people in Rwanda. But my facts seemed to leave more questions than answers and each conversation left me feeling more and more displaced.

Where do I begin? I may never know. Dr. John Henrik Clark says, “History is not everything, but it is a starting point… It tells them where they are, but more importantly, what they must be.” So as J’nelle and I walked along that Kigali road we began to hatch a plan to explore our being, our being a part of the African Diaspora. Our thesis project took the shape of one amazingly simple, complex question: “What does it mean to be part of a Diaspora?” We returned to the states and to our final year in the M.A. in Applied Theatre program and began structuring a creative gathering for a diverse group of Black women artists to explore this question. Our exploration took the shape of a devised theatre piece called “The Offering.” In April of 2011, The Diaspora Project performed “The Offering” at The Brecht Forum in New York City.

Re-Writes_1

When we reconvened the women who participated in the project for a final reflection, there was an urgent desire to continue creating. What we had created together had become a vital means of generating radical material that challenged perceptions of Black women and revealed the complexity of our identities. We wanted to do more. We wanted to create a theatre company and so we did. On September 18, 2011 Re-writes of Passage Ensemble Theatre was born in my Harlem apartment. This is where we get to define our existence. This is the re-writing of our passage. Where we get to decide who we must BE. To learn more about our company visit www.rewritesensemble.com.

Re-Writes_2

 

SAGE New York City LGBT Senior Center
During the current summer session, eight students in Tony Goode’s course “Creating Meaning through Community Drama” have conducted life history interviews with New York City seniors, ranging from members of SAGE, the nation’s first Lesbian, Gay, Bisexual and Transgender Senior Center, to members of Raises Gowanus, a center serving a Hispanic community in Brooklyn. The students are now busily creating an original piece of reminiscence theatre that honors these seldom-told histories.

Come see a special performance of the work and join in the dialog that follows!

Reminiscence Theatre Performance
Saturday, August 10, 2013
2:00-4:00pm
CUNY SPS M.A. in Applied Theatre Studios
101 West 31st Street 6th Floor
(Building dually addressed as 875 6th Avenue)

Admission is free. Seating is limited.

RSVP to michael.wilson@mail.cuny.edu.

The Master’s Degree in Applied Theatre, the first program of its kind in the United States, is a sequential, ensemble-based program for students interested in the use of theatre to address social and educational issues in a wide range of settings. The program stresses the unity of theory and practice, and is linked to the professional applied theatre work of the renowned CUNY Creative Arts Team.

Claire Yang is a 2011 graduate of the CUNY School of Professional Studies MA in Applied Theatre program. She recently took a moment to send us this update:

Clair Yang

In September 2012, I moved back to Singapore after three years in New York City. I was sad to leave a wonderful community of theatre practitioners, community workers and educators and yet excited to see what was in store for me in the place and cultural context I had grown up in.

A week after I arrived, I had the privilege of attending the Community Cultural Development Symposium with fellow artists, community workers, and policy makers. I sat amongst students and pioneers of Singapore theatre, in the midst of dialogue about new initiatives and old issues. It hit me right away that the community I was about to be a part of had a truly rich history. It is a history not without struggle (performance art and forum theatre were banned in the early 1990s and several theatre practitioners were accused of Marxism), yet the present seems hopeful (government/ quasi-government organisations now commission forum theatre pieces, some by those same theatre practitioners). That was the start of my on-going journey of speaking to, learning from and collaborating with this extraordinary arts community.

I now work for the Singapore Repertory Theatre as Education Manager. I am constantly filled with an exhilarating mixture of fear and excitement in this role and department that is new to the company and new to me. In CUNY’s MA in Applied Theatre program, we spoke a lot about the idea of “praxis” and how one can only make discoveries upon taking action. I think now is the time for some of that!

The Master’s Degree in Applied Theatre, the first program of its kind in the United States, is a sequential, ensemble-based program for students interested in the use of theatre to address social and educational issues in a wide range of settings. The program stresses the unity of theory and practice, and is linked to the professional applied theatre work of the renowned CUNY Creative Arts Team.

From :

Project Rwanda

Today was our final day in Rwanda.  After two weeks of working, we took the day off to relax and unwind by Lake Kivu in Kibuye (roughly a three hour ride West of Kigali).  The views were incredible, and we were able to take many stunning photographs, both of the lake and the beautiful Rwandan countryside.  We also visited a picturesque church in Kibuye that was the site of a massacre during the 1994 genocide.  Although there was a small memorial to the more than 11,000 people who died there, the church still functions and runs Sunday services.

Having such a lovely and soothing last day here has made it no less easy to leave.  After only a short time apart from them, I already miss the students from KIE.  The work we did together was some of the most rewarding and exciting I have done in my life.  Although we have accomplished much, it also feels as if our friendships have just begun.  Knowing what we have been able to do and create in just two short weeks makes me yearn for more.  How much more could we learn from each other if we had just a little more time?  What could we have created in another week, a month, or more?  The talent and commitment of the KIE students has been incredible, making the possibilities for additional collaboration and learning seem endless.

Our time in Rwanda has been so rich.  The love and welcome I have felt during my stay has been immense, and it will not be forgotten.  Already, I hope for a chance to return to this place, but I cannot say for certain what the future holds.  One thing I know, however, is that the more I travel, the more I realize that I have left pieces of my heart in special places around the world—or perhaps it is the other way around; the places I have grown to love become a part of who I am.  In either case, Rwanda is no exception.  As my classmate, Dianna, said at last night’s farewell dinner/ceremony, “these memories are etched on our hearts.”

In just a few short hours, I’ll be winging my way back to America.  Despite this, I will not say that this is “goodbye.”  Whether or not we are physically in Rwanda, I think I speak for us all when I say that I know that this land and its people will always be with us.

– Brooke

Visit the Project Rwanda blog to read more about the Drama and Theatre Education in Schools for Reconciliation and Development in Rwanda initiative from of our MA in Applied Theatre program.

From yratlarge

We awoke to another beautiful day in Rwanda: birds singing, perfect temperatures and the promise of another rich day at work with the K.I.E. students. The day lived up to its promise. Chris and Helen led a session examining the speed at which things move in “real time” versus the speed at which things move in “theatrical time.” The session focused the students to look for “the important moments” in a scene or story. The results were exciting to see.

The work Chris and Helen did in the morning, translated into the work the K.I.E. students accomplished in the small groups later in the day. In a concrete mime session the students worked to find the essential aspects of an object. In a T.O. session, students made focused choices choosing specific characters to interact with and jumped into scenes only when they thought they could make a difference. While examining a poem through dramatic conventions, they looked for essential characteristics to draw the clearest picture of the poem’s main character. The work excites us and we are all are building skills and making connections. K.I.E. students in a session on making theater using fabric identified “commitment” and “concentration” as key elements of working together to create. Both are evident in the classroom. Theater continues to cross language barriers, offer us a tool with which to make meaning, and engage critical consciousness that engages human feeling as well as thought.

Jean-Marie Kayishema of the drama faculty stopped by each session today. In a conversation with Amy he expressed his happiness that we are here, that we offer the students an opportunity to make theater and experience the power of doing. The students are exposed to theory for much of their curriculum and Jean-Marie expressed a wish that the school could work on this particular brand of practical application all the time. At SPS, and elsewhere, we have experienced the power of doing theater. As I listened to the K.I.E. students discuss what they saw and experienced through the work today, it became clear they are experiencing its power too. As I heard them contemplate how they could implement it in the classrooms they are training to lead, I fully felt the parallels between us.

Visit the Project Rwanda blog and follow MA in Applied Theatre students as they implement the fourth year of the Drama and Theatre Education in Schools for Reconciliation and Development in Rwanda initiative.