Jen Harvie argues in Fair Play: “social, economic and political contexts, in England in particular but also more widely in the United Kingdom, are radically reconfiguring what an artist is expected to be and, in so doing, putting the value of being an artist at serious ideological risk” (Harvie, 2013:62). How can learning experiences which focus on creativity, community, and social engagement exist within a culture that “obliges art relentlessly to pursue productivity, permanent growth and profit”? (Harvie, 2013:63).
I am beginning to co-write an article about performance pedagogy and am interested in hearing from other arts educators about the following:
- How do you “teach” creative practices within your institution?
- What are the limits or challenges facing practitioners and academics who deliver performance training?
- How do the wider institutional aims and objectives relate to the pedagogical approach of specific performance programmes?
- Do you feel the “value of being an artist is at serious ideological risk”?
- Do “growth and profit” models affect pedagogical approaches towards the training of artists?
- Are academic structures “creatively constraining” or limiting?
As the TDPT blog editor I am also keen for this site to generate discussion and debate over some of the issues facing practitioners and academics working in the field of theatre, dance and performance training so please do “reply” to share your responses.