Marrying content (the subject of inquiry) and form (the artistic discipline) remains a central value in my endeavors as a theatre/film artist, educator, and cultural worker. This value solidified for me as a graduate student in the M.A. in Applied Theatre Program at CUNY SPS, and special credit goes to my applied theatre mentors: Chris Vine and Helen White, who offered a deep and practical study of what marrying form and content may look and feel like in practice. Moreover, as I continue to move forward in my work, I often return to the following quote by theatre scholar Anthony Jackson: “theatre that aims to educate or influence can truly do so only if it values entertainment, the artistry and craftsmanship that are associated with resonant, powerful theatre, and the aesthetic qualities that – by definition – will appeal our senses”. This quote, found in Jackson’s book Theatre, Education and the Making of Meanings Art or Instrument?, reminds me to never lose sight of the theatre form when sharing and implementing the work. It reminds me that the effectiveness of any artistic experience, regardless of the end goal, is directly related to the integrity with which one approaches the artistic form. In other words, it reminds me to wholly embrace the “theatre” aspect of the term theatre-in-education.
This past March, my co-facilitator Mfoniso Udofia and I had the honor of representing CUNY-CAT at the AATE New York Theatre in Our Schools (TIOS) Conference 2015 hosted by New York University. We presented a session outlining the Bronx History through Theatre: Resistance and Renaissance (BHTRR) curriculum which we created under the direction and guidance of CUNY-CAT‘s Artistic & Education Director, Gwendolen Hardwick. I spearheaded the TIOS application a few months prior because I felt immensely proud of the work we did on the BHTRR curriculum; I wanted more people to experience the work. BHTRR continues to be particularly significant for me because it was built on a collective passion to creatively, and theatrically, bring local history and culture into high school classrooms. BHTRR was intended to not only support the learning goals of the 10th grade English classes we serve in the Bronx, but also to integrate content that is more reflective of the culture and history of the students we serve.
Our session at TIOS, “Cultural Relevance in the Classroom: Integrating Local History (Social Movements and Hip Hop) through Theatre in the Bronx,” offered attendees a practical investigation of key selections of our curriculum. In attendance were students, educators, and others members of the broader theatre-in-education community. Aligned with the concept of marrying form and content, Mfoniso and I facilitated and performed samples of our curriculum, which engaged our attendees in various capacities. We asked our attendees to not only assume the roles of observers and peers, but also, at times, as student participants. We felt it was important for our attendees to have a “lived-through” experience because it would be the most effective method of clearly explaining BHTRR.
We closed our session with a short, insightful Q&A with our attendees. An educator from NYU seemed quite appreciative of the commitment that Mfoniso and I brought to the work as both facilitators and as performers. Another attendee, a public school teacher, shared how she was able to identify a good number of learning standards in our work and seemed quite interested in seeing history and theatre used in that fashion. Perhaps even more compelling was something that happened a few weeks later, at the NYC Arts in Education Roundtable’s Face to Face Conference. A graduate student stopped me in the hall, introduced himself and said he’d attended my workshop at the TIOS conference. He said: “thank you for that work. I’ve never really seen anything like that. You all were really performing.” I was very thankful for such positive feedback. Hearing his words reminded me how marrying form and content became, and continues to be, a central value to my practice; his words also reminded of the power of theatre and its ability to leave a mark on the memory of audiences and participants. As I continue to reflect and refine my practice, these reminders help support my view that the aesthetics of theatre is directly related to its effectiveness as a learning tool. I therefore continue to strive to create the kind of theatre experience that doesn’t compromise the aesthetics of the theatre discipline. I strive to make the type of theatre that is wrestled with and crafted, and I strive to do so no matter what circumstances I am working with.
Claro de los Reyes
High School Program
Editor’s note: CAT heard from one of the TIOS staffers that Claro & Mfoniso’s session reminded her of how powerful and effective it is to have a team of two teaching artists in the classroom, rather than one, which has been a long-standing CAT practice. Congratulations to the team for making an impact on conference attendees and organizers alike!