Poster Session (Asynchronous - Online Only)
The Madness Behind the Method: Teaching, Coaching, or Mentoring? View Digital Media
Workshop Presentation Joe Perez
Take a closer look at the relational mindset in your company by asking yourself, "How can I improve my approach to educating and retaining my staff?" That's a good question. Have you considered whether you should be pulling them or pushing them? Are you depending more on adhesion or cohesion? Is your focus on attention (teaching), adjustment (coaching), or accomplishment (mentoring)? Find out how each of those three approaches can help you get to where you want to be from where you are right now. Discover the relevance of the six nodes of the "Mad Structural Matrix" (emphasis, focus, goal, approach, summary, and relationship) when it comes to rethinking and enhancing your professional development strategy. Learn how to tell whether you have a method behind the madness, or if it's more of a madness behind the method!
Intercultural Communication: The Key to Revitalize and Promote Endangered Languages View Digital Media
Poster Session Karla Del Carpio Ovando
This study invites to reflect on different languages in danger of extinction. For this reason, concrete examples of languages in different parts of the world are stated. Also, the correlation between the areas with the greatest degree of biological diversity and the areas with the greatest linguistic diversity is mentioned; diversity mostly represented by indigenous languages. These as well as all languages in the world have the capacity to transform and adapt to new circumstances, that is, they are able to accommodate and respond to different communicative needs. Nonetheless, there are many languages that continue to be threatened due to various economic and socio-political factors that damage “the web of life” which is an expression to refer to the inextricable link that exists between biodiversity and cultural diversity, that is, biocultural diversity. The proliferation of research, policies and initiatives with a biocultural approach have made it possible to argue that the foundation of the web of life is diversity in nature, languages, and cultures. This should motivate the search for strategies that support linguistic and cultural diversity, for example, through education, the school and the teacher; a teacher who acts as a mediator and fosters intercultural communication. It is concluded that today more than ever quality education that embraces students’ linguistic and cultural richness is needed.
Noh Drama’s Artistic Autonomy and Invisible Hybridity View Digital Media
Poster Session Yukihide Endo
It is widely accepted that over the years, noh has maintained its artistic autonomy. In this vein, scholars tend to focus on themes that are intimately connected with noh itself. Researchers of “sekkyobushi [sermon ballads]”, one of the most popular oral narrative forms in medieval and early modern times, are aware of the correlation between “sekkyobushi” and noh. By contrast scholars of noh give much less consideration to this interconnectedness. Zeami, among others, greatly contributed to the artistic refinement and philosophical sophistication of noh drama. As such, Zeami’s depiction of the fundamentals of humanity often echoes themes, motifs, and symbols of various traditional oral narratives, “sekkyobushi” in particular. In order to examine the interpenetration of noh and folk legend, the noh plays, (1-a) Yoroboshi and (2-a) Semimaru, both of which depict young, ill-fated exiles, are juxtaposed with (1-b) the “sekkyobushi” tale of Shintokumaru who is doomed for life, and (2-b) tragic narratives of the blue-blooded boy, Semimaru. Having won acclaim as a form of high art, noh mirrors ancient vernacular tales and legends shared by its late medieval audiences who were contemporaries of Zeami and his major descendants. Not only that, but audiences also helped creatively develop noh because their subconscious memories of indigenous stories enabled them to appreciate it. Thus, noh successfully maintained artistic autonomy because of its continued connectedness with a variety of folk narrative traditions. The audience’s contribution to this autonomy remains alive today, though perhaps inconspicuously.
Creating Inclusive Immersive Theatre Through Augmented Reality and Virtual Reality View Digital Media
Poster Session Kay Li
This study explores how immersive theatre created by augmented reality (AR) and virtual reality (VR) can be more inclusive than traditional theatre. Immersive theatre revolutionizes the audience experience and creates opportunities for inclusion, which does not just mean involving the audience, but also enabling the practice of ensuring that all individuals are valued, respected, and supported. In traditional theatre with the fourth wall, the audience sitting in the auditorium is more alienated, as it remains physically distanced from the play and overhears the conversations on stage. At most it can react through applauding or booing. But in immersive theatre, the audience and the performers are placed in the same physical space together. The audience is living within the world of the play, directly connected to the actors, taken out of the safe vantage point of the auditorium, and becomes vulnerable. Members of the audience can react individually, directly to the play as if in real life, basing on their personal experiences. This gives them room for being directly engaged with the play and performance. There are different degrees of interactivity depending on the setup of the immersion. Theatres have been making use of AR and VR to enhance the audience experience, and in effect also provides various opportunities to be inclusive. I illustrate with recent immersive theatre productions with AR and VR around the world, such as those by the National Theatre in London, UK, Piehole in Los Angeles, USA, and the Commonwealth Shakespeare Company in Boston, USA.
