The study of visual media and culture is one of the most quickly developing areas within the field of education. Yet knowledge about media resources, their access and use, is underdeveloped. CMCE promotes an engagement with the pedagogical issues arising from the use of film, video and a variety of new media in a wide range of educational contexts.

At OISE/UT we have attempted to cultivate a critical interaction with independent audio-visual media and media art at both graduate and pre-service levels. We have pursued these aims through the development of our web-site and a planned web-based catalogue of visual resources. We have made efforts to expand the University of Toronto library collections, especially regarding independent, critical, experimental film and video. We have initiated "Independent Images," a well-attended monthly screening series for students and faculty at OISE/UT, which provides a space for exposure to and discussion of the pedagogical implications of film, video and new media. Invited guests have included acclaimed director John Greyson. In addition, we have presented sessions exploring the use of media in teaching equity-related issues for pre-service teachers, including a workshop with Arlene Moscovitch, one of Canada's leading media educators and author of the best-selling resource tool Constructing Reality. We have also acted as consultants to faculty both at OISE/UT and the University of Toronto.

Finally, we have added to the existing offerings at OISE/UT by developing courses related to the CMCE mandate.



CTL 1103H Arts, Culture and Education (J. A. Wilkinson)

CTL 1117 Liberatory Practices in Drama and Education

CTL 1300H Curriculum, Popular Culture and Social Difference (R. I. Simon)

CTL 1302H Media Studies and Education (R. J. Morgan)

CTL 1304H Cultural Studies and Education (R. J. Morgan)

CTL 1305 Television and Education: Theoretical Perspectives (R. J. Morgan)

CTL 1799SSpecial Topics in Curriculum: The Arts, Pedagogy and Learning Communities (K.Gallagher)

CTL 1999: The Responsibility of Memory: Cultural Responses to Mass Violence and Social Suffering (Special Topics Course Offering
Fall Term 2002)
(R. I. Simon)


SES 1956 The Social Relations of Cultural Production in Education (K. Dehli)

SES 1958 The Internet and Cyberspace: Issues of Culture, Identity, Access and Control (J. Iseke-Barnes)

SES 2999 Special Topics: War, Art and Popular Culture: Pedagogies of Propaganda and Resistance

SES 2999 Special Topics: Indigenous Peoples and Media


TPS 1447H Technology in Education: Philosophical Issues (M. Boler)


Masterclass on Collective Creation with the Tarragon Theatre

Course Descriptions

CTL 1103H Arts, Culture and Education

A study of cultural development, both Canadian and international, with specific reference to arts policies for education of the general public. This course will take place in conjunction with a series of public lectures on this topic, together with separate seminars. J. A. Wilkinson

CTL1117 Liberatory Practices in Drama and Education
In his sixth letter to "those who dare teach", Paulo Freire (1998) claimed that ethics and aesthetics are intimately tied together. This course will examine the reciprocity between our actions as educators/ learners/ researchers, and our experiences of teaching, learning and researching. Using drama and the arts as a framework for praxis, we will explore projects in education that draw on aesthetics, the imagination, and pedagogy for building inclusive and democratic communities.

CTL 1300H Curriculum, Popular Culture and Social Difference

Popular culture and social difference are examined as the grounds from which students often make sense of educational practices. Questions address how social difference may lead to marginalization and silence and how pedagogy may be developed that is responsive to a variety of student interests and emotional investments. R. Simon

CTL 1302H Media Studies and Education

This course is an introduction to the study of contemporary media and their relation to educational practice. The approach will be a critical one, analysing the overall cultural formation promoted by contemporary media as well as exploring their implications for schooling -- in particular, how they impinge upon the social relations of the classroom. Part of the course will therefore include a look at both specific media practices (newspaper press, advertising, television, rock videos) and practical curricular strategies that respond to them. The emphasis is on understanding the media as powerfully educative forms in their own right, as well as having complex relationships with official school knowledges. R. J. Morgan

CTL 1304H Cultural Studies and Education

The study and concept of "culture" has emerged from a number of different disciplines over the past century. "Cultural studies" is a recent synthesis and critical re-evaluation of some of these approaches, one with important implications for educators in the area of the humanities. Through a discussion of key texts and issues generated within this tradition, the course examines structuralist, ethnographic, feminist, and postmodern versions of cultural studies in order to understand how these approaches reformulate an educational practice concerned with contemporary culture. R. J. Morgan

CTL 1305 Television and Education: Theoretical Perspectives

Television has become a pervasive part of the cutlural and symbolic life of young people, creating new constituencies and forms of identity that educators need to consider. This course acknowledges the centrality of television to contemporary educational experience, by examining competing theories of television's role in society, engaging in debates about its "effect," exploring theories of audience and questions of access. The attempt is to formulate an overall understanding of how this medium has altered educational terrain, including the concept of education itself. R. J. Morgan

CTL 1799S Special Topics in Curriculum: The Arts, Pedagogy and Learning Communities, Fall Term 2003, Monday 5-8 p.m.

The intersections between the construction of self and the understanding of others in arts education projects will be the focus of this course. We will examine, in particular, the implications of drama education practices as they ask students to understand their particular gendered, cultural, sexual, racial, ethnic, and class-based identities in relation to the broader social world around them. Exploring pedagogical actions in relation to recent research in feminism, drama and arts education, this course will examine the philosophical underpinnings of the arts' and especially drama's potential as education and in education to build support networks in learning contexts that favour participation of all individuals at their highest potential. Kathleen Gallagher

CTL 1999 The Responsibility of Memory: Cultural Responses to Mass Violence and Social Suffering

This course explores the use of literature, art, film and video as vehicle of cultural memory in regard to historical events of mass violence and social suffering. Consideration will be given to pedagogical frameworks for initiating cultural pedagogy. Such frameworks include: the relation of cultural memory to practices of historiography (what is the evidentiary ground of cultural memory), the politics, ethics and pragmatics of representation (what is to be remembered, why, and how), the importance of materiality and form (how do aesthetics and media shape practices of cultural inheritance), and the dynamics of cultural inheritance (how do identification, transference, and trauma enable and limit historical understanding and social possibilities). These elements of cultural pedagogy will be examined in the context of cultural responses to events associated with state sponsored violence including genocide, partition, colonialization, slavery and internment. This course will be of interest to those studying how cultural practices are implicated in the function of the past in the present, and in particular, in regard to how one might take into account the enduring legacies of various forms of social violence. Roger I. Simon

SES 1956H Social Relations of Cultural Production

This course will analyse how cultural meanings are produced, interpreted, legitimated, and accepted and/or rejected in educational settings, including but not limited to schools. Critical perspectives from feminism, Marxism, and poststructuralism will be explored to consider how culture has been investigated and taken up in/through sociology, cultural studies, and studies of education and schooling. K. Dehli

SES 1958 The Internet and Cyberspace: Issues of Culture, Identity, Access and Control

Cyberspace can be defined in many ways. What are the metaphors which define it? What are the discourses that emerge there? How are these produced in cultural negotiations? This course examines cyberspace as a site of cultural production and as a potential site of both retrenchment and resistance to hegemonic understandings of culture. Issues of identity and cultural politics will be examined in regard to cyberspace interactions. Literature from postcolonial and cultural studies, poststructuralist and feminist orientations will provide theoretical orientations in examining cyberspace. J. Iseke-Barnes

TPS1447H Technology in Education: Philosophical Issues, Fall 2003, Tuesdays 5:30 - 8 p. m.

This seminar addresses how knowledge and experience are constructed through space, place, and cultural technologies ranging from language to media. We begin with an examination of the phenomenon of "globalization" as it redefines social relations. We will read cultural geography to analyze how social relations are shaped by cultural forces, institutions, and spaces ranging from private and public environments to classrooms to virtual spaces. We will consider how epistemology and social identities are redefined as communication increasingly takes places through computer-mediated communication and popular culture. Readings will include: Anthony Giddens, Runaway World; Doreen Massey, Space, Place, and gender; Alison Adam, Artificial Knowing; Yi Fu Tuan, Space and Place; Andrew Feenberg, Transforming Technology: A Critical Theory Revised; selected readings by Donna Haraway, Merleau-Ponty, Heidegger, and Fredric Jameson. M. Boler


* * *

Masterclass on Collective Creation

Tarragon Theatre, working with the Ontario Institute of Studies in Education and Theatre Passe Muraille, is developing a one-week workshop teaching the collective creation to educators. The workshop is being developed and facilitated by Tarragon Theatre, hosted by OISE/UT and instructed by Theatre Passe Muraille artistic director Layne Coleman.

Learning the collective creation methodology is immensely important for all teachers. This particular teaching method is built upon a strong Canadian theatre tradition as evidenced in plays such as 1837 the Farmer Revolt or The Farm Show. The collective creation nurtures true collaborative skills. It is a special art form (members can play a number of roles simultaneously including actor, writer, stage manager, researcher, designer etc.) where every contributor has a voice and each voice is valued. Collective creations often tell stories that have strong connections with the audience, requiring the story to be told with great depth. Going through the collective process allows participants a way, as well, to explore their artistic impulses.

Learning the methodology of the collective creation benefits all educators in our communities. Pre-service, in-service, novice and experienced teachers, graduate students in education, as well as teachers working in informal learning contexts will benefit immensely from learning the collective creation.

Collective creation is a large component of both the grade 10 and 12 dramatic arts curriculum in Ontario and the work done in this masterclass will directly address these curriculum expectations. Please look to the curricular learning section to see which curriculum expectations will be addressed.

Furthermore, it also becomes a strong teaching method for alternate subjects such as History and English where teachers are aiming to implement cross-curricular learning strategies. It also benefits those in non-traditional educational settings as a tool for community outreach. It will also be of interest to graduate students interested in alternative research methods and modes of dissemination.

Working throughout the week as artists, participants have the unique opportunity to study with one of the foremost practitioners of collective creation in Canadian theatre history. Layne Coleman, professional actor, director, playwright and artistic director will work with a limited 12 participants to allow for an intensive experience. During the week, he will take participants through his collective creation methodology. Participants will then be able to apply the tools and skills learned in their own classrooms and the wider community.

Summary of program as presented to the Ontario Arts Council: Tarragon Theatre, working with the Ontario Institute for Studies in Education and Theatre Passe Muraille, will be delivering a week-long workshop entitled Masterclass in Collective Creation for Educators that will take place July 7-11, 2003 (approx. 9:30am-5:30pm with 1 hour for lunch). In both the grade 10 and 12 Dramatic Arts courses, students are expected to create original works based in the Canadian collective creation tradition. This week, instructed by Layne Coleman and co-developed with Tarragon Theatre, introduces teachers to step-by-step practical exercises in creating collective creations with students. Teachers will go through the collective creation process and develop skills required to stimulate creativity in students working collaboratively on collective plays.

Curricular Learning:
Grade 10 Dramatic Arts Specific Expectations

TH3.02 - explain how dramatic forms may effectively communicate more than one perspective;
TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);
TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.01 - demonstrate an understanding of criteria for selecting forms in the construction and communication of a drama; TH1.01 - demonstrate an understanding of the theory of "willing suspension of disbelief " both as performer and as audience;

CR1.08 - identify and pursue appropriate questions in beginning to research a topic; CR2.01 - demonstrate an understanding of the effect of various forms in the interpretation and communication of a source or idea (e.g., puppetry, clowning);
CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.09 - identify research methods appropriate to developing ideas and text for a drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.02 - demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping; CR1.06 - demonstrate an understanding of their own and others functions in collaborative work on a drama;
CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR2.03 - explain reasons for presenting a particular type of drama (e.g., children's theatre) to a particular audience;

AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.03X - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings and perspectives of others in developing the roles and circumstances of a drama. of a specific form or genre (e.g., conventions of mask, mime, puppetry); AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama. AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama. AN1.05 - identify and make connections with individual artists or groups involved in drama. AN2.02 - explain connections between their own lives and the metaphor or theme in a drama;

Grade 12
Specific Expectations
TH3.02 - describe the development of Canadian theatre, focusing on some specific aspects (e.g., playwrights, works, regional theatres, docutheatre);
CR1.01 - create and develop a character, using a classical or contemporary style of characterization; CR1.02 - convey character through the effective use of voice and movement techniques; CR1.04 - reinterpret characters, using suggestions or notes provided by the director and peers, and demonstrating further insight into the characters in subsequent rehearsals and performances; CR2.01 - demonstrate an understanding of the tasks and interrelated responsibilities of individuals in the production of theatre; CR2.02 - demonstrate an understanding of the responsibility of all members of a theatre ensemble to develop and communicate the intended meaning or theme of a dramatic piece;
CR2.03 - create and present an original dramatic piece, choosing from a variety of dramatic forms, processes, and theories;
AN1.06 - explain how theatre can reflect issues, societal concerns, and the culture of the community, the country, and other countries. AN1.04 - explain the tension between personal expression and public acceptance in dramatic arts; AN2.02 - explain how their experiences in dramatic arts have helped develop or enhance their beliefs, philosophies, or world views;

Kristen Van Alphen
Kristen Van Alphen is an experienced professional stage manager, who in 1999 made a career change to education program administration and theatrical outreach. Part of her goal as the education and OutReach coordinator is to develop new opportunities for youth and educators at the Tarragon Theatre. Her unique combination of practical theatre skills, university degree in English and Drama and her organizational abilities has made her particularly successful in administering Tarragon and OutReach programs. She a 2001 Harold Award recipient for outstanding work in the Toronto theatre community and sits on the board of directors of the Toronto Theatre Alliance.

Mary B. Wood
Mary B. Wood obtained a Bachelor of Arts honours degree (Drama and French) from the University of Guelph and a Bachelor of Education degree from the University of Toronto. In the Spring of 2000 Mary initiated the Tarragon/OISE internship and since that time helps administer and develop Tarragon curriculum knowledge to Tarragon working simultaneously as a Dramatic Arts teacher. Mary has also been collective theatre workshop facilitator at the University of Guelph. She is the recipient of the 2000 OISE Alexander Pringle Award for outstanding student involvement, academic achievement and teaching practicum reports and a 2000 OISE Search Committee award for involvement in the school community. Mary helped initiate the first SummerWorks Theatre Festival Youth Reading Series and is a volunteer with the Toronto Arts Coalition.

Layne Coleman
Layne Coleman is the Artistic Director of Theatre Passe Muraille, a company he has been involved with since 1975 and one that has produced collective creations for 35 years. Layne acted in collectively created plays with Theatre Passe Muraille, the Blyth Summer Festival, 25th Street Theatre (Saskatoon), Theatre Network (Edmonton) and Kingston Summer~Festival in the following plays: If Your So Good Why Are You In Saskatoon?, The Olympic Show (a performed~at the Olympic site in Montreal 1976), The Farm Show (1978 England tour), Generation and a Half, Hard Hats and Stolen Hearts (national tour), This Foreign Land, Heartbreak Hotel, As Far As The Eye Can See, The Donnelley the then Artistic Director of~25th Street Theatre Layne produced the seminal collective creation Paper Wheat along with its national tour. As a director of collective creations some credits include: The School Show, The Convict Lover, Rodeo and Blue City Slammers. He is producing The Rochdale Project a collective creation slated for production at Theatre Passe Muraille in the 2003-2004 season. Other directing credits include The Drawer Boy (Western and Ontario tour, Theatre Passe Muraille), One Eyed Kings (Tarragon Theatre) and the Chalmers Award winning play Riot (Factory Theatre). Layne was a screenwriter resident at the Canadian~Film Centre during 1988 and 1989. In 1997 he taught scene study to acting students at George Brown Theatre School. He was the 2002 Toronto Arts Council Rita Davies Award recipient, recognized for his demonstrated creative cultural leadership in the development of art and culture in Toronto.

Kathleen Gallagher
Kathleen Gallagher is assistant professor in the department of Curriculum, Teaching and Learning at the Ontario Institute for Studies in Education of the University of Toronto where she teaches drama in the initial teacher education and graduate education programs. Her book, entitled Drama Education in the Lives of Girls: Imagining Possibilities (University of Toronto Press, 2000), was recently honoured by the American Education Research Association. Her new book, How Theatre Educates will be out this spring. Kathleen's research and practice continue to focus on questions of inclusion in arts education and the pedagogical possibilities of learning through drama.

Kathleen Gallagher, Ph.D.
Department of Curriculum, Teaching and Learning
Ontario Institute for Studies in Education of the University of Toronto 252 Bloor Street West Toronto, Ontario M5S 1V6 Canada
Tel: 416/923-6641 ext.2015
Fax: 416/926-4744