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We created this workshop to celebrate our one-year anniversary, and to encourage and build community. We invite anyone and everyone to participate in EVERYONE FOR THE ARTS WORKSHOP! |
| GENERAL INFORMATION |
| AGENDA |
| STATEMENT OF INTENT AND OBJECTIVES |
| PRESENTER BIOGRAPHIES |
| PANEL BIOGRAPHIES |
| PRINTABLE REGISTRATION FORM |
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What: EVERYONE FOR THE ARTS, Art and Community Workshop Sponsored by: Minds Wide Open Art Center and Arc of the Bluegrass, Inc. When: Friday - February 18, 2000 - 9:00 A.M. - 3:30 P.M. Where:
Kentucky Theater, 214 East Main Street, Lexington, Kentucky
Who should attend:
Teachers, community leaders, parents/guardians, artists, support groups,
students
Objectives:
To obtain skills to use during teaching to assist individuals with disabilities
to express themselves
To obtain skills to enable those with or without disabilities to have access
within the same time
Registration fees:
$25.00 postmarked by February 9, 2000. Postmarked on or after February
10, 2000 fees
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Workshop February 18, 2000 AGENDA
8:00 a.m.-9:00 a.m.
Registration, Meet and Greet, Activity tables, Art Exhibit of artists from
MWO, Table displays,
9:00-9:10
Introduction: Barbara Ellerbrook, Executive Director, ARC of the Bluegrass;
Bruce Burris,
9:10-10:10 Presenters: Dr. Myra Beth Bundy & Jon McGee "Quality of life and Self Expression" 10:10-10:25 Break (refreshments) 10:25-11:30 Presenter: Dr. Donald Hoffman "Arts Experience for All" 11:30-1:00 Lunch (On your Own-Restaurant locations in your packet) 1:00-2:20
Dante Ventresca
2:20-2:30 Break (refreshments) 2:30-3:20
Panel discussion (Questions and Answers) Panel presenters: Dr. Kevin Lightle,
Dante Vantresca,
3:20-3:30 Evaluation and Certificates |
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Statement of Intent/Objectives Statement of intent: Day Objective:
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Presenter Biographies
Dr. Hoffman is a former Director
of the Donovan Scholars/Council on Aging at the University of Kentucky,
served as a Leadership Trainer with AARP/NRTA in Washington, DC, and has
testified to the Aging Committees of both House and Senate. He has written
extensively on arts for older adults and visual arts education, including
Arts for Older Adults, published by Prentice-Hall and Pursuit of Arts Activity
published by the National council on aging, where he served on the Advisory
Panel to the Board of Directors.
Conscientiously working to completely eliminate words like disabled or different from his vocabulary, Ventresca still acknowledges that inclusion is very much about involving performers with and without disabilities. But he will quickly add how language, which labels, profoundly impairs human perceptions of relationships. If basic one-on-one relationships are harmed a whole chain of events unfolds in which communication is distorted leading to a wide array of disruptions within any given community. Ventresca's response is to put people face to face within the context of a creative movement. Ventresca often refers to his family system where he developed a hunger to continually learn from his brothers, sisters and extended family members simply by taking an interest in their activities and asking questions. It is this intensity of attention, focus, balanced through wonder, that gives Ventresca directing power. Dante sees that his first responsibility, in the making of art, is to overcome his own flawed perceptions, attitudes and behaviors. Ventresca approaches each performer as a unique human being first, a collaborator second, a performer third and disabled never. Ventresca creates a rehearsal environment in which the performers are invited and involved in an open process using music, dance, drawing, text, improvisation, accidents and chance encounters. Dante recognizes that not everyone wants to talk about experience. He understands that many performers and audience members alike would prefer to respond intuitively to the moment rather than to be told what to think or feel. The performance becomes a place where people can honestly react without the burden or fear of non-acceptance. Ventresca's work results in a collected, non-linguistic narrative that addresses the complex issues of access for all, to the creative act as dialogue in the making of culture. Ventresca's life-long research of family letters dating back 400 years informs his sense of culture. It is through letters, shipped across seas and carried over almost impassable, muddy, 18" and 19" century roads, that Ventfesca learned how imperative it is for every individual to take part in the expression and shaping of culture. A community depends upon the inner workings of its culture to arrive at inspired, communal moments of transformation. In a recent Nuvo Interview,
Ventresca, speaking of his youth, said, " There was something inside me
that was excited by very simple things. I wanted to share that experience
with my family, then approach them in a state of inspired excitement. This
up front approach serves Ventresca's theater work well as he invites
others to communicate from their own innate centers of inspiration in full
view of an audience. The primary question for Dante is: When is the audience
going to get out of their seats and join in? Then and only then will the
making of culture and the responsibility of growing a community be put
firmly into the hands of the people who must do the creating, Inclusion
means everybody.
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Panel Participants Barbara Ellerbrook
Kevin Lightle, Ed.D.,
Rita Brockmeyer
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