Platform Paper by Sue Giles – Young People and the Arts: An agenda for change
In this new paper, Sue Giles (Polyglot, ASSITEJ) calls for a review of accepted attitudes, and the embrace of a different paradigm. Can we consider the child as a cultural citizen? Papers available for purchase from Currency House from Friday 2 February 2018.
Beijing Gathering: Call out for workshops and presentations
The ASSITEJ Artistic Gathering in Beijing will centre on the theme: Towards the Unknown. Registrations and a call out for content will come soon. Pop the dates (18 – 24 August 2018) in your diary – it would be great to have some Australian voices in the mix. Read more.
ASSITEJ Meeting and Newsletter
Sue Giles attended the Executive Committee meeting at the Panoptikum Festival in Nuremberg in January to continue the Association’s major focus for change in 2018: inclusion and access. For updates, sign up for ASSITEJ news on their website.
National round up: What’s On for TYA and Youth Theatre News
The next edition of the National Youth Theatre Newsletter will be coorindated by Fraser Corfield of ATYP and Helen Hristofksi of Barking Gecko with TNA. Get your round up notes together and submit here by the end of February in the following format: Name of org, Title of work/update, Date/Time/Event details, short paragraph. Be sure to include company contact details, person and jpeg logo.
Listening Tour Reflections 2017
This is the first report released by the Commissioner of Children and Young People. It is the Commissioner’s reflections after speaking to over 1,000 South Australian children and young people. It summarises what is most important to them, their hopes and aspirations for the future. Read the reflections here.
International Performing Arts for Youth – Philadelphia Showcase
IPAY in Philadephia included a strong Australian TYA presence with a keynote by Sam Routledge of Terrapin and showcase by Monkey Baa, with spotlight pitches by Terrapin Theatre and Stalker. Slingsby’s Andy Packer is on the IPAY board so we are well represented and this market continues to be a vital one for Australian theatre for young audiences.