Coming in January

Conference Program!

Keynote Speaker

March 25th

In 2016, Brad Haseman retired as Professor and Assistant Dean (Academic) for the Creative Industries Faculty at the Queensland University of Technology. In that role Brad was responsible for maintaining and managing the learning system for over 4,500 students and 200 staff in the creative arts and cultural industries.

Brad is co-author with John O’Toole, of Dramawise, which has been in print for over 30 years and translated into Danish, Italian and Cantonese. A new and expanded edition of what has become this drama classic was republished in 2017 as Dramawise Reimagined (with longstanding collaborator John O’Toole). He is recognised as one of Australia’s leading Drama workshop leaders, keynote speakers and applied theatre makers, working internationally in the UK, Scandinavia, Canada, the US and South Korea.

His writings on Performative Research (between 2006 – 2015) have attracted international attention. Brad's A Manifesto for Performative Research (2006) is the foundational text that formally names, frames, and argues for performative research as a third paradigm - distinct from quantitative and qualitative research and is a call to arms for artistic researchers everywhere. His research projects include the Australian Research Council funded Developing applied performance programs for HIV and AIDS education in Papua New Guinea. He has given keynote presentations in Australia, England, Finland, Norway, Brazil and the US.

From 2007 to 2011, Brad served on the Australia Council for the Arts. During this period he chaired the Community Partnerships Committee of Council which manages a range of funding programs for community cultural development activities, Arts in Education, Arts-Health and Artist in Residence programs for Australian schools and communities. In 2012 Brad received the President’s award from National Drama Australia for excellence in Drama Education.

In 2018 Brad was the lead designer/curator on The Basics of Teaching Artistry, an online course with partners the Queensland Performing Arts Centre, Sydney Opera House and Lincoln Centre Education, New York. The course was released on Kadenze, Inc. in April 2018.

Professor Emeritus

Brad Haseman

The Affective Effect in understanding

Culture-specific arts practices.

"Aesthetics isn't of interest for Culture-specific arts practices." However, might it be that trying to explain the performative arts using a framework which celebrates Beauty, the Sublime and Truth is not incorrect; merely incomplete? How can a turn to the performativities of Relational Knowing embolden our teaching, learning and research?

Dr. Naoko Araki

Akita International University,

Japan

President Oriza Hirata

Hyogo Prefectural College of Arts, Culture and Tourism, Japan

タイトル
「わかりあえないことから　－コミュニケーション教育の現在－」

概要

　この十数年、教育の世界でもコミュニケーション能力という言葉が、多少、ヒステリックなほどに叫ばれてきました。小学校から大学院まで「コミュニケーション教育」の必要性が問われ、その実践も確かに広がっています。また新学習指導要領では、「主体的、対話的で深い学び」ということが繰り返しいわれいています。

　しかしはたして、そこで言われる「コミュニケーション能力」あるいは「対話力」とは何でしょう。

本講演ではまず、私がこれまで、各地の大学などで行ってきた実践例を紹介し、流暢に、あるいは論理的に話が出来ることだけがコミュニケーション能力ではないという点を，皆さんと一緒に考えていきたいと思います。

まず、飛行機の機内で他人に話しかけるかどうかを考えながら、昨今いわれている「コミュニケーション能力」は、そもそも民族や文化的な背景によって揺らぎが起こる点を確かめていきます。「グローバル・コミュニケーション・スキル」と言われますが、コミュニケーションにグローバルなものなどはなく、民族の文化的な背景を勘案しなければなりません。

私たちは通常、無意識にでも、相手の発言のコンテクスト（文脈）を理解しながら、他者とコミュニケーションをとっています。しかしそれがビジネスの現場のように時間が限られていたり、医療の現場のようにパニック状態が起きやすかったりすると、コンテクスト理解のサイクルが断ち切られコミュニケーション不全が起こります。

これを乗り越えるためには、個々人のスキルアップも必要ですが、コンテクストをすりあわせるような環境作りや、日頃からの場づくり、デザインがより重要となってきます。ここで紹介する「コミュニケーションデザイン」という考え方は、まさにそのような哲学・思想を背景とするものです。

このような事柄を、できるだけ実例を踏まえながらお伝えできればと願っています。

Title
From the Fact That We Cannot Fully Understand One Another: Communication Education Today

Abstract
Over the past decade or more, the concept of communication competence has received increasingly intense attention in education. From elementary school through graduate education, the need for “communication education” has been widely discussed, and practices designed to foster communication have become increasingly common. Japan’s revised Courses of Study likewise place repeated emphasis on “proactive, interactive, and authentic learning.”

But what do we actually mean by “communication competence” or the “ability to engage in dialogue”?

In this lecture, I will draw on examples from educational practices I have developed at universities and other institutions across Japan to explore the idea that communication competence involves far more than simply being able to speak fluently or express oneself logically.

We will begin with a seemingly simple question: Would you speak to a stranger sitting next to you on an airplane? From this starting point, we will consider how our understanding of “communication competence” varies according to cultural and social backgrounds. Although we frequently hear the term “global communication skills,” communication itself cannot be separated from culture. Meaningful communication requires us to recognize and engage with the different cultural contexts that people bring to an encounter.

In everyday life, we communicate with others by interpreting—often unconsciously—the context surrounding what they say. Yet in situations where time is limited, such as the workplace, or where anxiety and confusion can easily arise, such as medical settings, this process of contextual understanding can break down, resulting in communication difficulties.

Developing individual communication skills is certainly one part of addressing this challenge. More important, however, may be creating environments in which people can negotiate and align their different contexts, and intentionally designing spaces and situations that enable communication to emerge. The concept of communication design introduced in this lecture is grounded in precisely this philosophy.

Through a range of concrete examples, I hope we can explore together what it might mean to create the conditions in which meaningful communication becomes possible.

Biography: Oriza Hirata

President, Professional College of Arts and Tourism (Hyogo Prefecture)
Director, Aomori Museum of Art
Playwright, director, and leader of the Seinendan theater company.

From 2000, Oriza Hirata served as Associate Professor in the Department of Integrated Culture, Faculty of Literature, J. F. Oberlin University. From 2006, he served as Professor at the Center for the Study of Communication-Design at Osaka University, and from 2013 as specially appointed professor for the COI program at Tokyo University of the Arts, among other positions. He has held his current position since 2021.

In 1995, he received the 39th Kunio Kishida Drama Award for Tokyo Notes. In 2006, he received the Montblanc International Culture Award. In 2011, he was named a Chevalier of the Order of Arts and Letters by the French Ministry of Culture and Communication. In 2019, he received the 22nd Tsuruya Nanboku Memorial Award for A History of the Rise and Fall of Japanese Literature.

His books include The Birth of Theatre, From the Fact That We Cannot Understand One Another, Introduction to Theatre, Acting and Directing, and Slowly Descending the Downward Slope (Kodansha Gendai Shinsho); A Prescription for Loneliness: Can Art Overcome Social Isolation? and A Theory of an Arts-Oriented Nation (Shueisha Shinsho); Theatre for Living Together (NHK Publishing); An Introduction to Classics: 50 Selections from Modern Japanese Literature (Asahi Shinsho); and Creating a New Public Square (Iwanami Shoten), among others.

平田オリザ　略歴

（兵庫県立）芸術文化観光専門職大学学長、青森県立美術館館長

劇作家・演出家・劇団青年団主宰。

2000年より桜美林大学文学部総合文化学科助教授、2006年より大阪大学コミュニケーションデザインセンター教授、2013年より東京藝術大学COI特任教授などを歴任。2021年より現職。

1995 年『東京ノート』で第39 回岸田國士戯曲賞受賞。2006 年モンブラン国際文化賞受賞。2011 年フランス文化通信省より芸術文化勲章シュヴァリエ受勲。2019 年『日本文学盛衰史』で第22 回鶴屋南北戯曲賞受賞。

著書『演劇の誕生』『わかりあえないことから』『演劇入門』『演技と演出』『下り坂をそろそろと下る』（以上、講談社現代新書）『寂しさへの処方箋　－芸術は社会的孤立を救うか－』『芸術立国論』（以上、集英社新書）『ともに生きるための演劇』（NHK出版）『名著入門　日本近代文学50選』（朝日新書）『新しい広場をつくる』（岩波書店）など。

Keynote Speakers

March 24th