Amanda Clark, President Amanda Clark is a dynamic elementary music teacher in Leduc, inspiring young minds in both French and English classrooms for over a decade. A versatile educator, she also shares her love of music through private lessons, including the renowned Music for Young Children program. Amanda's musical journey began at the University of Alberta Augustana Campus, where she earned a Bachelor of Music, majoring in Vocal Performance and minoring in French. She further sharpened her creative and organizational skills with a certificate in Arts Administration from MacEwan University, followed by an Education degree from Concordia University of Edmonton. As the President for the Fine Arts Council of the ATA, Amanda is a passionate advocate for arts education. When she's not harmonizing with her students, you’ll find her outdoors, camping under starry skies, or enjoying laughter-filled adventures with her husband and their three energetic kids. Whether she’s conducting a choir, exploring the great outdoors, or juggling life as a mom of three, Amanda brings energy, creativity, and heart to everything she does. Darrin Wilson, Past-President Darrin Wilson is the Past-President of the ATA's Fine Arts Council (FAC) and has worked within the Calgary Board of Education (CBE) since 2008, focusing mostly on teaching visual arts, English language arts, and performing arts to junior high school students. He has a Diplôme d'Études Collégiales in Illustration & Design at Dawson College, a Bachelor of Education degree from McGill University, and a Master of Education degree in Leadership, Societies, and Languages at Bishop’s University, where he was awarded the Jury Prize for his research in educational psychology. Darrin continues to work as an illustrator, painting mostly in acrylics from his studio. His work is on exhibition at the Avmor permanent collection in Montreal. Darrin also writes regularly for McGill University and has authored a number of published works over the years, including Bishop’s University. Darrin currently hosts sessions across Alberta where he explores the merits of journalling for promoting metacognition and learning in all students, emphasizing how this process improves innovation and engagement in students. Darrin has joined the Fine Arts Council to connect with other fine arts teachers, networking and collaborating with professionals that share similar interests and passions as him. Maria Herrera, Secretary Maria G. Herrera is a multidisciplinary artist and educator from Buenos Aires, Argentina, with over 15 years of experience in art and language education. Her mixed media work, showcased in Argentina, Germany, Australia, the USA, and Canada, bridges creativity, culture, and care. Having worked in diverse educational and therapeutic settings across Madrid, Minneapolis, Rio de Janeiro, and now Calgary, Maria has developed a global perspective. Committed to social justice and inclusive education, her pedagogical approach integrates trauma counselling and supports marginalized and neurodiverse learners. Currently, she is pursuing a Master of Education (MEd) in School Counselling, focusing on mental health and social justice, aiming to holistically support student well-being through therapeutic arts and culturally responsive pedagogy. Lorna Walker, Treasurer Lorna Walker is a retired elementary music specialist with over 30 years of experience with Edmonton Public Schools. Currently an active supply teacher, Lorna primarily supports music teachers throughout Edmonton. She has been deeply involved in the Orff community, serving on the executive boards of both the Alberta Orff Chapter and Carl Orff Canada. A passionate advocate for Fine Arts Education, Lorna contributed to Alberta Education’s initial curriculum redesign, specifically working on the music team. She is also a member of the Handbell Guild of Alberta and directs handbell choirs at St. Albert United Church. Since her retirement in 2019, Lorna has embraced personal pursuits, including travel, cycling, and quilting, all while continuing to nurture her love for music and education. Andrew Swainson, Art Representative Andrew Swainson is starting his 10th year of Art instruction, recently moving to École Lindsay Thurber Comprehensive High School to serve as the Ceramics specialist. He has an intense passion for learning the technical and material science aspects of Art and has cultivated a pedagogy of "play" within his classrooms. He specializes in pencil, ink drawings, chalk pastels, ceramics and sculpture. He is currently pursuing a Master’s of Education, specializing in Art Education through the University of Victoria. Victoria Reid, Dance Representative Victoria Reid is an Edmonton‑based artist with over 25 years of experience in dance and theatre. She holds a Bachelor of Arts in Drama and a Bachelor of Education from the University of Alberta, as well as a Master of Arts in Education (Dance Teaching) from the Royal Academy of Dance (RAD) in London, UK. Victoria completed her RAD ballet examinations to the qualified teaching level and holds Registered Teacher Status (RTS) with the RAD. Victoria trained as a competitive dancer in a variety of styles and taught as a studio dance instructor for many years. She founded and directed the ABJ Dance Collective, a public‑school dance program rooted in inclusivity, student choreography, and dance history, guiding hundreds of students through Alberta’s locally developed Dance curriculum. She has also served as a director and choreographer for numerous plays and musicals and has taught extensively in drama and musical theatre. Select credits include Pride and Prejudice (Director, ABJ Fine Arts), Chicago: Teen Edition (Choreographer, ABJ Fine Arts), Matilda the Musical (Director & Choreographer, ABJ Fine Arts), Footloose: Youth Edition (Choreographer, Festival Players), and Disney’s Frozen (Choreographer, SCA Performing Arts). Victoria is a Level 1 certified adjudicator through The Dance Leadership Initiative (TDLI) and is passionate about supporting emerging dancers in this role. She also serves as the Dance Representative for the Alberta Teachers’ Association Fine Arts Council, advocating for and supporting public‑school dance educators across the province. Most recently, she has joined the Royal Academy of Dance as a Musical Theatre CPD Tutor. Outside of the studio, Victoria enjoys weekend walks through Edmonton’s river valley with her husband and son, always with a coffee from the Colombian in hand. Aimee Alger, Drama Representative Aimee is a Junior High visual arts and drama teacher in Cold Lake. Drama is her passion: she has been acting since childhood and directing since she was a teen. Bringing the arts to her students has been a goal for many years, and she hopes to expand this goal to other rural schools across Alberta. Aimee runs a thriving school theatre program, partners with other drama teachers in the area to create opportunities for her students, and participates in her local community theatre. Silken Bruder, Music Representative (On Leave) Originally from Salt Spring Island, B.C., Silken Bruder is a Music and FSL specialist at Highlands K-9 School in Edmonton, Alberta. Since studying composition and education at the U of A, Silken has taught in Dublin, IE and in Edmonton, AB. Silken has sung with the U of A Madrigal Singers, the New Dublin Voices, and Accord Choir. She is currently working on her Graduate Certificate in Educational Studies and is passionate about working to making her music room a safe and culturally responsive space for her students. In her free time, Silken loves to garden, sew, and spend time with her family. Connie Ohlmann, Music Representative (Acting-For) Connie Ohlmann has been teaching for more than 20 years and is currently an elementary music specialist with the Edmonton Public School Board. She holds a Master of Education in Elementary Music from the University of Alberta and has completed Orff Level III and Kodály Level II training. Connie is passionate about helping students engage meaningfully in music while fostering creativity and musical growth in the classroom. Her teaching emphasizes student voice, creativity, collaboration, and hands-on music-making that helps students develop confidence and see themselves as musicians. Connie enjoys sharing practical, engaging strategies that help teachers build confidence and create meaningful musical experiences for all learners. She has shared her expertise with educators through presentations at ATA Beginning Teacher Conferences, Alberta Teachers' Conventions, Passages 2026: The 29th National Conference of Music for Children, Carl Orff Canada, and other professional learning events. When she's not teaching or presenting, you might find Connie reading, singing along to musicals with her daughter, binge watching reality TV, or advocating for the use of the Oxford comma. Amanda Noullett, Generalist Representative Amanda lives in a small rural town in Northern Alberta where she has taught in a K-12 school for over 15 years. She has a minor in Elementary Music which she used for over 10 years instructing elementary students using Orff and Kodaly methodologies. As well, she has instructed Junior and Senior High in a collection of Art, Guitar, Culinary and Fibre Arts. A typical day at one point could have ranged from teaching musical rhythm concepts to 6 year olds to then switching to the Elements of Art to 16 year olds. In her spare time she tickles the ivories, belts out kitchen karaoke, is a crazy quilter and likes riding sticks down snowy mountains with her family. As the new Generalist Representative she brings a knowledge of multiple age groups, art modalities and the challenges of bringing art opportunities to rural Alberta. Sherri Greene, Social Media Manager After collecting a few university degrees (B.Mus, BEd, MEd), and teaching an array of grades and subjects, Sherri joined Black Gold School Division where she currently has the best job as an Elementary Music Specialist. Sherri is a PD, Orff, and music addict and loves discovering new and engaging ways to share learning with students and other teachers. She is also a dedicated scroller of social media to get ideas to bring to her own classroom. She finds happiness in music, travel, family time, podcasts, and a nice set of Flair Pens. Jordan Knight, Web Manager Born and raised in Edmonton by an elementary music teacher, Jordan’s life has always been rooted in creative expression and community. After a successful decade-long career in hair and makeup artistry, he expanded his visual craft at the University of Alberta's Faculty of Extension, studying Art and Design, before pursuing computer animation for video game design at S.K.E.T.C.H. New Media in Saskatoon. His dedication to mentorship began early, inspired while volunteering art lessons in his mother’s elementary classroom. Navigating his own education presented personal learning challenges that Jordan successfully overcame through resilience and the strategic use of technology. Returning to post-secondary education as an adult learner, he earned both his B.A. from Concordia University and his B.Ed. from the University of Alberta. Having built computers since the early 1980s, Jordan long ago recognized technology’s power as an adaptive, empowering learning tool. Over a 16-year teaching career in Edmonton, including eight years leading Junior High programs in Makerspace design thinking, Visual Communications, and Art and Design, he has championed this philosophy, guiding students to harness digital tools to unlock their own potential. As Web Manager for the Fine Arts Council, he brings a rare combination of hands-on technical fluency, artistic vision, and educational leadership to keep the organization’s digital platform accessible, dynamic, and forward-looking. Outside of his professional life, Jordan is an avid photographer who enjoys volunteering, gaming, exploring art, design, music, and spending time outdoors with his family. Anna Trip, Journal Editor Anna Trip has been with the Calgary Board of Education since 2007, specializing in middle school Humanities. Currently, she is a strategist with the English as an Additional Language team. Passionate about creativity and student voice, Anna enjoys creating instructional design that engages students in learning experiences that connect the arts, storytelling, and civic understanding. She is excited to be a part the Fine Arts Council and to help highlight the inspiring work of Alberta’s arts educators. Kim Zapesocki, ATA Staff Advisor Kim joined the Association’s Teacher Employment Services executive staff in April of 2025. She has a MEd and BEd from the University of Alberta as well as a BMus from Brandon University in Brandon, Manitoba. Kim has over 20 years experience in public education where she has worked in three different school divisions, has taught many grade levels across a variety of subjects, held leadership roles such as numeracy lead, OHS lead and First nations Metis and Inuit Education lead, and most recently worked in school administration. Kim was intensely involved in her local serving as secretary, DEHR chair, PD chair and most recently established a Women in Leadership committee for the local and sat as the chair until joining the association. In addition to assisting teachers with issues related to their employment and collective agreement, Kim assists and represents appellants before the Alberta School Employee Benefit Plan Extended Disability Benefits Appeal Committee, is the staff advisor for the Fine Arts Council, and acts as the liaison with the student local at Red Deer Polytechnic in Red Deer, Alberta. Jason Schilling, Provincial Executive Council (PEC) Liaison Jason Schilling was re-elected president in 2025 following six years of service as president, two years of service as vice-president and more than eight years of service as district representative for South West. Schilling was an English and drama teacher at Kate Andrews High School, in Coaldale, where he worked for 17 years. Schilling’s assignments as president include chairing the CTF Committee, the Strategic Planning Group, the Membership Eligibility Board and the Teacher Salary Qualifications Board, and acting as Provincial Executive Council liaison to the English Language Arts Council and the Fine Arts Council. He also represents the Association on the CTF Board of Directors.

Contributed by Amanda Noullett, Generalist Representative Many years ago, I visited the Edmonton Art Gallery, and they featured a series of artists who illustrate children’s books. Once you start noticing this often-overlooked art form, you can’t stop noticing the amazing artwork that we see every day. Here is a collection of my favourite illustrated books and a class project inspired by each. The Snowy Day by Ezra Jack Keats This is an oldie but a goodie. We were lucky enough to have a BIG BOOK of this. I used this in kindergarten, but any Division I class would work. We used three layers of construction paper for this project, as the artwork is done in cut-outs. The background would be a solid blue, then I would talk students through cutting a snowy hill out of white construction paper that they would paste on top for a "midground." Then, they would cut out a snow boy I had printed on red construction paper for them for the "foreground." The creative part, where they could add their own artistry, was taking cotton swabs dipped in white paint and using them to create a snowy scene on top of all the layers. They turned out so well; I wish I had a student example to share. Also, a video: This educator has a wonderful sequencing PDF available for free that can be used for cross-curricular activities: https://teachingmama.org/the-snowy-day-sequence-activity/ Or perhaps a Readers' Theatre for Grade 2 readers: https://www.thebestclass.org/uploads/5/6/2/4/56249715/the_snowy_day.pdf Why I Love My Mummy by Daniel Howarth This is a book for small children. He has several books in this series, which you could choose from if the topic is not a good fit for your littles. I chose the swan picture to recreate with my students. The happy accident with this project was that our school had been boarded up mid-year, and we had limited supplies, so we had to use teal-coloured construction paper. They turned out amazing because of it! I would feel confident doing this with younger students. Providing an outline of the swan and the lily pads would help students feel successful. While I am not usually a promoter of "copycat" art, where each student's artwork looks identical, this is a great introductory activity for learning techniques with a new medium such as pastels. The use of watercolour and pastel are truly beautiful in the pictures of each animal and their offspring, as you can see in the illustrations of the book from the video below. Snowflake Bentley by Jacqueline Briggs Martin, illustrated by Mary Azarian This is the coolest book! I love that it is non-fiction, and it is so inspiring for making snowflakes in the classroom. I teach students that real snowflakes have six points and show them how to make a six-pointed snowflake using tissue paper. This particular book is inspired by the subject rather than the illustrations themselves. Here is an excellent link that explains the process: https://www.calacademy.org/sites/default/files/assets/docs/sah_ice-make_a_snowflake_211203.pdf Linked here is a collection of photographs Bentley took of snowflakes. They are mesmerizing!

contributed by Amanda Noullett, Generalist Representative These days, you can ask AI for the latest and greatest books that contain songs and get a huge list. However, the books listed here are curated for you. These are my favourite books to sing to my students and with my students. Most importantly, my students loved them and requested them time and again. As one sentence in the music curriculum states, "If there is no enjoyment in the music program, all the other values will be lost." These songs always start out with students simply listening. As time goes on, they join in on the chorus or repeating portions. Puff, the Magic Dragon by Peter Yarrow and Lenny Lipton, Illustrated by Éric Puybaret I have the kids join in on the chorus, and they love it. They also enjoy finding the "hidden faces" on each page in the flowers, rocks, and trees. I would sing this in a very melancholy tone, and I had tiny kindergarteners tear up and tell me it was the saddest song they had ever heard. Surprisingly, they loved this change from the happy, upbeat songs they are often exposed to. This illustrator also created Over the Rainbow. If you have the vocal skills to sing it, that would be an amazing experience for your students. There Was an Old Lady Who Swallowed a Fly by Pam Adams What a ridiculous song! I always tell the kids this when we sing it, but they love it. This is the best book for this song. There is a progressive cut-out in the centre of each page that gets bigger and bigger after each animal. I always slow down on the spider "that wriggled and jiggled and tickled inside her," and everyone wiggles in their seat. Then we sing, "I don't know why she swallowed a fly," with everyone shrugging their shoulders. I would hide the puppet after introducing it and bring it out later in the year once students knew the song very well. Love You Forever by Robert Munsch My music professor, the late Dr. Robert de Frece, taught me the song that goes with this book. He also composed an Orff arrangement to accompany it, which I would perform with students in the older grades. I will check to see if that is something I can share with you all. It is not always easy to read and sing this book to students, as it is such an emotional story and song. Mortimer by Robert Munsch is a great choice as well, but it can get a little loud as the story progresses and Mortimer gets louder each time. I would read it sparingly, for my eardrums' sake. The Gingerbread Man by Jim Aylesworth This is a fun book because students can sing the part of the Gingerbread Man. I like this version because it is set in the summertime and is not connected to Christmas, making it appropriate for diverse school communities. I also like to add a likely very bad Irish accent to make the story even more engaging. Down by the Bay by Raffi Although I love Baby Beluga, Down by the Bay is such a great song for teaching rhyming with younger students. They start singing along very quickly, and you can get them involved by having them create their own rhyming lines after "Did you ever see a..." Later in the year, we would work as a class to write our own rhymes, illustrate pages, and create our own Down by the Bay book. Shake Your Sillies Out by Raffi is awesome too, but not as a book. That one is definitely a stand-up-and-dance song! On Top of Spaghetti Illustrated by Paul Brett Johnson Okay, this book is actually not my favourite, as the storyline gets a bit long between choruses. However, it was my students' favourite. They would request it time and time again. I would also try to do a probably very bad Texan accent while reading it. The Twelve Days of Springtime Some students will recognize this as a Christmas tune. The illustrations are what students particularly love. On each page, they get to search for the boy who is picking his nose. A Few More The Lady with the Alligator Purse by Nadine Bernard Westcott I Ain't Gonna Paint No More! by Karen Beaumont Over in the Meadow by David A. Carter

Contributed by Aimee Alger, Drama Representative The first few weeks of school are behind us, and I have started my improvisational theatre units with my junior high students. Drama is a fun class, and at my school, it’s a mandatory course. That means I teach everyone, even the students who may not be super excited to be there. Through some very intentional management strategies, I set my room up to be one where students can and will participate, as well as one where I can maintain order within the chaos. I start my class with very fun, engaging games to get everyone excited. This creates buy-in early on, so students are looking forward to their next class. Then I use games with turn-taking. This allows students to get involved in small, low-pressure ways, and they see that participating won’t be scary or challenging. Once students have taken a few turns and started to enjoy the class, things start to flow much better. There will always be some who won’t enjoy the class, but that is to be expected! Positive feedback and encouragement go a long way for those reluctant participants. The biggest way I keep my classroom from devolving into chaos or breaking into small groups is by ensuring I am the leader. I direct who is participating, I lead the games, and participate when necessary. We sit in a circle so everyone can see one another, and I am strict on listening when another student is talking. Consistency is key. If you allow side conversations or a student to “opt out” of a game, that will create a domino effect of more students disengaging and suddenly your class is fractured. The rules may look different in a drama room than in other classrooms, but as long as you build trust with your students through clear boundaries and expectations, your program will thrive and grow!

Contributed by Victoria Reid, Dance Representative Source: @dancestudiosyllabus These five ways to flip your classroom toward a more student-centred approach can be adapted to fit your own teaching context. As the Dance Representative, these ideas lend themselves best to Division 3 and 4 performing arts classrooms, specifically dance, drama, and musical theatre. However, I'm curious how reading this article might spark ideas for your own grade level and discipline! Flipping the classroom, student-centred learning, student agency... none of these are new concepts. But I think we sometimes forget how important it is to give our students autonomy, choice, and ownership over their learning. The research supporting student-centred classrooms is extensive, and the outcomes for students are overwhelmingly positive: deeper learning, stronger collaboration skills, increased engagement, and greater independence, just to name a few. But beyond being good for kids, it's also good for us as teachers. As fine arts teachers, burnout, overwork, and stress can run high. I get it. It can feel like everything rests on your shoulders. That's why I love this approach. It puts some of the learning back into the hands of students. Here are five ways I flip my classroom to create a more student-centred environment. These strategies give me a little more time to settle in, sip my coffee, organize my thoughts, be more present, learn from the students, and maybe even put my feet up (not literally, but you know what I mean!). Yes, these approaches still require work on my part. Sometimes it's creating an assignment with clear guidelines. Sometimes it's providing examples. Sometimes it's building a schedule. There is definitely some upfront work, but once that foundation is in place, everything flows much more naturally, and I love that. Like I mentioned earlier, these examples come from my dance classroom, but I'm hopeful they'll spark ideas that work in your own fine arts context as well. 1. Warm-Ups Why do we, as dance teachers, feel like we need to lead every warm-up every single day? That's an old-school, authoritarian teaching mindset that simply isn't necessary anymore. Get students to plan warm-ups, either individually or in groups. Make a schedule. Decide who is leading each day. Have them create a warm-up plan and give them a set time limit. Or better yet, have students warm themselves up in small groups. Why does this always need to fall on you? Assign one group stretching. Assign another cardio. Let them take ownership. The lessons learned through planning, leading, and teaching a warm-up are endless. Many of my former students have gone on to teach dance, dance in university programs, and work professionally in the industry. Knowing how to build and lead an effective warm-up for both themselves and others is an essential skill if they want to continue in dancing in any capacity beyond high school. 2. Pop Culture Dance Moments (AKA Current Events!) Maybe social studies teachers were onto something with Current Events. This is my version of that. Every day on Instagram, I come across incredible dance videos, music videos, commercials, and unforgettable Dancing with the Stars performances. What if every Friday, a student shared something amazing they'd discovered online? Have them submit it to you beforehand for approval, show it in class, and then facilitate a discussion about it. How cool is that? Let's engage with what's happening in the dance world around us. Let's immerse ourselves in the art form and share what we're seeing. Of course, I'd provide guidelines regarding appropriate content. Personally, I also prefer not to watch competition routines in class. That's just my own preference. I'd rather students bring examples from professional contexts: commercial work, professional companies, music videos, television, theatre productions, and so on. The discussions that come from these shared viewings are often just as valuable as the videos themselves. Students start talking about found space, costuming, choreographic style, musicality, storytelling, and all the artistic choices that make a piece work. Those conversations are where some of the real learning happens. Here are a few I’ve come across the last couple weeks, that stopped the scroll and inspired me! - Leon Bridges – Talk It Over Music Video Choregraphed by Luciano Hiwat - @zaraman @zara | autumn/fall campaign Choreographed by Shay Latukolan - Jungle - Move Like You Do Music Video, Choregraphed by Will West - Ezra Frech’s Premiere Night Tango | Dancing with the Stars Choregraphed by Daniella Karagach - Excerpt from Dead Inside Choregraphed by Chase Hudson - Dakar 2026 Youth Olympic Games – Lighting Ceremony Choregraphed by Artemis Ignatiou 3. History I cover a lot of dance history in my classes, and traditionally that has meant me standing at the front of the room lecturing through slides while students take notes. But does it have to be that way? Honestly, I don't think so. At the same time, I find that assigning a full research project can eat up days and days of class time. To be honest, sometimes that's too much valuable studio time. So what if each small group gets five minutes to research everything they can about a specific topic? Give them a piece of chart paper, have them gather as much information as possible, and then share their findings with the class. Fast and furious research. For example, when studying ballet history, assign each group a different era. Give them five minutes to learn everything they can and then have each student share one thing they discovered. The entire activity might take 30 to 40 minutes, but that's still far more engaging than a full lecture and much more efficient than spending three (or more!) classes building research presentations. 4. Across the Floor Once again, this is an area of dance class that has traditionally been very teacher-driven. I'll usually introduce a few across-the-floor exercises within the style we're studying. If it's jazz, maybe we start with jazz walks, kicks, turns, or jumps. Then I flip it. I ask students to begin creating their own across-the-floor combinations using the steps we just did. They can simply do them across the floor, or even better, they can teach their combinations to the rest of the class and have everyone try them. It's secretly choreography. They just don't realize they're doing it. 5. Choreography And finally, choreography itself. I am working hard to get rid of the notion that I always need to be the one creating and leading choreography. How can we create opportunities for students to use their own creativity, imagination, and decision-making skills instead of simply copying what I do? Can you design choreography tasks? Can you build projects centered around collaborative creation? Can students create work independently, with partners, or in groups? The more opportunities we provide for students to create, the more invested they become in the artistic process and the more they become thinking dancers. I hope this encourages you to look at the ways you're teaching and leading your classroom and find opportunities to hand some of that learning, creating, and sharing over to your students. I promise you'll be amazed by what they come up with. And honestly? You might find yourself feeling a little more relaxed, too. If this all feels a bit intimidating, start small. Maybe students choose the question of the day instead of you. Maybe drama students direct a short section of a scene. Maybe visual arts students lead a critique discussion or share an artist they're inspired by. Small steps can lead to big shifts. If you're already doing all of this and more, good on ya! I'd love to hear what other ways your students are leading and shaping learning in your classroom. As always, I'd love to hear what's happening in your dance space. Send along your ideas, successes, and suggestions! Keep Shining! Victoria, victoria.reid@fineartsata.ca

Contributed by Andrew Swainson, Art Representative During the last couple of years, I have discovered the slow joy that fibre arts offers to my art students. While fibre arts such as clothing design and sewing (with or without machines) require an immense amount of preparation, I have found that my students are able to jump into needle felting and hit the ground running. The learning curve for needle felting is slight, and the possibilities are endless. From students felting directly onto their jackets and backpacks, to incorporating feltwork in high and low relief, to fully 3D soft sculptures, my students exceeded my expectations once they figured out how to properly stab that wool. There is magic in soft things. Soft things call all of us back to a time and space where we had time for softness and slowness. I was shocked at how intensely invested my high schoolers became once they got a feel for the wool, and how much catharsis they felt while stabbing their sculptures together. I wish I could share with you the joy on the faces of my students as they laughed and giggled their way through the projects I’m sharing with you. I’ve attached two humble project proposals that I have undertaken with my own students, as well as young artists from neighbouring schools. Just a couple of notes about both: these proposals were designed intentionally in partial fulfillment of my Master’s degree at the University of Victoria. They are primarily focused on Stephanie Springgay’s concept of feltness, which is a radical pedagogy that seeks to disrupt traditionally rigid structures within classrooms and allow for greater freedom through exploration, relationality, community building, and genuine care. I have found this concept to be a naturally fitting label for my own praxis, which is why it resonates with me so. If you are interested, Springgay’s book Feltness: Research-Creation, Socially Engaged Art, and Affective Pedagogies is a fantastic, albeit dense, read. One of my proposals focuses on cross-grade collaboration using felting for older students to build relationality and community, and the second focuses on using felting to explore personal identities and how the different spaces our students inhabit can or may alter them. If the scholarly stuff is too boring, please sweep it aside and disregard it. As we move into this new school year, I can already feel a strange tension in the air. Remember the soft things, my artsy friends. If we can all build community together, the kids (and us) will be alright. I hold fast to the idea that if one of us visual arts teachers finds success, we will all find success if we share with those around us. If you ever need anything, I’m here to help! I’ve got a couple of huge file folders that have been shared with me over the years, filled with all sorts of lesson plans, project ideas, templates, etc. Don’t hesitate to reach out at andrew.swainson@fineartsata.ca. I would love to make more connections with all of you from across the province. Breathe deeply, make art. Andrew My project proposals can be found in a shared Google Drive folder here: https://bit.ly/4rhmUnF The files are in a Google format, but anybody can download a copy of the files and convert them to a useful format. These project ideas are available to any art teacher in Alberta for use in their classrooms; please just include my name (for other uses, please email me).

The 2026 Annual General Meeting (AGM) of the Fine Arts Council is fast approaching! We invite all members to join us on Saturday, October 17 at 12:15pm during the lunch period of the Fine Arts Council Conference, taking place October 16-17, 2026 at St. John Centre for Arts and Culture, 15 – 12 Street NW, Calgary, AB T2N 1Y4. Arts Elevated 2026 Home Page | ATA Fine Arts Council The AGM is an important opportunity to reflect on our accomplishments, hear updates on Council activities, and help shape the future direction of our council. This year, four Executive positions will be up for election: Secretary Art Representative Dance Representative Generalist Representative We encourage members who are interested in contributing to the Council’s ongoing success to consider putting their names forward. Please find attached the nomination form. Mark your calendars and plan to attend! We look forward to connecting with members from across the fine arts community during this exciting two-day conference.

Your Executive has scoured their bookshelves and reading wish lists to share our top recommendations with you over the summer for both professional and personal reading! Aimee Alger's Recommendation (Drama Rep) The Director's Craft: A Handbook for the Theatre" by Katie Mitchell As we head into our final month of school before summer, I’ve got a lot of things to plan for during my break: a DnD camp, theatre camp, casting and starting rehearsals for our community theatre fall production, and my winter school play, which we’ll start right in the first week back to school! With all of this in mind, and as I take on more responsibility as a director, I want to focus on learning and bettering myself. Along with some light reading just for fun, I also have on my TBR list “The Director’s Craft: A Handbook for the Theatre” by Katie Mitchell. Having started directing school shows as a teenager, I’ve learned so much through in-person direction that I don’t often stop to think internally about my practice, and I want to take more time on that this summer. I’m hoping this book will reaffirm some of the things I have been doing for many years, while also giving me new insights and ideas to consider as I continue to add more theatre into my life. If you have any summer theatre reads you’re planning to get to this summer, send them my way! This school year has been a tough one for all of us, so I hope you get some well-deserved rest and recuperation this summer and take some time off for yourself. See you all in September! -Aimee Anna Trip's Recommendation (Journal Editor) The Art Book for Children by Ferren Gipson, Amanda Renshaw, and Gilda Williams Purchase Link: phaidon.com or https://a.co/d/01MHnK26 The Art Book for Children is an engaging and visually rich introduction to artists, artworks, and artistic styles from around the world. Featuring 60 artists across a wide range of mediums, time periods, and cultures, this book encourages readers to look closely, ask questions, and think creatively about visual art. I would recommend this book as an excellent resource for sparking classroom discussions, introducing artists in an accessible way, and inspiring creative inquiry in students. The large, colourful reproductions and conversational writing style make complex artistic ideas approachable for kids while still offering depth and inspiration for educators. Amanda Noullett's Recommendations (Generalist Rep) BIG MAGIC by Elizabeth Gilbert This came out several years ago, 2016 to be exact, gosh how did a decade pass already since I read this. Regardless of the date, I think this is a really thought provoking book on the creative process...and that magical element of creativity. https://www.indigo.ca/en-ca/big-magic-creative-living-beyond-fear/9781594634727.html Kodaly Today Handbook Series by Micheal Houlahan, Philip Tacka I just discovered this series recently, although I love Orff, I found I leaned more towards Kodaly in my music teaching over the last few years. Each book is for a specific grade level, starting as early as Kindergarten and goes all the way to Grade 5. https://www.indigo.ca/en-ca/kodaly-today-handbook-series Author: Susin Nielsen Literally any book by this Canadian author I would recommend for personal enjoyment. Susin writes predominantly YA literature, I just discovered her recently, she creates super quirky characters, relatable storylines and they are a nice quick read over a weekend. Snap (2025) Tremendous Things (2021) No Fixed Address (2018) Optimists Die First (2017) We Are All Made of Molecules (2015) The Reluctant Journal of Henry K. Larsen (2012) Dear George Clooney: Please Marry My Mom (2010) Word Nerd (2008) Victoria Reid's Recommendations (Dance Rep) The Mindful Dance Teacher: Psychology-Based Tools for Inspiring Dancers by Liva Ornicane I recently came across this book while researching dance education resources, and the title stopped me in my tracks, especially the phrase “inspiring dancers.” So many of my students are deeply self‑critical and self‑conscious, especially during the already‑challenging teen years. Even though dancers can project confidence onstage, many struggle to feel that confidence internally. I’m always looking for ways to support them more mindfully and help them build a genuine, grounded sense of self. What immediately drew me into this book is that, within the first few pages, it offers practical classroom activities and tools, strategies I had never considered before. These quick, accessible ideas help nurture growth mindset, mindfulness, and authentic confidence in students. I’m excited to dive deeper into this one, not only because it’s full of things I can start using in class right away, but also because it reads like a thoughtful, reflective piece of writing, perfect for a relaxing summer read. The author also offers a free downloadable resource, The Attuned Class: 7 Mindful Starters for Intentional Teaching. If you’re looking for simple, powerful ways to begin your classes with more intention, I highly recommend checking it out. Download this resource here. Buy the Book here

We had an absolutely fabulous session this month with Julio Fuentes as part of our online series. Fresh off his choreography work on The Wizard of Oz at the Citadel Theatre in Edmonton and heading straight into Footloose at the Mayfield, we were thrilled to catch him from his home in Toronto for an in‑between‑shows choreography chat. This recorded session is a rich resource for musical theatre, dance, and drama educators, both an affirmation of the work we do as teachers, choreographers and directors, and a spark for new insights, reminders and “ah‑ha” moments that reconnect us to our why. Personally, it gave me a fresh perspective on the choreography work I’m doing with students on Frozen: The Musical. I had the pleasure of moderating this conversation with Julio, and listening back, I found myself just as fascinated the second time. Julio shared generous insights into his process, his choreographic practice, and his passion for ensemble work. It was truly inspiring. A Few Standout Quotes from Julio “That’s the wonderful thing about dance: the only way to acquire it is to show up. You can’t YouTube or TikTok your way through it. You have to be in the space, let your body experience it, let your body go through it—and that’s the beautiful thing about it.” “Dance is optional to a lot of theatres. For me, it’s non‑negotiable. If you’re going to do musical theatre, you have to dance. You can be a capital‑D dancer or a lowercase‑d dancer, but you can’t remove dance from the genre. It’s structural, not ornamental.” “Love the process. Even if it’s a love/hate relationship. Love the process, because that’s where you find all the good stuff. That’s where you find the things that hold and also the things that don’t.” “As a creative, I am very interested in what young audiences think about musical theatre. A lot of them love it, but many still think it’s corny or cheesy. I really think it’s because the choreography is dated and not exciting to them. We eat with our eyes first. Even if the material is older, you can still stage it and choreograph it in a way that feels relevant and feels exciting.” “That’s one thing that I always tell my ensemble: every single one of you matters. Each one is a killer, not a filler. You all play a part.” “I believe in yes, being in a safe environment, but also really putting in the work with joyous rigor. Joy and intensity can coexist.” “The ensemble is literally the life of the world. Imagine it being just the set and the lead actor—there’s no life. No matter how impressive the set, lighting, or technology is, the ensemble is the life of the show.” Watch or Listen to Julio’s Session Video Link Podcast Link (Audio Only) Lesson Connections: Bringing Julio’s Ensemble Warmups into Your Classroom Julio emphasized the importance of lowering pressure, so students and ensemble members feel encouraged to offer ideas and affirm that their presence matters. He shared several warm‑ups that help set this tone right from the start of rehearsal. Here are some of the games and exercises he shared: Number Call‑Out Students walk freely around the room. Call out a number; students must quickly form groups of that size. They create a connected shape or structure, building comfort and collaboration. Tableaux Call‑Out Students walk around the room. Call out an object/shape (e.g., “airplane”). Students form that object in small groups or as a whole class, encouraging communication and creative problem‑solving. Ball Games Toss a ball; every time it’s caught, the whole group claps. Add variations such as squatting when catching to build coordination and focus. Additional Warm‑Up Ideas Here are more ways to energize your theatre, musical theatre, or dance classes beyond traditional physical warmups, activities that build ensemble, connection, creativity, and readiness for choreography and movement. The Invisible Prop Challenge Call out an object (umbrella, suitcase, giant sandwich). Students mime using it in a way that reveals character. Add layers: “Now the prop is heavy… now it’s magical… now it’s broken.” Great for warm‑ups before choreography that requires acting‑through‑movement. Follow-the-Energy A non‑verbal leadership and ensemble exercise. One student begins a simple movement pattern. Without speaking, the group follows. Leadership shifts organically when someone introduces a new movement. Encourages awareness, bravery, and group flow. Musical Phrases in Motion A bridge between dance and musicality. Play a short instrumental track. Students move freely, but must change their movement quality every time the music shifts (tempo, instrumentation, mood). Helps students listen to music rather than just dance on top of it. The “Yes, And” Movement Game Borrowed from improv, adapted for dance. One student begins a movement. The next student adds on with “yes, and…” energy. Continue around the circle until a full phrase is built. Reinforces positivity, risk‑taking, and ensemble trust.

by Anna Trip, FAC Editor Do you have an article you would like to share with Alberta Fine Arts Teachers? The Alberta Teachers’ Association Fine Arts Council is inviting educators, artists, and researchers to express their interest in contributing to the May 2027 issue of the ATA Fine Arts Council Journal. For further details, download PDF document below. Expression of interest deadline: May 15th, 2026 To express interest or ask questions, please contact Anna Trip at anna.trip@fineartsata.ca.

by Aimee Alger, Drama Representative Theatre camps are fantastic way for students to continue to grow their theatrical skills and to meet new like-minded peers. Camps registrations are starting now, and spots can fill up quickly, so if you are looking for a few to recommend to your students, I have compiled a current list for this summer! I’ll be taking on the exciting responsibility of running my own drama camp this summer, so wish me luck! Edmonton:    Citadel Theatre:  For children ages 4-17. Ranging from one week to three, camps focus on musical theatre, performance, and technical theatre.  What ever your theatre inclined students are interested in, there’s plenty to choose from.  Grindstone Theatre: Camps and classes for kids and teens in Acting, Drama, Improv, Musical Theatre, Clown, Magic, and Stand-Up Comedy.    Rapidfire Theatre:  Rapid Fire Theatre offers three summer Improv camps for ages 6-9, 9-12,  and 13-18.  There camp culminate with a showcase family and friends can attend.  St. Albert City Camps:  Designed to include singing, dancing, and acting, these half- and full- day Drama and Technical camps for kids ages 3-19 are meant to create a welcoming space for all theatre students.  Visionary Centre for the Performing Arts : VCPA offers a ton of theatre camps for kids ages 3-17 at locations in Edmonton, and St. Albert. They offer fun themed camps in Musical Theatre, Drama, Dance, Acting, Singing, Improv, Rock Band, and Music Production!    Strathcona County:  Camps of various disciplines are offered through Strathcona County including Technical Theatre, Dance, Drama, Story Creation, and more!    Horizon Stage:  Musical Theatre and Circus camps for students ages 8-14. Camps are run through the City of Spruce Grove.          Calgary:      Calgary Young Peoples Theatre:  Summer theatre camps for kids ages 4-18. Half- and full- day camps for the younger kids and one to two-week discipline specific intensives for teens. These intensives include Stage Make-Up, Musical Theatre, Acting, Stage Combat, Improv, Circus and more! Bursaries available and camp locations are across Calgary.    Mount Royal University:  MRU offers camps for students entering grades 1-3. These camps are theme-based and connect the arts with other subjects such as science and design.   Pumphouse Theatre:  Ensemble based camps for ages 7-14. Each camp will focus on developing acting techniques, speech, physical theatre, and play creation. The play will be performed at the end of the week.    Quest Theatre : Camps for ages 6-15 throughout July and August. Each week the instructors guide the students through the process of creating a play, which they perform at the end of the week. Bursaries available.    Storybook Theatre : Camps for youth ages 6-17. Each of the camps at Storybook Theatre focus on a production- this summer students can participate in Finding Nemo Kids/Jr., Legally Blonde Jr. or a camp in which you create and perform your own play! Financial Assistance available and camps occur in various locations in Calgary.     SummerACT @ Calgary Actor’s Studio:  These 1- or 2-week camps (ages 10-18) focus on rehearsing and performing a show in a professional setting. They offer both play and musical theatre productions. Subsidies available.     Theatre Calgary:  Summer Drama Camps for students entering grades 3-12. Camps have various focuses such as Games & Storytelling, Puppetry, and Clowning, in addition to the 2-week Playmaking and Musical Theatre Intensives.      University of Calgary:  Summer Drama camps for students entering grades 3-7. Fun-filled days of Drama activities, games and a performance/workshop with U of C’s Drama Troupe WagonStage. This camp balances indoor and outdoor arts and recreation activities including swimming. Other camps through U of C that might interest Drama students are the Radio, Podcasting & Music Production, Dance, or the Filmmaking camps.       Red Deer:    Artstrek:  A weeklong overnight camp for teens ages 12-18. Participants study a play through classes in acting, movement, voice, devising, design, directing, and dramaturgy. This year, students will be exploring Addams Family the Musical.    Treehouse Youth Theatre:  A fun, inclusive introduction to theatre for kids ages 9-17. Each camp will build a play to perform at the end of the week. Students will be able to take on and learn about various roles including actor, playwright, director, designer, and stage manager.     Other:    New West Theatre Lethbridge:  Weeklong camps throughout the summer for youth ages 6-18. Each camp has a fun theme to get students amped up for an exciting week of acting, singing and dancing. Some of the weekly themes are Disney, Taylor Swift, Broadway, Murder mystery and more! Other camps include puppetry and stage skills.     Keyano Theatre Drama Force, Fort MacMurr ay: Engaging local youth ages 10-17 with an exciting theatrical learning experience and creative performance opportunity. Participants will learn performance skills in a variety of disciplines such as voice, movement, dance, acting and improvisation as well as the dynamics of technical theatre.

By: Andrew Swainson Feltness Whether you are a veteran art educator or you are still fresh faced and have more clothes in your closet free from paint and stains than me, I am certain we have encountered the same group of art-resistant students. You know the ones. Those who are uncurious, unconfident, and too willing to not engage in creative practice regardless of the project. During my Masters’ research I have encountered the notion of feltness, coined by Stephanie Springgay, which champions intimacy, touch, and the inter-connected nature of relationships within the art room. Educators who are aware of these ideas encourage a community of care, reciprocity, and create a sense of accountability within all participants in the art room. Feltness helps young artists allow themselves to be changed by the qualities internal to the project, the materials, and other students in their creative communities. What I have found is that tactile arts such as sculpting are pivotal for increased engagement and presence (Springgay, 2022). While working through needle felting projects I have witnessed students felting in different moods – anger, melancholy, apathy – and the emotion seems to weave itself into the felting and is left behind, which demonstrates a calmness after experiencing stress or anxiety. Springgay describes felting as a “material and embodied experience of being in the world” (2022, pp.8). I feel that many of my art-resistant students lack a thread of anything that connects them to the world. They seem to simply float through. Connecting Feltness to FOOD Engagement increases whenever food is brought into the equation. Engagement increases when I bring a sculpture project into rotation. Therefore, it made sense to combine both when faced with a particular group of art-resistant grade 9 art students. To up the hype, I tasked students with creating GIANT food sculptures of food items that have personal significance to them. Groups? Junk food? Sure, why not? (more fuel for rigorous side-discussions about healthy food, targeted advertising towards (pre)teenagers, culture, tradition, etc.)    Hype brought. They ate it up.     One of the guiding artists for this assignment is Claus Oldenberg , whose whimsical giant sculptures are awe-inspiring to see. The other source of inspiration is Alberta’s affinity for giant sculptures. Northeastern Alberta has a Route of the Giants , which is only one leg of the road-trip to see all of Alberta’s giant artworks . Having students create giant sculptures allows them to sit with themselves and evaluate their relationship to identity, objects, and place.      Post completion of the sculptures, we showcased them in the public library and in the central atrium at J.A. Williams. They were the talk of the school for many weeks, and had the desired effect of fostering community and bringing awareness to each artist’s relationality within the school. From the impressive Gummy Bear to the humble baked potato, each sculpture played an important role in engaging art-loving, art-curious, and art-resistant alike in the process. Lesson Resources References: https://roadtripalberta.com/alberta-roadside-attractions/    Stephanie Springgay. (2022). Introduction: Feltness. In Feltness (p. 1). Duke University Press. https://doi.org/10.2307/j.ctv2zrpdbk.5   https://tourismealberta.ca/en/itinerary/la-route-des-geants/   https://www.wikiart.org/en/claes-oldenburg