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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

by Amanda Noullett On the 3rd Thursday of May, many Ukrainian people and those of Ukrainian descent wear the traditional embroidered shirt (Vyshyvanka) to celebrate the unique culture and heritage of the Ukrainian people. As the top 10 ethnic origins of Canada (StatsCan 2021) you can understand why many people feel a very deep connection to the continued War in Ukraine, now into its fourth year. Vyshyvanka Day can be used to celebrate the unique culture and autonomy of the country of Ukraine. Several years ago, I had the wonderful opportunity to help a local Ukrainian dance group organize costumes for its dancers. I learned so much about the different regions of Ukraine, and how each corresponded to different traditional styles of dress and embroidery. Here are a few regions: Poltava: This is probably the most recognizable in Alberta, usually characterized by great big red roses on the sleeves and along the front, sometimes coupled with a blue velvet vests, bright red leather boots and a crown of flowers. The men jump high in the air with voluminous red satin pants...reminiscent of MC Hammer. Volyn: this was a new a new style to me when I started, you will often see a band of embroidery along the sleeves. One of my best friend's family immigrated directly from this region of Ukraine in the late 1800s. Tragically, when they got to the ship, before leaving the continent of Europe, it was discovered their daughter had an eye condition and was not allowed to travel with them. She was left behind with a relative. Happily, last summer the descendants of this daughter came to visit the rest of the family here in Canada. Bukovyna: I love the embroidery from this region it is often very black, and characterized by geometric designs and parallel lines. Dancers hold their arms up high by their shoulders...I imagine to show off their sleeves! Hutsul: This embroidery is characterized by browns, oranges, greens, and yellows. The stitches are created on one side of the fabric, using a running stitch. This mountainous region costume has woolen vests and warm woolen socks. Transcarpathian: These shirts are so beautiful, very colourful flowers of red, purple, green, blue, yellow. Dancers full circle skirts are edged with bright rows of ribbons. Many of those Ukrainians who immigrated in the late 1800s settled into large farming areas over the prairies. You will find in many small prairie towns today, old "onion domed” churches and Ukrainian dance groups. At many events they serve generous helpings of Perogies in Creamy Dill Sauce, big chunks of Kielbasa sausage and hand wrapped Cabbage Rolls in Tomato Sauce. Another interesting connection is the “kookum scarf” a bright floral scarf that is popular in Indigenous culture, sometimes called Papooska...a Cree word derived from Babushka the Ukrainian word for grandmother, who wearing these scarfs, came to Canada and traded with the indigenous people of this land. Like many immigrants today, everyone comes to Canada seeking a better life for themselves and their family. Overtime, our cultures blend together to create our own culture, Canadian. As the Ukraine War continues we can show support and celebrate the Ukrainian culture in Canada on May 21st. Lesson Idea: Wear a Ukrainian inspired embroidered shirt or floral scarf. Literature: Read “ Kohkum’s Babushka ” by Marion Mutala This book was adapted into a stage play and performed last fall at the Banff Centre of the Arts, it is said to be opening this year at Punctuate Theatre in Edmonton. Music & Dance: Heel Toe Polka This link shows the Northern Prairie Dancers, doing several advanced variations of the Heel Toe Polka, generally in the classroom I just do the partner heel toe part...and move around in a circle. I like the version on Spotify by Reg Bouette for beginners, ‘cause it gives them an intro. For more advanced, the version on Spotify by Burya, Ron Cahute is super fast and fun. Art: Using wax-resist method create artwork inspired by Ukrainian Pysanka (decorated eggs). Although this craft is rooted in religious traditions, the craft can be introduced from an artist technique point of view. Using cardstock students can draw an oval shape (egg) or any shape and create rows of patterns along the shape in white wax crayon, afterwards using tempera block paint students can wash entire paper in colour. Let dry, cut out shape after. One year I did a traditional Pysanka egg decorating lesson with my high school art class...for some reason we didn’t blow out the egg's insides....I brought one home and one warm sunny day it exploded in my kitchen!

Introducing Handbells & Hand Chimes in the Elementary Music Classroom by Lorna Walker Do you have handbells or chimes sitting in a closet in your school that have never been used? The expense of handbells and the requirement for extra supplies (tables, foam, and gloves) often intimidate teachers who are new to the instrument. However, handbells are incredibly engaging for students; their polished appearance and rich, beautiful timbre quickly draw learners in. After many years of teaching students to ring handbells in extracurricular clubs, I decided to try using the bells in the regular music classroom. Below is a lesson idea that you can use with Division 2 students, as part of your regular music class. No tables or foams required. Note: This lesson assumes teacher knowledge of the following: Proper technique for ringing and damping a handbell. Hope Publishing Handell Ringing is a helpful refresher. Care of the bells Reasons for wearing gloves, Ways to safely ring without gloves (hands off the casting ) Things that will damage a bell - dropping, clinking with other bells when ringing, scratches from zippers, sequins, jewelry, spit and saliva from chewing gum while ringing, hands inside touching the clapper Supplies: Handbells - Most schools have a 2 or 3 octave set. Hand Chimes - optional - if you have them, use them Foams - optional - if you have them, use them. Carpet Squares - many stores will give you these for free, or many kindergarten rooms have these. Gloves - preferred, but optional - black stretchy winter gloves are cheap to order from amazon. Process - Lesson 1 Remove all the white note bells from the cases and place them in a large circle on the floor. If your floor is not carpeted, then use the carpet squares - do not put the bells on an uncarpeted surface. I like to place the bells in order so that students can see the relative sizes. Then have the class make a large circle around the bells - no touching anything. Teacher Demonstration: Start by ringing the largest bell in the set and asking students to describe the sound - timbre. Then repeat with the smallest bell in the set and ask students to describe the difference in sound - pitch. Ask students to look at the arrangement of bells in the room and tell you what they notice about the set of bells. Go over Non-Negotiables or Rules of Care when ringing handbells. These rules need to be reviewed every time students play bells. Consequences for not following the rules need to be in place. Damaged bells are not OK. Demonstrate how to hold a bell. Start with one bell per student. Students Challenges: Reach down and pick up a bell and not let it make any sound. Move your arm/bell in a circular movement - but NOT let the bell ring? Discuss how to get the bell to ring - have students look at the inside clapper and realize they have to tip it forward. Whose bell rings the longest? Discourage repeated ringing of the bell - encourage one ring and a circle to follow. Ring then damp the bell on count of 4. While in the circle try any of the following: Ring one at a time - the diatonic scale. Play “Ring Around the World” - pass the sound to one ringer across the circle - then they ring and pass the sound along. “Play When I Point to You” - teacher stands in the middle of the circle and conducts randomly. Sometimes you get interesting combinations of sounds - encourage appreciation of the created combinations. Note: The circle formation allows you, as the teacher, to quickly assess and help any students that are not understanding the holding or ringing process. It also allows students to see and hear each other. Use student exemplars to encourage great technique. During the above activities, consider moving students around the circle - leave the bells on the floor - students rotate - so that they get to experience ringing different sized bells. Reinforce Rules of Care! Follow-Up Lesson Idea: Create an Original Melody: Put students into small groups and challenge them to create an original melody to be shared with the class. If you have foams, then put them on the floor around the room, spaced so that groups of students can sit around them. Compositions will sound pleasing if you arrange groups of 5 and have each group use a pentatonic scale. This will depend on the number of students and the number of bells you have. Things for students to consider: Which order should the bells ring in? Should some bells ring at the same time? Can you repeat your melody three times and then end it? Do you need a conductor? These ideas are only the beginning of what can be an amazing musical learning experience for students. Handbells and chimes are perfect instruments to teach or reinforce many musical concepts such as Duration of note values (Ringing whole, half, quarter, notes) Following a musical score Playing as an ensemble Chords and Chordal accompaniments Resources: Beginning Busy Ringers by Kirtsy Mitchell Exploring Handbells by Betty Radford Ring, Dance, Play by Griff Gall and Paul Weller Handbells Etc offers handbell supplies, music, repairs and workshops The Alberta Guild of English Handbell Ringers , offers a yearly PD session called Handbell Discovery.

This month, your Executive has curated a list of podcasts we think you will enjoy. We hope they provide you with some inspirational listening on your drive to work, on a walk, or over your upcoming Spring Break. Enjoy! Forged Recommendation by Lorna Walker, Treasurer  Known as the “Picasso of the North,” Norval Morrisseau is one of the most celebrated Indigenous artists in the world. But when a rock star gets a tip about the authenticity of his Morrisseau painting, he uncovers a sinister underworld involving thousands of forged paintings, millions of dollars in profits, multiple fraud rings, and even a suspected murder. The paintings of celebrated Canadian Indigenous artist, Norval Morriseau, are the source of inspiration for many elementary art projects. This podcast outlines the discovery of a large art crime fraud ring surrounding Morriseau’s paintings. In this six-part series, from CBC in Canada and ABC Australia, host Adrian Stimson questions what this story tells us about how Indigenous art, and lives, matter - important questions for all who teach the arts in today’s classrooms. Link to Forged on CBC Podcast , Apple Music , and Spotify . Why Dance Matters — The Royal Academy of Dance Podcast Recommended by Victoria Reid, Dance Rep Why Dance Matters is a beautiful, calm, and easy listening podcast built around thoughtful conversations with extraordinary artists from across the dance world and beyond. As a worldwide organization, the Royal Academy of Dance brings a global perspective that reflects the full breadth and diversity of the dance community. The podcast features artists from a wide range of backgrounds including Kathak, Bollywood, musical theatre choreography, modern dance, and inclusive theatre practices, creating a rich and inspiring mix of voices. The conversations often explore the power of dance to drive social change, the importance of perseverance, the evolution of dance careers, and the ways dance intersects with other fields such as science. One especially timely episode is: Misty Copeland: an extraordinary journey in ballet following her surprising appearance at the Oscars 2026 after stepping away from the stage for retirement and injury recovery. It offers a thoughtful look at her journey, her advocacy, and the impact she continues to have on the art form. “Why Dance Matters – The Royal Academy of Dance Podcast” is available on Acast , Apple Podcasts , and Spotify , with episodes also listed on the Royal Academy of Dance website. Make Artists Recommendation by Andrew Swainson, Art Rep From author and Art Educator Ian Sands. I have Sands' book and currently am working to apply even more choice-based and TAB practices in my room. Season 1, Episode 2: "Think Different" is a great place to start. Make Artists (Ian Sands)  is available on Apple Podcasts and Spotify . Ramblings of a Middle School Art Teacher Recommendation by Andrew Swainson, Art Rep From Art Educator Kelly Beach. I appreciate the short and bite-sized ramblings of Kelly Beach. An excellent mini-series that is largely applicable to the Middle Years, perfect for playing on the go or during travel to conventions or PD days. "The Language of Art" and " Collaborative Journaling " are very applicable given the current teaching climate of Alberta these days. Ramblings of a Middle School Art Teacher (Kelly Beach)  is available on Spotify and Apple . IDEA JAMS Recommendation by Andrew Swainson, Art Rep (Technically not a podcast, but a monthly Zoom forum) - from the Canadian Network for Imagination and Creativity open to Educators and Creatives from all fields. I've joined and lurked for a few and they were very enlightening. Sign up and you'll get monthly invites, pick and choose which ones to join in on! IDEA JAMS (CNIC)  is a monthly live Zoom series with registration and session details on the CNIC site here . Music Teacher Coffee Talk Recommendation by Silken Bruder, Music Rep Alas, there are only 3 months left in the year. That means many of us music teachers have already begun or are starting to think about year-end performances, concerts, or other music sharing events. Whether you’re a seasoned music teacher looking for fresh ideas or a newbie looking for any ideas at all, the “Music Teacher Coffee Talk” podcast is a fantastic resource. Episode #198 “Concert Program Organization” includes advice on everything from scheduling and rehearsal considerations to classroom teacher and parent help, to advertising! If you’re interested in more concert ideas, also check out Episode #119 “Planning Programs, Concerts and Informances” . I hope this is helpful, and happy year-end planning! Tiny Desk Concerts Recommendation by Connie Ohlmann, Web Manager While this isn't a podcast, it's worth checking out! Tiny Desk Concerts are a delightful way for you to watch performances by incredible artists in a stripped down, intimate performance. These concerts started in 2008 when Bob Boilen invited folk singer Laura Gibson to perform at his actual desk after a noisy festival made her hard to hear (Source: Wikipedia) Many famous artists have performed Tiny Desk Concerts including Billie Eilish , Taylor Swift , Adele , Tyler the Creator , Mac Miller , Usher , Sarah McLachlan ... the list is endless! One of my favourites is Allison Russell which is linked above. Tiny Desk Concerts are available on NPR and YouTube . CONTENT WARNING: Many of the videos are explicit so please preview before showing these to students.

by Silken Bruder March is almost upon us, and with it, the end of winter seems increasingly plausible. The energy that this revelation can bring with it comes in handy when looking to Irish music selections for March 17 th (St. Paddy’s Day) that will get your students’ feet stomping!  See below for quick lesson plan to introduce upper elementary (or junior high) students to the song “Dúlamán”- a wonderful and upbeat piece all about seaweed. My own grade 5 and 6 students along with my DIV 2 choir students love this piece and have never been so passionate about Irish pronunciation-enjoy!  Grade Level: 5–6 Subject: General Music Duration: 45–60 minutes  I. Learning Objectives   Cultural: Students understand the Irish tradition of seaweed harvesting and how Dúlamán functioned as a working song. Rhythmic: Students perform and maintain a fast 6/8 compound meter. Linguistic: Students sing the refrain with accurate Irish Gaelic pronunciation using phonetic guides.  II. Materials & Resources   Video excerpt:   Hand drums, tambourines, egg shakers  Phonetic lyric sheet  Metronome  III. Lesson Procedure   1. Hook: “The Seaweed Battle” (5 min)   Introduce meaning of Dúlamán and the humorous “battle of the suitors.”  Watch first 90 seconds of the Celtic Woman performance; observe energy, diction, and tempo.  2. “Speed‑Gaelic” Pronunciation (10 min)   Teach the refrain using phonetic scaffolding:  Dool‑uh‑mawn nuh bin‑yeh bwee   Dool‑uh‑mawn Gay‑lohk   Dool‑uh‑mawn nuh far‑ih‑guh Use a metronome to increase tempo from 80 BPM → ~130 BPM.  3. Rhythmic Foundation: 6/8 Meter (15 min)   Pat knees: strong beats on 1 and 4 .  Drums: beats 1 and 4 (“heartbeat”).  Shakers: steady eighth notes (1‑2‑3‑4‑5‑6).  Combine rhythm + chant to feel the Celtic drive.  4. Performance & Movement (15 min)   Stand in a V‑formation; practice the “Irish sway” (step on beats 1 and 4).  Divide into two “Seaweed Clans”:  Clan A sings verse questions  Clan B sings answers  All join on the refrain  Run through with movement, percussion, and diction.  IV. Assessment   Rhythmic Accuracy: Students maintain 6/8 pulse at fast tempo.  Diction: Crisp Gaelic consonants (B, G, L).  Performance Skills: Confident posture, ensemble awareness, energy.

Andrew Swainson, Art Representative The Emotional Survival Kit is a mixed-media art project I came up with in university. I give my senior students the task of creating an assemblage—a collection of found or made objects—to form a handheld, interactive sculpture. Drawing inspiration from "prepper culture" survival tins used for physical survival, this project focuses on emotional regulation and literacy.     We discuss a couple of key assemblage artists before beginning; I often let my students go delving for interesting assemblages and share their findings before centering our discussions around the works of Brian Jungen and Louise Nevelson. Both are inspiring artists with differing approaches to assemblage, but each clearly asserts that identity can be created from discarded scraps and ephemera; individual parts gain meaning when combined.    Supplies Found objects range from small toys, hand made miniature tools, collected ephemera, knick knacks, etc.   Altoid tins (I last purchased from here )  Primer and acrylic paint  Oven-bake polymer clay  Mod Podge  Student Hand-Out (download below) Grade Level I have not done this project with students younger than grade 11, so I have little experience to suggest how well it would go over with younger artists. That said, I would certainly try it with the middle grades, as the Health 6-9 curriculum pairs well with SEL principles. Key Components The project is entirely open-ended however key components of the project include: Core Objective : To visualize inner peace and identify items and actions that help one find calm or perseverance during times of emotional distress.  Physical Requirements : The finished sculpture must fit within a small container with a tightly closing lid (such as an Altoids tin) and must include at least three objects.  Design Focus : Participants are encouraged to focus on "brain healthy habits" rather than addictive ones, choosing miniaturized items that can be interacted with rather than just looked at. The exterior of the container is considered just as important as the interior.  Artistic Inspiration : Whimsy as a way to assert identity.  Reflection : Upon completion, creators must write a short explanation detailing why their chosen objects are beneficial and how they help ground the individual during a crisis.  The ultimate goal is to create a portable "tool kit" of affirmative actions and symbols that allow a person to move on from tough times. My own example from many years ago can be found here.

by Amanda Noullett, Generalist Representative Northern Alberta is full of vibrant, talented artists. Here are a few you might want to explore and share with your students. Amy Keller (Fort McMurray)  This artist is new to me, but I love what I see. The metalwork is particularly mesmerizing. Visit the website for upcoming events .   Grant Berg (Grande Prairie)  Grant Berg has a gallery that promotes as many as 50 different artists from the area along with his own work. Exhibits and events run all year. Visit the website for details.     Suzanne Sandboe (Grande Prairie)  My best friend introduced me to the work of this wonderful artist, who is a close family friend of theirs. Her art can be found at Grant Berg’s Gallery and is also showcased at the Fairmont Jasper Park Lodge and the Fairmont Banff Springs Hotel. Check her website and the gallery website for events.   Alex Janvier (formerly of Cold Lake)  Alex Janvier passed away two years ago, but his contribution to the art community remains significant. His work continues to inspire teachers and students across the province. Final Thoughts This is only a small snapshot. If you are not sure what is happening in arts and culture in your area, start by contacting your local library or art center. Rural agricultural societies sometimes offer arts and craft initiatives as well. Filling your creative bucket can help you stay energized for your students. Do you have an amazing artist in your Northern Alberta community? Email me , I’d love to learn about them.

by Victoria Reid, Dance Representative Lesson Overview  Inspired by the viral dance duo Cost n’ Mayor (@cost_n_mayor) and their off‑Broadway theatrical dance show 11 to Midnight , which features dynamic dance numbers using items like red solo cups, flashlights, brooms, phones and Post‑it notes. Watch their show trailer here .  This lesson invites students to explore choreography using one of the simplest and most versatile props: Post‑it notes. Sticky notes become a catalyst for improvisation, composition, and creative storytelling. They offer endless opportunities for play, structure, and narrative, making them ideal for both short improvisation tasks and extended composition projects. This activity encourages dancers to experiment with an everyday object, discover new movement possibilities, and build choreography rooted in prop interaction.  Materials  As many different kinds of sticky notes as you can find:  Standard sticky notes  Large sticky notes  Accordion‑style/consecutive sticky notes (see photo below)  Sharpie markers for writing on notes  Solo Improvisation and Exploration (~5–7 minutes) Lay out all the different kinds of sticky notes across the room on the floor in various arrangements. Have students spread out and begin exploring the sticky notes through different ways of moving and interacting with them. Encourage students to exhaust all the possibilities. Offer short timed prompts (1 minute each) such as: Explore ways sticky notes can travel across the body How sticky notes move through space Create pathways on the floor or walls How they attach, fall, flutter, or trail Experiment with sticking, peeling, tossing, or layering Use accordion‑style notes to create cascading or falling effects Optional: play different kinds of music while students improvise and explore the prop Group Exploration Divide students into small groups and provide each group with a generous stack of sticky notes. Give dancers time to freely explore the prop together. Manipulate the notes individually or collectively Explore ways sticky notes can travel across bodies How can you pass, share the notes in different ways Give students time to discuss how this prop has inspired ideas for theme, music, style, movement, story, and character. Have students share these ideas and write them down in their dance notebooks. Choreography Task Groups develop a short composition (~30 seconds) inspired by their sticky‑note discoveries. Their piece may explore: Themes: School or student life Business or office environments Organization vs. chaos Messages, communication, or memory Transformation or accumulation Possible Uses of the Sticky Notes Written messages incorporated into the piece Notes stuck to dancers, props, or surfaces Notes used as a trail, pathway, or map Notes falling or peeling off as part of the choreography Notes used rhythmically or percussively Notes as costume elements or extensions of the body Encourage students to consider how the prop can influence: Storytelling Character Spatial design Musicality Movement quality This can also be extended into a long‑form choreography task, where students create a complete piece. This lesson can be adapted for any grade level and for other fine arts disciplines as well. Please feel free to reach out if you have any questions, want to connect, or if you use a version of this lesson in your class - I would love to hear how it went! Keep shining, Victoria   victoria.reid@fineartsata.ca

Submitted by Aimee Alger, Drama Rep Improv theatre can be daunting if you’ve never tried it, but once you get going, it can be the most fun you and your students can have in a drama class!  Here are a few games that you can space out over a couple classes that gradually introduce your students to improvisational theatre.   I did not come up with these games, so please feel free to tweak and alter to suit your group! There’s nothing better you can do while teaching improv, than being able and willing to improvise yourself when something isn’t working.  Here are 4 games for you to try! Pass the Yes Yes and Object Fruit Bowl Three-Headed Expert Pass the Yes   Level Beginner  Purpose Make eye contact Support the speaker Move the action quickly Accept offers  How to Play The first rule of improv is to say yes.  This is a quick, easy game to get students used to saying a literal "yes" out loud, making eye contact, and being ready to play.    Explain to the class that all they have to do is look at the speaker and be ready to say “yes” if the speaker looks at them.  I let them know there should not be dead air with the person with the Yes trying to find someone to look at.  I tell the students to follow the “yes” with their eyes, so the person who gets it should have the entire class looking at them.  This is how an audience should behave during a performance; looking to wherever the action is.  I start with the yes, and the person I make eye contact with will say yes, and everyone will turn to look at them.  The game can end once everyone has had a turn, or you can add in your own challenges (say yes in a different language, with a different emotion, non verbally, etc.)    Yes & Object   Level Beginner  Purpose Accept what has been established Add something new Keep the scene progressing   How to Play Have everyone sit in a circle and imagine an object in the center. Ask who sees it and collect simple object ideas (e.g., a cake, a truck). No details like color, size, or location. Choose one object. Go around the circle. Each person adds something by starting with “Yes, and…”. Students must keep the object consistent (a cake can’t become a dinosaur) but may add details (frosting color, decorations, fillings). No one can overwrite a previous detail, only build on it. Continue until everyone has added something. My students love this one because it allows for a lot of creative freedom! Fruit Bowl   Level Beginner  Purpose Movement Listening Ice breaker How to Play Have everyone move their chairs into a circle. Ask for suggestions of different fruits and pick three or four (depending on class size). Give everyone in the circle a fruit name and then have one student stand so you can remove their chair from play. Let them know they are trying to get a seat. They may call the name of any of the fruit groups, which would cause all the people in that group to get up and switch chairs. They cannot sit back in their own chair. The last person standing calls the next fruit. They may also call “Fruit Bowl,” which means everyone in the circle must get up and move. I let them know they cannot sit in the seats directly beside theirs either, so they must get up and move, not slide over one space. Students can be quite competitive with this one, so be prepared! Three‑Headed Expert   Level Intermediate Purpose Listening Accepting offers Offering during a scene Working together with scene partners How to Play Have students sit as an audience with three chairs facing them in the performance area. I get three volunteers to sit in the chairs and explain we will be asking questions of an expert, but this expert has three heads and can only speak one word from each head. As an audience, we choose  what the expert is here to speak about (it can be anything!), then we begin the game. The students must answer audience questions starting with the person in the first chair saying one word. The next person adds a word, and then the third. This continues until they have answered the question in a sentence that makes sense and answers the question. I teach them the ELA trick of using the question in their answer to have longer sentences. This is a phenomenal game to dive into improvised dialogue because the students are only having to produce one word at a time and have the support of two others.