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ORIGINAL - August 2016 REVISION – Sept 2017, doc version 8
Innovative Technology Enhanced Learning in the Performing Arts
演藝教學創新中心
Discussion Paper on
Establishing an INNOVATION (previously (e)Learning) Strategy and Roadmap for HKAPA
“The Head of Innovation at CBA, Tiziana Bianco, discussed the word "INNOVATE", which originated in the mid 16th century from Latin "innovat" meaning ‘renewed, altered’. She defined INNOVATION as "adding new value". Innovation doesn't have to be complex or expensive. Even a small change is Innovative if it adds new value to the organization”.
OVERVIEW The following document outlines some initial thoughts re key areas of development in establishing an Innovation Strategy and Roadmap at HKAPA. Previously this was referred to as an (e)Learning strategy, then Blended Learning strategy. Both of these terms were abandoned due to their historical baggage as well as feedback received that we needed to consider “(e)Learning within a broader remit of innovation and change that encompassed the whole ecology of the Academy. The following diagram illustrates how the broader ecology of “Innovation” can be considered across the three areas of curriculum, pedagogy and space. (With the outlying circle representing the essential connection needed within such areas as such as infrastructure and planning). The overarching goal being teaching and learning enhancement (as influenced by technology as fir for purpose).
This Innovation Strategy draws on the previously circulated “5P Framework” and captures in more detail how the Hong Kong Academy of Performing Arts Strategic Plan; “A Performing Arts Academy for 21st Century Asia, HKAPA Strategic Plan 2013 – 2023”, (http://www.hkapa.edu/ebook/Strategic-Plan/HTML), alongside the mission, responsibilities and objectives of The iHub (Appendix B) and associated goals of institutional (e)Learning culture change can be achieved. Within the word “(e)Learning” the “(e)” or “electronic” reference is deliberately bracketed in order to highlight that any change related to (e)Learning must also be inclusive of a change and re-thinking of “learning” per se. Our approach is “Learning Led and Technology Enabled”.
The WHY? In the 21st century, understanding and using technology is becoming an integral part of virtually every aspect of daily life and the Academy is committed to preparing students for this digitally literate future. The statement
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“Cultivating 21st century performing artists: an Asian heart, a global view” implies within the notion of a 21st Century education that technology or (e)Learning is an embedded consideration. As such our plan to replace the reference to technology and (e)Learning with “Innovation”. Our move towards the provision of a 21st Century performing arts education acknowledges the nuances and contexts of each of the respective disciplines at the HKAPA and aligns with board strategic directions that promote innovative pedagogy and a 21st century student learning experience as supported by technology. In this regard, the following are identified as our strategic priorities for development.
Strategic Priority 1: Delivering an engaging, personalised and digitally enriched curriculum.
Strategic Priority 2: Supporting our students to become digitally fluent performing arts professionals.
Strategic Priority 3: Aligning our learning spaces, virtual, physical and informal and expanding our flexible learning arrangements.
Strategic Priority 4: Developing HKAPA staff as leaders in the provision of innovative pedagogically supported digital learning experiences.
Strategic Priority 5: Enhancing our innovative educational provision via benchmarking, research and evaluation.
Further clarification and an expanded rationale that situates the impetus regarding the necessity of (e)Learning, an Innovation Strategy and Roadmap is included in Appendix A and provides for the reader a global, local and contextually relevant influences regarding Performing Arts and Performing Arts Education.
The WHAT? At a grass-roots level the goals of (e)Learning cultural change as aligned to an Innovation Strategy and Roadmap lie across three areas;
CHANGE in CONCEPTION; or a move for staff and students from a Naive understanding of how technology (and associated innovative pedagogy) can support and enhance learning and teaching to a more advanced one. CHANGE in SKILL: being a progression from novice skills in the use of technology and innovative pedagogy to a more advanced skillset. CHANGE in REPUTATION; to expand on the Academy’s already excellent reputation in the area of performing arts education to include innovation in performing arts education.
These are captured visually below;
CHANGE in CONCEPTION
Novice conception of how technology can be used to enhance pedagogy as fit for purpose
Sophisticated conception of how technology can be used to enhance pedagogy as fit for purpose
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CHANGE in SKILL
Novice Skills in using Technology to enhance Pedagogy and Performance
Advanced Skills in using Technology to enhance Pedagogy and Performance
CHANGE in REPUTATION
Excellent Reputation in Performing Arts Education
Excellent Reputation in Innovation in Performing Arts Education
The (e)LEARNING ECOSYSTEM @ HKAPA The creation of an Innovation Strategy and Roadmap for the Academy must acknowledge the learning ecosystem across the technological domain and pedagogy / curricular influences and broader alignments with policy, practice and people. The diagram below represents a holistic representation of the various technical areas that impact on, or are part of the (e)Learning ecology at HKAPA.
The diagram over-page situates the learning ecosystem across pedagogy / curricular influences. These also form essential components of the Strategy and Roadmap as all are inter-related, with changes to any one of these areas influencing change across the ecosystem.
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The LEARNING ECOSYSTEM @ HKAPA
Clarify Crystallise Categorise
WHITE SPACE
Scheduling PERFORMANCE / PRODUCTION
/ PRACTICE
iHUB
Learning
HUB
GEC
Staff: Part-time / Full-
Time Support
AB
– L
SC
- A
PD
C
CR Graduate Attributes
CR
LMS VIDEO MOOC
(e)Learning Culture Learning Analytics
Benchmarking
Assessment
Inte
rnat
ion
al S
ym
po
siu
m
ePM
Knowledge Base
iHUB
Knowledge Base
Stag
es /
Lay
ers
/ P
has
es
CORE Curriculum
Electives Knowledge Base (Problem Based)
iPAT
Technology Industry / Internship CR / PAR International-isation Inter-disciplinary
Career and Graduate Placement
Academic Advising
CR Experts aligned with
iPAT experts LHub
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Context is King Key Contextual factors that have emerged from discussion during the first year of the iHUB’s formation and represent some initial perceptions and views that should be considered in parallel to the Learning ecosystem and as related to a possible Strategy and Roadmap;
- Strong grounding and excellent reputation in performing arts - IT infrastructure is a work in progress - Very limited space (?? Use of space) / Learning Spaces need to support pedagogy - Time / Timetabling / Curricular time / work allocation time .. as integral in a move
towards innovation - Staff and Senior management generally supportive of (e)Learning - Blended Learning as a possible better approach / term than (e)Learning - Pedagogy involves a greater mix of 1-1 than small group / lecture - Conceptions and Mis-conceptions of (e)Learning need to be unpacked - Bi and Tri-lingualism as a key factor in communication - A move towards practitioner scholar – the thinking performing artist - Acknowledgement and respect for the traditions of the respective disciplines - The Academy has recently undergone significant restructure and some bedding
down of the processes and identities of new areas is still occurring - New senior management profile and a need to ensure consultation and education
around (e)Learning - Staff profile representative of a diverse skill set, some early adopters
~370 sessional staff profile / ~100 full-time.. Need to consider the role of support staff in the use of technology
- Many staff comment on the need to look at admin systems and use of technology to assist
- Student profile as bi-lingual, time savvy but time poor, strong diverse academic experience, strong mainland presence, technology savvy but not necessarily for academic purposes
- New and evolving KPA’s - New ADD’s and Departments
OBJECTIVES of the INNOVASTION STRATEGY
Five overarching objectives of an Innovation Strategy have been identified as a starting point for wider consultation at the Academy;
1. Significant change in the innovation culture, conceptions and practices among stakeholders at all levels in HKAPA
2. Benchmarking and leveraging partnerships across respective disciplines at the HKAPA
3. Development and deployment of institutional learning technologies/tools supported by professional development and change management AND small scale pilots with a CoP approach
4. Vigorous and objective pursuit of evaluation and research into innovation 5. Alignment of teaching and learning support and structures with institutional
goals and strategic planning
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The 5P FRAMEWORK as related to the STRATEGY and ROADMAP
The 5P Framework proposed is essentially a multifaceted approach to achieving the objectives and situates across a 5 year plan specific deliverables and approaches to achieving cultural change. The 5 Ps in the framework and set of deliverables are described below and once the approach and key considerations and themes of the Strategy and Roadmap are endorsed will be mapped also to this more strategic framework;
5P Framework OVERVIEW DELIVERABLES
Projects – Establish strategically aligned and 1-1 support structures for staff in implementing (e)Learning through the provision of educational design, technical and multimedia design / video assistance.
INSTITUTIONAL
Learning Management System Review and Implementation
iHUB / Learning and Teaching Portal (Including Pedagogical Tool Kit / Case Study / video showcase)
Student Portal / Personal Learning Environment
Mobile Learning App
Learning Space Audit (analysis of Academy formal and informal teaching and learning spaces
ePM DISCIPLINE BASED
Identification of Early Adopters and respective small scale projects within OR across discipline areas - iPAT
Supporting staff re Building on earlier successes – e.g.: Moodle Trial
Video Conference Partnerships
Review development of HKAPA Innovation fund to support staff initiatives and Linked to iPAT
People – Development of strategic partnerships (internal and external); evolving communities of practice; and contextually aligned professional development.
Identification of Partnerships (Local and International)
Establish (e)Learning Advocates Community of Practice
Benchmarking (Study Tour)
Invited Consultancies specific to discipline areas
Establish Professional Development program at the Academy (Workshops, 1-1 sessions, Peer mentoring and long term goal of certificate bearing)
Practices – Establish (e)Learning QA, Governance and Business process (grounded in local and international best practice) to be inclusive of projects, policy and people; and ongoing development of (e)Learning applicable to a performing arts context and based on evidence and research.
Establish base-line of practice and conceptions around the use of technology in support of performing arts education through a NEEDS ANALYSIS SURVEY
Identification and development of appropriate evaluation methods,
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including technical infrastructure needed re DATA Analysis
Identification of areas of research
Policy – Development and implementation of an HKAPA (e)Learning Strategy and Roadmap aligned with other major policy documents and processes, and through wide consultation with stakeholders
Develop HKAPA Blended Learning Strategy (Exploring a minimum online presence)
Alignment and Streamlining of Admin Processes
Promotion – Proactive marketing and dissemination of (e)Learning; and showcasing of best practice, communication strategy and pedagogical sharing opportunities
Communication strategy (including iHub online presence and eNews)
Annual Award for Innovation in Blended Learning
Symposium every 2 years
FOOD for THOUGHT
Below are some prompting questions raised with the (e)Learning Advocates Community of practice to assist in considering key areas and considerations and themes for an INNOVATION Strategy and Roadmap for the Academy
How do we define successful (e)Learning
Who are our students? (IT skills, support needed, previous experience / behaviours and expectation of (e)Learning from Performing Arts Students
Who are HKAPA staff? And what do they understand of “Innovation”?
What role is expected of the iHUB?
What systems need to be in place for HKAPA to achieve our goals?
What is the culture within which we operate?
How do we support NEW staff in the adoption of Innovative Pedagogies?
How do we move more experienced staff from preconceptions about
(e)Learning and Innovative poedagogy to accurate understandings of what is possible?
How to we engender an innovation culture within a specific understanding of
the unique branding and needs specific to different School contexts?
What systems do we need to develop holistic and strategic support mechanisms across all areas of the Academy currently offering (e)Learning support (i.e.: ITSU, LIB, iHUB)
+ YOUR THOUGHTS?
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The INNOVATION ((e)Learning) ROADMAP (DRAFT)
The following outlines key considerations for the Academy Innovation Strategy. Acknowledged is that most of the framework and themes still strongly related to (e)Learning and these are expected to evolve through wider discussion. They are still presented in this way to start form a more comfortable frame of reference prior to the next 6 months of consultation. The considerations relate to;
Theme Sub-Theme
Leadership and Planning,
Vision Strategy and Roadmap Integration Minimum Online Presence
ICT in the Curriculum and Pedagogy,
Teacher Understanding Planning Teacher Use Student Experience Pedagogy Evaluation and QA
Professional Development,
Teacher Awareness & Participation Planning Focus Teacher Confidence Informal Learning
(e)Learning Culture
Access Evidence of Use Website/ Online Presence Projects Organisation & Communication Appraisal & Appointment
Infrastructure.
Planning for Acquisition of Resources LAN & Broadband Access Technical Support Software and Digital Content Formal Learning Spaces Informal Learning Spaces
Each of the above Themes and Sub-Themes are then divided into related areas for progressive developmental action across 4 stages;
STAGE 1 – Initial,
STAGE 2 - e-ENABLED,
STAGE 3 - e-CONFIDENT,
STAGE 4 - e-MATURE
Your THOUGHTS? Any areas missing? To be changed? Mode a higher priority?
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Initial e-Enabled e-Confident e-Mature
Lead
ersh
ip &
Pla
nn
ing
Vision Vision focuses mainly on ICT equipment.
(e)Learning vision is developed by iHUB Team.
(e)Learning vision is fully integrated into the whole Academy vision.
(e)Learning vision is wide-ranging and shared by all stakeholders. It is actively tested through the student learning experience.
Strategy and Roadmap
Basic Strategy and Roadmap is in place.
(e)Learning Strategy and Roadmap has been developed by iHUB. LSC (or similar committee) established to assume leadership and governance processes for (e)Learning planning in the Academy.
Comprehensive (e)Learning Strategy and Roadmap is integral to the whole Academy Strategic plan. The development of the plan is led by Head iHUB with all staff contributing and whole Academy acceptance. There is a designated (e)Learning Advocate from each School.
Teachers implement the (e)Learning Strategy and Roadmap in their daily work. Staff & students are actively engaged in innovative and exemplary practice.
Integration
Focus is mainly on ICT equipment and the acquisition of basic ICT skills.
Focus is mainly on supporting the integration of ICT usage throughout the Academy.
Focus is mainly on supporting more comprehensive integration of ICT and the exploration of new and more effective approaches to ICT integration.
Focus is mainly on supporting and facilitating personalised and self-directed learning.
Minimum Online
Presence
The iHub has consulted on and developed as part of the LMS trial a Minimum Online Presence and Learning Design Template.
The Academy has implemented a Minimum Online Presence and suite of Learning Design Templates following consultation with Schools.
The Academy has developed and ratified a Minimum Online Presence for (e)Learning following consultations with Schools. All stakeholders are familiar with its contents and utilize one of the Learning Design Templates.
The Minimum online presence is expanded on to include more advanced use of (e)Learning as fit for purpose and accommodates innovative use of new technologies, and facilitates the enhancement of Performance and Pedagogy.
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ICT
in t
he
Cu
rric
ulu
m a
nd
Ped
ago
gy
Teacher Understanding
Teachers have a general understanding of how (e)Learning can improve teaching and learning.
A number of teachers understand methodologies to integrate (e)Learning into the curriculum.
Most teachers understand how (e)Learning can be used in the curriculum to improve student learning.
Teachers have determined their own methodologies for integrating ICT into the curriculum.
Planning
There is little planning for ICT integration, with ICT activities focused on students’ acquisition of ICT skills, e.g. word processing.
There is some planning for ICT integration, with the focus mainly on teacher preparation, whole class teaching, group and individual work.
Teachers plan in a structured way for ICT integration in their lessons and classroom activities.
The Academy devotes time to exploring new approaches to using (e)Learning to improve student learning.
Teacher Use
Teachers use computers primarily in isolation from regular classroom learning activity.
Teachers use ICT for lesson planning and as a teaching tool.
Teachers use ICT to provide learning opportunities that support cross-curricular, subject-based and constructivist learning approaches.
Teachers have embedded ICT into their practice to facilitate student directed learning. There is consistent evidence of collaborative, problem-based and authentic (e)Learning activities throughout the Academy.
Student Experience
Students occasionally use ICT as part of the learning process.
Students experience (e)Learning activities regularly.
Students experience (e)Learning activities regularly and use ICT to collaborate on curriculum activities both within the Academy and with external parties where appropriate.
Students are facilitated to use ICT to as a personal learning environment to support and assess their learning, e.g. creating digital content and ePortfolios.
Pedagogy
(e)Learning to enhance pedagogy is utilised in an ad hoc way as driven by staff interest.
The Academy has implemented a Minimum Online Presence and suite of Learning Design Templates following consultation with Schools. (e)Learning use relates mostly to sharing of notes online and communication with students.
Academy staff are using (e)Learning in some ways across; 1. productivity
improvement, 2. communication
and collaboration,
3. content management and distribution
4. creativity. Some pedagogical examples are created.
Academy staff are using (e)Learning for; 1. productivity
improvement, 2. communication
and collaboration,
3. content management and distribution
4. creativity. Exemplary examples are created.
Evaluation and QA
Use of (e)Learning is an optional part of SFQ, QA and Curriculum Reform
Use of (e)Learning as fit for purpose is included as a question in SFQ and part of QA and
Use of (e)Learning is an established part of QA, Curriculum Renewal and SFQ
Use of (e)Learning is an established part of QA, Curriculum Renewal and SFQ.
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processes Curriculum Reform Processes
With benchmarking undertaken both within and across disciplines and via external reference
Pro
fess
ion
al D
evel
op
men
t
Teacher Awareness & Participation
Some teachers have availed of professional development in (e)Learning.
Teachers are aware of and many have participated in professional development programmes.
The majority of staff have availed of individual or whole Academy (e)Learning professional development opportunities.
Teachers meet their professional development needs through active participation in communities of practice, peer-to-peer networks and accredited practice-based research and Professional development programmes.
Planning
Interested individuals identify their own ICT professional development needs.
An individual teacher or the iHUB Team identify the whole staff professional development needs in relation to ICT integration.
The (e)Learning Advocates or the iHUB Team facilitates the identification of overall (e)Learning needs of staff. Programme for Continuing Professional Development (CPD) is established
Teachers engage in ongoing self-evaluation and reflective practice in progressing the Academy’s CPD programme.
Focus
Professional development is focused on acquiring basic ICT skills.
Some staff are participating in professional development, which focuses on the integration of ICT into the curriculum.
The majority of staff have engaged in professional development focused on the integration of ICT into the curriculum.
The iHUB in consultation with the eLA’s identifies and designs whole Academy professional development programmes based on their specific needs.
Teacher Confidence
Teachers have basic skills in (e)Learning but lack the confidence to apply these in the classroom.
There is growing confidence among staff in the integration of (e)Learning in the curriculum.
The majority of staff are confident in the integration of (e)Learning in their daily teaching.
Teachers confidently share their experiences and innovative practice within their own Academy and with other institutions.
Informal Learning
There is little sharing of (e)Learning ideas and good practice among staff.
Sharing of (e)Learning ideas and good practice among staff takes place in an informal manner.
Teachers regularly share new (e)Learning ideas and good practice with each other e.g.: via staff meetings, PD or e-mail.
Academy supports and facilitates peer-to-peer learning in (e)Learning, using a LMS and other formal and informal approaches.
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(e)L
earn
ing
Cu
ltu
re
Access
Teachers and students have limited access to (e)Learning resources.
Teachers and students have regular access to (e)Learning resources.
(e)Learning resources are readily available to staff and all students throughout the Academy.
(e)Learning resources are available to staff, students and the wider Academy community outside of Academy time.
Evidence of Use There is little visible evidence of (e)Learning.
There is visible evidence of use of (e)Learning, e.g. displays of project work.
Evidence of (e)Learning is visible in all areas throughout the Academy.
The Academy disseminates and shares examples of good practice beyond it’s own community.
Website/ Online
Presence
The Academy has or is actively planning an online presence, e.g. a blog or basic website and an information or knowledge strategy
The Academy has an active and up-to-date website and Intranet and guidelines on how information or knowledge is shared.
The Academy or iHUB website contains content developed by teachers and students. All stakeholders understand and use the information or knowledge sharing processes and platform.
The Academy uses an online platform to create a communicative space where the Academy community publishes content and exemplifies good knowledge management and sharing strategies.
Projects
Some teachers engage in Academy based (e)Learning project work. (e.g.: iPAT)
The Academy is involved in many projects that integrate (e)Learning.
The Academy has experience of integrating (e)Learning in interdisciplinary and large-scale project work.
Students and teachers regularly develop small-scale projects for external collaboration, e.g. through the use of the LMS or other use of technologies.
Organisation & Communication
The Academy has a basic level of correspondence and communication.
The Academy has a basic level of correspondence and communication and clear policies on communication and information sharing
The Academy makes regular use of technology to communicate with students, teachers, alumni and industry.
The Academy encourages all staff and students to use technology to communicate and systematic and robust data and records relating to all aspects of learning and teaching
Appraisal & Appointment
Use of (e)Learning is an optional part of staff appraisal and an understanding of (e)Learning as applicable to pedagogy is sometimes included as part of Academic appointment.
Use of (e)Learning as fit for purpose is included as a question in academic staff appraisal and a use of (e)Learning made clear in an appointment and position advertised
Use of (e)Learning is an established part of appraisal and appointment
Use of (e)Learning is an established part of appraisal and appointment. With benchmarking undertaken both within and across disciplines and via external reference
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Infr
astr
uct
ure
Planning for Acquisition of
Resources
Basic level of planning for technology purchasing exists.
Some level of technology purchase planning takes place, including standardisation of equipment, use of printers, and purchasing with warranty.
Procurement planning and standardisation of technology equipment takes place and alignment of resourcing such as AV and related equipment that supports learning and teaching.
There is an integrated approach to procurement, which takes, into account full operating costs of technology, AV equipment and technical support provision.
LAN & Broadband
Access
A network exists in some areas of the Academy. Internet access is distributed through a Local Area Network.
Most rooms and computers are connected to the Academy network, facilitating access to online and network resources. Some areas have Wifi access.
A high speed and reliable network extends to all areas of the Academy. All computers are connected to the network facilitating access to online and locally based server resources. A robust wifi network is in place. Dedicated networks related to specialist areas such as Video Conferencing are in place
Resources are accessible from a central server. All teachers and students have secure access to server space, and their e-portfolio, from within the Academy and remotely. Wi-Fi access is enabled in all spaces teaching occurs.
Technical Support
The respective areas of the Academy as needed carry out technical support.
Technical support is centralised and resourcing aligned to areas of need.
Technical support is factored into procurement planning, all equipment is procured with an appropriate warranty. Formal technical support contract with LMS is in place with an external provider.
Technical support is planned and integrated with ICT procurement planning and takes into account full ICT operating costs.
Software and Digital Content
Limited (e)Learning resources are available. Central licensing agreements are in place.
The Academy has a range of appropriate (e)Learning resources to support learning at all levels.
There is easy access to appropriate digital content that teachers have catalogued by subject/curriculum area.
The Academy creates its own customised digital content, which is accessible from home and Academy.
Formal Learning Spaces
Formal Learning Spaces have appropriate access to technology and standard furniture, lighting, network…etc
Formal Learning Spaces will have appropriate access to technology and the Academy has an established plan for inventory and upgrade. 2-3 rooms will be outfitted with Learning Capture and Video Conference facilities.
All Formal Learning Spaces will have access to a range of equipment including digital projectors and wirelessly-enabled mobile devices, apple TV..etc. as fit for purpose to the space. 5-1 0 Learning Capture Facilities will be established as
All learning areas have access to a range of ICT equipment. Provision is made for the incorporation of students’ mobile devices.
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Governance and planning processes will be established to ensure synergy across Learning Spaces Virtual and Physical.
well as 2-3 and Video Conferencing facilities.
Informal Learning Spaces
Informal Learning spaces are outfitted with power, Wi-Fi access and suitable furnishings.
Informal Learning spaces are outfitted with power, Wi-Fi access and suitable furnishings. These spaces ideally facilitate collaboration and interaction via appropriate technology and furnishings.
Informal Learning Spaces are synergistic to Formal Learning Spaces and allow for seamless collaboration and learning activities.
Informal Learning Spaces are synergistic to Formal Learning Spaces. Maker spaces to promote opportunities for interdisciplinary and collaborative projects are established.
Consultation and Change Management Plan
Over the next 6 – 12 months the iHub will facilitate a process and series of consultations in order to ensure staff (and students) have input into this evolving document. Planed is a process to ensure the “Innovation Strategy and Roadmap” is a “lived” documenting in the Academy and has buy-in, ownership and investiture from all stakeholders. PHASE 1 Consultation via School and Departmental Roadshows / Committees..etc Sept 2017 through to Jan 2018 (Ongoing revisions to the document and plan) PHASE 2 Student and Support Unit focus groups Feb 2018 (Ongoing revisions to the document and plan) PHASE 3 Open forum on Innovation in Performing Arts Education Mar 2018 PHASE 4 Revisions and final version circulated May 2018 PHASE 5 Launch of Innovation Stagey and Roadmap June 2018
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Appendix A – An Expanded Rationale for WHY we need (e)Learning and an (e)Learning Roadmap and Strategy
RESEARCH, INFLUENCES and BACKGROUND The Performing Arts field is not immune to the effects of rapid changes in digital technology felt by society in general and performing arts organisations have experienced significant changes in the past decade, many of which are technology driven (Callahan, 2010). Indeed, technology not only influences performing arts, but there are art forms, such as film, that only exist because of technology (Poole & LePhat Ho, 2011). Technology is impacting on the field in terms of creation, production, business practices, marketing and audience interaction. Technologies identified as impacting on performing arts companies include cloud-based services, Web2.0, social networking, mobility, 3D, and mashups (Bailey, Yang & Donnelly, 2011), with technology tools such as social media helping to make technology use pervasive in performing arts organisations (Thomson, Purcell & Rainie, 2013). In the education field, performing arts educators are using a broad range of technologies and technology tools in preparing students to be performing arts professionals, many of which would be considered as “standard” (e)Learning in higher education institutions. These technologies tend to meet one (or more) of four functions: 1. productivity improvement, 2. communication and collaboration, 3. content management and distribution, 4. creativity. 1. Productivity improvement In their survey of performing arts organisations in the US, Thomson and colleagues (2013) found that technology and the Internet are used for a range of purposes related to improving business processes. These include:
Using cloud storage for organisational document storage and sharing
Using browser-based or mobile donor management systems
Online and mobile bookings and ticketing systems, many of which are paperless
Events and calendars for public awareness However, having workable systems to integrate data is an issue for many performing arts organisations, particularly for ticketing and donations (Callahan, 2010). Performing arts organisations are using cloud-based applications to share documents and provide staff with access to resources, which contributes to productivity improvements, while at the same time supporting communication and collaboration between staff. Performing arts students can benefit from learning how to use these types of tools effectively for sharing resources, organising activities and events and learning to use systems or applications they are likely to encounter after they graduate. 2. Communication and collaboration Technology generally, and social media in particular, have been credited as making performing arts a more participatory experience and diversifying audiences. Social media have helped to bring audiences to performances, provided a platform to create and engage in discussion and given organisations tools to listen to the public and build awareness (Poole & LePhat Ho, 2011). Using social networking to reach out to and engage audiences is a priority for many performing arts organisations, with social media in particular being used to gather audience feedback, track audience demographics and connect with donors. Reasons performing arts organisations are using social networking range from marketing and advertising to education and artistic activity (Callahan, 2010). Social media platforms and tools, principally Facebook and Twitter, are used by almost all performing arts companies in the US surveyed by Thomson and colleagues (2013). They found that adults who connect with performing arts organisations via social media are much more likely to attend events than those who do not, suggesting that social media can strengthen engagement and increase participation.
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Online or virtual events are increasing, so performing arts organisations are using technology and social networks to facilitate audience collaboration and participation through activities such as allowing the public to curate and share favourite online content and using Google Hangouts On Air Broadcasts for sharing training locally and globally at no cost. Presence information has been used during performances to provide information about a live performance (such as actors’ notes, history etc.), real-time program notes have been provided to mobile devices during concerts and playlists from music series have been published to iTunes for patrons to download (Thomson et al., 2013). All of which can happen relatively quickly and efficiently because an additional benefit of digital production and online distribution is that it allow artists to bypass traditional gatekeepers such as recording companies and publishers, and to place their work directly online (Poole & LePhat Ho, 2011). As Bailey and colleagues (2010) note, infrastructure advances have provided opportunities for performing arts companies not previously available to them. It has also facilitated interesting collaborations. Video conferencing has been used in education as a tool to bring together performers, arrangers and composers who are geographically dispersed for master classes and performances. An example of musical collaboration via video conferencing is participation of students from over 100 UK schools in music lessons by the Manhattan Music School in New York (Anderson, 2014). Video conferencing has also been used for live musical performances, an example of which is University of Rochester’s Eastman School of Music, which used video conferencing at the Canberra Early Music Festival at the Australian National University to bring the Royal College of Music (RCM) in London, Yorkshire’s Hull University, and Boston University together in a day-long Chopin Symposium. Capitalising on the investment in technology such as video conferencing by embedding it in the curriculum is important. According to their website, the use of video conferencing at Eastman School of Music has provided faculty and students with the opportunity to connect and communicate with their peers all around the world, using high bandwidth, high quality audio and video, participating in performance master classes, concerts, academic symposia, and conferences (www.esm.rochester.edu/esmtmp/internet2/). Another example is the 65 member Caston Comet Band, a US high school band, who regularly use technology to bring guest artists into the classroom, an example of which is a rehearsal conducted via video conferencing with a composer at another location. http://www.stormworld.com/video/VC_Program.pdf. 3. Content management and distribution New technologies have allowed performing arts organisations to digitise performances and to provide audiences with access to materials and resources, including performances on demand. Using these technologies, a number of high-profile performing arts companies are involved in new ways of reaching audiences, including through cinema transmissions (Bailey et al., 2011). Live streaming of orchestral performances by the Royal Opera House London and La Scala Milan are high profile examples of this. The Metropolitan Opera (The Met) also transmits performances to local and international venues, with audiences able to attend performances at 12 international, 13 US and 8 UK theatres. In addition to performance transmission, Met Opera On Demand is an application available from iTunes which provides subscription based access to over 500 performances on demand to the user’s device. With the application, subscribers can also use AirPlay to watch performances on their TV with Apple TV (www.metopera.org/ondemand/information/index.aspx). Similarly, Digital Theatre (www.digitaltheatre.com/) allows individuals to download UK theatre performances, including theatre, opera, dance and classical music. Patrons can rent or buy downloads from an online catalogue and there are study guides for many of the performances that provide additional information. Other resources are also being digitised and made available to the public. For example, Royal Opera House has a searchable collections catalogue on its website where a wide range of materials including costumes and photographs can be viewed, with interactive highlights available for some of the notable items in the collection (www.roh.org.uk/about/roh-collections/explore). At a more practical level, Taiwanese theatre company Guo Guang Opera Co. is using RFID (radio frequency identification) to keep track of costumes and props in its warehouse http://www.rfidjournal.com/articles/view?12486. Capturing live performances, then archiving them for future access is a means of providing additional revenue for performing arts companies as well as a way of extending their audience reach. Performing arts educators
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have also capitalised on the use of technology for content management and distribution. An example of this is Musica Viva, which provides schools with online access to music education materials (www.musicaviva.com.au/education/digital-resources/sample-modules) via a digitised collection of music education materials consisting of activities, videos, sample lessons and assessment rubrics (Donnelly, 2011). Another example of resources for performing arts students is Drama Online. According to their website, “Drama Online offers expert guidance in the form of scholarly notes, annotated texts, critical analysis and contextual information making this an essential study tool that meets the full range of drama teaching needs.” (www.dramaonlinelibrary.com). 4. Creativity Performing artists have been quick to realise the potential of technology for creative purposes. Examples that illustrate how technology can contribute to the creative process are described next.
Music Music is a field where there has been a lot of technology facilitated creative practice, such as virtual orchestras (Donnelly, 2011). It has also been used to engage audiences in ways that were previously difficult, if not impossible, to do so. An example of this is ACO virtual. World-class musicians and international experts in the fields of sound, cinematography and 3D are brought together in ACO Virtual (http://modprods.com/production/acovirtual/), a creative collaboration between Australian Chamber Orchestra and Mod Productions. ACO Virtual is an interactive, touring installation that lets the audience step ‘inside’ the performance and immerse themselves in a 360-degree cinema experience, surrounded by the musicians. Fifteen ACO musicians appear as projections on walls or screens, while each musician's sound is heard from the direction of their image. Visitors can highlight a musician, a section of instruments or their own mix of players via a touch-screen application in the centre of the room. The musical score can be displayed below each musician’s image. A free augmented reality smartphone application provides information on each musician, their instrument, the musical pieces and composers. Visitors can take-home tracks of each piece of music featured in the work as a lasting souvenir from an opportunity to engage with and learn from world-class musicians they would not normally be able to see up close. Dance Using interactive software for dance performances is an example of appropriating technology for creative purposes. Light projection and special effects have been used in dance productions to great effect. A recent example of this is “Pixel” from Adrien M / Claire B, (www.am-cb.net/), a French dance company specializing in cutting-edge physical-digital performance. In Pixel, dancers spin inside virtual rings and hold umbrellas to shield themselves from pixelated rainfall. Pixel has been described as a high tech dance performance which melds human bodies with code (Vanhemet, 2014; www.wired.com/2014/12/high-tech-dance-performance-melds-human-bodies-code/). To achieve this, the artists use a custom tool called eMotion to easily craft virtual scenes that behave with realistic physics, an approach that became mainstream, through Beyoncé’s performance at the 2011 Billboard Music Awards. Education Examples As discussed previously, Eastman School of Music have a mobile Polycom HDX8000, a proprietary video-conferencing system, with dual screens and Music Mode, which is capable of hosting simultaneous connections to three other remote sites. The system has been used to broadcast live to the Canberra Early Music Festival at the Australian National University, and bring the RCM in London, Hull University in Yorkshire, and Boston University together for an all day Chopin Symposium, both from Hatch Recital Hall. It was also used to receive the organ inauguration concert from the Royal Danish Academy of Music in Copenhagen in Schmitt Organ Recital Hall, and to present to audiences in four continents in a Distance Learning Conference from the Eastman East Wing control room. Another mobile system features software-based solutions such as Conference XP, DVTS (Digital Transport Video System) and EchoDamp. This has been used in master classes with the Norwegian Academy of Music in Oslo for voice, horn, double bass, and percussion, and with the New World
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Symphony. This technology can enable uncompressed audio and video to be sent at speeds of up to 30Mbps in each direction. These technologies have most recently been used in a series of Internet2 showcases, the most recent of which was a collaboration between JISC and JANET, the UK’s research and education network, with the London Symphony Orchestra and Royal College of Music, for the UK Arts and Humanities community. Performing arts students from around the globe used state-of-the-art technology to virtually perform an innovative and cross-disciplinary event combining visual poetry, music and choreography (www.jisc.ac.uk/news/digital-technology-unites-musicians-across-europe-for-virtual-performance-08-may-2015). Dancers from the museum of contemporary arts, Barcelona (MACBA) and traditional Nordic instrumentalists from the Sibelius Academy, Helsinki, joined the performance with musicians from the RCM via live video links. The performance was streamed via the JANET network in real time and delay free from different international locations. DANCE and CHINESE OPERA at HKAPA Ms. Edel Quin, a visiting lecturer to HKAPA (Academic Studies in Dance) from Trinity Laban Conservatoire of Music and Dance (London), utilized the 4 angle Panapto recording function to capture various angles of the Dance students in order to highlight some of the anatomical functions specific to this course. The figures below capture the use of an iDevice to record one of the angles, which then Edel displayed on a large interactive portable screen and drew over this video footage to emphasize certain learning elements for this course. The following capture as a series of images this case study and experimentation with multicam views and using iDevices and an interactive table to discuss with these Dance students in real time their work and Dance science studies.
Figure 1: One angle of the student being recorded via iPad
Figure 2: Ms. Edel Quin annotating on top of this video
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Figure 3: Miss Alis Lin demonstrating the “acting” with long sleeves
RELATED POLICY and DOCUMENTS
Benchmarking Report conducted in 2015 + (e)Learning survey of all staff and students in 2015 (Reports available at - https://intranet.hkapa.edu/display/IHUB/Reports )
Position Paper in Digital Literacy
Position Paper on (e)Learning (Position Papers available at - https://intranet.hkapa.edu/display/ACRSU/Position+Papers )
Hong Kong Academy of Performing Arts Strategic Plan; “A Performing Arts Academy for 21st Century Asia, HKAPA Strategic Plan 2013 – 2023”, (http://www.hkapa.edu/ebook/Strategic-Plan/HTML)
REFERENCES Anderson, J. (2014). Maximizing Musical Collaboration Through Video Conferencing. http://www.hypebot.com/hypebot/2014/12/maximizing-musical-collaboration-through-video-conferencing.html Accessed 25th May, 2015. Bailey, J. Yang, H. & Donnelly, S. (2011). Impact of digital technology on major performing arts companies. Australian Major Performing Arts Group. http://www.ampag.com.au/article/digital-scoping-paper-2011 Accessed 24th May, 2015. Callahan, S. (2010). Technology and the performing arts field: Usage and issues. Callahan Consulting for the arts. https://mellon.org/news-publications/articles/technology-and-performing-arts-field-usage-and-issues/ Accessed 23rd May, 2015. Donnelly, S. (2011). Virtual orchestras: A growing role for major music companies. Music Forum: The Journal of the Music Council of Australia, 18(1), 34-36. Poole, D. & LePhat Ho, S. (2011). Digital transitions and the impact of new technology on the arts. Canadian Public Arts Funders. http://www.cpaf-opsac.org/en/themes/documents/digitaltransitionsreport-final-en.pdf Accessed 20th May, 2015. Thomson, K., Purcell, K. & Rainie, L. (2013). Arts organizations and Digital Technologies. Pew Research Center’s Internet & American Life Project. http://pewinternet.org/Reports/2013/Arts--and-technology.aspx Accessed 24th May, 2015.
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Appendix B – Mission, Objectives and Responsibilities of the iHub
The iHUB
1. Mission The MISSION of the iHub is;
to enhance the quality of performing arts education programmes delivery through adopting innovative, student centered, educational methodologies and integration of emerging technologies
to support staff and students to make use of information and communications technology effectively in education and to develop innovative teaching and learning strategies
to establish HKAPA as a leader in the development, support and implementation of innovative performing arts education technology practices in the Asia Pacific Region
2. Objectives Five overarching objectives have been identified as ongoing goals for the iHub;
Significant change in the (e)Learning culture and practices among stakeholders at all levels in HKAPA
Benchmarking and leveraging partnerships across respective disciplines at the HKAPA
Development and deployment of institutional learning technologies/tools supported by professional development and change management AND small scale pilots with a Communities of Practice approach
Vigorous and objective pursuit of evaluation and research into (e)Learning
Alignment of (e)Learning support and structures with institutional goals and strategic planning
3. Responsibilities The Hub is a specialist learning and teaching support and development unit, its functions and responsibilities are as follows:
Leading the development of the Academy-wide strategic policy direction in (e)Learning in line with the Academy’s mission and educational aims.
To assist in the development and implementation of strategic plans for (e)Learning Innovation.
To render assistance, advice, and support to Schools and Departments in designing innovative, creative and interactive digital course content to be embedded in the curriculum.
To provide assistance and technical support to teachers in the delivery and engagement with technology-enabled educational programmes or other innovative methodologies.
To provide support to students for the use of technology related learning resources and activities so as to provide a rich learning environment through innovative and effective use of technologies.
To establish and manage (e)Learning Systems to facilitate course management, staff/student communication, student assessment and course evaluation.
To foster and build an (e)Learning community for sharing of good practices and collaboration in pedagogical innovations and the establishment of an online repository of sharable (e)Learning resources.
