IDEA Together We Go On Festival 2025
Join us for the IDEA Together We Go On Festival 2025!
September 27, 2025
Starts at 9:00 GMT+2
18 hours of uninterrupted creativity & exchange
Theatre and drama educators & practitioners from China, Ireland, Serbia, Ghana, South Africa, Hungary, Spain, the Philippines, Brazil, Canada, the UK and more will share their work and perspectives.
To attend, contact the IDEA Administrator at ad.ideadrama@gmail.com for your Zoom link.
Let’s celebrate drama/theatre and education together!
The IDEA Together We Go On Festival 2025 is scheduled to commence at 9:00 GMT+2 on September 27th, featuring an uninterrupted 18-hour program aimed at fostering connections among theatre and drama educators and practitioners. As anticipation builds for this remarkable event, we are pleased to share a message from Miao Bin, Director of Projects at IDEA:
Dear members and friends of IDEA,
As the Director of Projects, I am pleased to extend an invitation to the IDEA Together We Go On Festival 2025, scheduled for September 27th. This longstanding festival has facilitated valuable exchanges among regions and communities within the realm of drama education. Originating in Europe, theater and drama educators will sequentially share their insights in a relay fashion, spanning from Europe to Africa, Asia, and finally the Americas. Residents in each region are encouraged to invite their acquaintances to participate in the festival online. Your full participation in the 18-hour event over the weekend is highly recommended and promises to be a worthwhile investment of your time.
We express our gratitude to all IDEA members and friends for submitting their proposals and contributing to this festival. The received proposals exhibit exceptional richness in content, posing challenges in scheduling to allow for ample time for each speaker. We are confident that all participants will find valuable and engaging content tailored to their interests at this festival.
Keep posted for the livestream link posted on the IDEA Facebook page: https://www.facebook.com/IDEA.DRAMA
Looking forward to seeing you there!
Best wishes,
Miao Bin, Director of Projects
01 We’re all Wonders! Celebrating our Differences through Educational Drama.
Dr Edel Fahy
Lecturer in Arts Education in the Froebel Department of Primary and Early Childhood Education, Maynooth University, Ireland.
Educational drama can make a unique contribution to the development of the child. With the potential to foster each individual’s uniqueness, educational drama can facilitate the child’s imaginative, intellectual, emotional and physical development in a contemporaneous and holistic way (NCCA, 1999a). Affirming the notion that everything can be taught in different ways, educational drama also can provide children with opportunities for several different entry points to learning (NCCA, 1999b). By reaching a wide range of learners, educational drama can also offer alternative means for representing information, empowering children to offer their unique ideas and suggestions in a classroom setting (NCCA,1999b). In this way, educational drama could have the potential to provide strong foundations for transformative learning to occur at all levels, encouraging children to “reach beyond…for what is not yet” (Greene, 1984, p.66).
This workshop will explore and celebrate the theme of ‘Celebrating Our Differences’ through active, collaborative engagement in process drama. Aimed at early primary years (age 5 to 8 years), participants will be invited to engage in playful drama activities which tap into children’s expressive potential. Opening the doors of perception, participants will be provided with thematic drama ideas which develop critical thinking skills, promotes collaboration, embraces creativity and celebrates our uniqueness! This practical workshop is also timely in its response to the ongoing developments of the Irish Primary Curriculum
Framework (NCCA, 2023), which supports a playful, integrated, inter-related approach to drama and arts education.
02 Helen Finds Her Mantle
Dr. Helen Hallissey
Work with communities of practice in the integrated arts (primary school teachers) in Southern Ireland. Recentlyawarded PhD at the University College Cork.
For a long time I have researched Dorothy's Mantle of the Expert approach to learning. I have attended David Allen's webinars, visited Woodrow Primary School (a recognised Mantle of the Expert School). I bought the books and kept tabs on recent research. Recently, I was involved with a community of five teachers creating a booklet on the Integrated Arts. I decided to create a Mantle for the booklet. The story I selected was The Ugly Duckling. I found that creating this Mantle for this resource handbook had a powerful effect on my understanding of Mantle. The various elements and terminology came alive. I could thread and re-order the elements together: the Superhelpers; their gaff; the letter writer; Mission Impossible; research and development; Superhelpers wins the day.
I will share with you my story of my Voyage into Mantle
03 The Autograph Tree: Poets of rock & revolt
Farmakopea Theatre: Jelena Stojiljković (mentor) and students Class IV1: Lara Todosieva, Lenka Dedijer, Andjelija Dajić, Iva Marija Šljivić, Iva Lalić, Nemanja Beković
Theatre of the Pharmaceutical-Physiotherapeutic School from Belgrade
On example of performance “ The Autograph Tree – Poets of rock &revolt” of the Farmakopea Theater existing within Highschool of Pharmacy and Physical Therapy in Belgrade, it will be showed the use of expressive drama end performing techniques in function of students critical opinion development .Will be showed through all the stages: from drama workshops, selection, matching and developing of scenic picture to educative performance realization with specific building correlative links between the school subjects Serbian Language and Literature and Pharmacognosy, according to the model that came out of the project model DICE
04 From Stage to Screen to the Classroom: An Adaptation of Yaw Asare’s Ananse in the Land of Idiots as an Educational Material
Africanus Aveh & Solomon Yaw Dartey
Senior Lecturer, SPA- University of Ghana
PhD, Artistic Director & Theatre Facilitator, Association International School
This presentation examines the pedagogical prospect of theatrical film adaptations through a case study of Yaw Asare's Ananse in the Land of Idiots, developed as a teaching resource for Senior High School English students in Ghana. The project addresses a gap in accessing, culturally relevant educational materials by documenting the creative journey from stage play to filmed adaptation and its subsequent classroom implementation. The presentation will feature insights from film director Africanus Aveh, who will discuss the artistic and technical challenges of converting a script meant for the stage into a film form for educational purposes. Key topics include maintaining theatrical authenticity while ensuring pedagogical accessibility for contemporary students, and navigating resource constraints in educational film production. As an educator who has integrated this film adaptation into curriculum delivery, I will elucidate my observations on student engagement, comprehension outcomes, and the effectiveness of multimedia approaches in teaching Ghanaian literature. The discussion will explore how documented theatrical productions can serve as sustainable teaching resources, particularly in contexts where live theatre access is limited. Attendees will view selected excerpts from both the original play script and the film adaptation, facilitating comparative analysis of the adaptation process and its educational applications. This presentation contributes to broader conversations about decolonizing educational content, preserving theatrical heritage through digital media, and developing context-specific pedagogical resources. The session aims to provide practical insights for educators, theatre practitioners, and filmmakers interested in creating educational adaptations while contributing to scholarship on African theatre, media pedagogy, and cultural preservation through performance documentation.
05 Live-stream of the Popular Participatory Theatre Performance
Dr. Miranda Young-Jahangeer
Senior Lecturer, Leader of the Performing Arts Cluster (Drama and Performance and Music), School of Arts, College of Humanities, University of KwaZulu-Natal
Popular Participatory Theatre (PPT) is an Applied Theatre form which draws on African popular cultural forms and storytelling to open up spaces for dialogue in communities for the purposes of social change. Based in the critical pedagogy of Paulo Freire, it uses theatre to ‘pose a problem’ which the audience then debate. In this respect can be considered a problem-posing theatre. Each year I run a module for level 3 students, which teaches the theory and practice of the form. We then work on a piece of PPT to showcase to a various communities of concern.
This proposal is to LIVE-STREAM this performance as part of the ‘Together we go on’ festival.
THEME: Under apartheid, the migrant labour system, which sent men to work in mines and on farms, separated African families. The culture of single-parent families with absent, often unknown fathers, continues to this day. Where fathers are known, they typically contribute little, if anything, to the maintenance of their children if they are not living as a nuclear family. Under South African law, fathers are required to pay child support, but this is difficult to police.
Many South Africans, and many in my University class, grew up without present fathers. This play will pose the questions: Why do many South African men still neglect their responsibility to their children; How can we shift this mindset?
DESCRIPTION: Students will perform a 10-minute piece of popular participatory theatre on the above theme. Myself and a student facilitator will then facilitate a discussion with a student audience for 10 – 15 minutes. We can then open up for questions to the online audience if that is technically possible. The singing will be in isiZulu but the play will be performed in English.
06 Project YUANFEN 2025: an embodied exploration of Chinese language and culture through drama
Dr. Modesto Corderi Novoa
Language teacher who specializes in teaching Chinese and Spanish. Ph.D. in Language Acquisition in Multilingual Settings from the University of the Basque Country (UPV-EHU), Spain, along with three master's degrees: Teaching Chinese to Speakers of Other Languages (MTCSOL) from Beijing Language and Culture University, Teaching Spanish from Nebrija University in Spain, and Teaching English to Secondary Schools from the Valencian International University (VIU). BA in Chinese Language from Beijing Language and Culture University.
The content will be introducing a paper published on 2024 https://doi.org/10.3390/arts13010002 and several face to face workshops conducted in Beijing and Shanghai in July 2025, as pioneering applied research within China’s 2025 cultural ecosystem. Yuánfèn is more than a word; it is a lived philosophy of interconnection. Project YUANFEN 2025 harnesses the radical potential of performative research to:
1. Transform linguistic gaps into spaces of intercultural intimacy.
2. Reclaim embodiment as knowing in hyper-digitalized societies.
3. Catalyze new drama pedagogy methodologies for intangible cultural heritage.
07 Drama and Theatre Education in Hungary
Dr. Adam Bethlenfalvy and 13 members of HUDEA
Hungarian Drama/Theatre Education Association (Magyar Drámapedagógiai Társaság, www.drama.hu)
A wide variety of exciting drama and theatre education practices exist in Hungary. We are proud of our long history of children and youth theatre and also happy that drama and theatre are in the National Curriculum. A fantastic educational theatre scene is also active. In our collaborative and interactive presentation we want to share some examples of the varied and lively field.
08 From Fire to AI: A Children’s Theatre Journey from China to Greece
Eley Yuan
Head of the Drama Troupe at Tianfu No.7 Primary School, a drama teacher, director, and playwright. An award-winning educator and member of IDEA, she has directed original works staged at national and international festivals, and is dedicated to expanding drama education in both urban and rural schools in China.
"The Spark" is a groundbreaking children’s theatre production, marking the first performance by a Chinese youth troupe in an ancient Greek theatre and the first Sino-Greek co-directed children’s co-creation project. Blending Chuan Opera’s artistry, puppetry, Western masks, and chorus, the play imaginatively explores the pressures of modern education and the uncertain impact of AI on the next generation. Inspired by the myth of Prometheus, The Spark draws a parallel between the gift of fire to humanity and the advent of AI in today’s world, inviting audiences to reflect on whether technology will nurture or endanger children’s growth and the future of civilization.
09 Narrative Language and Puppetry Magic in Parent-Child Plays from a Cross-Cultural Perspective: A Case Study of the 2025 Sino-French Collaborative Production "Twenty Thousand Leagues Under the Sea"
Wang Xinyuan
Guangdong Country Garden School Quality Development Center
Using the 2025 Sino-French collaborative parent-child theater production Twenty Thousand Leagues Under the Sea as a representative case, this study delves into the unique presentation of narrative language (story adaptation, dialogue delivery) and puppet magic (puppet design, manipulation techniques) in parent-child theater within a cross-cultural context, and how these elements intertwine to create cross-cultural artistic appeal.
10 Classics Drive Youth Drama Education Practice
Deng Hongye
Guangdong Country Garden School Quality Development Center
Module 1: Building a Multidimensional Educational Ecosystem Through Drama — An Interdisciplinary Teaching Practice Centered on "Visual Arts + Music"
Theatrical scenarios constitute a "dynamic atmospheric complex," with visual arts and music serving as its two pillars:
• Visual Arts: Constructs the "physical framework and visual symbols" (e.g., body postures, spatial arrangements), enabling audiences to intuitively perceive "where the story unfolds";
• Music: Infuses "emotional soul and temporal bonds" (e.g., melody rhythm, atmospheric tension), allowing audiences to deeply empathize with "the state of the characters";
The two complement each other, ultimately achieving an "immersive, tension-filled" theatrical teaching experience.
Module 2: Campus Contemporary Theater "Metamorphosis" Interdisciplinary Performance Video Screening + Interactive Q&A
Interdisciplinary Innovative Design of the Performance and Independent Design of Play Posters by the Drama Club.
We look forward to exploring new pathways for "interdisciplinary theater education for youth" with global educators through this session. Moving forward, we will share teaching plans and resources to advance cross-cultural connections and practical implementation in theater education.
11 Drama Assessment in Schools: A Comparative Perspective from England and China
Luo Yijia
MA Drama and Theatre Education, University of Warwick (UK)
This presentation explores the contrasting approaches to assessing drama in education in England and China, drawing on my master’s research in the UK Midlands as well as my professional experience as a drama teacher in China. This comparative perspective highlights two very different educational paradigms: in England, assessment is structured around standardized public examinations such as GCSE and A Level, whereas in China it is largely performance-based and often informal. The session invites global colleagues to reflect on how drama in education is or should be assessed, and to share perspectives on how drama as a subject is measured and valued within their own national contexts.
12 The Echoes of the Five Immortals
IDEAC
A special fund project under the China Children and Teenagers’ Fund. As an important component of the “Arts Education Project” jointly guided by the Department of Physical, Health and Arts Education and the Department of Teacher Affairs of the Ministry of Education, IDEAC has become the most influential international academic exchange and conference platform for drama education in China.
The Five Immortals Temple (Wuxian Guan) is a site of profound historical and spiritual significance in Guangzhou, traditionally known as "Yangcheng" (City of Rams). According to the enduring myth, five immortals riding five rams (each of a different color) descended upon the ancient city during a time of hardship, bestowing upon its people ears of grain, symbolizing blessings of abundance and freedom from famine. The rams turned to stone, and the site became hallowed ground.
Historically, the Temple served not merely as a Taoist shrine but as the city's symbolic "ancestral temple" and "grain god temple," embodying the collective spirit, hopes, and virtues of the people of Guangzhou. It represented a spiritual anchor, reflecting values such as resilience, hope for prosperity, gratitude, and openness to external influences (as seen in the myth's possible origins blending northern and southern elements).
This workshop, "The Echoes of the Five Immortals", aims to:
Reconnect participants with the origin and meanings of the "Five Rams Legend" and the historical role of the Five Immortals Temple.
Explore the socio-historical context that gave rise to the myth and the temple's establishment, understanding the challenges of early inhabitants and the impact of cultural integration between Lingnan (Southern China) and Central Plains cultures.
Investigate the evolution of the "Spirit of the Five Rams" – from a symbol of divine blessing and survival to a representation of Guangzhou's enduring character: open, inclusive, resilient, innovative, and pragmatic.
Re-imagine and articulate a contemporary "Spirit of the Five Rams" relevant to modern Guangzhou residents. Participants will be guided to consider how this spirit can inform their personal lives, pursuits, and contributions to the city's future.
The value lies in using DiE to make intangible cultural heritage tangible and personally meaningful, fostering a sense of cultural identity and continuity, and empowering participants to actively shape the civic values of their city.
13 Fostering Cultural Confidence through Drama in Education: A Rural Innovation Approach with Yi Culture
Jiayi Huang & Yijin Wang
BA in Theatre & Film, Sichuan University; exchange studies in Theatre Arts at Taiwan University of Arts. Rural volunteer teacher and drama educator, experienced in designing and facilitating children’s theatre workshops that integrate local cultural heritage. Committed to innovative, culturally grounded drama education.
Drama in Education practitioner; M.Ed. candidate at Trinity College Dublin; BA in Theatre and Drama, Sichuan University. Experienced in community theatre, forum theatre, educational workshops, project coordination, and cross-cultural collaboration.
This workshop focuses on the localized application of Drama in Education (DiE) in rural China, with a particular emphasis on integrating Yi ethnic cultural elements. The program is designed as a one-week DiE workshop, aiming to explore how indigenous culture and drama pedagogy can be combined to support educational equity and innovation in rural communities.
14 Drama Education In Higher Education（China）- taking a non-professional teacher-training programme as an example.
Lynn Yanru Liu
Assistant Course-Chair, Lecturer, School of Education, Fuzhou University of International Studies and Trade; Masters in Educational Studies, University of Glasgow; Diploma in Applied Drama and Psychology, Singapore Polytechnic
The content primarily centers on the course design approach and student learning experiences shared from my recent semesters teaching the course "Drama Education in China and Abroad (Advanced+)."
Introduction & Background
Course Aim and Objectives
Course-Layout
Design and Highlights
Outcome
Limitations and Future Improvements
15 𝑷𝒂𝒈𝒌𝒂𝒘𝒂𝒍𝒂 (Absence / to Disentangle)
Fredyl Hernandez & PHSA Theater Arts Students
Marcuz Romeo B. Bracia, Dewayde Robson M. Dizon, Aaron Albert B. Sabio, Charlz Wyann DC Aquino, Alessandra Gianina M. Castrillo, and Nicole Grace S. Esguerra are Grade 12 Theater Arts students at the Philippine High School for the Arts (PHSA). As senior members of 𝑫𝒖𝒍𝒂𝒂𝒏𝒈 𝑺𝒊𝒑𝒂𝒕 𝑳𝒂𝒘𝒊𝒏, the school’s resident theater company, they have actively taken part in different theater productions and activities — including the recently concluded 𝑻𝒂𝒏𝒈𝒉𝒂𝒍 𝑳𝒖𝒔𝒐𝒏𝒈 2025: 𝑵𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝑼𝒏𝒊𝒗𝒆𝒓𝒔𝒊𝒕𝒚 𝒂𝒏𝒅 𝑪𝒐𝒎𝒎𝒖𝒏𝒊𝒕𝒚-𝒃𝒂𝒔𝒆𝒅 𝑻𝒉𝒆𝒂𝒕𝒆𝒓 𝑭𝒆𝒔𝒕𝒊𝒗𝒂𝒍, 𝒕𝒉𝒆𝒎𝒆𝒅 𝑺𝒕𝒂𝒈𝒊𝒏𝒈 𝒕𝒉𝒆 𝑭𝒖𝒕𝒖𝒓𝒆: 𝑻𝒉𝒆𝒂𝒕𝒆𝒓 𝒇𝒐𝒓 𝑳𝒊𝒗𝒂𝒃𝒍𝒆 𝑪𝒐𝒎𝒎𝒖𝒏𝒊𝒕𝒊𝒆𝒔. Hailing from various regions across the Philippines, these young artists are full scholars of the government, pursuing specialized arts education and training.
Senior High School Theater Arts Adviser of PHSA. He is an artist-teacher member of the Philippine Educational Theater Association (PETA), and a member of International Drama/Theatre and Education Association (IDEA) Executive Committee as the Young IDEA Director.
𝑷𝒂𝒈𝒌𝒂𝒘𝒂𝒍𝒂 (Absence / to Disentangle) is a series of research-based performance projects by Grade 12 Theater Arts majors from the Philippine High School for the Arts (PHSA). The title is a wordplay that draws from two Filipino concepts: 𝒘𝒂𝒍𝒂 (absence or disappearance) and 𝒌𝒂𝒘𝒂𝒍𝒂 (to break free or escape). Through these performances, the students explore themes of distorted identity, fading connections, and the loss of life. As their culminating works, these pieces reflect the depth of their six-year intensive training in theater.
16 Now I Read It Like a Novel" _ Theatrical Approaches to Biochemistry Teaching
Wanessa B. Machado
A Brazilian PhD student in Education, Management, and Communication in Biosciences. As a DAAD Scholar, she recently completed a research stay in the English Department of the University of Freiburg, Germany, focusing on Pedagogical Drama. At the Science, Art, and Education Lab in Brazil, she develops and performs theatrical and musical pieces on scientific themes and teaches Pedagogical Drama to bioscience students. She also works as a video director at Fundação Cecierj, a public foundation dedicated to distance education and science communication, and is a member of IDEA (International Drama/Theatre and Education Association).
In this project, we explored how theater can be used as an active methodology to make biochemistry—often perceived as difficult and monotonous—more engaging and meaningful. The intervention took place in the course Bioenergetics and Metabolism for Dentistry students at the Federal University of Rio de Janeiro. Before the activity, theater in the classroom evoked both enthusiasm (creativity, interaction) and apprehension (anxiety, fear). After creating and performing short plays on metabolic processes, students associated the experience more with fun, collaboration, and confidence, while still noting challenges such as limited time and stage anxiety. Motivation levels improved, with most students reporting greater engagement compared to traditional classes. Beyond learning content, participants emphasized gains in communication, creativity, and group cohesion. These results suggest that theatrical pedagogy, despite its challenges, can transform abstract biochemical concepts into concrete experiences and foster a more participatory learning environment.
17 Entre Palcos e Laboratórios: conexões históricas e filosóficas entre Ciência e Teatro. (Between Stages and Laboratories: Historical and Philosophical Connections between Science and Theater.)
Ana Clara Dupret
Doctoral student at the Institute of Biochemistry of the Science, Art, and Education Laboratory of the Federal University of Rio de Janeiro (UFRJ), Brazil.
This article reviews the role of theater in science education, with a particular focus on its historical and pedagogical dimensions. By analyzing contributions from educational theory and cultural practices, we discuss how theatrical methodologies can serve as active learning strategies that foster critical thinking, creativity, and affective engagement. The review highlights the intersections between history, theater, and science as a way to humanize scientific knowledge, contextualize abstract concepts, and resist traditional "banking education" models. Challenges such as methodological rigor, institutional resistance, and the need for deeper integration between science and the arts are also addressed. We argue that theater in science education is a promising pedagogical pathway that requires further theoretical consolidation and sustained application across diverse educational contexts.
18 Plant Play, Grow Meaning-Makers: An introduction to process drama in elementary
Tessa Lofthouse
An Ontario elementary and secondary teacher. In her teaching practice, she focuses on social justice-infused, anti-racist pedagogy, integrating subject areas and using the arts to promote social change. She received her BA in French Studies and her BEd in 2014 from Brock University, and her Master of Education from York University in 2024. Tessa has facilitated workshops for several boards and conferences throughout Ontario, as well as participated and managed writing projects and curriculum writing. She was the 2019 laureate of the Concours des Professionels créatifs for the Association Canadienne des professeurs d’Immersion (ACPI). Tessa is the current President of the Council of Ontario Drama and Dance Educators (CODE).
Designed for Primary-Junior teachers, this workshop invites new teachers or teachers new to drama to consider what meaningful dramatic arts experiences look like for young learners and the ways that structured dramatic play can help learners grow into meaning-makers. Teachers will be guided through a range of practical structures that can be used in primary and junior grades and adapted for different provocations. Through a “doing and reflecting” approach, participants will consider possibilities for integrating curriculum and inquiry-based learning, building dramatic skills, introducing students to the creative process, and teaching oral language in French immersion. This workshop aims to equip attendees with a deep understanding of several key structures, as well as a broad understanding of what is possible in the drama classroom.
19 Decolonizing Voice - Whose Voice is it?
Matthew Sheahan
A veteran drama educator and current Indigenous Education Instructional Coach for the Hastings and Prince Edward District School Board in Ontario, Canada. He is the Past President of the Council of Ontario Drama and Dance Educators (CODE) and the Vice President of the General Meeting Council for the International Drama/Theatre and Education Association (IDEA). He is a facilitator at the University of Toronto's Ontario Institute for Studies in Education (OISE) in drama in education. Matthew has presented workshops, panels and presentations at school boards, universities, and conferences throughout the world.
The Truth and Reconciliation Commission of Canada’s Calls to Action in 2015 and the Calls for Justice in 2019, underscored the need for today’s students to learn about Indigenous issues, knowledge and history. All leaders in education need to be aware of appropriation challenges facing educators and how to do this work in a positive way — both inside the classroom and in performance. What is required is a positive, productive pedagogy to access Indigenous stories and topics without the appropriation of voice or culture. The Council of Ontario Drama and Dance Educators (CODE), in consultation with members of the First Nation, Métis and Inuit Education Association of Ontario (FNMIEAO), has created a resource with a list of strategies to assist educators in navigating this difficult landscape. This webinar will work through suggestions in this resource using practical demonstrations of drama-based activities free from appropriation of voice and adaptable to multiple disciplines and grades.