Relevant bibliographies by topics / Theatre in education

Academic literature on the topic 'Theatre in education'

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Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Theatre in education"

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Robinson, Alice M. "Theatre Education." Performing Arts Journal 17, no. 2/3 (May 1995): 90. http://dx.doi.org/10.2307/3245780.

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Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.

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Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatre education from the perspective of the students. We interviewed 20 primary school students of the German-speaking school in Cluj-Napoca, who had theater pedagogy as optional courses for four years about their personal experience with theatre. Results demonstrate the development of personal, social and aesthetic skills. The data obtained show that students themselves recognize the significant and positive impact of the education through theatre regarding the emotional, social and aesthetic development (as components of personal development), and the relationship between them.
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Guner, Hafize, and Hasan Nami Guner. "Theatre for Education." Procedia - Social and Behavioral Sciences 51 (2012): 328–32. http://dx.doi.org/10.1016/j.sbspro.2012.08.168.

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Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
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M. Dinu Imansyah. "Theatre By Request’ As Theatre Education Alternative." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 61–68. http://dx.doi.org/10.33153/iicacs.v2i1.16.

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“Theatre by Request “(TbR) is the name of one of the show's methods performed by the Studio Teater Yogyakarta initiated and led by Eko Santosa aka Eko Ompong. The basic principle of TbR is the strong interaction between viewers and performances based on the theatre game—that usually being used as basic acting training. The audience becomes part of the show with the opportunity to select and determine the number of actors' performances, themes, to control the performance of the show through certain rules set by Eko Ompong as the TbR Host. The purpose of TbR is to introduce the nature of theatre to the public, especially to school children in a simple but interesting way. The purpose of this research is to understand TbR as Theatre Education Alternative.”
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Chemi, Tatiana, and Peter Kastberg. "Education through theatre: Typologies of Science Theatre." Applied Theatre Research 3, no. 1 (January 1, 2015): 53–65. http://dx.doi.org/10.1386/atr.3.1.53_1.

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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.

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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.
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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.

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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.
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Świątkowska, Wanda. "Theatre Education at Reduta." Pamiętnik Teatralny 69, no. 2 (August 13, 2020): 7–48. http://dx.doi.org/10.36744/pt.38.

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The article presents the history and principles of theatre education at Reduta in its successive forms: from Koło Adeptów [The Apprentice Circle], established in 1921, through the Reduta Institute, to Okop [The Trench], which was the last pre-war incarnation of the school. Based on documents and memoirs, the article discusses Reduta’s comprehensive and holistic model of education, in which regular theoretical classes were accompanied by practical and physical exercises. A crucial part of the education process was student participation in the theatre’s daily operations: rehearsals, preparation of stage productions, and tours. The aim of the school was to offer future artists comprehensive preparation for various theatre functions, as well as to produce ideologically engaged social activists, who consider serving the society through art as their primary task and mission. A comparison between Reduta’s schools and other educational initiatives confirms that in terms of scope, curriculum, work methods, practices, as well as atmosphere, the former were indeed pioneering and stood out from traditional pre-war drama teaching. Published as an appendix to the article is its source material: Juliusz Osterwa, Okop, edited and with an introduction by the author of the article. (Transl. Z. Ziemann)
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Úcar, Xavier. "Theatre: Communication and education." Educar 18 (February 1, 1991): 73. http://dx.doi.org/10.5565/rev/educar.502.

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Dissertations / Theses on the topic "Theatre in education"

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Pigkou-Repousi, Myrto. "Ensemble theatre and citizenship education : how ensemble theatre contributes to citizenship education." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/56233/.

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This study examines the ways in which ensemble theatre making can contribute to citizenship education. A range of political theories construct the framework for democratic politics and active citizenship which, in turn, become the pedagogical basis for the ensemble model of theatre learning. Outstanding political theories, such as Castoriadis’ theory of the imaginary institution of society and Habermas’ model for communicative action, structure a theoretical basis which constitutes an ideal definition for democratic politics and active citizenship. This framework becomes the pedagogic ground of ensemble theatre that constitutes a collective process of theatre making and, therefore, aims to function as a democratic learning experience in the art of theatre. In this context, a research praxis that combines methodological elements from action research and case study is conducted in two high-schools of Athens and examines students’ perceptions of politics, while at the same time explores their responses to an artistic, learning experience that interacts with their own initiatives, group decisions, and socio-artistic actions. Following this methodological route that integrates both an interventionist and an interpretive interest, the fieldwork is developed as a dialogic action between the ideal conception of ensemble theatre making and the real conditions that are encountered in the educational contexts. In this context, the analysis and the interpretation of the data provides information about the ways in young people perceive arts and politics, the ways in which they experience and develop collectiveness and active participation as well as the ways in which these perceptions determine their citizenship skills. Finally, the impact of ensemble theatre process is examined in relation to the above mentioned perceptions and conditions of political socialisation.
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Iadevaia, Jennifer Sarah. "Exploratory Theatre Activism| Implementing Theatre Pedagogy in Educational Landscapes." Thesis, Prescott College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102199.

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For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use.

Keywords: praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change

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Cloutier, Joseph Leonard. "Popular theatre, education, and inner city youth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21558.pdf.

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Marchant, James Charles. "Plato Would Hate This: Two Theatres with Successful Controversial Work." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288706705.

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Coaker, Jaime Morgan. "From Commodity to Conversation: Applied Theatre, Public Higher Education, and the Miami University Theatre Department." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1448290982.

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Mohamed, Noorlinah. "At the nexus between theatre and education : a study of theatre artists' teaching practices." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57690/.

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In Singapore, there is an increasing presence of theatre artists as educators across varied sectors of the educational institutions. However despite their active engagement with education, research on what and how they do their teaching is limited. This thesis sets out to investigate the theatre artists’ teaching practices in education settings. The literature reviewed as part of this inquiry point to an identifiable system of pedagogy in the theatre artists’ teaching practices. As such, one of the key strands of this research is to identify and name what is distinctive about theatre artists’ teaching practices. But more than just identifying characteristics, I am interested in understanding if there is an overarching philosophy that guides these practices. To that end, I conceptualised a framework, which examines the theatre artists’ teaching practices as inhabiting a nested nexus of two distinguishably separate fields: Theatre and Education. Each with its own variegated influences and systems of knowledge and values that govern practices. Working with an overarching Bourdieusean theoretical framework, in particular habitus and field, as well as invoking Lyotard’s notion of differend, the study relies on interdisciplinary theories to aid explication of key concepts related to the study. The study also employs a melding of ethnographic case study and reflective practitioner as its methodology. Additionally, it works with “critiquing across difference” (Lather 2008) as a means to challenge and destabilise the reflective practitioner lens. This is achieved by structuring the research into two phases. Phase I involves researching in England. Working with four theatre artists, I examine how each assumes their position as educators in various education settings both within and beyond the school environment. The opportunity gained from this experience informed Phase II research in Singapore, the main focus of this inquiry. The findings suggest that to understand theatre artists’ teaching practices require an examination of contexts influencing their teaching acts. This includes their layered histories of both artistic and teaching experiences as well as the relationship they have with the school culture and the objectives and needs of their teaching projects. Additionally, in examining their teaching moments, the study discovers a pattern of doing the same approaches or strategies, differently. Working from the data, an overarching world view guiding the construction of their teaching practices is eventually proposed.
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Medina, Carmen Liliana. "Theatre of the oppressed and theatre in education : a reflection on Paulo Freire's theories." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240234778.

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O'Neill, Clare Cecilia. "Structure and spontaneity: : improvisation in theatre and education." Thesis, University of Exeter, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293645.

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Hennessy, James. "Actors, Praxis in a theatre in education setting." Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400897.

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Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.

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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
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Books on the topic "Theatre in education"

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Helen, Nicholson. Theatre & education. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2009.

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Nicholson, Helen. Theatre & Education. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-0-230-36463-9.

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Theatre, education and performance. New York: Palgrave Macmillan, 2011.

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Nicholson, Helen. Theatre, Education and Performance. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34502-7.

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Reed, Nat. Readers theatre. [North Battleford, SK]: Rainbow Horizons Pub., 2006.

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1964-, Fliotsos Anne L., and Medford Gail S. 1953-, eds. Teaching theatre today: Pedagogical views of theatre in higher education. New York: Palgrave Macmillan, 2004.

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Teaching theatre today: Pedagogical views of theatre in higher education. 2nd ed. New York: Palgrave Macmillan, 2009.

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Bakelen, Maria P. van. Creating theatre art & aesthetics: A slippery spot within theatre education. Carnières: Editions Lansman, 1995.

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Theatre: Its healing role in education. New York: Vantage Press, 2009.

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Crossley, Mark. Contemporary Theatre Education and Creative Learning. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63738-5.

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Book chapters on the topic "Theatre in education"

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Rhine, Anthony. "Theater education." In Theatre Management, 236–49. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-352-00175-4_15.

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Patnaik, Subodh. "Theatre and Education." In Educating in the Arts, 301–11. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6387-9_22.

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Nicholson, Helen. "Theatre & Education." In Theatre & Education, 1–80. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-0-230-36463-9_1.

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Nicholson, Helen. "Learning in Theatres and Participation in Theatre: Cool Spaces?" In Theatre, Education and Performance, 198–214. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34502-7_10.

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Ganguly, Sanjoy. "Theatre is Hope, Theatre is Freedom." In Key Concepts in Theatre/Drama Education, 93–98. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_15.

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Burton, Bruce, Penny Bundy, and Robyn Ewing. "Theatre Literacy." In Landscapes: the Arts, Aesthetics, and Education, 145–58. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7609-8_10.

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Nath, Parshathy J. "Reflections on Theatre Education." In Handbook of Education Systems in South Asia, 1–17. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-13-3309-5_2-1.

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Nath, Parshathy J. "Reflections on Theatre Education." In Handbook of Education Systems in South Asia, 175–91. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-0032-9_2.

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Winston, Joe. "Storytelling theatre and education." In The Routledge Companion to Drama in Education, 175–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003000914-19.

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Pinkert, Ute. "The Concept of Theatre in Theatre Pedagogy." In Key Concepts in Theatre/Drama Education, 119–23. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_19.

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Conference papers on the topic "Theatre in education"

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Bannò, Mariasole, and Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento, and Valerio Villa. "Theatre teaches." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8098.

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Theatre teaches is a new experiment carried out at the University of Brescia. The growing importance of transversal competences i.e. those skills that essentially concern attitudes in the workplace and interpersonal relationships such as team work, language and communication skills, gave us the idea to develop an educational innovation to help students bring out these skills. We asked students to wrote a play using topics seen in class. So, they tried to wrap their mind around it and worked in team to write a script and get him to scene. Not to be confused to business theatre, this method is applicable in any framework. The assessment results reveal that students appreciate this method because this work helps them to express theirself better and, in general terms, they could improve their non techniocal skills. In conclusion, we can say that this experiment has been a success and gave the students the opportunity to show transversal competences. The ability to communicate, to teamworking, to manage conflicts, to speak in public, to problem solving, creativity, imagination, the ability to manage unforeseen situations and tolerate pressure and stress, leadership skills, negotiation skills and the ability to motivate are just few of the emergent competences.
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Buur, Jacob. "Object theatre in design education." In Nordes 2015: Design Ecologies. Nordes, 2015. http://dx.doi.org/10.21606/nordes.2015.009.

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ZHANG, SHENGHUAN. "THE DILEMMA AND REFLECTION OF CHINESE THEATRE ARTS EDUCATION IN UNIVERSITIES." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35964.

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Abstract. At present, the education of Traditional Chinese theatre arts in universities is lacking in both “software” and “hardware”, which is in the dilemma of being marginalized by teaching. There are many common problems in the bottleneck and causes of many kinds of theatre arts in the development of universities education, such as the shortage of teachers, the lack of interest of students, the weakness of scientific research, the poor environment of Traditional Chinese Theatre arts and so on. In view of the above problems, it is suggested to adopt multi-channel strategies to cultivate students' interest, improve the supporting Traditional Chinese Theatre arts curriculum, and optimize the traditional Chinese Theatre arts environment, so as to change the current dilemma of Traditional Chinese Theatre arts in universities.
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Greenberg, Jessica, and Brian Rague. "Digital Theatre Design - An Interdisciplinary Course Connecting Computing and Theatre Arts." In SIGCSE '21: The 52nd ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3408877.3439563.

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Tihomirova, Kristina, and Linda Mezule. "Management of wastewater trough theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9162.

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Compulsory study course on wastewater treatment and sewage systems contains lectures, classroom calculations, technical project and laboratory practicum. The course is addressing not only the developing skills in wastewater treatment technologies but also provides preparation of professionals that can communicate with institutions involved in water and wastewater sector. Over the years it has been observed that even after receiving the most sophisticated knowledge and highest markings, students often lack skills in practical communication with industry and implementation of theoretical knowledge in praxis. Here we describe student-centred teaching method that is based on the activities that are similar to theatre and allow: (i) the teacher to find and understand the weaker places in student knowledge gained during the semester; (ii) the students to form professional skills during the active communication with colleagues and mentors from industry. The students work in several groups “INDUSTRY”, “MUNICIPALITY” and EXPERTS”, try to find better solution for industrial sewage treatment and cooperation model with the municipality and present their results. After 2 years of the modernisation and adjustment, the training course has created an interest not only from student side but also from the industry representatives that are interested in communication with the new specialists and develop strong contacts with the university.
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Gherghișan, Alina. "Theatre Of Elite Performance." In ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.71.

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Stănescu, Mirona. "Change Of Perspective: Biographical Theatre And Intercultural Education." In 9th International Conference Education, Reflection, Development. European Publisher, 2022. http://dx.doi.org/10.15405/epes.22032.11.

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Hallissey, Helen. "READERS' THEATRE AND SECOND LANGUAGE ACQUISITION: SOME PRACTICALITIES." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.1778.

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Beliaeva, Vera. "LEARNING A FOREIGN LANGUAGE THROUGH THEATRE: SECONDARY SCHOOL EXPERIENCE." In 13th International Technology, Education and Development Conference. IATED, 2019. http://dx.doi.org/10.21125/inted.2019.1223.

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Reports on the topic "Theatre in education"

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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