Passion for theatre

By Sattyakee D’com Bhuyan

Guwahati, June 20: Daniel A. Kelin II is a distinguished Theatre in Education scholar, teaching artist, and playwright with a prolific career spanning over three decades. Since 1987, he has been the Director of Drama Education at the Honolulu Theatre for Youth (HTY), where he has educated tens of thousands of students worldwide. Kelin’s expertise and dedication have earned him numerous accolades, including a 2009 Fulbright-Nehru Senior Research Scholarship in Education in India and fellowships with prestigious institutions like the Montalvo Arts Center and the Children’s Theatre Foundation of America.

Kelin’s contributions extend globally through his roles in theatre, schools, and youth organisations across American Samoa, the Marshall Islands, Pohnpei, Guam, India, Nepal, and Sri Lanka. His leadership in the field is further evidenced by his presidency of the American Alliance for Theatre and Education (AATE), which honoured him with several awards, including Youth Theatre Director of the Year and the Lin Wright Special Recognition Award. Additionally, Kelin is a member of the Teaching Artist roster at the John F. Kennedy Center for the Performing Arts. His creative work as a director, actor, and playwright has seen international recognition, with his plays being performed across Asia and the United States, and winning several national awards.

We recently met at a theatre workshop at ‘Dapon the Mirror’ in Tangla where Kelin spoke at length about his work and the importance of integrating arts into the education system. Excerpts:

Let’s start with your perspective on the integration of arts in education, particularly in India. How do you think it benefits the students?

The integration of arts in education is incredibly impactful. When I was a child, the most engaging experiences I had were art-related. I remember those lessons vividly because they were not just academic but also creative. Unfortunately, many children don’t get these opportunities. This kind of experience is true for many other children as well, but unfortunately many of those children never have the opportunity to engage in and learn through artistic experiences. Not all children learn in the same way. Some children respond better to academic learning. Some need more physical engagement to improve their learning experiences. Some children engage in the world through artistic experiences. For education to be truly successful, schools should provide a variety of experiences to help each kind of learner reach their highest potential. However, schools often focus primarily on academic learning. They do so because it is easier for the teachers and because it is easier to test the children. Research shows, however, that creative learning experiences have a greater impact on learners beyond just test scores — creative learning helps students become more effective and excited learners and makes the learning more personal and sustainable. Often, children remember creative experiences better than academic learning experiences, so the learning stays with them longer and the students better understand how to apply the learning to their own lives.

I find that Indian children can be very expressive learners and get very excited about engaging in creative learning experiences. This is true for teachers as well. During the recent teacher workshop at Dapon, more than one teacher expressed how they feel less shy and more expressive now and more confident in their own teaching abilities. If artistic learning experiences improve teacher skills and engage students deeper in their learning, the question must be why do we not use it more?

Your insights are truly enlightening. How has your experience been with Dapon, particularly in its rural setting?

For me, working with theatre and art organisations in rural settings is incredibly rewarding. The local population is genuinely engaged by theatre productions because the stories often reflect their own lives and experiences. Dapon’s commitment to its community and its socially active space is inspiring. Collaborating with artists from various backgrounds and experience levels has been a joyful experience. We learn and create together, finding a common language through art. This process of connecting people through theatre and celebrating humanity is what makes Dapon special to me.

That sounds amazing. Can you reflect on the success of the programme here at Dapon, both in the teacher workshops and production workshops?

In both the teacher and production workshops, we’ve brought people together in a common pursuit. Despite initial struggles to make sense of the work, we supported each other and encouraged a kind of courage that lifted us to our full potential. The collaborative learning experience has enriched us individually and as a group. I enjoy the challenge of overcoming struggles and revel in the success that follows as we overcome them together as a team.

What has been your most memorable moment during this workshop at Dapon?

One of the most memorable moments was seeing the transformation in the teachers. More than one teacher expressed how they felt less shy and more confident after the workshop. Witnessing that shift and knowing that they will carry that confidence into their classrooms is incredibly fulfilling. It’s moments like these that highlight the true impact of integrating arts into education.

Finally, Daniel, what do you think is the next step towards integrating arts completely into the education system in India?

The next step is to provide thorough training for teachers and principals. While the Indian government supports arts integration, comprehensive training will ensure that arts learning experiences are more fully integrated into schools. This will help in creating a more balanced education system where all kinds of learners can thrive. Encouraging schools to adopt creative learning methods and supporting teachers in this journey is a positive and evolving journey for the education scenario in India.