2012-2014

From Bennelong Point to the Nation

Sydney Opera House Broadband Enabled Education & Skills Services Project

W h a t we d i dE xe c u t i ve s u m m a r yFrom Bennelong Point to the Nation was a trial project that used broadband technology to increase access to performing arts education and vocational learning for people living in remote and regional areas of Australia. The project was funded by the Commonwealth Government as part of its Broadband Enabled Education and Skills Services (BEESS) program. The University of Technology, Sydney (UTS) evaluated the project’s success, and summarised its learnings to offer recommendations to Sydney Opera House (SOH) and other education and arts providers.Each year, 170,000 young people, their families, students and teachers attend high-calibre performing arts and creative learning experiences at SOH through its Children, Families and Creative Learning program. From Bennelong Point to the Nation investigated and trialled how to extend the program’s reach to deliver live, interactive digital learning experiences to improve educational and vocational outcomes and develop cultural literacy across Australia. Partnerships with some of Australia’s major performing arts companies, educational institutions and national vocational learning providers were key to the project’s success. The project evaluated artistry and pedagogy in the digital space and the impact of different technologies and infrastructures on digital learning experiences. This report is an overview of the activities undertaken by SOH, key lessons and recommendations, and future plans.

PROGRAMS AND PARTNERSFrom Bennelong Point to the Nation trialled eight new digital programs. Partners, arts industry experts and SOH employees developed and delivered these interactive experiences via digital mediums to students, teachers and families across Australia.

VOCATIONAL LEARNING PROGRAMS

1 Careers in Technical Production Sydney Opera House

A session for secondary and tertiary students studying Entertainment Studies

2 Career Pathways at Sydney Opera House Foundation for Young Australians (FYA)

A workshop for secondary students participating in FYA’s Worlds of Work program

PROFESSIONAL DEVELOPMENT PROGRAMS FOR TEACHERS

3 Teaching Music in the Primary Classroom Sydney Symphony Orchestra

4 Shakespeare in the Primary Classroom Bell Shakespeare

5 Everyone Can Dance The Australian Ballet6 Communicating with Confidence Through

Drama Monkey Baa Theatre Company

STUDENT PROGRAM

7 Communicating with Confidence Through Drama Monkey Baa Theatre Company

The workshop for teachers was followed by a workshop for students

FAMILY ENGAGEMENT PROGRAM

8 Family program The List Operators An interactive digital tour, a workshop and

a digital performance for families in their homes

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Ho w we d i d i t

W h o we re a c h e d

#ENDPOINTS #PEOPLE

50

32

24

237

847

93

Teac

hers

Stud

ents

Fam

ilies

Connect using VC via

3rd party bridge

Connection not possible for this project

Can participants access computers or tablets that

software can be installed on?

Is there a broadband connection available?

Individual or private residence

Does the school have in-house technical support?

Yes

Yes

School

No

No

No

Can technical support be provided

by a 3rd party?

Who do we want to connect to?

Yes

Yes

No

No

No

YesYesDirectly

No

Yes

Yes

No

Is it possible to connect directly via broadband?

Is it possible to connect indirectly via broadband?

Do participants have access to video conferencing

(VC) equipment?

Third party

Can we dial into the 3rd party VC bridge?

Can we connect directly or must we connect via a 3rd party VC

bridge?

Connect point-to-point using VC via SOH bridge

Connect using web or software-based VC

platform

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THE ECOLOGY OF THE DIGITAL EXPERIENCE SPACESIn a traditional face-to-face workshop all activity happens in one space. By contrast, a digital experience requires the consideration of five spaces.

INTERACTIVITYSpace 5 is the virtual space that exists between the four physical spaces and is where interactivity happens.

CREATIVE DEVELOPMENT PROCESSThe creative development process involved artists, facilitators, producers, directors and technicians. The use of different spaces and the concept of interactivity were crucial considerations.

Broadly, we used three different approaches to developing content, depending on which partner we worked with and the desired outcomes of the program.

321Replicating existing workshops

STARTING POINT

Adapting existing content

Creating new digital experiences

• Pre-existing face-to-face workshop rehearsed to camera

• Minor technical adaptations such as considering audio transmission and camera placement

• Limited involvement by technicians in development process

PROCESS

• Pre-existing content developed into a new digital experience script

• Technology to improve engagement considered and trialled e.g. the addition of green screens, multiple cameras and locations, or extra AV content

• More substantial involvement by technicians in development process

• Idea developed from scratch with equal consideration given to technology and creative concepts

• Performing artists applied their skills to the digital medium

• Ideas workshopped, tested and refined

• Technicians are central to process and delivery

W h at we l e a r n e d: D i g i ta l a r t i s t r y/Pe d a g o g y/ Te ch n o l o g y

An in-depth creative development period for artists, technicians and producers. Time for serious play and for trialling ideas resulted in the development of new interactive activities and more innovative use of technology, leading to better engagement from participants.

A flexible and adaptive approach from artists and the ability to work on various technical platforms while interacting with participants.

Exploring the potential of all five spaces. Developing a sense of shared ownership and collaboration across these spaces resulted in more authentic participant engagement.

Focusing on influencing the environment in Space 4. Higher engagement levels, greater interactivity and better learning outcomes occurred when it was established as a place of collaborative learning.

KEY LESSONSDIGITAL ARTISTRY BENEFITED FROM:

Digital artistryDigital artistry refers to the skills and creativity a facilitator or artist needs to present effectively in a digital context. As the project progressed we found that digital artistry had a significant impact on the level of interaction and engagement by participants.

CREATIVE DEVELOPMENT

PROCESS

Consider the ecology

RESULTING DIGITAL FORM

SPACE 5

SPACE 2The studio where the digital

experience is directed, mixed and transmitted

Director, vision switcher, producer, technicians

& equipment

SPACE 4The space or room where participants

are positioned

Participants, endpoint screen, camera &

microphone

SPACE 3The screen on which

the digital experience is presented

Could be a TV screen, computer or

mobile device

SPACE 1The room where

the digital experience happens

Artists, facilitators, technicians, camera

& screens

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Consider the creative development process. Allow time for all stakeholders to be part of an in-depth creative development process, including trials and tests. Give technical elements and artistic values equal consideration.

Develop understanding of the spaces. Consider all spaces involved, particularly the need to influence the spaces unique to a digital experience, such as the participants’ screen and environment.

Focus on interactivity and collaboration. During creative development, focus on the virtual space where interaction occurs. Consider how to use technology innovations and artistic approach to allow all participants to connect and collaborate.

Apply performing arts skills. Use the creative practice and performative skills of artists to innovate and develop the digital experience.

RECOMMENDATIONS FOR SUCCESS

KEY LESSONS Form 1 resulted in authentic and high-quality learning outcomes but limited participant engagement and digital artistry. It was faster and less expensive to develop and allowed a presenter with limited technical expertise to facilitate. It is a valid approach where access to a face-to-face workshop is not possible.

More innovation in the delivery of digital experiences began to occur in Form 2 and Form 3. The traditional roles and relationships between artists, technicians, producers and participants adapted to the new context, resulting in deeper engagement and connection with participants.

Form 3 developed through all stakeholders gaining a new and deeper understanding of best practice in interactive digital experiences. It used a performative approach and the artists’ acceptance and ownership of all five spaces enabled risk-taking. It resulted in very high levels of engagement and interaction.

DIGITAL FORM

The three different creative development approaches we employed led to different outcomes or ‘digital forms’. These were distinguished by artists’ presenting style, technology use, and participant interaction.

321Interactive presentation

FORM

Interactive workshop

Interactive performance

USE OF SPACES

INTERACTIVITY

• Focus on Spaces 1 and 2. Most attention paid to on-screen presenter and how content is transmitted

• Space 1 is a single location and doesn’t add meaning to the experience, i.e. it could be any room

• Opportunities for interaction are scripted to occur at certain points and are fairly controlled

• Participants are treated as individual groups participating simultaneously and there is limited interaction between them

• Greater consideration to Space 1 with locations selected to relate to the content; often multiple locations

• More focus on how Space 3 can enhance engagement. For example, using a green screen so AV content and presenter can be seen simultaneously

• Interaction is able to happen more spontaneously, allowing some content to be directed by participants’ responses

• Participants are encouraged to interact with each other and activities allow collaboration across end-points

• Detailed consideration of all spaces, especially the impact of Space 1, 3 and 4 on engagement and interactivity

• More attention paid to Space 4, e.g. developing pre-performance tasks to involve participants

• Interactivity is crucial to design

• The design and application of technology allows participants to spontaneously interact with each other and the artists or to collaborate across multiple locations

• A performative approach to artistry ensures high levels of interactivity and engagement

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Pedagogy is the science and art of teaching. The digital learning experiences of From Bennelong Point to the Nation gene rated a more technologically nuanced notion of pedagogy that is both creative and responsive. The project supported the idea that creative pedagogy is collaborative, interactive and attuned to many voices, and demonstrated the need for a teaching and learning practice that crosses boundaries and respects genuine participation and immersion.

Pe d a g o g y

KEY LESSONS Synchronous, live digital learning experiences required specific strategies to enable interaction, collaboration and engagement.

It was important for artists/facilitators to collaborate with teachers before workshops to develop agency, shared languages and an understanding of shared spaces. This was not just because it was a digital experience but because this was intended as a shared and participatory digital experience, not simply to be observed or performed.

Teachers needed encouragement to view digital learning experiences as valid and authentic. Providing explicit curriculum and cross-curriculum links helped.

The interdisciplinary nature of such learning experiences, tapping into a range of different learning areas, can enhance student engagement.

Students and teachers responded well to digital experiences because they were different to regular teaching and learning activities.

Camera skills in artists/facilitators (including green screens where relevant) improved connection and engagement, for example looking at cameras while responding to vision on a monitor.

FEEDBACK FROM TEACHERS‘…ICT enabling people located in different settings (great distances apart) to communicate, interact and learn in real time as if they were face-to-face in the one setting, and experiencing the same semiotic effects...’ July 2014

The project provides ‘... the opportunity to affect the course of events resulting in heightened engagement and increased opportunities to understand the artists’ purpose through questioning...’ July 2014

‘Prior to participating in the Sydney Opera House program, I underestimated the value of such an experience. I thought that it might be disconnected and impersonal, whereas it turned out to be the exact opposite. It was a highly engaging, exciting and “usable” format for learning.’ October 2013

RECOMMENDATIONS FOR SUCCESS

Develop understanding of the form. All stakeholders, including teachers and students, must understand the experience is not a performance for an audience but a live, interactive learning experience happening across five spaces.

Develop relevance. Plan digital learning experiences that align with or contribute to curriculum or cross-curriculum priorities. Include an educator in the creative development process.

Develop ownership and readiness in participants. Clarify desired learning outcomes and develop a sense of shared purpose, motivation and shared language by devising engaging pre-workshop activities. Offer training to ensure participants understand workshop technology and terminology.

Develop the pedagogy of the digital experience. Provide training so artists/facilitators can practise the best strategies for authentic digital learning. Include technical skills, for example looking at cameras while responding to vision on a monitor.

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Te c h n o l o g yKEY LESSONS

Higher bandwidth resulted in higher quality audio and video, leading to a better, more engaged experience.

Less audio and video delay (latency) between participants allowed more spontaneous interaction and better real-time collaboration possibilities. Among other factors, latency was determined by geographic distance, the number of network segments traversed, the network protocols used and network reliability.

Traditional H.323 VC is purpose-built for multi-endpoint connections and enabled excellent interaction and collaboration between participants and presenters.

Where VC equipment was not available, web or software-based systems were able to replicate a traditional H.323 system but only if cameras and microphones were set up properly. This varied depending on group or individual settings.

Screen layout and the appearance of content on screen, for both participants and presenters, should be considered carefully as it had an impact on the interaction, collaboration and participant engagement.

Different platforms provided different levels of configurability and not all allowed changes to screen layout during broadcasts.

RECOMMENDATIONS FOR SUCCESS

• Few schools in Australia were connected to high-speed broadband networks and where they were, bandwidth was not usually dedicated to VC

• VC bandwidth ranged from 256 kilobytes per second (kbps) to 2,000kpbs

• The highest quality broadcasts happened when schools were connected directly to a high-speed broadband network, or when the state Department of Education (DoE) did not limit VC bandwidth

• State DoEs had different network requirements and restrictions. Some could not connect directly to SOH, in which case participants were connected via the DoE’s network bridge

• In some states, the DoE made network changes to allow schools to connect directly to a session hosted on the SOH network

• Close collaboration with DoE technical teams allowed participants from different states, using different platforms, to successfully connect in the same session using SOH infrastructure

• Some schools could not connect outside their state network meaning they could only connect with participants in the same state

• Trialled many software-based platforms but found the highest quality and most robust connections were achieved using traditional VC

• VC is purpose built for live, spontaneous interaction and, if installed professionally, was intuitive for participants to use

• Web and software-based systems were a good alternative to VC and were free, easy to install and available on desktops and tablets. Consideration was needed for the additional hardware required (cameras, screens, microphones, speakers) and set-up and testing at the participant’s end, as this affected quality

To connect to partici-pants via high-speed broadband networks or equivalent infrastructure (25 megabytes per second duplex)

To connect to participants directly without using third-party infrastructure

To connect participants in different states in the same session, regardless of technology

To find a technology platform equivalent in performance to a VC unit but more easily available to schools

GOALS

OUTCOMES

Develop relationships in each state. In the current national digital landscape, the fastest connections and opportunity for cross-state collaboration are achieved by working with state DoE technical teams on network configuration changes.

Work towards best connections. A direct connection, or as close to that as possible, provides the highest bandwidth and lowest latency. This leads to better real-time interaction and collaboration between multiple participants.

Consider bandwidth allocation. If network speeds are limited, dedicate more bandwidth to participants’ download rate so they receive the highest quality feed possible.

Try different platforms. If local technical support is limited, VC is often the most intuitive platform. Web or software-based platforms can be used but often require dedicated time and attention to configure and test to allow for the best possible interactions.

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From Bennelong Point to the Nation has posed as many new questions as it has answered. Digital artistry and creative pedagogy are rapidly evolving fields with more artists, technicians, educators and researchers developing and trialling work in these areas. SOH is committed to researching and developing digital learning experiences and will continue to develop knowledge and practice in the field.

SOH will also continue to provide high-quality, innovative digital learning experiences as part of its Creative Learning program. In Australia, the growth of this program is contingent on the following factors.

DIGITAL ARTISTRY AND INNOVATIONThere is much more to be researched, learned and trialled in this area. SOH plans to find interested artists and provide them with opportunities for creative development and training to grow the pool of artists with the skills to create and present work in this area.

NEW TECHNOLOGIESMore accessible technology solutions need to be developed to reach a wider national audience. SOH will keep trialling and testing new technology platforms and exploring options that do not require VC units.

NATIONAL INFRASTRUCTUREAccess to high-speed broadband is crucial to the quality of digital learning experiences. SOH will continue to monitor and navigate the national digital landscape, including collaborating across borders to overcome state network restrictions.

ACTIVATING THE MARKETTeachers must be trained to use technology in their classrooms, be aware of available programs and understand the benefits of digital learning in order for quality digital learning experiences to flourish. SOH will keep providing opportunities for teachers to develop skills and confidence in this area and work to develop market demand.

Meanwhile, there is increasing demand from international markets, where digital learning is becoming embedded in teaching practice. In 2015, SOH will be piloting a number of digital learning initiatives with Asian countries in order to grow the program to include an international audience.

Sydney Opera House Digital Creative Learning ProgramFind out more about SOH’s Digital Creative Learning program at sydneyoperahouse.com/creativelearning

“I warmly endorse, and applaud, this report. It contains pragmatic, sensible advice, describes and respects real participation and is authentic and grounded.

A connected world should offer more than simply conduits for commerce – mutuality, creativity, culture, collegiality, performance, quality, joy and reflection all matter too. This report confirms that they can matter, and be cherished, in this broadband world too.”

PROFESSOR STEPHEN HEPPELL

T h e f u t u re

O u r t h a n ks t oSydney Opera House acknowledges financial support from the Australian Department of Education and Training for From Bennelong Point to the Nation through the Broadband Enabled Education and Skills Services (BEESS) program.

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