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1
Meekison, Lisa. „Playing the games : indigenous performance in Australia's Festival of the Dreaming“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670221.
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2
Small, Katie E. „Understanding the social impacts of festivals on communities“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/37653.
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Thesis (Ph.D.) -- University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Business, School of Marketing, in partial fulfilment of requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
3
St, John Graham 1968. „Alternative cultural heterotopia ConFest as Australia's marginal centre“. [Melbourne] : Confest Integrity Agency, 2000. http://nla.gov.au/nla.arc-41333.
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Title from title screen (viewed on 15 Apr. 2004) Text and graphics. Web site contains the complete thesis submitted in total fulfilment of the requirements for the Degree of Doctor of Philosophy, School of Sociology, Politics and Anthropology, Faculty of Humanities and Social Sciences, La Trobe University, Melbourne, Australia. Also includes photographs and links to related web sites. System requirements: Adobe Acrobat reader for viewing files in PDF format. Mode of access: Internet via World Wide Web. Available at: http://www.confest.org/thesis/index.html Selected for archivingANL
4
Small, Katie E. „Understanding the social impacts of festivals on communities“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/37653.
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This thesis seeks to understand the social impacts that festivals have on their host communities. It focuses on community festivals as one type of event which have a particularly strong connection to their host community. Community festivals are traditionally organised by and for the local community, and often celebrate a theme that has developed from within the community itself. Community festivals provide members of a community with opportunities to engage in socialisation, entertainment and the establishment of social networks, which can contribute to the enhancement of community cohesion and the building of social capital within a community. Additionally, they can provide tourism benefits such as increased visitation and promotion of a destination’s image. However, there is the potential for negative social impacts to result from the hosting of a festival, including traffic congestion, overcrowding, vandalism and increased antisocial behaviour. This thesis seeks to understand the perceived social impacts of community festivals from the perspective of the resident population. Six important questions are addressed in this thesis: 1) what are the underlying dimensions of the social impacts of community festivals?; 2) what are a host community’s expectations and perceptions of the social impacts of a festival?; 3) are there distinct subgroups within a community who differ in their feelings towards a festival?; 4) do these subgroups hold differing perceptions of the social impacts of community festivals?; 5) can the Social Impact Perception (SIP) scale be used to measure residents’ perceptions of the social impacts of community festivals?; and 6) what are the implications of this research for the planning and management of future community festivals? In order to explore these issues, this study draws on literature from the areas of tourism and sociology. It is from the tourism literature, more specifically on events, that community festivals are introduced as the focus of this thesis. The sociological literature on communities reinforces the importance of the ‘community’ in community festivals, and examines the role that festivals can play in contributing to community development, community wellbeing and the enhancement of social capital. Two community festivals were studied, one in Western Australia and the other in Victoria, Australia. Data were collected from residents in each of these two communities at one point in time following the staging of their festival. Both qualitative and quantitative methods were used, including semi-structured interviews, focus groups, observational techniques, document analysis and a residents’ perceptions questionnaire. The results revealed that there are distinct subgroups within a community who choose to be involved with their festival in a range of ways and who perceive the social impacts resulting from the festival quite differently. These subgroups have been labelled the tolerators, economically connected, attendees, avoiders and volunteers. Whilst holding varied perceptions of the positive and negative nature of the impacts and levels at which they occur, residents perceive the social impacts of community festivals to occur within six impact dimensions: inconvenience, community identity and cohesion, personal frustration, entertainment and socialisation opportunities, community growth and development, and behavioural consequences. Those residents who participate in the festival, either as volunteers or attendees, tend to be those who are most positive about the festival and its impacts. This participation in the community provides opportunities for social transactions, relationship building and the development of social networks, which in turn have positive outcomes for community wellbeing and the development of social capital. This research has a number of implications for the management of future community festivals, in respect to providing a better understanding of residents’ perceptions of the social impacts a festival creates; towards better satisfying the diverse needs of distinct community subgroups; and related to how festivals can be used to contribute to community wellbeing and the enhancement of social capital.
5
Cummings, Joanne. „Sold out ! : an ethnographic study of Australian indie music festivals“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality.
Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
6
Grigg, Jodie. „A mixed methods study of drug use at outdoor music festivals in Western Australia and Victoria“. Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/79426.
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This study investigated the nature and extent of drug use associated with Australian music festivals, assessed current and potential future policy and practice strategies aimed at reducing the risk of drug-related harm at festivals, and developed evidence-based recommendations aimed at improving current strategies. Key recommendations included: expanding drug-checking services; ceasing the use of drug detection dogs; removing barriers to seeking medical attention; shifting to a harm reduction policy; and creating more enabling environments for harm reduction.
7
Ross, Jane Elizabeth. „Regional Victorian arts festivals : from community arts to an industry based model /“. Connect to thesis, 1999. http://eprints.unimelb.edu.au/archive/00000957.
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8
Peach, Ricardo. „Queer cinema as a fifth cinema in South Africa and Australia“. University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
9
Hope, Cathy, und n/a. „A History of the Sydney and Melbourne Film Festivals, 1945-1972: negotiating between culture and industry“. University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20050630.130907.
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This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.
10
Morris, Brian John. „Journeys in extraordinary everyday culture : walking in the contemporary city /“. Connect to thesis, 2001. http://eprints.unimelb.edu.au/archive/00002256.
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11
Cummings, Joanne. „Sold out ! an ethnographic study of Australian indie music festivals /“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
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Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
12
Garth, Alan, und edu au jillj@deakin edu au mikewood@deakin edu au kimg@deakin. „A Study of an Australian Rural Music Festival“. Deakin University. School of Australian and International Studies, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040617.152028.
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A social and cultural study of the development of the Port Fairy Folk Festival within the context of the current revival of folk music in Australia. The folk music movement is a social and cultural phenomenon, as well as a musical event.
13
Maza, Valenzuela Valentina Beatriz Dally. „Modelo de gestión para profesionalizar el Festival Internacional Australis“. Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/145140.
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Magíster en gestión culturalEn este trabajo se realiza una propuesta de modelo de gestión para el Festival Internacional Australis, actividad independiente y emergente que se enfoca en la educación profesional dentro del ámbito de la Música Clásica en Chile, a través de la síntesis de los procesos de gestión a partir de su experiencia previa. La Primera Parte está dedicada a exponer los objetivos, fundamentos, metodología de trabajo y análisis del contexto actual en el cual se desarrollan este tipo de iniciativas musicales. Esta caracterización del trabajo pone en contexto la posterior sistematización de la experiencia del Festival Australis. La sistematización de los procesos de gestión se realiza con el objetivo de generar una Propuesta de Modelo de Gestión, ofrecida en la Segunda Parte, la cual está enfocada en mejorar la gestión de este festival y de contribuir a la mejora de otros festivales e iniciativas de similares características.
14
Lees, Jennifer Anne. „Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /“. View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.
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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
15
Lees, Jennifer Anne. „Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941“. Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.
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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material
16
Carter, Danielle Catherine. „Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects“. Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.
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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audiences held by community stakeholders, and to integrate perceptions on the audience with actual audience experiences.
17
Mackellar, Joanne. „An examination of participants at special interest events in regional Australia /“. 2009. http://epubs.scu.edu.au/theses/94.
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18
Cummings, Joanne, University of Western Sydney, College of Arts und School of Social Sciences. „Sold out ! : an ethnographic study of Australian indie music festivals“. 2007. http://handle.uws.edu.au:8081/1959.7/35961.
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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality. Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.Doctor of Philosophy (PhD)
19
Small, Katie E., University of Western Sydney, College of Business und School of Marketing. „Understanding the social impacts of festivals on communities“. 2007. http://handle.uws.edu.au:8081/1959.7/37653.
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This thesis seeks to understand the social impacts that festivals have on their host communities. It focuses on community festivals as one type of event which have a particularly strong connection to their host community. Community festivals are traditionally organised by and for the local community, and often celebrate a theme that has developed from within the community itself. Community festivals provide members of a community with opportunities to engage in socialisation, entertainment and the establishment of social networks, which can contribute to the enhancement of community cohesion and the building of social capital within a community. Additionally, they can provide tourism benefits such as increased visitation and promotion of a destination’s image. However, there is the potential for negative social impacts to result from the hosting of a festival, including traffic congestion, overcrowding, vandalism and increased antisocial behaviour. This thesis seeks to understand the perceived social impacts of community festivals from the perspective of the resident population. Six important questions are addressed in this thesis: 1) what are the underlying dimensions of the social impacts of community festivals?; 2) what are a host community’s expectations and perceptions of the social impacts of a festival?; 3) are there distinct subgroups within a community who differ in their feelings towards a festival?; 4) do these subgroups hold differing perceptions of the social impacts of community festivals?; 5) can the Social Impact Perception (SIP) scale be used to measure residents’ perceptions of the social impacts of community festivals?; and 6) what are the implications of this research for the planning and management of future community festivals? In order to explore these issues, this study draws on literature from the areas of tourism and sociology. It is from the tourism literature, more specifically on events, that community festivals are introduced as the focus of this thesis. The sociological literature on communities reinforces the importance of the ‘community’ in community festivals, and examines the role that festivals can play in contributing to community development, community wellbeing and the enhancement of social capital. Two community festivals were studied, one in Western Australia and the other in Victoria, Australia. Data were collected from residents in each of these two communities at one point in time following the staging of their festival. Both qualitative and quantitative methods were used, including semi-structured interviews, focus groups, observational techniques, document analysis and a residents’ perceptions questionnaire. The results revealed that there are distinct subgroups within a community who choose to be involved with their festival in a range of ways and who perceive the social impacts resulting from the festival quite differently. These subgroups have been labelled the tolerators, economically connected, attendees, avoiders and volunteers. Whilst holding varied perceptions of the positive and negative nature of the impacts and levels at which they occur, residents perceive the social impacts of community festivals to occur within six impact dimensions: inconvenience, community identity and cohesion, personal frustration, entertainment and socialisation opportunities, community growth and development, and behavioural consequences. Those residents who participate in the festival, either as volunteers or attendees, tend to be those who are most positive about the festival and its impacts. This participation in the community provides opportunities for social transactions, relationship building and the development of social networks, which in turn have positive outcomes for community wellbeing and the development of social capital. This research has a number of implications for the management of future community festivals, in respect to providing a better understanding of residents’ perceptions of the social impacts a festival creates; towards better satisfying the diverse needs of distinct community subgroups; and related to how festivals can be used to contribute to community wellbeing and the enhancement of social capital.Doctor of Philosophy (PhD)
20
Herborn, Jacinta. „Entangling liveness : the embodied experience of youth-oriented live music events“. Thesis, 2017. http://hdl.handle.net/1959.7/uws:44512.
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This thesis is an ethnographic study of young people’s embodied experiences of youth-oriented live music events, including both festivals and single-headliner shows. The study draws on material generated through semi-structured interviews with twenty-one eighteen to thirty year olds, as well as my own experiences as a participant at live music events. The interconnected concepts of ‘embodiment’, ‘liveness’ and ‘entanglement’, are central to the analysis of this material, and are developed throughout the thesis. The works of both Drew Leder (1990) and Tim Ingold (2000, 2006) are utilised throughout the thesis to develop an understanding of the body as an open and dynamic entity always enmeshed with its environment. This understanding of the body-in-the-world allows for the concept of liveness to be extended and developed. Embodied experiences of liveness are multisensory, but also involve the corporeal depths and are triggered or enabled through attendees’ interactions with the live environment. Drawing from the work of Paul Sanden (2013), which discusses liveness as a fluid and complex concept, the thesis argues that liveness involves a fleeting, shifting and dynamic entanglement between body and environment that produces, enables and shapes the embodied experience of young people at youth-oriented live music events. The embodied experience of liveness involves an ongoing and dynamic process through which things, forces and feelings momentarily combine, clash or coalesce. Attendees actively and purposefully negotiate or re-negotiate elements of their entanglements, such as their body-technic relationship, to enable or reconfigure the experience of liveness. Karen Barad’s (2007) work develops the concept of entanglement and is used through the thesis to explore entanglements as always involving the active emergence of bodies and things, both human and non-human. At live music events a transient and shifting entangling occurs, and the embodied experiences of attendees are pulled, at times powerfully, into their attention. During such moments the body, the environment, and their entwinement are felt. Utilising Jacquelyn Allen-Collinson and Helen Owton’s (2015,p.247) notion of ‘intense embodiment’, it is suggested that attendees can experience moments of intense entanglement. Attendees attune to the dynamic aspects of their environment in these moments and at live music events, such dynamism can include the constantly shifting atmosphere. These atmospheric shifts shape, colour, and texture the experience of liveness and draw attention to the continuous movement of music, emotion, affect, bodies, weather and other things that entangle to produce live music events. Such movements also occur through the research process and in particular through interviews, as the inter-affective atmosphere and inter-corporeal experiences of the interview shift, intensify and diminish. The concepts of diffraction and intra-action are central to Barad’s discussion of entanglement and as demonstrated through the work of Lisa Mazzei (2014), Barad’s work has important methodological applications as it forces the reconsideration of the position and role of the researcher, understandings of data and how that data is generated. Here, the concepts of entanglement and intra-action are used to explore the methodological development of this research that unfolded not as a linear progression but instead as a messy meshing and tangling of things, thoughts and feelings. The interwoven concepts of entanglement, liveness and embodiment are therefore central to both the research topic and the research process.
21
De, Mello Enrica. „The Australian Science Festival : balloons and lollipops or a showcase of Australian science?“ Thesis, 1997. http://hdl.handle.net/1885/145301.
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22
Massey, Rachel Helen. „Landscapes of Participation and Tradition: The Australian Folk Festival as Process and Public Event“. Thesis, 2021. https://hdl.handle.net/2440/135373.
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Every year, more than eighty self-designated ‘folk festival’ events are staged throughout Australia. Mainly held in regional and rural towns, these are leisure events characterised by the presentation of formal folk music concerts, the staging of folk dance events as well as oral performances, street performance, and both formal and informal opportunities for music-making and folk engagement with a significant emphasis on attendee participation. Australian folk festivals are modern ‘public events’ – grounded phenomena in their own right, with internal structures of intentionality. This thesis draws upon multi-sited fieldwork conducted at fourteen Australian folk festivals spanning three years and five Australian states and territories, including deep involvement on the organising committee of one local festival. Examining and comparing the internal technologies of these events and how these structures create eventmental landscapes and generate folk atmospheres that affect participants’ sensory experience of folk, offers a unique anthropological theoretical insight into festivals as process. Theorising folk festivals as public events and interrogating their logics of design provides an innovative analysis of how folk festival structures operate on individual and community experience of folk practice in Australia and perform folk as a process. Folk process has long been utilised as a method of defining ‘folk’. Folk process refers to the oral transmission of music (and other folk performance) providing continuity between past and present, and in which community selection and variation or evolution by individuals or the community are key aspects. I argue that as an intentional eventmental landscape, the folk festival acts as the primary site of folk process in Australia, and that this process is facilitated and shaped by participant movement within this landscape. I also argue that the concept of oral transmission should be expanded to include bodily transmission, the body-to-body sharing of folk.Thesis (Ph.D.) -- University of Adelaide, School of Social Sciences, 2021
23
Arbon, Janelle Lea. „Warning, patrons ahead! A development assessment framework for public space for landscape architects drawing on lessons from the Festival City of Adelaide, Australia“. Thesis, 2021. https://hdl.handle.net/2440/136405.
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A deceptively simple and benign sign placed in a public park states, ‘Warning: You may find event equipment and patrons on the pathway’ (Figure T-2). The sign hints at the complexity and contradictions of public space and poses a curious question that continues to gain currency in multidisciplinary discourse: How public is public space? This thesis poses a further question by asking, Do temporary events pose a threat to public space? To answer both questions, the thesis draws on the historic trajectory of urban public space, culminating in an extensive appraisal of 20th century forms and programs. In doing so, the thesis examines definitions of ‘public space’ and ‘public’, and considers how a more rigorous understanding of these terms can inform the practice of landscape architecture. As a result, the thesis proposes a new definition of public space, focusing on the value of publicly accessible space. It also proposes a new typology of publics—the defined public, the appropriating public, the transitory public and the illegitimate public—to better understand perceived and actual threats to public space. To test these definitions, the thesis critically reviews existing assessment methods, techniques and tools, and their application in landscape architectural assessments. It asks if current approaches adequately depict the typology of publics and the diversity of private use. As a result, the thesis proposes an integrated approach termed the Design Assessment Framework as a guide for alternative design strategies and policy formation for publicly accessible landscapes. The framework measures the degree of ‘publicness’ in public space by comprehensively capturing and assessing public space elements. The perceived conflict between public space and private use is explored through 16 case study sites in Adelaide, Australia. The city is recognised internationally for its urban plan, which includes a generous provision of public space and it is celebrated for the many festivals and events held within the city. The thesis offers an important and timely counter point to the majority voice that laments the future of public space, concluding that publicness is a spectrum, not an absolute. It positions landscape architects in a pivotal role to influence the effective design of public space and create a richer place for publics to interact. The typology of publics and the Design Assessment Framework are presented as new tools for landscape architects to assess public spaces and implement a spectrum of inclusivity. Finally, the thesis argues that events are not a threat to the publicness of public space, and should instead be viewed as opportunities to bring the community together for social exchange. Without social exchange, the question of threats to the publicness of public space may be a moot point.Thesis (Ph.D.) -- University of Adelaide, School of Architecture and Built Environment, 2022
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Conway, Judith (Jude). „The Newcastle women’s movement in the 1970s and 1980s through the lens of Josephine Conway’s activism and archives“. Thesis, 2022. http://hdl.handle.net/1959.13/1430745.
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Research Doctorate - Doctor of Philosophy (PhD)From the late 1960s, women in the Australian industrial city of Newcastle, New South Wales (NSW), joined women around the world in agitating for a broader role in all areas of society and Josephine Conway was one of those women. Josephine raised awareness of, and campaigned on, many of the feminist causes of the 1970s and 1980s. She was passionate about women’s healthcare, protested against women’s objectification in the media, and lobbied for legislation that offered legal parity for women. She fought never-ending battles for the right to legal and affordable pregnancy terminations; and campaigned for equal employment opportunities and the provision of childcare services. Josephine supported women’s activism in the peace movement and for women’s ordination; and was involved in the blossoming of feminist spirituality and creativity in Newcastle. Using Josephine’s extensive archives as a lens, supplemented with oral histories from campaign allies, the thesis explores their pathways to feminism and shared activism. It dissects the women’s groups which Josephine joined, and the modes of operation and relationships within them, as well as the actions that were carried out in pursuing their feminist causes. The themes that emerge are, first that Josephine’s role in the women’s movement was that of the ‘committed individual’ posited by Gerda Lerner as necessary for social change. Second, the thesis demonstrates the wide range and value of the macro and micro-actions undertaken by Josephine and her cohorts in mounting and maintaining effective campaigns. Third, this study reveals the web of relationships and the flow of ideas, tactics and artefacts along transnational and national feminist pathways, and between the capital cities and the regions, which were essential for bringing about nationwide change. In doing so it reveals an important regional story which has not previously been included in histories of the Australian women’s movement.