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1
Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Chalon, Christopher. "Conflict and citizenship behaviour in Australian performing arts organisations." University of Western Australia. Faculty of Economics and Commerce, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0096.
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The managers of professional performing arts organisations are faced with a unique dilemma. They must support their artistic personnel, who are typically driven by the quest for new, challenging and experimental works, while achieving the economic success necessary for the continued viability of their organisations. Failing to effectively manage this artistic-economic dichotomy can result in a conflict between artists and managers that threatens the long-term survival of these organisations. There is a clear need, therefore, for arts managers to foster an organisational climate that minimises conflict, while promoting organisational citizenship behaviours (OCBs) such as sportsmanship (a willingness to tolerate less than ideal circumstances without complaining) and courtesy (a willingness to show sensitivity towards others and actively avoid creating problems for co-workers). The main aim of the present study was to examine the extent to which factors such as organisational structure, organisational culture and employees motivational orientation influence peoples perceptions of their job scope (as indicated by high levels of task variety, task identity, task significance, autonomy and feedback from the job), a construct which has been found to reduce organisational conflict and increase employees propensity to display OCBs. While these relationships have been suggested in previous research, they have not been tested in a performing arts industry context. The data analysed in the present study suggested an enjoyment motivational orientation, a challenge motivational orientation, an organic culture and formalisation positively influenced perceptions of job scope, which, in turn, positively influenced both OCBs (sportsmanship and courtesy). A challenge orientation also had a positive impact on sportsmanship, while sportsmanship positively and directly influenced courtesy. Centralisation was negatively related to perceived job scope and sportsmanship, although it had a positive impact on courtesy. Conflict was negatively influenced by formalisation and by an organic culture, but was positively influenced by a hierarchal culture.
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Scarparolo, Gemma E. "Character cars : How computer technology enhances learning in terms of arts ideas and arts skills and proceses in a year 7 male visual arts education program." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/662.
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'The possibilities that the technology can offer are seemingly endless and remain to be fully explored in [visual] art education." (Callow. 2001. p,43) The aim of this research is to investigate whether the integration of Visual Arts Technology Tools (TECH-TOOLS) into Traditional Visual Arts Programs (TRAD-['ROG) enhance the students' learning in terms of Arts Ideas (AI) and Arts Skills and Processes (ASP) and whether it is a cost effective option for Western Australian primary schools. To determine whether it is worth the inclusion of TECH-TOOLS in terms of enhancing learning. this research will statistically state whether the combination of TECH-TOOLS and Traditional Visual Arts Media (TRAD-MEDIA) enhance the expressive outcomes of Year Seven boys' artwork. The comparative case study method has been chosen as the most suitable method to enable the Researcher to establish the impact that combining TECH-TOOLS with TRAD-MEDIA have upon Year Seven boys' artwork. The Control group only used TRAD-MEDIA and the Experimental group used both TRAD-MEDIA and TECH-TOOLS to create a piece of artwork based on the chosen theme, Character Cars. There were 23 students in the Control group and 24 students in the Experimental group, however not all students attempted or completed the task for reasons which will be explained in Chapter Four. Each group was involved in three sequenced activities based on the chosen theme, with the second activity varying only according to the media used to complete the task. Combinations of quantitative and qualitative methods have been used in this research. To present quantitative data which provides insights into whether Visual Arts (VA) teachers should be combining TECH-TOOLS with TRAD-MEDIA in their Visual Arts Programs (VAP), each piece of artwork was assessed and analysed using descriptive analysis of the data. Each participant completed a written feedback form outlining their attitudes, feelings and thoughts about their artwork and the media that they used. The Researcher and an independent Visual Arts Education (V AE) expert also took anecdotal records during the VA activities with the aim of recording the participants' involvement and enjoyment of the activities. This study is significantly different from the current research in this area u!; it will: provide quantitative data which will demonstrate Whether the combination of TECH-TOOLS and TRAD-MEDlA enhances students' artwork; link the relevant literature and findings of this study to the Western Australian primary school context; provide links to the Western Australian Curriculum Council's Curriculum Framework; and comment on the influence of gender in VAE. All of these factors contribute to the uniqueness of this study.
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another." Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.
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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Masters, Tristan Andrew, and tristan masters@acma gov au. "Supply and Demand of Creative Arts in Regional Victoria, Australia." RMIT University. Economics, Finance and Marketing, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080507.152730.
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Creative arts can make vital contributions to both economies and communities. Moreover, these impacts can be keenly felt by smaller, regional communities, where shifts away from traditional rural industries are apparent, and in the context of the Inew economy' which emphasises the importance of knowledge industries and creative industries. This research investigates creative arts supply and demand in regional Victoria, Australia through the collection and analysis of qualitative and quantitative data in three target communities. Fundamentally, this thesis presents a detailed analysis of the current supply and demand environment, including the impacts of regional arts festivals, and determines the conditions, events and characteristics which could strengthen regional Victorian supply and demand of creative arts. This thesis analyses focus group data to investigate current levels of supply of creative arts in regional Victoria. Qualitative analysis of the data shows that the supply of creative arts in the target areas is limited by scarce resources, isolation, negative community attitudes towards creative arts, and a small audience or sales market and an over-reliance on volunteers. Small and micro-businesses in the regional Victorian arts sector are seen as having motivations for operating beyond making money, limited business acumen, and have difficulty in marketing themselves effectively. Best-practice strategies to strengthen the operations of small and micro-businesses include adopting a more entrepreneurial attitude towards arts business, using an agent to source new audiences or sales markets and to maximise the promotion of their product, creating art which is accessible to the local community, and to engage in skills development and business training. Using attitudes towards creative arts, participation in creative arts and expenditure on creative arts as a measure of current demand levels, this thesis applies a range of statistical and econometric tests to the data collected from the three target communities. Contrary to the view emergent from the supply data, this thesis shows that regional Victorians have strong levels of demand for creative arts. Results show higher than average levels of overall monthly arts expenditure, and strong demand for cinema, craft fairs or exhibitions, books, CDs and other music formats. Low levels of demand were noted for classical music, opera or ballet. Chi-Squared analysis and ordered probit results show that gender, age, festival attendance, education, and individual levels of overall arts expenditure are all determinants of creative arts demand. Analysis regarding impacts and key aspects of two regional arts festivals found that regional festival patrons are more likely to be female, local to the host region, have a middle income, and hold a high school or equivalent qualification. An econometric model, including two versions of an Ordinary Least Squares regression in addition to Tobit and probit estimations, was used to more accurately estimate individual expenditure characteristics, notably accounting for the zero-expenditure of attendees who are local to the host region. This thesis provides valuable contributions to knowledge regarding the supply and demand of creative arts in regional areas. It also provides practical insights for policy makers, festival organisers, and the regional arts industry.
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McCarron, Robyn Janelle. "Performing arts and regional communities : the case of Bunbury, Western Australia /." Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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au, r. mccarron@ecu edu, and Robyn McCarron. "Performing arts in regional communities: The case of Bunbury, Western Australia." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.
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Abstract
In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society.
This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title community theatre than the state-funded community theatre movement of the 1970s and 1980s.
The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region.
A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
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McCarron, Robyn. "Performing arts in regional communities: the case of Bunbury, Western Australia." Thesis, McCarron, Robyn (2004) Performing arts in regional communities: the case of Bunbury, Western Australia. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/191/.
Full textAbstract:
In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society.
This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title 'community theatre' than the state-funded community theatre movement of the 1970s and 1980s.
The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region.
A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
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McCarron, Robyn. "Performing arts in regional communities: the case of Bunbury, Western Australia." McCarron, Robyn (2004) Performing arts in regional communities: the case of Bunbury, Western Australia. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/191/.
Full textAbstract:
In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society.
This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title 'community theatre' than the state-funded community theatre movement of the 1970s and 1980s.
The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region.
A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
11
Joern, Albert. "The repositioning of traditional martial arts in Republican China." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114301.
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In this thesis, I discuss how practitioners of martial arts in the Republican era of China were engaged in a process of reinventing what embodied the field of martial arts during a time when physical culture was treated as an instrument of nation-building in response to colonial discourses and the process of modernization. Martial arts were repositioned from being a loosely associated field of practice for people who engaged with a set of combative skills that focused on weapons training that championed archery and spear fighting, towards being a recreational activity with a formalized body of knowledge, skills and practices imbued with a Chinese sense of identity suitable for the modern class of urban and educated Chinese citizens. It is my belief that these efforts were a very important factor in why the practice of martial arts today is so closely associated with concepts of self-cultivation. This repositioning of Chinese martial arts was driven by a schism between the traditionalists who defended the beliefs and practices from the imperial age of China, and the modernists who saw the complete adoption of Western technologies and concepts as the only course for the modernization of China. Due to the shifting politics around education, understandings of the body and its representation in society, the efforts to preserve traditional practices were complicated through the dynamics related to identity and state power. The field of martial arts was criticized by reformists and modernists such as those involved with the New Culture Movement, who argued that China needed to embrace scientific notions of the Western nations and abandon "feudal superstitions." Within this context, the field of traditional Chinese martial arts was stigmatized by associations with the failed Boxer Rebellion, the diversity of practices and the secrecy that existed between different schools of practice. In response to the modernity movements that criticized the traditional systems of belief that martial artists drew upon to substantiate their systems of practice as a recreational pursuit, associations such as the Jingwu Tiyu Hui and the Zhongyang Guoshuguan were formed according to Western institutional models as part of the effort to unify and "modernize" Chinese martial arts. The teachers and administrators involved with these institutions wanted to preserve the practice of martial arts, and to accomplish this they had to develop new ways to systemize the training methods, essentially reinventing them by promoting them to a new generation of students in a format that had never existed before.À travers cet essai, j'examine la façon dont les pratiquants d'arts martiaux dans l'ère républicaine de la Chine étaient impliqués dans le but de réinventer ce qu'incarnait le domaine des arts martiaux à une époque où la culture physique était traitée comme un instrument de construction de la nation en réponse au discours colonial et au processus de modernisation. Les arts martiaux ont été repositionnés à partir d'un ensemble de personnes indirectement associés qui se livraient à un ensemble de combats et qui concentraient leurs compétences sur des entraînements aux armes encourageant le tir à l'arc et le combat à la lance, afin de devenir une activité de loisir avec un corps formalisé de connaissances, de compétences et de pratiques imprégnées avec une identité chinoise adapté à la classe moderne urbaine et de citoyens chinois éduquée. Ceci est ma conviction que ces efforts ont été un facteur très important dans la raison pour laquelle la pratique des arts martiaux aujourd'hui est si étroitement associée aux concepts de la culture de soi.Ce repositionnement des arts martiaux chinois fut motivé par le schisme entre les traditionalistes qui défendaient leurs croyances et leurs pratiques de l'époque impériale de la Chine, et les modernistes qui, eux, ont vu l'adoption complète de technologies et de concepts occidentaux comme le seul mouvement bénéfique à la modernisation de la Chine. En raison de la politique à travers l'éducation, la compréhension du corps et de sa représentation dans la société, les efforts visant à préserver les pratiques traditionnelles ont été compliquées par la dynamique liée à l'identité et le pouvoir de l'état. Le domaine des arts martiaux a été critiqué par les réformistes et les modernistes incluant ceux qui furent impliqués dans le « New Culture movement», qui a fait valoir que la Chine devait embrasser des notions scientifiques des pays occidentaux et abandonner leurs «superstitions féodales. » Dans ce contexte, le domaine des arts martiaux traditionnels a été stigmatisé par des liens avec la révolte des Boxers, la diversité des pratiques et la discrétion qui existait entre les différentes écoles de pratique.En réponse aux mouvements de modernité qui ont critiqué les systèmes de croyances traditionnels dont les pratiquants d'arts martiaux ont fait appel à l'appui de leurs systèmes pour justifier leur pratique comme une forme de loisir, des associations telles que les Jingwu Tiyu Hui et le Zhongyang Guoshuguan ont été formés selon les modèles occidentaux institutionnels dans le but d'unifier et de , en quelque sorte , moderniser les arts martiaux chinois. Les enseignants et les administrateurs concernés par ces institutions voulaient préserver la pratique des arts martiaux, et pour ce faire ils ont dû développer des nouvelles façons de systématiser les méthodes de formation, les réinventer en les promouvant à une nouvelle génération d'étudiants sous une forme qui n'avaient jamais existé auparavant.
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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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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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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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Wynn-Moylan, Peter. "Mediating the Arts Threshold: The Australian Council of Youth." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367933.
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The Australia Council's obligations require it to facilitate young people's engagement with the arts, a responsibility the Council has approached with a variety of procedures and concepts throughout its existence. However, many arts administrators believe that youth arts attendance is influenced and motivated by a number of factors ignored or misunderstood by the inarketing orientation of the Australia Council's audience developing programmes. Following research to establish a youth policy for the Council, Professor Tony Bennett called for audience development and access policies to be related to one another in long-term programs of culturally qualifymg new consumers. His concern was that the socially indiscriminate requirements of market demand audience development programs seemed to be inherently at odds with the objectives of access and equity policies constructed during the 1980s and 90s.
This thesis records the Australia Council's development and application of its access and equity policy, the long evolution of its youth and the arts policy, and its audience development practices. It explores the effectiveness of the Council's efforts and concerns to provide young people with access to the arts and demonstrates that although various approaches have been employed with a degree of success, the influence of its client organisations, a stereotyped concept of young people as a youth culture, and poor research into the influences and motivations that generate an arts involvement, have limited this achievement. The theoretical centre of the thesis explores a diverse range of interrelated issues involving audience research, consumer culture, cultural capital, sub-cultures, motivation, arts marketing, identity creation, lifestyles, cultural values, and object codes. Tony Bennett's concept, that effective access policies and the development of new audiences both require culturally competent consumers, is examined to consider its basis and validity. This concept's key elements and the question it raises -what are access policies, how are new audiences developed, what is cultural resourcing, and how is a culturally effective consumer created -determined the thesis structure, content and theoretical core. It is argued that as the arts are a commodity, marketing is an expedient means of reaching a youth audience. However, it can only be effectively used for arts promotion by acknowledging that although adolescence has many common features, young people are not a homogenous demographic cohort, and the stereotyping youth by marketers as a single culture is misleading and unsound. Instead of a dependency on simplistic marketing, a more productive approach would recognise that cultural competency is a vital component of arts audience development and its provision should be part of education and be incorporated into the programs of arts organisations. The research element of the thesis is provided by a examination of the findings of recent research projects and the Youth Arts Consumption survey. A major survey of Australian cultural tastes, preferences and practices, the Australian Everyday Cultures study was unable to determine the motives and influences that act upon young people's cultural choices. Consequently, in 1998 the Australian Key Centre for Cultural and Media Policy and the Australia Council obtained an Australian Research Council Award to undertake a study based on the Australian Everyday Culture into the currently prevailing and likely future trends of youth arts involvement and cultural consumption in Australia. This thesis, and its associated research project -the Youth Arts Consumption survey -is the outcome of that research study. The survey obtained new detailed information that provided a picture of young people's arts consumption, identified their leisure behaviour patterns and art involvement experiences, factors of influence and motive, and highly detailed demographic characteristics. This enabled correlation between young people's current arts consumption behaviowr, their past experiences, perceived barriers to access, and the influences and motivations that affect their choices and preferences. The thesis and the survey provide a fresh perspective of young people's relationship to the arts based on both theory and research that will enable the Australia Council's youth audience development policies and practices to encompass a variety of new approaches and address the actual factors that affect young people's art consumption behaviour.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Faculty of Arts
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Le, Thi Kieu Huong. "Performing Arts Management in a Climate of Adjustment: Case Studies from Vietnam and Australia." School of Policy and Practice, Faculty of Education and Social Work, University of Sydney, 2005. http://hdl.handle.net/2123/1115.
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Doctor of Philosophy(PhD)This thesis investigates performing arts administration and management in the current economic and social environment in Vietnam and Australia within a context of globalisation. A comparative study of two major arts organisations in both Vietnam and Australia was carried out to investigate the following: why and how performing arts organisations are adapting to the changing environment; how arts leaders are adapting to changes; and whether arts managers need specific arts management training. The suitability of pertinent training packages and tertiary arts management courses from an Australian perspective are examined to determine whether these could be adapted for arts administration training in Vietnam. A qualitative case study approach was employed, using judgemental sampling. Two case studies were in Vietnam (the Vietnam National Symphony Orchestra and the Hanoi Youth Theatre), and two in Australia (the Sydney Symphony Orchestra and the Melbourne Theatre Company). Some arts administrators involved with managing these performing arts organisations were interviewed in-depth, and relevant documents, regulations and policies in the arts field were also analysed to lay a foundation for comprehending the operation and management of performing arts organisations in both countries, at a time of change. Findings indicate that globalisation and particularly economic changes are major pressures that are pushing arts organisations to adapt. Furthermore, in the context of the knowledge economy, credentials have become increasingly important for arts leaders to obtain their positions, while in order to be successful in their positions, practical experience, innovation and an entrepreneurial mindset proved to be even more essential. It is suggested that some pertinent arts management training courses in Australia could, if adapted, contribute to enhancing arts management and the entertainment industry in Vietnam, as well as providing mutual benefit to both Vietnam and Australia.
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Ellsmore, Donald. "Nineteenth-century painted decorations in Britain and Australia : an approach to conservation." Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/2525/.
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Gentle, Emma. "Autonomous Expression and Creative Connection: An exploration of art-making with neurodivergent people in regional Australia." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20416.
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The historical segregation of neurodivergent people has disrupted their agency and belonging, along with society’s natural diversity. This research explores how art therapy and community arts paradigms amalgamate to create dynamic, experimental spaces where a multitude of connections form. Group art-making as a process remains under-researched. This study aims to elucidate its impact on a neurodiverse population in regional Australia. The research should contribute to the literature and practice of art therapy and community arts with groups who may face marginalisation in their day to day lives. The research was conducted with nine neurodivergent participants who access group art-making. A single case study design with participatory action research (PAR) data collection incorporated five qualitative methods. These included three focus groups, nine observations, nine mood questionnaires, nine artworks, and nine third party interviews. Nvivo7 software with thematic coding tools was utilised for the analysis of the data. Participating in group art-making led to four discernible relationships. First was their relationship to the art as an object, but also as an embodiment of identity or subject; second was relation to self; the third, relation to others within the group; and fourth was the potential for relation to the individual’s community through the showing or gifting of the artwork. The research found that facilitation can enhance how those connections are formed. These outcomes foster individual agency, a sense of belonging to the group, and connection to the community external to the group. A six-stage art facilitation model was created that can be used to guide art groups that emphasise connection throughout creative process.
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Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.
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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.Doctor of Philosophy (PhD)
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Marshall, Anne. "Ngaparti-ngaparti ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience. /." View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040804.155726/index.html.
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Carroll, Jacqui. "Changing lanes : an exploration of the journey from dance through choreography to directing and the spoken word." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35821/1/35821_Digitised%20Thesis.pdf.
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.
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Zervos, Cassandra. "The effect of cross-linked learning on visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/774.
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This study examined how computer technology had an effect on a Year 9 visual arts education class with regard to the Western Australian four Arts Learning Outcomes (WA 4ALO). The research was administered concurrently with a learning approach called Cross-Linked Leaming (CLL) (Zervos, 1997), which consisted of three components: (1) the subject (e.g., visual arts education in relation to the WA 4ALO); (2) the learner (i.e., a target group and how they learn); and (3) the tool (e.g., computer technology). This study addressed the problem of how to promote learning in visual arts education, especially with visual arts theory. Historically, students have preferred to make art than to study art theory subjects such as art history and art criticism/response. Furthermore, many students may have found, traditional ways of learning theory to be less engaging and stimulating than making art. For this study, a sample consisted of 19 female students from an independent secondary school in Perth for one school term. The students were divided into three groups for the three data collections methods: (l) the whole class completed pre and post-questionnaires; (2) five pairs of students participated in pre- and post-interviews; and, (3) nine students' art portfolios representative of different levels, of achievement, that were analysed at the end of the school term. The methodology was action research. Data was collected and interpreted to answer the primary research question through four sub-questions as follows: (1.0) What was the effect of CLL on students; (1.1) What were students' attitudes towards CLL; (1.2) What skills did students require for CLL; (1.3) What knowledge did students exercise with CLL; and (1.4) What were students' preferences for !earning with CLL?" The results showed that the three components of CLL had a predominately positive effect upon most students in terms of their attitudes, skills, knowledge, and preferences. Furthermore, the students showed a first preference for learning visual arts theory in a CLL framework reflecting a social constructivist and student-centered way of learning that included using, computers 75% of the-•time for visual arts theory instruction. This thesis demonstrates that CLL is an effective framework for the Year 9 visual arts students who participated in this study.
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Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
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In this thesis, I will examine pattern making in art practice from two cultural perceptions, Slavic and Australian. Existing differences between the two cultural backgrounds will be used to debate how pattern is understood by the viewer or practiced by an artist in a particular chosen environment. The central argument focuses on pattern as a decorator and/or a narrator. I will examine the outcomes and changes in narrative pattern according to cultural context and exchange. By introducing Slavic pattern into contemporary (Australian) art practice, I examine how traditional cultural values and functions change. In discussing the processes of changes that occur in intercultural exchange, I will draw my opinions and observations from writers, critics and artists such as William Morris, Lucien Henry, Stuart Hall, Jean-Francois Lyotard, Grace Cohrane, Nicolas Pevsner, Faith Ringgold, Joan Snyder, Miriam Schapiro and Cynthia Carlson. My final conclusion will be drawn from my personal visual practice that uses pattern
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Croft, Pamela Joy, and n/a. "ARTSongs: The Soul Beneath My Skin." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030807.124830.
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This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.
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Croft, Pamela Joy. "ARTSongs: The Soul Beneath My Skin." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367423.
Full textAbstract:
This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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Le, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
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This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions that have been incorporated into the artist-researcher's paintings. The main influences identified originate from both Eastern arts traditions (Viet nam, Japan and China) and Western visual arts traditions. This study also aims to identify how to use artistic conventions associated with the expression of one's culture und ancestry, which may continue to improving one's knowledge in different traditions and history across diverse aesthetic systems of hybridity. Information and understandings gained from the first part of this research will provide insigns, which will have relevance to secondary school visual arts learning areas. The transformative-repair model of multiculturalism is examined through a visual arts project conducted by secondary school students. More specifically this part of the study aims to identify principles, approaches and content for transformative repair, experiences of two students of culturally diverse hack grounds (African and Vietnamese) who are currently engaged in this culturally diverse Australian society.
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Blackwood, Sally Victoria. "(Re)Claim the Frame: a rethinking of opera and operatic practice in Australia." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27876.
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This timely thesis presents an analysis of opera and operatic practice in Australia in 2021. The aim of the research is to interrogate the sustainability, viability and evolution of the Australian operatic field. Situated during the globally recognised Coronavirus pandemic era, this qualitative research project was conducted over the period 2018–2021. The fieldwork component of the research is an investigation conducted through long-form interviews with a selection of the central figures in the operatic field in Australia today. The interviews, conducted in 2018, examine the opera sector from the inside. In 2020 the Coronavirus pandemic disrupted the cultural fabric of Australia, including opera. This accelerated further analysis and acted as a catalyst for the research conclusions. Together, the examination of the interview data and research material, further case studies of operatic works, and the COVID-19 catalyst form a cohesive argument connecting the codified data into three key areas: power and the business of opera; operatic storytelling; and education and pathways. Each area contributes to the interdependent ecosystem of opera in Australia. Bourdieusian Field Theory is employed as the primary framing device. The study also engages Grounded Theory in the data analysis and codification, and employs three definitions of opera in the structure of the thesis: a) artefact (objectified); b) frame (embodiment); and c) evaluative term (institutionalised). The theories and applications of Lukes’ Power Theory and Gaventa’s Power Cube are synthesised into the Opera Dynamic, an analytical and destructuring tool that works in tandem with the Bourdieusian socio-analytical approach to examine the operatic field across these three primary definitions of opera. The Opera Dynamic analyses current industry and creative practice models with a view to feasibly shift the current ‘opera gaze’ to make way for the development of new foundational approaches to the making, performance and reception of opera. The research further explores a ‘radical future’ that incorporates the history and evolution of opera, the imported opera artefact, contemporary operatic practices, business and power relations within the operatic field, and the positioning of Western opera in contemporary Australia.
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Morris, Julia Elizabeth. "Assessing Western Australian Year 11 students’ engagement with responding in Visual Arts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1627.
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Responding to visual arts is an important outcome of both the Western Australian and the Australian (F-10) Curriculum in Visual Arts (ACARA, 2014; Curriculum Council, 2008; School Standards and Curriculum Authority, 2014a). Responding is important because it facilitates students’ development of visual literacy, or the ability to decode and recode meaning through visual media (Flood, 2004; Flood & Bamford, 2007; Avgerinou & Petterson, 2011). This mixed methods research study investigated Western Australian students’ engagement in responding within Year 11 Stage 2 Visual Arts. A diagnostic instrument was created to quantitatively assess the engagement of 137 Year 11 Visual Arts students. Additionally, 10 students and 11 Visual Arts teachers participated in semi-structured interviews to explain and extend the quantitative findings. Five Heads of The Arts and eight Principals also participated in interviews to position the students’ engagement with Visual Arts responding within a broader school context. The findings of this research emphasise the importance of diagnostically assessing students’ engagement, particularly within senior school (Years 11 and 12) Visual Arts courses that emphasise responding in student assessment. Additionally, early childhood intervention is important for students to learn the foundational skills and knowledge required to be successful in senior school Visual Arts. In addition, professional learning is essential to support Visual Arts teachers to respond to the increasing complexity of visual culture and critical theory in the curriculum. Professional learning is also important to shift school culture from the perception of Visual Arts responding as part of academic rigour and assessment, to a perception of responding as necessary to students’ development as active citizens in a visually saturated twenty-first century life-world.
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St, Leon Mark. "Circus & nation : a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1702.
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In Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.
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Richards, Alison 1951. "Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.
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Pribil, Stephanie. "Biting the hand that feeds you : the connections between art, state and marketplace in Australia, 1973-1993 /." Title page and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09arp9448.pdf.
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Burton, David. "Playwriting methodologies in community-engaged theatre practice in regional Australia." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213228/1/David_Burton_Thesis.pdf.
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This thesis examines playwriting methodologies commonly used in community-engaged theatre practice in regional Australia. Since 2003, the Queensland Music Festival has committed to commissioning original community-engaged works in regional Queensland communities. These works, typically featuring a cast of many hundreds and audiences of many thousands, are unique examples of community-engaged theatre work. Since 2013, Burton has served as playwright on these works and has undertaken practice-based and practice-led research across four case studies, along with complementary interviews. The research positioned the playwright in a dense and complex network of stakeholders in community-engaged practice.
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Sousa, Joana da Conceição Carneiro de. "Australia, um lugar de coincidência." Master's thesis, 2008. https://repositorio-aberto.up.pt/handle/10216/70405.
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Sousa, Joana da Conceição Carneiro de. "Australia, um lugar de coincidência." Dissertação, 2008. https://repositorio-aberto.up.pt/handle/10216/70405.
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Stolte, Gretchen Marie. "That's deadly! An Aboriginal and Torres Strait Islander arts studio in Cairns, Queensland." Phd thesis, 2013. http://hdl.handle.net/1885/155872.
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This thesis is an ethnographic and historical account of art and identity production by Indigenous artists in far north Queensland, Australia. It explores how both Aboriginal and Torres Strait Islander artists begin to understand and express their Indigeneity through artwork in the Aboriginal and Torres Strait Islander art studio in the Tropical North Queensland College of Technical and Further Education (TNQT TAFE), Cairns. It examines why Aboriginal and Torres Strait Islander people choose to enter into the TNQT Indigenous arts program, how they navigate the expectations of the course and the arts market, while highlighting the complexities and difficulties of being an Indigenous artist. The history of this unique program - the first of its kind in Australia - explores the desires of the students who first created it in 1984 as well as the students who enter through the studio doors in 2010. The studio demands a certain form of expression and 'cultural' knowledge, which fits well with some students and not so well with others. Looking at the artworks painted, dyed, carved and printed in the studio gives testament to the various ways in which students engage with the issues of representation and how they understand their place in the world. "Deadly" was the highest compliment an Indigenous artist could give an artwork inside the studio and the concept is defined as the basis from which an Indigenous artwork is recognised, promoted and accepted. What is or is not deadly centres around contested spaces and ideas of 'culture' - a concept which has been enmeshed with concepts of identity. The history of Indigenous art production in Queensland, along with the purposeful development of an art market and the effects of government policies in conceptualising that market, has been largely left unexplored but has had an enormous effect on the development and expression of Indigenous identity and approaches to an objectified idea of culture as something which is visible rather than internal. This thesis looks at how contemporary, urban Indigenous artists face a number of stereotypes and public expectations when producing artworks. These expectations create a range of tensions for artists that stem from both the success of works from the Northern Territory as well as the past policies of the Queensland government. In particular, it will be shown that the actions of the government body established in the 1950s to create a market for Aboriginal art, Queensland Aboriginal Creations (QAC) has left a mixed legacy for Queensland Indigenous artists. Their art styles have been misinterpreted as derivative copies of 'true' Indigenous works and the positive outcomes that have come from QAC's engagement with communities and artist has not been fully recognised. The legacy of QAC continues on to today and the TNQT Cairns Aboriginal and Torres Strait Islander art studio reflects these tensions in Indigenous art.
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Sewell, Bon. ""Australia full : Asians out! White supremacists in!" : a study of the dynamics of the Australian National Action Movement in Australia." Thesis, 1995. https://vuir.vu.edu.au/32990/.
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My rationale for tackling this particular issue for my thesis work stems from the
immense fascination in the rhetoric, appearance and rationale of extremist right-wing and
ultra-nationalist pohtical organizations I have personally experienced. I desired to determine
whether an Australian national racist organization, namely Australian National Action (NA),
could in the future be a force to be reckoned with, or whether they will forever remain as an
insignificant and languishing fringe group. To explore this possibiUty, I had hoped to delve
into the dynamics of this organization via the utilisation and answering of several probing
and pivotal questions.
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Cmielewski, Cecelia. "Challenges of leadership in arts policy and practice in multicultural Australia." Thesis, 2018. http://hdl.handle.net/1959.7/uws:48765.
Full textAbstract:
Despite over thirty years of arts and cultural policy attention, there is a widespread view held by the public and artists alike that creative production does not reflect Australia’s culturally diverse population. Australian society also displays increasing complexity which can no longer be confined to ‘essentialised’ or traditional definitions of ethnic communities. While this diversity and its emerging complexity can be ‘celebrated’ as a source of creativity and innovation, it can also give rise to social, political and creative challenges. A key challenge that remains for the arts sector is its ability to support the creative expression of cultural difference. One measure of inclusive creative production regards the participation of artists of non-English speaking background (‘NESB’), a problematic term discussed in the thesis, in contributing to cultural formation. Yet there are half as many ‘NESB’ artists compared to those of other professions participating in the workforce. While under-representation is an issue for management in the arts sector, the question of representation also benefits from being understood more broadly beyond the narrow sense of multiculturalism as a tool to manage cultural difference. Despite their low presence in the arts, ‘NESB’ artists find and generate support for their practice through creative, institutional and organisational domains which are critical for effecting sustained change in the arts environment. I argue that ‘friction’ occurs when these domains encounter cultural difference. The presence of friction can inspire creativity but also needs to be carefully handled. The ability to gain ‘trust’ through this process gives rise to creative, institutional and organisational leadership. The thesis questions the relationship between Australian arts policies and the fostering of creative practice of ‘NESB’ artists. This relationship is broached by considering creative, institutional and organisational leadership with a focus on the final Arts in a Multicultural Australia (AMA) policies of 2000 and 2006. Creative leadership refers to the work of artists who generate new developments in diverse creative content and generate opportunities for other artists. Institutional leadership refers to the internal policy processes and peers who work with the Australia Council. Organisational leadership refers to those in positions of influence in funded arts organisations to provide resources and support to ‘NESB’ artists. The term developed in this thesis of a ‘multicultural arts milieu’ presents an alternative given the current absence of arts policy to explore the environment around multicultural arts practices. This thesis explores the relationship between visionary aspects of practice and policy. The leadership modes that are relevant to the arts in a multicultural Australia include transactional, transformative, distributive and relational leadership, all of which benefit from processes of ‘attunement’ and ‘accompaniment’ to realise effective creative co-production. The research demonstrates the crucial role of creative leaders and how they work with the ‘mainstream’ while maintaining their creative integrity and independence to generate a ‘virtuous’ circle of change. I argue that it is the ‘NESB’ artists who lead change in the arts sector. I also argue that creative and organisational leadership working in partnership make creative use of ‘friction’ and develop the necessary ‘trust’ to generate the ‘traction’ for a supportive multicultural arts milieu.
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Hollier, Nathan. "From Hope to Disillusion? A Literary and Cultural History of the Whitlam Period, 1966-1975." 2006. http://eprints.vu.edu.au/526/1/Hollier.pdf.
Full textAbstract:
It is argued in this thesis that Australian history between 1966 and 1975 can usefully be termed 'the Whitlam period' because the 1972-1975 ALP government of E.G. Whitlam represented the culmination of a wider set of movements for progressive social change, activated primarily by post-1965 opposition to Australia's involvement in the Vietnam War. It is suggested that the defeat of this government marked the end of the postwar 'Keynesian' public policy consensus and the rise to dominance of a neo-classical liberal public policy framework, based on a comparatively negative or 'disillusioned' view of both human nature and the capacity of society to organise itself in a rational and equitable way. And it is argued that the ongoing political importance of the Whitlam period - as the political and historical Other of contemporary Australian society - means that interpretations of this period are especially contested. Accordingly, taking its cue from Raymond Williams's still relevant theoretical argument that culture is an active element of social development, this thesis examines the cultural causes of the defeat of Whitlam and the rise to dominance of neo-classical liberal public policy. It is argued that the primary cultural cause of these social developments is a broad-based Americanisation of Australian culture. The central evidence for this contention is found in the lives and works of Patrick White, Frank Hardy and Les Murray, authors held to best represent the major - Anglocentric, nationalist and American - cultural influences of the Whitlam period.
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Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
Full textAbstract:
This thesis addresses a gap in research regarding South Australian china painting. Although china painting has been practised in Australia for the last 120 years and is held in major Australian collections, it has been little researched and then in a minor role associated with ceramics and studio potters, or as women’s art/craft. The china painters too, have been little researched. My research identifies the three ‘highs’ of the changing fortunes of china painting, and how the practice survived in between. I argue that it was first taught in the city’s School of Design, Painting and Technical Art in 1894 as a skill for possible industrial employment, due to the initiative of School Principal, Harry Pelling Gill. However china painting classes were discontinued by 1897 due to an economic depression and the fact that the anticipated industry did not eventuate. In 1906 china painting classes were reinstituted in the (re-named) Adelaide School of Art and teacher Laurence Howie was pivotal in that revival. China painting classes ceased during the First World War while Howie served overseas in the Australian Forces, but resumed in 1923 after his return and appointment as Principal of the (renamed) School of Arts and Crafts. The resulting change in the fortunes of china painting was the outcome of the School’s appropriate training in art and design, and I argue this enabled emerging professional female artists to confidently exhibit china painting alongside their fine art. I will devote a chapter to the important role of the South Australian Society of Arts in facilitating this important public exposure of china painting. The Second World War marked a decline in popularity of china painting. Chapter 5 traces its survival till it burst into popularity again in 1965. Further chapters describe china painting’s following meteoric rise in fortune and the role played by the South Australian teachers of the art/craft, few of whom had received formal art training. I argue that china painting became a conservative social craft, but nonetheless a serious hobby, pursued by married, middle-class women who strongly believed their work was art, not craft. I will point out how they were visited and influenced by entrepreneurial American teachers, politically active in the art/craft debate in the United States of America. Chapter 8 will chart the steps taken by Australian teachers in the 1980s to break from the American influence and regain an Australian identity in teachers’ organisations and iconography. I will describe the debates that ensued following experimental work exhibited by avant-garde Australian teachers to resolve the art/craft debate regarding china painting in Australia, and the difficulties of maintaining china painting momentum as the majority of practitioners became elderly women. This thesis identifies education of the practitioners as a key factor throughout South Australian china painting history as a way of better understanding the place of china painting within the decorative arts. China painting is currently in decline; nevertheless, as I will point out in my conclusion, there are several future pathways it could take. Only within recent decades have curators and writers shown an increased interest in women’s decorative arts, including china painting. It is timely to undertake research before existing documentation of china painting is lost.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
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Stacey, Helen. "We just do things a little differently here : a critical analysis of visual arts exchange between Malaysia and Australia from 1983 to 2001." 2004. http://arrow.unisa.edu.au:8081/1959.8/24978.
Full textAbstract:
This thesis critically analyses visual arts exchange between Australia and Malaysia from 1983 to 2001. In the last decade Australia's arts community has shown increased interest in contemporary Asian art. However there is little evidence of specific interest in Malaysian visual arts practice, despite strong associations between the two countries over many decades. Relations between Malaysia and Australia are problematised by complex political, cultural and religious factors, particularly evident over the last decade when diplomatic tensions escalated. Despite these factors, there has been little research on this subject and no major comprehensive critical analysis of cross-cultural visual arts exchange between the two countries. Although the last major visual arts exhibition from Malaysia to Australian state galleries took place between 1969 and 1970, there has been substantial interaction between artists, curators and arts institutions in both countries. From 1983 bilateral visual arts exchange activities expanded and diversified, particularly in the 1990s. Australia has been considered pivotal in assisting the development of contemporary arts in Malaysia. In this regard personal-professional connections on many levels performed an instrumental, if invisible, role in the realisation of exchange programs. This thesis examines issues of cross-cultural engagement and argues that personal-professional considerations are vital to achieving successful outcomes over a longer term period. While official institutions, such as the Australian High Commission in Malaysia, and other agencies in both countries have also been crucial in cultural exchange programs, the involvement of other non-government agencies and individuals has been particularly significant. In this thesis three case studies examine this nexus of government and non-government participants. The projects discussed demonstrate that although outcomes from artist-to-artist or institution-to-institution exchange may not be immediately apparent, benefits may become evident over an extended period of time. While undeniably more complex, projects that involve collaboration and reciprocity tend to yield successful outcomes and consolidate ongoing partnerships. In turn, such projects can provide models for further exchange activity. While not directly serving diplomatic agendas they may nevertheless benefit official and unofficial bilateral relations. In recent years Australian government policy has shifted regional priorities away from the South East Asian region. Nevertheless, while official cultural relations programs have diminished, many visual arts activities instigated between 1998 and 2001 continue to yield beneficial outcomes. This thesis argues that while limits may exist in government policy, programs and funding, collaborative and reciprocal visual arts exchange activities that involve cross-cultural enquiry and cooperation, supported by personal-professional connections, can affirm a positive Australian presence in the region and strengthen bilateral relationships at official and unofficial levels.thesis (MVisualArts)--University of South Australia, 2004.
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Skippington, Peter Anthony. "Harnessing the bohemian : art as partner not maverick." Phd thesis, 2012. http://hdl.handle.net/1885/150401.
Full textAbstract:
Change is inimical to the fabric of life. Yet it affects countries and sectors within countries differently; all animals are not equal. Australia is revered in her folklore for being a land of wide open spaces. Yet in the change climate of the 21st Century those wide open spaces are the most vulnerable; they must measure up to the challenges of change or face virtual extinction. Our most remote and rural communities are shrinking in population and their traditional agricultural bases are ever eroding. Technological changes are part of the nation's egalitarian strategy (e.g., the National Broadband Network (NBN) but the harsh reality remains that these communities face idiosyncratic challenges, ones that will never be confronted by their urban counterparts. It is a fact, however, that the now vast community development literature offers those in remote rural communities few strategic directions given its almost exclusive focus on urban contexts. There is an urgent need to redress the balance and to provide relevant options for people living in and committed to these communities and their further development. The current research derives from the principles of the creative economy and questions whether a focus on these might create potential affordances for such communities. In this context, the research specifically examines the links between the arts and robust, sustainable and inventive communities capable of meeting the challenges of an increasingly globalised society. The potential of the arts in the social, cultural and economic development in remote, rural communities has not yet been fully explored, let alone realised; since the arts are not commonly integrated with community life, community artists and arts workers have traditionally not been fully apprised of and engaged with community-wide issues and problems with the consequential result that there have been few opportunities for cross-disciplinary projects or initiatives. The study is backgrounded by a review of the literature pertaining to conventional community development theories and practices as well as an environmental scan of documented lighthouse projects. Developing from the argument that the concept of the creative economy impacts on multiple aspects of community life and growth and is proving to be broader, deeper and more all encompassing than currently conventional approaches to community development, the research explores the potential links between the skills and processes inherent in the artistic crucible of creativity and those skills and attitudes required to build robust, sustainable and inventive communities capable of meeting the challenges of an ever more globalised society. The resultant picture of a significant disconnect between the arts and their communities provides the basis for the proposal of a new model for community development which identifies the arts as a community asset to be considered and applied in conjunction with other community assets. It encourages communities to develop a focus on creativity and innovation across all sectors of the community and argues for the development of community partnerships promising new synergies and subsequent new solutions to community problems. -- provided by Candidate.
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Hollier, Nathan. "From Hope to Disillusion? A Literary and Cultural History of the Whitlam Period, 1966-1975." Thesis, 2006. https://vuir.vu.edu.au/526/.
Full textAbstract:
It is argued in this thesis that Australian history between 1966 and 1975 can usefully be termed 'the Whitlam period' because the 1972-1975 ALP government of E.G. Whitlam represented the culmination of a wider set of movements for progressive social change, activated primarily by post-1965 opposition to Australia's involvement in the Vietnam War. It is suggested that the defeat of this government marked the end of the postwar 'Keynesian' public policy consensus and the rise to dominance of a neo-classical liberal public policy framework, based on a comparatively negative or 'disillusioned' view of both human nature and the capacity of society to organise itself in a rational and equitable way. And it is argued that the ongoing political importance of the Whitlam period - as the political and historical Other of contemporary Australian society - means that interpretations of this period are especially contested. Accordingly, taking its cue from Raymond Williams's still relevant theoretical argument that culture is an active element of social development, this thesis examines the cultural causes of the defeat of Whitlam and the rise to dominance of neo-classical liberal public policy. It is argued that the primary cultural cause of these social developments is a broad-based Americanisation of Australian culture. The central evidence for this contention is found in the lives and works of Patrick White, Frank Hardy and Les Murray, authors held to best represent the major - Anglocentric, nationalist and American - cultural influences of the Whitlam period.
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McPherson, Ailsa. "Diversions in a tented field : theatricality and the images and perceptions of warfare in Sydney entertainments 1879-1902 /." 2001. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20021008.140716/index.html.
Full text
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Najdovski, Ico. "Contested identity : Macedonians in contemporary Australia." Thesis, 1997. https://vuir.vu.edu.au/17937/.
Full textAbstract:
As argued in this thesis, a Macedonian-Australian identity is an elusive and evolving
category. Nonetheless, the various Macedonian-Australian institutions and
organisations, as well as the activities that they perform, described in this thesis, give definition and shape to a distinctive Macedonian identity. The thesis argues that
Macedonian identity is not fixed, but is the product of lived experience and
engagement with the issues that confront them in the modern context. This identity is not a static fusion of discrete 'traditional' and 'modern' identities, which come
together to constitute another (composite) self-contained identity. Rather, the
Macedonian-Australian identity is viewed as representing dynamic processes of
'negotiation' between various cross-cutting trajectories, that are constructed in
response to changing social and cultural circumstances. The thesis describes these
processes as they are enacted in the Australian context, including the contestation Macedonian identity that was part of what has come to be known as 'the Greek-
Macedonian debate'. The thesis argues that Macedonians draw on their historic
heritage and culture, as well as on elements that are part of their lives in Australia, in order to construct an evolving identity unlike any other. The thesis also poses some
important questions about the future development of a tolerant and democratic
multicultural policy for Australia.
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Huang, Chi-Hui, and 黃琦惠. "A Research on the Supporting Systems of International Development for the Performing Arts in Australia." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/euw23d.
Full textAbstract:
碩士國立臺北藝術大學
藝術行政與管理研究所碩士班
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The development of modern science and technology, progressing by leaps and bounds, has pulled closer the distance between countries. International commercial and cultural exchange is now a day to day reality that every industry is facing the global competition. Under Taiwan’s current political situation, the challenge that Taiwan faces in the international society is severe. In order to promote Taiwanese image on the world stage, cultural diplomacy becomes a breakthrough tool. The government impels "Challenge 2008 ─Council for Economic Planning and Development" from 2002 by the slogan “Developing cultural industries, and bringing culture into industry” and proposed the Cultural and Creative Industry Development Plan. Its’ goal is to improve the whole industrial environment so that the cultural and business sectors in Taiwan can develop vigorously. However, besides the great aspirational ideal, action must be taken to let the Taiwanese culture be visible on the international stage. Until the bridge that leads to the international stage is properly constructed, the Taiwanese culture cannot be successful exported. Australia, with a similar strategic location in the Asia Pacific Region as Taiwan, has been eager to export its culture in recent years. The Australian government promotes the development of arts and cultures by enacting policy and funding and integrating various resources among agencies. In order to inquire into the constitution and the actual achievements of the supporting systems of international development for the performing arts in Australia, this article will discuss the Australian public sector and the third sector and their roles and functions to the international development of performing arts; analyze the achievements, advantages and weakness of the supporting systems with the experience and opinions from Australia performing arts organizations.
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Baker, Lesley Anne. "The development of decorative arts in Australia : Morris & Co. and imported taste, 1862-1939." Phd thesis, 2004. http://hdl.handle.net/1885/110342.
Full textAbstract:
This work inquires into decorative choices in the Australian states of New South
Wales, Victoria and South Australia, between the years of 1862 to 1939, with a view
to highlighting the activities and uniqueness of Morris & Co. within the general
commercial world in which the English firm operated.
Morris & Co. (1861-1940) produced items for interior decoration and stained glass
windows. Its ethos and activities were firmly rooted in the principles expounded by
its founder, William Morris. The essence of those principles was upheld by John
Henry Dearie following Morris’s death in 1896. The company’s products were so
distinctive that publications continue to discuss them separately from other styles
promoted during its lifetime. Customers who favoured Morris & Co. could be as
individual as the company itself. This particularly applied to Australian clients
because not only did the firm operate within a restricted business code but also
Australia presented commercial and social considerations which differed from the
British situation.
Chapter 1 presents an overview to allow the reader to understand basic precepts
governing Australian manufacturing and lifestyles and the workings of Morris &
Co. Chapter 2 looks at particular circumstances and opinions in the mid-nineteenth
century which affected Australian decorative manufacturing and Morris & Co. The Australian firms of Ferguson & Urie, Lyon, Cottier & Co. and W.H. Rocke & Co. are
introduced in this Chapter.
The purpose, assessments and outcomes of the first international exhibitions to
be held in Sydney, Melbourne and Adelaide are considered in Chapter 3. The
appearance of these exhibitions from 1879 allowed local manufacturers to present
their wares to many more people than previously possible and in competition with
the strong import industry. While Morris would later denigrate international
exhibitions his company’s first showing to the public occurred at such an event in
London and the educational possibilities he supported could be served by these
affairs. In Chapter 4 the various avenues of decorative arts education followed in
New South Wales, Victoria and South Australia are examined. Education and
responsibility to the public were important issues for William Morris. He not only
applied his beliefs in these areas to his own Firm but also he devoted considerable
time to their general dissemination. Australian manufacturers were encumbered
by circumstances irrelevant to Morris & Co. Nonetheless Morris’s opinions proved
relevant when authorities came to tackle the problem of design education in
Australia. The practices of Adelaide’s Clarkson Ltd. in stained glass window
manufacture are highlighted here.
Chapter 5 studies the beginnings of the stained glass window industry in
Australia, its British associations, Morris & Co.’s productions, the company’s first
commission for Australia and a comparison of its style with Australian work.
Chapter 6 focuses on Sydney’s Lyon, Cottier & Co., on the nature of the company as it converged with or diverged from the course of Morris & Co. Finally the concepts
of style and fashion are pondered. In Chapter 7 fashionable decorative choices in
Australia are considered. The Melbourne firm of W.H. Rocke & Co. is compared
with Morris & Co. in terms of style and presentation of goods.
There was only one Australian family to decorate extensively with Morris & Co.:
Adelaide’s Barr Smiths. Chapter 8 investigates this family’s background and initial
decorative preferences, the reasons why they subsequently favoured Morris & Co.
and the progression of their Morris & Co. decorations. The embroidery side of
Morris & Co. is taken into account.
For stained glass windows to become a reality numerous concrete and emotional
circumstances come into play. Chapter 9 discusses the practices and sentiments
which affected Morris & Co.’s productions in Australian churches. Chapter 10
studies Morris & Co. items individually conveyed to Australia during the twentieth
century, up until the company’s effective demise in 1939, with likely reasons for
introduction. Articles for interior decoration and stained glass windows are
examined.
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Marshall, Anne. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." Thesis, 2001. http://handle.uws.edu.au:8081/1959.7/556.
Full textAbstract:
All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.