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Journal articles on the topic 'Arts – Australia'

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Published: 4 June 2021

Last updated: 1 March 2023

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1

Thomson, John, and Joye Volker. "Australian visual arts: libraries and the new technologies." Art Libraries Journal 21, no. 1 (1996): 4–7. http://dx.doi.org/10.1017/s0307472200009676.

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Electronic networking has been welcomed in Australia not least because of its potential to help solve problems of distances within Australia and of the isolation of Australia. In the world as a whole, the Internet, and the World Wide Web in particular, is transforming the communication of art information and access to art images. Three Australian Web servers focus on the visual arts: Art Serve, Diva, and AusArts. A number of initiatives intended to provide online bibliographic databases devoted to Australian art were launched in the 1980s. More recently a number of CD-ROMs have been published. As elsewhere, art librarians in Australia need new skills to integrate these products of new technology into the art library, and to transform the latter into a multimedia resource centre.

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2

Pardy, John. "Remembering and forgetting the arts of technical education." History of Education Review 49, no. 2 (November 12, 2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.

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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.

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3

Kelly, Veronica. "The Globalized and the Local: Theatre in Australia and Aotearoa/New Zealand Enters the New Millennium." Theatre Research International 26, no. 1 (March 2001): 1–14. http://dx.doi.org/10.1017/s0307883301000013.

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Late in 1999 the Commonwealth of Australia's Department of Communications, Information Technology and the Arts released Securing the Future, the final Report of the Major Performing Arts Enquiry chaired by Helen Nugent (commonly referred to as the Nugent Report). The operations of the committee and the findings of the Report occasioned considerable public debate in the Australian arts world in the late 1990s, as the Enquiry solicited and analysed information and opinion on the financial health and artistic practices of thirty-one national major performing arts companies producing opera, ballet, chamber and orchestral music as well as theatre. The Report saw the financial viability of Australian live performance as deeply affected by the impact of globalization, especially by what elsewhere has been called ‘Baumol's disease’ – escalating technical, administrative and wage costs but fixed revenue – which threaten the subsidized state theatre companies of Brisbane, Adelaide and Perth with their relatively small population bases. The structural implementation recommended a considerable financial commitment by Commonwealth and State Governments to undertake a defined period of stabilizing and repositioning of companies. Early in 2000 both levels of Government committed themselves to this funding – in fact increasing Nugent's requested $52 million to $70 million – and to the principle of a strengthened Australia Council dispensing arms-length subsidy. In an economically philistine political environment, these outcomes are a tribute to Nugent's astute use of economic rhetoric to gain at least a symbolic victory for the performing arts sector. In 2000 New Zealand arts gained a similar major injection of funding, while a commissioned Heart of the Nation report, advocating the dilution of the principle of arm's-length funding through the abolition of the national funding organization Creative New Zealand, was rejected by Prime Minister Helen Clark.

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4

Bereson, Ruth. "Advance Australia—Fair or Foul? Observing Australian Arts Policies." Journal of Arts Management, Law, and Society 35, no. 1 (April 2005): 49–59. http://dx.doi.org/10.3200/jaml.35.1.49-59.

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5

Phillips, Louise Gwenneth, and Catherine Montes. "Walking Borders: Explorations of Aesthetics in Ephemeral Arts Activism for Asylum Seeker Rights." Space and Culture 21, no. 2 (September 11, 2017): 92–107. http://dx.doi.org/10.1177/1206331217729509.

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Australia’s Operation Sovereign Borders vehemently enforces closed borders to asylum seekers arriving by boat to Australia. Policed urban borders were enforced in Brisbane, Australia, during the G20 Summit in 2014, to protect visiting dignitaries from potential violent protest. The ephemeral arts intervention Walking Borders: Arts activism for refugee and asylum seeker rights symbolically confronted border politics by peacefully protesting against Australian immigration policy. Rather than focusing on the direct effects of the ephemeral arts intervention, this article attends to the affective workings of the aesthetic elements of the project through sensory ethnography and storying. Informed by Ranciere’s aesthetics of politics, this article explores the affective experience and potential educative gains of the ethical turn attended to in participatory arts such as ephemeral arts interventions.

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6

Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.

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7

Broinowski, Alison. "Australia, Asia and the arts." Asian Studies Association of Australia. Review 12, no. 1 (July 1988): 18–23. http://dx.doi.org/10.1080/03147538808712535.

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8

Cartwright, Michael, Glyndwr Williams, and Alan Frost. ""Terra Australis" to Australia." Eighteenth-Century Studies 24, no. 3 (1991): 393. http://dx.doi.org/10.2307/2738679.

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9

Trinh, Huong Thu. "The Heildelberg School in forming Australianness." Science and Technology Development Journal 17, no. 4 (December 31, 2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.

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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.

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10

Khuda, Kudrat-E. "Education, Arts and Sustainability: Emerging Practice for a Changing World, by Mary Ann Hunter, Arnold Aprill, Allen Hill & Sherridan Emery." Canadian Review of Art Education 48, no. 1 (December 11, 2021): 100–102. http://dx.doi.org/10.26443/crae.v48i1.108.

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Book Response: Education, Arts and Sustainability: Emerging Practice for a Changing World, by Mary Ann Hunter, Arnold Aprill, Allen Hill & Sherridan Emery. Springer Singapore, Springer, 2018, 120 pp., ISBN: 9811077096 Keywords: Australia; Arts; Critical Thinking; Education; Partnership; Sustainability. Réaction à un ouvrage : Education, Arts and Sustainability: Emerging Practice for a Changing World, par Mary Ann Hunter, Arnold Aprill, Allen Hill et Sherridan Emery. Springer Singapore, Springer, 2018, 120 pp., ISBN: 9811077096 Mots-clés : Australie, arts, raisonnement critique, éducation, partenariat, pérennité.

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11

Bannigan, Phillip, and Sue Harris. "An Electronic Arts Network for Australia." Leonardo 24, no. 2 (1991): 227. http://dx.doi.org/10.2307/1575305.

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12

Forbes, Sandra. "Government and the Arts in Australia." World Literature Today 67, no. 3 (1993): 494. http://dx.doi.org/10.2307/40149342.

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13

Wagner, Robin. "What Munn Missed: The Queensland Schools of Arts." Queensland Review 20, no. 2 (October 30, 2013): 187–202. http://dx.doi.org/10.1017/qre.2013.20.

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American Librarian Ralph Munn's historic tour of Australian libraries in 1934 is well documented. Along with Ernest Pitt, Chief Librarian of the State Library of Victoria, he spent nearly ten weeks travelling from Sydney and back again, visiting libraries in all the state capitals and many regional towns throughout the country. Munn's trip was funded by the Carnegie Corporation of New York, which was then, through its Dominions fund, turning attention to philanthropic opportunities in the Antipodes. The resulting report, Australian Libraries: A Survey of Conditions and Suggestions for their Improvement (commonly referred to as the Munn–Pitt Report) is often credited with initiating the public library movement in Australia.

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14

Tonkin, Maggie. "Lessons in Survival: The De-funding of Restless Dance Theatre." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (December 1, 2022): 159–74. http://dx.doi.org/10.14361/zkmm-2022-080208.

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Abstract In March 2020, Michelle Ryan, Artistic Director of Restless Dance Theatre, an Australian dance company that includes both disabled and non-disabled dancers, was awarded Australia’s highest dance honour by the Australia Council, the federal arts funding body, for her transformative leadership of the company. Almost simultaneously, the very same Australia Council removed funding support for Restless, threatening the company’s survival. This essay examines Restless’s response to the fundamental incoherence of the Australia Council’s decision and situates it within the broader context of the company’s own evolving practice in disability art, which in effect saw it attempt to create policy in the field. I outline the government policy contexts that underpin both the funding cuts and Restless’s pivot to an alternate source of funding: the ideologically driven ‘culture wars’ underpinning the Coalition government’s hostility to the arts sector, and the establishment of a National Disability Insurance Scheme that enables individual ‘clients’ to access money for arts training. Finally, the essay examines the implications of a dance company receiving funding from a disability service provider rather than from a mainstream arts funding body, questioning whether this is a further ‘ghettoization’ of disability art.

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Tonkin, Maggie. "Lessons in Survival: The De-funding of Restless Dance Theatre." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (December 1, 2022): 159–74. http://dx.doi.org/10.14361/zkmm-2022-0207.

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Abstract In March 2020, Michelle Ryan, Artistic Director of Restless Dance Theatre, an Australian dance company that includes both disabled and non-disabled dancers, was awarded Australia’s highest dance honour by the Australia Council, the federal arts funding body, for her transformative leadership of the company. Almost simultaneously, the very same Australia Council removed funding support for Restless, threatening the company’s survival. This essay examines Restless’s response to the fundamental incoherence of the Australia Council’s decision and situates it within the broader context of the company’s own evolving practice in disability art, which in effect saw it attempt to create policy in the field. I outline the government policy contexts that underpin both the funding cuts and Restless’s pivot to an alternate source of funding: the ideologically driven ‘culture wars’ underpinning the Coalition government’s hostility to the arts sector, and the establishment of a National Disability Insurance Scheme that enables individual ‘clients’ to access money for arts training. Finally, the essay examines the implications of a dance company receiving funding from a disability service provider rather than from a mainstream arts funding body, questioning whether this is a further ‘ghettoization’ of disability art.

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16

Daly, Jamee, Hayley Smith, Hayley A. McGrice, Karen L. Kind, and William H. E. J. van Wettere. "Towards Improving the Outcomes of Assisted Reproductive Technologies of Cattle and Sheep, with Particular Focus on Recipient Management." Animals 10, no. 2 (February 13, 2020): 293. http://dx.doi.org/10.3390/ani10020293.

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The Australian agricultural industry contributes AUD 47 billion to the Australian economy, and Australia is the world’s largest exporter of sheep meat and the third largest for beef. Within Australia, sheep meat consumption continues to rise, with beef consumption being amongst the highest in the world; therefore, efficient strategies to increase herd/flock size are integral to the success of these industries. Reproductive management is crucial to increasing the efficiency of Australian breeding programs. The use of assisted reproductive technologies (ARTs) has the potential to increase efficiency significantly. The implementation of multiple ovulation and embryo transfer (MOET) and juvenile in vitro fertilization and embryo transfer (JIVET) in combination with genomic selection and natural mating and AI is the most efficient way to increase genetic gain, and thus increase reproductive efficiency within the Australian livestock industries. However, ARTs are costly, and high variation, particularly between embryo transfer recipients in their ability to maintain pregnancy, is a significant constraint to the widespread commercial adoption of ARTs. The use of a phenotypic marker for the selection of recipients, as well as the better management of recipient animals, may be an efficient and cost-effective means to increase the productivity of the Australian livestock industry.

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17

Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.

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In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).

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18

Maddrell, Susan. "ARTSDOC: Arts Documentation Service." Art Libraries Journal 11, no. 1 (1986): 21–24. http://dx.doi.org/10.1017/s0307472200004466.

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Computer technology, particularly in the area of data bases and networking systems, enables arts librarians to overcome some of the problems engendered by isolation and great distances. The Australia Council Library aims to provide greatly increased access to its large collection of press clippings on the arts in Australia through its data base, ARTSDOC. The artists’ file, a 22,500 record, A-Z sequence of press clippings covering the past decade, forms the basis of ARTSDOC. It is anticipated that input from 1986 onward will include all press clippings culled by the Library, whether they are artists’ clippings or more broadly subject based.

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19

Morley, Michael. "A Critical State: Theatre Reviewing in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 94–96. http://dx.doi.org/10.1017/s0266464x00001962.

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As in most English-speaking nations, the success or otherwise of a production in Australia is heavily dependent upon its critical reception: yet, argues Michael Morley, much Australian reviewing is both ill-equipped and ill-informed for such a responsibility. Michael Morley is himself currently theatre critic of The National Times, and has also written for The Advertiser, Theatre Australia, and the Sydney Morning Herald. A Brecht-Weill scholar, who has worked as musical director on a number of productions in Sydney and Adelaide, Michael Morley is Professor of Drama at Flinders University in South Australia.

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20

Hamilton, Donald G. "Australian doctors and the visual arts: Part 5. Doctor‐artists in South Australia, Tasmania, Western Australia and Queensland." Medical Journal of Australia 145, no. 10 (November 1986): 531–35. http://dx.doi.org/10.5694/j.1326-5377.1986.tb139460.x.

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21

Mulcock, Jane, and Natalie Lloyd. "Human-Animal Studies in Australia: Current Directions." Society & Animals 15, no. 1 (2007): 1–5. http://dx.doi.org/10.1163/156853007x169306.

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AbstractIn 2004, Natalie Lloyd and Jane Mulcock initiated the Australian Animals & Society Study Group, a network of social science, humanities and arts scholars that quickly grew to include more than 100 participants. In July 2005, about 50 participants attended the group's 4-day inaugural conference at the University of Western Australia, Perth. Papers in this issue emerged from the conference. They exemplify the Australian academy's work in the fields of History, Population Health, Sociology, Geography, and English and address strong themes: human-equine relationships; management of native and introduced animals; and relationships with other domestic, nonhuman animals—from cats and dogs to cattle. Human-Animal Studies is an expanding field in Australia. However, many scholars, due to funding and teaching concerns, focus their primary research in different domains. All authors in this issue—excepting one—are new scholars in their respective fields. The papers represent the diversity and innovation of recent Australian research on human-animal interactions. The authors look at both past and present, then anticipate future challenges in building an effective network to expand this field of study in Australia.

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22

HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.

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23

Whittaker, Nancy. "Doing It Together. Arts Education in Australia." Journal of Aesthetic Education 30, no. 3 (1996): 97. http://dx.doi.org/10.2307/3333324.

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24

Mason, Matthew J. "Out of the Outback, into the Art World: Dotting in Australian Aboriginal Art and the Navigation of Globalization." ARTMargins 11, no. 3 (October 1, 2022): 67–88. http://dx.doi.org/10.1162/artm_a_00326.

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Abstract In recent decades, the popularity of Australian Aboriginal dot painting overseas has exploded, with works by some of Australia's leading artists selling for millions of dollars at auction, as well as featuring in major international exhibitions like the Venice Biennale and documenta. While this carries with it the risk of Aboriginal art and culture becoming diluted or commodified, this essay explores the origins and use of the ‘dotting’ typical of much Australian Aboriginal art of the Western and Central Deserts of Australia, as well as Aboriginal dot painting's circulation internationally, to consider how Aboriginal art's entry into the global art world might also represent an act of Indigenous self-determination. By leveraging the Western fascination with the ‘secret/sacred’ content often assumed to be hidden by these dots, Aboriginal artists have been able to generate an international market for their works. While Aboriginal communities remain among the most economically disadvantaged in Australia, Aboriginal art nevertheless provides a critical means by which Indigenous communities can support themselves, and, more importantly, operates as a form of cultural preservation and a tool by which Aboriginal peoples can assert their sovereignty.

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25

St Leon, Mark Valentine. "Presence, Prestige and Patronage: Circus Proprietors and Country Pastors in Australia, 1847–1942." Alternative Spirituality and Religion Review 12, no. 1 (2021): 39–73. http://dx.doi.org/10.5840/asrr2021122179.

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Christianity and circus entered the Australian landscape within a few decades of each other. Christianity arrived with the First Fleet in 1788. Five years later, Australia’s first church was opened. In 1832, the first display of the circus arts was given by a ropewalker on the stage of Sydney’s Theatre Royal. Fifteen years later, Australia’s first circus was opened in Launceston. Nevertheless, Australia’s historians have tended to overlook both the nation’s religious history and its annals of popular entertainment. In their new antipodean setting, what did Christianity and circus offer each other? To what extent did each accommodate the other in terms of thought and behaviour? In raising these questions, this article suggests the need to remove the margins between the mainstreams of Australian religious and social histories. For the argument of this article: 1) the term “religion” will refer to Christianity, specifically its Roman Catholic and principal Protestant manifestations introduced in Australia, Anglican, Presbyterian and Methodist; and 2) the term “circus” will refer to the form of popular entertainment, a major branch of the performing arts and a sub-branch of theatre, as devised by Astley in London from 1768, and first displayed in the Australia in 1847.

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26

Volker, Joye, and Jennifer Coombes. "The art of life online: creating artists’ biographies on the web." Art Libraries Journal 34, no. 1 (2009): 12–16. http://dx.doi.org/10.1017/s0307472200015704.

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The World Wide Web has created significant changes in how cultural institutions, including galleries, communicate their role as custodians of cultural content and research. In this paper we discuss a number of initiatives involving the Research Library and curatorial sections at the National Gallery of Australia to bring information about Australian visual arts to an online audience.

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Mummery, Jane, and Debbie Rodan. "Discursive Australia: Refugees, Australianness, and the Australian Public Sphere." Continuum 21, no. 3 (August 3, 2007): 347–60. http://dx.doi.org/10.1080/10304310701460672.

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28

BOLLEN, JONATHAN. "‘As Modern as Tomorrow’: Australian Entrepreneurs and Japanese Entertainment, 1957–1968." Theatre Research International 43, no. 2 (July 2018): 147–64. http://dx.doi.org/10.1017/s0307883318000275.

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This article compares the efforts of two Australian entrepreneurs to import Japanese entertainments for theatres in mid-twentieth-century Australia. David N. Martin of the Tivoli Circuit and Harry Wren, an independent producer, were rivals in the business of touring variety-revue. Both travelled to Japan in 1957, the year that the governments of Australia and Japan signed a landmark trade agreement. Whereas Martin's efforts were hampered by the legacy of wartime attitudes, Wren embraced the post-war optimism for trade. Wren became the Australian promoter for the Toho Company of Japan, touring a series of Toho revues until 1968. These Toho tours have been overlooked in Australian histories of cultural exchange with Japan. Drawing on evidence from archival sources and developing insights from foreign policy of the time, this article examines why Australian entrepreneurs turned to Japan, what Toho sent on tour, and how Toho's revues played in Australia. It analyses trade in touring entertainment as a form of entrepreneurial diplomacy that sought to realize the prospects of regional integration.

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29

Rusak, Helen. "Corporate Entrepreneurship in the Arts in Western Australia." Journal of Arts Management, Law, and Society 46, no. 4 (August 7, 2016): 153–63. http://dx.doi.org/10.1080/10632921.2016.1211049.

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30

Wreford, Gareth. "The state of arts and health in Australia." Arts & Health 2, no. 1 (March 2010): 8–22. http://dx.doi.org/10.1080/17533010903421484.

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31

Gibson, Robyn, and Michael Anderson. "Touching the void: arts education research in Australia." Asia Pacific Journal of Education 28, no. 1 (March 2008): 103–12. http://dx.doi.org/10.1080/02188790701849818.

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32

Kaino, Lorna. "The ‘Problem of Culture’: A Case Study of Some Arts Industries in Southwest Western Australia." Media International Australia 101, no. 1 (November 2001): 127–39. http://dx.doi.org/10.1177/1329878x0110100114.

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This paper presents a case study of three glass art studios situated in the southwest of Western Australia. The study is designed to provide a model for a larger study of the arts industries that will contribute to a strategic analysis of cultural policies for arts industry development. Its purpose is to offer insights into why arts policy frameworks and arts development strategies in the southwest of Western Australia appear to have had limited outcomes consistent with their arts industry objectives. It proposes that one of the reasons — difficult to formalise in policy documents but a persistent theme in informal discussions I have had with arts practitioners all over the southwest region — is a conceptual problem related to instrumentalities charged with the responsibility of implementing arts policy and development. I propose that this is a ‘problem of culture ‘. I explore this proposition in relation to cultural policy planning and development at the regional level within a wider framework at the state and federal levels in Australia and internationally.

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33

Antoinette, Michelle. "A space for ‘Asian-Australian’ art: Gallery 4A at The Asia-Australia Arts Centre." Journal of Australian Studies 32, no. 4 (December 2008): 531–42. http://dx.doi.org/10.1080/14443050802471434.

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34

Sonn, Christopher C., and Amy F. Quayle. "Community Cultural Development for Social Change: Developing Critical Praxis." Journal for Social Action in Counseling & Psychology 6, no. 1 (June 1, 2014): 16–35. http://dx.doi.org/10.33043/jsacp.6.1.16-35.

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A growing number of writers in community psychology have called for re-claiming the radical impetus that inspired the development of the field. In this article we describe a program of work facilitated by a community cultural development agency that uses community arts practice to create, promote and improve opportunities for participation, network development, and empowerment in rural Western Australian communities. The program of work we describe in this article sits within a broader systematic effort aimed at social change in a specific geographic region of Western Australia, and reflects a particular commitment to challenging the continuing social exclusion of Aboriginal people in postcolonizing Australia. Informed by writing within community and liberation psychologies, we discuss three community arts projects and highlight the key concepts of participation, power/empowerment and situated knowing in our examination of community cultural development as participatory methodology. We emphasize the iterative and generative nature of arts practice and argue that community cultural development practice is often aimed at both instrumental as well as transformative outcomes. We suggest that the transformative dimensions require a critical theoretical lens to help explicate the operations of power and coloniality in the micro settings of community practice.

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Toepfer, George J. "Helping Australian Aboriginal Youth – In Turn Helping Australia." Anthropos 106, no. 2 (2011): 609–11. http://dx.doi.org/10.5771/0257-9774-2011-2-609.

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Rowe, David, and Tony Bennett. "Tastes and practices in three Australian cultural fields: television, music and sport." Media International Australia 167, no. 1 (April 19, 2018): 121–25. http://dx.doi.org/10.1177/1329878x18767937.

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This article introduces the Themed Section of Media International Australia, ‘Tastes and practices in three Australian cultural fields: television, music and sport’, which presents selected findings of the 2014-2015 survey of Australian cultural practices conducted as part of the Australian Research Council project Australian Cultural Fields: National and Transnational Dynamics (DP140101970). It briefly discusses the social organisation of the production of consumption of Australia in the period between the national cultural policies Creative Nation (1994) and Creative Australia (2013). The Introduction then outlines the methodology underlying the Australian Cultural Fields survey that, in building on the approach of French sociologist Pierre Bourdieu, was developed to assess how far entrenched cultural hierarchies and inequalities have been displaced by broadened patterns of access to arts and culture. Of particular concern is the role of traditional and new forms of cultural capital in differentiating patterns of cultural consumption and participation across relations of class, gender and ethnicity, which the distinctive survey design and administration seek to capture in the Australian context. Bringing together the methods of Multiple Correspondence Analysis (MCA) and Cluster Analysis, each article highlights specific aspects of the relations between cultural tastes, practices, and social positions in contemporary Australia via an engagement with contemporary debates in cultural capital theory. The contributions on television (by Tony Bennett, Modesto Gayo, and David Rowe), music (Ben Dibley and Modesto Gayo) and sport (Modesto Gayo and David Rowe) address the dynamics of these Australian cultural fields, while also indicating the significance of their research findings for studies of other nationally-constituted cultural fields, as well as the contested play of cultural capital within nations and in the transnational/global sphere.

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Ryan, Robin, Jasmin Williams, and Alison Simpson. "From the ground up: growing an Australian Aboriginal cultural festival into a live musical community." Arts and the Market 11, no. 2 (August 16, 2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.

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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.

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Johnston, Jane, and Mark Pearson. "Australia’s media climate: Time to renegotiate control." Pacific Journalism Review : Te Koakoa 14, no. 2 (September 1, 2008): 72–85. http://dx.doi.org/10.24135/pjr.v14i2.945.

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In 2007, Australia was rated by two international media bodies as well down the chain in media freedom. Within its own borders, internal media groups—in particular the Australian Press Council and the Media Entertainment and Arts Alliance, as well as a consortium of major employer groups—have recently released reports investigating the position of media freedoms. This atricle examines a select few of these shrinking freedoms which range from the passive restrcitions on access to documents to the overt threat of imprisonment for publishing sensitive material. In particular, it considers laws relating to freedom of information, camera access to courts, shield laws and whistleblower protection and finally revamped anti-terrorism laws. The article maps the landscape of Australia's downgraded press fredom and suggests that laws controlling media reportage need to be renegotiated.

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Young, Christabel M. "Migration and Mortality: The Experience of Birthplace Groups in Australia." International Migration Review 21, no. 3 (September 1987): 531–54. http://dx.doi.org/10.1177/019791838702100305.

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Wide diversity exists in the mortality experience of different birthplace groups in Australia, and this also occurs with respect to their cause of death profiles. Most migrant groups experience lower mortality in Australia than in their country of origin, and most experience lower mortality than the Australian-born population. In the latter case the main expectations are the Scots, Irish, Poles, South Pacific Islanders, Scandinavian men and North American women. Exceptionally high levels of survival occur among Greeks and Italians in Australia. The lower risk of mortality from heart disease is a principal reason for the deficit between observed and expected deaths of most migrant groups in Australia.

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Archer, Anita, and David M. Challis. "‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market." Arts 11, no. 2 (April 5, 2022): 49. http://dx.doi.org/10.3390/arts11020049.

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Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.

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Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

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Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

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SAUTER, WILLMAR. "Introduction: Festival Culture in Global Perspective." Theatre Research International 30, no. 3 (October 2005): 237–39. http://dx.doi.org/10.1017/s0307883305001483.

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According to the Australia Council, the 152 arts festivals held in that country during the season of 1993–4 had a combined operating expenditure of Australian $58.3 million and were attended by 2.2 million visitors. At the same time, these festivals provided 32,000 paid engagements for Australian artists. Considering this massive expansion of festivals in terms of artistic arena, national marketplace and international industry, the scholarly interest in this phenomenon has taken new directions. To study the productions seemed not to be enough, nor was it satisfactory to survey audience attendance or to investigate economic turnouts. Obviously festivals did something more than promote theatrical performances.

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Herkes, Ellen, and Guy Redden. "Misterchef? Cooks, Chefs and Gender in MasterChef Australia." Open Cultural Studies 1, no. 1 (September 26, 2017): 125–39. http://dx.doi.org/10.1515/culture-2017-0012.

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Abstract MasterChef Australia is the most popular television series in Australian history. It gives a wide range of ordinary people the chance to show they can master culinary arts to a professional standard. Through content and textual analysis of seven seasons of the show this article examines gendered patterns in its representation of participants and culinary professionals. Women are often depicted as home cooks by inclination while the figure of the professional chef remains almost exclusively male. Despite its rhetoric of inclusivity, MCA does little to challenge norms of the professional gastronomic field that have devalued women’s cooking while valorising “hard” masculinized culinary cultures led by men.

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McShane, Ian. "Productive Nation? Museums, Cultural Policy and Australia’s Productivity Narrative." Museum and Society 14, no. 1 (June 9, 2017): 131–45. http://dx.doi.org/10.29311/mas.v14i1.669.

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This article traces the emergence of productivity as a central theme in Australia’s national cultural policy, and discusses some implications of this development for the Australian museum sector. The analysis focuses on two texts – Australia’s two national cultural policies, Creative Nation (1994) and Creative Australia (2013) – to highlight changing policy rhetorics through which cultural heritage and cultural pluralism lose traction, and productivity, innovation and creativity find favour. The article argues that the government’s concern to boost sources of economic growth in twenty-first century Australia focus cultural policy on the arts and creative industries, seen as the locus of innovation and the wellspring of creative activity. The article argues against this narrow construction of productivity and its sources, showing why museums are important contributors to a productivity policy agenda in a culturally diverse and globalized society. Key words: cultural policy, Australia, creative industries, productivity, diversity

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Masters, Tristan, Roslyn Russell, and Robert Brooks. "The demand for creative arts in regional Victoria, Australia." Applied Economics 43, no. 5 (February 2011): 619–29. http://dx.doi.org/10.1080/00036840802584976.

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Rose, Deborah Bird. "Arts of flow: poetics of ‘fit’ in Aboriginal Australia." Dialectical Anthropology 38, no. 4 (July 8, 2014): 431–45. http://dx.doi.org/10.1007/s10624-014-9347-0.

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Gold, Sonia S. "POLICY AND ADMINISTRATIVE CHANGE IN THE ARTS IN AUSTRALIA." Prometheus 5, no. 1 (June 1987): 146–54. http://dx.doi.org/10.1080/08109028708629418.

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Barber, Susan. ": Images of Australia: 100 Films of the New Australian Cinema . Neil Rattigan." Film Quarterly 46, no. 3 (April 1993): 60–61. http://dx.doi.org/10.1525/fq.1993.46.3.04a00130.

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Hunter, Mary Ann. "Anxious Futures: Magpie2 and ‘New Generationalism’ in Australian Youth-Specific Theatre." Theatre Research International 26, no. 1 (March 2001): 71–81. http://dx.doi.org/10.1017/s0307883301000074.

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The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre for, by, and about young people outside the school context. Instead, ‘new generation’ approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural ‘generationalism’, particularly in larger arts organizations as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a ‘new generation’ approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.

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Fisher, Daniel T. "An Urban Frontier: Respatializing Government in Remote Northern Australia." Cultural Anthropology 30, no. 1 (February 9, 2015): 139–68. http://dx.doi.org/10.14506/ca30.1.08.

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This essay draws on ethnographic research with Aboriginal Australians living in the parks and bush spaces of a Northern Australian city to analyze some new governmental measures by which remoteness comes to irrupt within urban space and to adhere to particular categories of people who live in and move through this space. To address this question in contemporary Northern Australia is also to address the changing character of the Australian government of Aboriginal people as it moves away from issues of redress and justice toward a state of emergency ostensibly built on settler Australian compassion and humanitarian concern. It also means engaging with the mediatization of politics and its relation to the broader, discursive shaping of such spatial categories as remote and urban. I suggest that remoteness forms part of the armory of recent political efforts to reshape Aboriginal policy in Northern Australia. These efforts leverage remoteness to diagnose the ills of contemporary Aboriginal society, while producing remoteness itself as a constitutive feature of urban space.

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