Relevant bibliographies by topics / Musical theater Australia

Academic literature on the topic 'Musical theater Australia'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Journal articles
Dissertations / Theses
Books
Book chapters
Reports

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Musical theater Australia.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Musical theater Australia"

Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.

Full text

Abstract:

Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

Atkey, Mel. "A Million Miles from Broadway." Brock Review 12, no. 2 (December 5, 2011): 1–11. http://dx.doi.org/10.26522/br.v12i2.358.

Full text

Abstract:

Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters were known to have gone to the gallows singing. Both there and in Argentina, musical theatre played an active role in the struggle against oppression. Shows like Sarafina weren’t just about the struggle against apartheid, they were part of it. This is nothing new – the cabarets of Weimar Berlin were also struggling against oppression. In fact, the birth of the musical coincided with the birth of democracy. On the other hand, during World War II, the all-female Takarazuka Revue was co-opted by the Japanese government for propaganda purposes. The real point of my book A Million Miles from Broadway is not just to tell a history of the musical. It’s what you do with that history after you’ve learned it that is important. Firstly to learn about our own musical theatre heritage, but also to learn about each other’s. We may find that people in other countries have found solutions to problems that we are struggling with.

APA, Harvard, Vancouver, ISO, and other styles

Curtis, Joel Nicholas. "The mental health of musical theatre students in tertiary education: A pilot study." Studies in Musical Theatre 13, no. 3 (December 1, 2019): 333–48. http://dx.doi.org/10.1386/smt_00011_1.

Full text

Abstract:

This article seeks to illuminate questions of mental health in tertiary-level musical theatre training. Professional performing artists, students of singing, dance and acting, as well as undergraduate university students are all at greater risk of mental health problems than the general population. At the nexus of these domains is the tertiary-level musical theatre student. Through a survey conducted with recent musical theatre graduates in Australia, this study investigated the impact of tertiary-level musical theatre study on the psychological wellbeing of its students, identifying relevant stressors and mitigating factors. The results demonstrate a higher instance of mental health concerns in this cohort than the general population and other tertiary-level groups. Some solutions to mitigate the issue are presented.

APA, Harvard, Vancouver, ISO, and other styles

Thorley, Peter. "Acting and Collecting: Imagining Asia through material culture and musical theatre." Museum and Society 13, no. 3 (July 1, 2015): 356–68. http://dx.doi.org/10.29311/mas.v13i3.335.

Full text

Abstract:

This paper explores the link between Asian-inspired material culture and musical theatre through the collections of Anglo-Australian performer Herbert Browne (1895-1975). Brown played lead roles in 1920s Australian musical theatre productions of The Mikado and Chu Chin Chow and re-lived his connection with oriental theatre by collecting and responding to objects performatively in the Chinoiserie room of his Melbourne home. Oriental musical theatre blended exotic cultures and locales in visually spectacular productions which bore little resemblance to reality. The taste for escapist fiction in the theatre took place against a backdrop of museum collecting which aimed to reproduce authentic Asian and Other cultures. In this paper, I draw on French philosopher Merleau-Ponty’s observations on the relationship between thought and the body’s interaction with space to interpret the influence of Browne’s theatricality on collecting choices. From this perspective, objects materialize particular understandings of the world which originate in the body and the body’s performative engagement with space.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

Cuny, Jacqui. "Exploring musical theatre performance synergy: Accessing seven performative processes." Studies in Musical Theatre 16, no. 2 (July 1, 2022): 133–50. http://dx.doi.org/10.1386/smt_00094_1.

Full text

Abstract:

To meet the demands of the ever-evolving musical theatre industry, performers are expected to craft inspiring performances across eight shows a week, seamlessly integrating their triple-threat expertise. Most actors undertake intensive training to achieve the complex skillset required to execute this art form, yet professional success can be elusive. It appears that a key element to building and maintaining a musical theatre career is performance synergy. This phenomenon is described colloquially as stage presence or X-factor. Whilst the literature regarding the field of musical theatre training is wide-ranging, little formal research has been undertaken on the ephemeral subject of performance synergy as it pertains to the work of the musical theatre actor. To address this lacuna in the literature ‐ and to determine whether performance synergy can be described, comprehended, taught or learned ‐ semi-structured interviews were conducted with 42 Australian actors and creative directors active in the musical theatre industry. Collected data captured expert opinions on the elements, constructs and praxis of musical theatre performance synergy. Following a thematic analysis of the data, a framework of seven performative processes was constructed towards a clearer understanding of the practical aspects of this multifaceted phenomenon.

APA, Harvard, Vancouver, ISO, and other styles

Mahasarinand, Pawit. "The King and I: Another Orientalia in Commercial Theatre?" MANUSYA 2, no. 1 (1999): 37–47. http://dx.doi.org/10.1163/26659077-00201004.

Full text

Abstract:

One of the most popular American musicals, The King and I has always been, and probably will forever be, banned in Thailand. Its current Broadway production, ironically, petitioned to premiere in Thailand and, without hesitation, was immediately turned down by the Royal Thai Government. Instead, it was developed in Australia and moved to Broadway where it received critical as well as commercial success.

APA, Harvard, Vancouver, ISO, and other styles

Bonshek, Corrina. "Interdisciplinarity and vocal performance in Australian Contemporary Music Theatre." Contemporary Music Review 25, no. 4 (August 2006): 341–51. http://dx.doi.org/10.1080/07494460600761013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Musical theater Australia"

Howlett, May Catherine. "The production of a contemporary chamber opera (The boy who wasn't there)." Thesis, Electronic version, 2005. http://hdl.handle.net/1959.14/769.

Full text

Abstract:

A creative work and dissertation in fulfilment of the requirements for the degree of Master of Arts (Research) Macquarie University, Division of Humanities, Dept. of Contemporary Music Studies.
Dissertation, libretto and score of the opera.
Thesis (MA)--Macquarie University (Division of Humanities, Dept. of Contemporary Music Studies), 2005.
Bibliography: p. 138-141.
Introduction -- Historical background and literature review -- Structural and philosophic changes -- Chamber opera: a genre in evolution -- Chamber opera: its potential for the future -- The personal experiment -- Conclusion..
From its origins as chamber opera just over four hundred years ago, Opera developed through the 18th and 19th centuries, in length and complexity, to attain the status of 'grand', a term that most people associate with opera to this day ... At the beginning of the 20th century, radical innovations in the arts influenced by movements such as the Bauhaus phenomenon, added to the aftermath of a world war that shattered existing socio-political structures and artistic sentiments turned from extroverted displays of grandeur to the creation of more cerebral, introverted styles. ... On the threshold of a new millennium, small, often experimental companies, passionately convinced of the relevance of, and excited by the artistic potential inherent in this revitalized form of opera, formed a loose consortium of creative artists internationally, similar in spirit to the original Camerata of the 16th century, making use of current technologies. Whether these newer works may be styled 'chamber opera' or 'music theatre', they represent a form in evolution, capable of further development into a new genre, a vital nexus of traditional skills applied to current issues, peculiarly suited to integration with electronic modes such as television.
Mode of access: World Wide Web.
141 leaves music

APA, Harvard, Vancouver, ISO, and other styles

Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.

Full text

Abstract:

Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.

APA, Harvard, Vancouver, ISO, and other styles

Murray, Peta. "Things that fall over : Women's playwriting, poetics and the (anti-)musical." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53579/1/Peta_Murray_Thesis.pdf.

Full text

Abstract:

Abstract: This study explores the contradictions and ambivalences experienced by a working artist at a time when her age, her gender, and broader cultural shifts are all potential obstacles or liabilities to creative flourishing. It is the product of practice-led research into the creative process from the perspective of the female "late bloomer". In this phrase, I have in mind the mature-aged woman who is, in mid-life, suddenly seized with inspiration and fired with creative energy. At its heart is the question: If an Elizabeth Jolley were in our midst today, would we hear from her? The result is a full-length libretto and accompanying exegetical binoculars in the form of a Preface and an Afterword. The creative work, Things That Fall Over (TTFO) is conceived in two parts: a libretto and oratorio for performance. It begins as a play, but over three acts and into a coda, the work becomes something entirely other - an (anti-) musical. The work grew from a personal interest in the nexus between women, ageing and creative practice, via investigation into the oeuvre of two Australian artists, Elizabeth Jolley, author, first published at age 53, and Rosalie Gascoigne, sculptor, first exhibited at 58. A second strand of the research grew from a fascination for the stage musical, especially in its more alternative modes as in the hands of Stephen Sondheim, or in more provocative manifestations as witnessed in recent Tony Award winners Avenue Q and The Book of Mormon. Contextually, this research is conducted at a time when anecdotal evidence suggests that women’s work in the performing arts and in literature is being pushed to the margins after a late twentieth century Golden Age on page and stage. Using hybrid practice-led methodologies - bricolage, log-keeping - and working within queer and feminist paradigms, this study seeks to counter that push with a new work that is all-female, part-pantomime, part monstrous allegory. In illuminating the creative process of a mature-aged playwright it concludes that hybrid and interstitial forms still offer an inclusive and democratic space in which voices that may otherwise be muted will continue to be heard.

APA, Harvard, Vancouver, ISO, and other styles

Nuttall, Keir. "I’m with Muriel: Applying a persona-centred songwriting technique to the creation of a new Australian musical." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/209305/1/Keir_Nuttall_Thesis.pdf.

Full text

Abstract:

This Thesis by Creative Works advances a new method of songwriting centred around the concept of persona. Drawing on Csikszentmihalyi’s Systems Model of Creativity and Auslander’s work on persona and popular music performance, the thesis develops a model of songwriting that is then applied in the creation of new music and lyrics for the Australian musical theatre production, Muriel's Wedding the Musical.

APA, Harvard, Vancouver, ISO, and other styles

Rimmer, Matthew. "The Pirate Bazaar: The Social Life of Copyright Law." Thesis, The Faculty of Law, The University of New South Wales, 2001. https://eprints.qut.edu.au/86581/1/fulltext.pdf.

Full text

Abstract:

This thesis provides a cultural history of Australian copyright law and related artistic controversies. It examines a number of disputes over authorship, collaboration, and appropriation across a variety of cultural fields. It considers legal controversies over the plagiarism of texts, the defacing of paintings, the sampling of musical works, the ownership of plays, the co-operation between film-makers, the sharing of MP3 files on the Internet, and the appropriation of Indigenous culture. Such narratives and stories relate to a broad range of works and subject matter that are protected by copyright law. This study offers an archive of oral histories and narratives of artistic creators about copyright law. It is founded upon interviews with creative artists and activists who have been involved in copyright litigation and policy disputes. This dialogical research provides an insight into the material and social effects of copyright law. This thesis concludes that copyright law is not just a ‘creature of statute’, but it is also a social and imaginative construct. In the lived experience of the law, questions of aesthetics and ethics are extremely important. Industry agreements are quite influential. Contracts play an important part in the operation of copyright law. The media profile of personalities involved in litigation and policy debates is pertinent. This thesis claims that copyright law can be explained by a mix of social factors such as ethical standards, legal regulations, market forces, and computer code. It can also be understood in terms of the personal stories and narratives that people tell about litigation and copyright law reform. Table of Contents Prologue 1 Introduction A Creature of Statute: Copyright Law and Legal Formalism 6 Chapter One The Demidenko Affair: Copyright Law and Literary Works 33 Chapter Two Daubism: Copyright Law and Artistic Works 67 Chapter Three The ABCs of Anarchism: Copyright Law and Musical Works 105 Chapter Four Heretic: Copyright Law and Dramatic Works 146 Chapter Five Shine: Copyright Law and Film 186 Chapter Six Napster: Infinite Digital Jukebox or Pirate Bazaar? Copyright Law and Digital Works 232 Chapter Seven Bangarra Dance Theatre: Copyright Law and Indigenous Culture 275 Chapter Eight The Cathedral and the Bazaar: The Future of Copyright Law 319

APA, Harvard, Vancouver, ISO, and other styles

Bonshek, Corrina, University of Western Sydney, College of Arts, and School of Communication Arts. "Australian deterritorialised music theatre : a theoretical and creative exploration." 2007. http://handle.uws.edu.au:8081/1959.7/19308.

Full text

Abstract:

This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet.
Doctor of Philosophy (PhD)

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Musical theater Australia"

Downes, Peter. The Pollards: A family and its child and adult opera companies in New Zealand and Australia, 1880-1910. Wellinton, NZ: Steele Roberts, 2002.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Olga Neuwirths und Elfriede Jelineks gemeinsames Musiktheaterschaffen: Ästhetik, Libretto, Analyse, Rezeption. Bern: Peter Lang, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Cooke, Grayson. Live A/V in Australia. Broadway: UTS ePRESS, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Denmark), Visionlines (1998 Aarhus. Visionlines: Cultural festivals, new music theatre, comtemporary music : an international conference Denmark-Australia, Aarhus, September 1-3, 1998 : report. Copenhagen K: Danish Music Information Centre, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Richard, Harris. Punch lines: Twenty years of Australian comedy. Sydney, NSW: Australian Broadcasting Corporation, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Napier, Valantyne. Act as known: Australian speciality acts on the World vaudeville/variety circuits from 1900 to 1960. Brunswick, Victoria: Globe, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Act as known: Australian speciality acts on the world vaudeville/variety circuits from 1900 to 1960. (Brunswick, Victoria): Globe Press, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Coleman, Elizabeth. Almost with you. Strawberry Hills, NSW: Currency Press, 2014.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Stephen, Coppel, and Williams Fred 1927-, eds. Fred Williams: An Australian vision. London: British Museum Press, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Kassler, Jamie Croy. Metaphor: A Musical Dimension (Theatre Australia New Writing). Currency Press, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Musical theater Australia"

"Commercial theatre, musicals rampant, and changing mainstream fortunes in the 1980s and 1990s." In Theatre Australia (Un)limited, 235–59. BRILL, 2004. http://dx.doi.org/10.1163/9789004485839_023.

Full text

APA, Harvard, Vancouver, ISO, and other styles

"Protesting Colonial Australia: Convict Theatre and Kelly Ballads." In The Routledge History of Social Protest in Popular Music, 379–90. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-35.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Musical theater Australia"

McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

Full text

Abstract:

Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

APA, Harvard, Vancouver, ISO, and other styles

Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

Full text

Abstract:

Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!