Journal articles on the topic 'Theater Australia History'

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1

Vu, Linh D. "Bones of Contention: China’s World War II Military Graves in India, Burma, and Papua New Guinea." Journal of Chinese Military History 8, no. 1 (May 17, 2019): 52–99. http://dx.doi.org/10.1163/22127453-12341339.

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Abstract Exploring the construction and maintenance of Nationalist Chinese soldiers’ graves overseas, this article sheds light on post-World War II commemorative politics. After having fought for the Allies against Japanese aggression in the China-Burma-India Theater, the Chinese expeditionary troops sporadically received posthumous care from Chinese veterans and diaspora groups. In the Southeast Asia Theater, the Chinese soldiers imprisoned in the Japanese-run camps in Rabaul were denied burial in the Allied war cemetery and recognition as military heroes. Analyzing archival documents from China, Taiwan, Britain, Australia, and the United States, I demonstrate how the afterlife of Chinese servicemen under foreign sovereignties mattered in the making of the modern Chinese state and its international status.
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Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.

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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.
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Tompkins, Joanne. "‘Homescapes’ and Identity Reformations in Australian Multicultural Drama." Theatre Research International 26, no. 1 (March 2001): 47–59. http://dx.doi.org/10.1017/s0307883301000050.

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A consideration of identity formation in contemporary Australian multicultural theatre is offered through a re-assessment of the unsettled (and unsettling) constructions of Australia as ‘home’ in the work of three playwrights. William Yang's Sadness disrupts a localized perception of home, space, and cultural communities to amalgamate two disparate communities (the queer/homosexual community in Sydney and the Asian-Australian, or ‘Austasian’ community) into a reconfigured Australian identity. Janis Balodis's The Ghosts Trilogy uses many actors who play across the unsettled lines of history, amid numerous voices, homes, and homelands that indicate the enormity of what ‘Australia’ comes to signify. Noëlle Janaczewska's The History of Water constructs a way of locating the self by means of a metaphoric home as each character establishes herself on a psychic plane rather than choosing the strictly physical locations to which she has access. In their interrogations of home and homeland, these plays challenge assumptions regarding identity, disrupt notions of the ultimate ownership of land/culture by anyone, and problematize the idea of settlement as it is currently articulated in Australia.
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.

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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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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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6

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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7

Wake, Caroline. "Headphone Verbatim Theatre: Methods, Histories, Genres, Theories." New Theatre Quarterly 29, no. 4 (November 2013): 321–35. http://dx.doi.org/10.1017/s0266464x13000651.

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Created in an American rehearsal room, exported to an English workshop, and developed in Australia, among other places, ‘headphone verbatim theatre’ – also called ‘recorded delivery’ – is a truly global genre. In this article Caroline Wake focuses on the work of two pioneering practitioners, Briton Alecky Blythe and Australian Roslyn Oades, in order to trace the form's history as well as its methods, genres, and theories. In doing so, she considers how audio technology has evolved over the past decade and how the display or disguise of headphones has affected both the production and reception of the form. She identifies three dominant genres of headphone verbatim theatre (the social crisis play, the social justice play, and the social portrait play, as well as three main performance modes – the epic, the naturalistic, and the mixed. The epic has been the most successful thus far, but the naturalistic and mixed modes are, in turn, begetting new ones. Finally, she suggests that in the same way that headphones have rejuvenated verbatim theatre, they might also reinvigorate the discourse on it by offering the opportunity to go beyond the politics of voice and visibility and to turn, instead, to listening. Caroline Wake is a Postdoctoral Research Fellow in the Centre for Modernism Studies in Australia at the University of New South Wales. Her research examines cultural responses to and representations of refugees and asylum-seekers as well as the role of testimony in law, performance, and visual culture. Her work has previously appeared in journals such as Text & Performance Quarterly, Modern Drama, and History & Memory. She is the co-editor, with Bryoni Trezise, of Visions and Revisions: Performance, Memory, Trauma (Museum Tusculanum Press, 2013).
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Channells, Philip. "Perfect (im)Perfections–the choreographer’s reflections on the creative process." Nordic Journal of Dance 6, no. 1 (June 1, 2015): 48–53. http://dx.doi.org/10.2478/njd-2015-0005.

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Abstract In 2014 Australian director/choreographer Philip Channells (Dance Integrated Australia) was commissioned by DansiT–Senter for Dansekunst i Sør-Trøndelag to collaborate with 20 members of the Danselaboratoriet and Danseteateret 55+ companies. The end result was a full-length intergenerational, disability-inclusive work that merged poetry, dance, theatre and music. Perfect (im)Perfections–stories untold was created with an international cast of artists with diverse backgrounds and life experience. The work premiered at the Multiplié Dansefestival in Trondheim on 3 April 2014. In his article, Channells shares his personal history and dance background before focusing on the collaboration. He discusses the inspiration behind the work, the creative processes and the successes and challenges in working across cultural boundaries.
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9

Sone, Yuji. "Tolerance and History: Theatre of the Australia–Japan Relationship." Contemporary Theatre Review 26, no. 4 (October 2016): 444–56. http://dx.doi.org/10.1080/10486801.2016.1216406.

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10

FLEMING, JOSEPHINE, ROBYN EWING, MICHAEL ANDERSON, and HELEN KLIEVE. "Reimagining the Wheel: The Implications of Cultural Diversity for Mainstream Theatre Programming in Australia." Theatre Research International 39, no. 2 (June 4, 2014): 133–48. http://dx.doi.org/10.1017/s0307883314000054.

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Profound demographic shifts in Australia's population are raising fundamental questions about how we reimagine the practices of our mainstream cultural institutions. The ability and the willingness of these institutions to reconceptualize their work in ways that encompass a diversity of traditions and tastes are critical. The paper draws on Pierre Bourdieu's notions of distinctions and taste to examine the influence of cultural identification on the choices that young people make about attending live theatre. The paper includes findings from a large Australian study, TheatreSpace, which examined why young people chose to engage or not to engage with theatre. In New South Wales nearly 40 per cent of the 726 young participants spoke a language other than English at home. Most were attending with their schools, many with no history of family attendance. This paper highlights significant issues about cultural relevance, accessibility and the often unintended challenges and confrontations that theatre can present to young first-generation Australians.
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11

Gilbert, Helen. "Cultural Frictions: John Romeril's The Floating World." Theatre Research International 26, no. 1 (March 2001): 60–70. http://dx.doi.org/10.1017/s0307883301000062.

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Hailed as an ‘unruly masterpiece’, John Romeril's The Floating World is one of the few ‘new wave’ Australian plays representing Australians and their Asian ‘others’ to be restaged periodically since its première in 1974. Paying particular attention to productions of the play that have used Japanese theatre forms such as kabuki and bunraku, this article focuses primarily on the ways in which the spectacle of race has been coded performatively by different directorial approaches, and how various significations of race have been interpreted by the critical establishment. The fascinating stage history of The Floating World is treated as a barometer of Australian theatre's response to the challenge of representing cultural conflict, during a period marked by public debate about the desirability, and inevitability, of Australia's political, economic and cultural ‘enmeshment’ with Asia.
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12

Goldstein, Tara. "The Bridge: The Political Possibilities of Intergenerational Verbatim Theater." Qualitative Inquiry 26, no. 7 (April 15, 2019): 833–39. http://dx.doi.org/10.1177/1077800419843947.

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This article introduces the reader to the work of Australian verbatim theater artists Donna Jackson, Bindi Cole Chocka, and James Henry. It describes the artists’ remount of Vicki Reynolds’s verbatim play The Bridge, which tells the story of the collapse of the Melbourne West Gate Bridge in 1970. I discuss the remount of the play as an intergenerational verbatim theater project which not only tells an important story from Australian working-class history to new audiences who haven’t heard it before, but also deepens the story through additional research and music. I also discuss the play as a project that uses political truths from the past to do new political work in the present.
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Kelly, Veronica. "A Complementary Economy? National Markets and International Product in Early Australian Theatre Managements." New Theatre Quarterly 21, no. 1 (January 26, 2005): 77–95. http://dx.doi.org/10.1017/s0266464x04000351.

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The international circulation of commercial theatre in the early twentieth century was driven not only from the centres of Great Britain and the USA, but by the specific enterprise and habitus of managers in ‘complementary’ production sites such as Australia, South Africa, and New Zealand. The activity of this period suggests a de-centred competitive trade in theatrical commodities – whether performers, scripts, or productions – wherein the perceived entertainment preferences and geographies of non-metropolitan centres were formative of international enterprise. The major producers were linked in complex bonds of partnerships, family, or common experience which crossed the globe. The fractures and commonalities displayed in the partnerships of James Cassius Williamson and George Musgrove, which came to dominate and shape the fortunes of the Australian industry for much of the century, indicate the contradictory commercial and artistic pressures bearing upon entrepreneurs seeking to provide high-quality entertainment and form advantageous combinations in competition with other local and international managements. Clarke, Meynell and Gunn mounted just such spirited competition from 1906 to 1911, and their story demonstrates both the opportunities and the centralizing logic bearing upon local managements shopping and dealing in a global market. The author, Veronica Kelly, works at the University of Queensland. She is presently undertaking a study of commercial stars and managements in late nineteenth- and early twentieth-century Australia, with a focus on the star performer as model of history, gender, and nation.
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Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.

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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.
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Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War." New Theatre Quarterly 31, no. 3 (July 9, 2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.

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In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.
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Rixon, Tessa, Jennifer Irwin, David Walters, Jeremy Neideck, M’ck McKeague, Richard Roberts, Anthony Brumpton, and Latai Taumoepeau. "Shaping Our Australian Scenographic Identities: A visual essay." Scene 9, no. 1 (December 1, 2021): 133–55. http://dx.doi.org/10.1386/scene_00041_3.

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In the form of a visual essay, this reflection charts a course through eight specific moments in Australian performance design history. Selected by guest editor Tessa Rixon, this essay features contributions from Australia’s most established designers from sound, lighting and costume through to the latest in performance design practice and research. Specially curated for this special edition on Australian scenography, each contributor reflects on a personal experience of a pivotal performance design from their own practice or their experience as an audience member. The resulting contributions present a mix of design forms and focuses, across all forms of live performance ‐ mainstage theatre, independent site-specific performance, queer theatre, Indigenous theatre, Indigenous dance, scenography for performance beyond the stage frame, performance in response to the climate crisis and finally, a few pivotal stepping stones in our national scenographic identity ‐ from the very personal, to the very global. These exemplars of design practice shape what we now could call Australian scenography.
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Kaiser, Max, and Lisa Milner. "“Part of What We Thought and Felt”: Antifascism, Antisemitism and Jewish Connections with the New Theatre." Labour History 120, no. 1 (May 1, 2021): 95–116. http://dx.doi.org/10.3828/jlh.2021.6.

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For much of the twentieth century, the six branches of the New Theatre in Australia presented left-wing theatre within a culture that was largely resistant to their ideas. Their orientation was explicitly pro-working class, their support base including the Communist Party and left-wing trade unions. Like radical theatres in other nations, including the Unity Theatre in Britain, the New Theatre had strong connections to Jewish culture and theatre enterprises, and featured Jewish writers, actors, values and themes. Left-wing, anti-fascist scripts written by Jews in Australia as well as Britain and the USA were often staged. This article discusses the New Theatre’s concerns with antisemitism and Jewish politics focussing on selected plays by Laurence Collinson, David Martin and Oriel Gray. These plays provide us with an ideal prism through which to analyse Jewish left-wing and anti-fascist ideas as they were refracted through a transnational left-wing theatre movement.
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Tsokhas, Kosmas. "‘Trouble Must Follow’: Australia's Ban on Iron Ore Exports to Japan in 1938." Modern Asian Studies 29, no. 4 (October 1995): 871–92. http://dx.doi.org/10.1017/s0026749x00016218.

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Despite the attention that has been given to the role of economic sanctions in Japan's decision to launch the Pacific war, Australia's decision to ban iron ore exports to Japan has been given little attention, even though this was one of the earliest economic sanctions imposed onimperial Japan in the 1930s. To a degree this neglect can be traced to a preoccupation with the actions and objectives of the great powers and a failure to consider the opportunities available to small nations to take significant initiatives. The following article traces the origins of the iron ore embargo back to 1934 when Essington Lewis, the Managing Director of the Broken Hill Proprietary Company Ltd (BHP), Australia's iron and steel monopoly, visited Japan and subsequently advocated the development of an Australian armaments industry to counter probable Japanese aggression in the Pacific. In Japan Lewis crossed paths with J. G. Latham, the Minister for External Affairs, who was leading the Australian government's Eastern Mission. Latham returned to Australia with conclusions that differed fundamentally from those of Lewis, who came up with a plan to take advantage of Japan's dependence on imports of iron ore and other iron products to finance investment in Australian armaments manufacturing. In explaining this outcome the article discusses interactions between a number of conflicts: between Latham and Lewis; between the British Treasury and the Foreign Office; and between the Japanese army and navy. In London the Treasury wanted to focus on the European theatre, while also holding down military spending in order to achieve balanced budgets. The Treasury believed that the way to best defend British commercial interests in Asia was to appease Japan. On the other hand, the Foreign Office was committed to the protection of British interests in the Far East by a more forceful diplomacy, although it was only willing to counten-ance behavior short of military action. Consistent with Latham's recommendations to his government, the emerging consensus in London was that while a settlement in China would help to safeguard British interests there, as long as the Japanese were bound up in their war in China they were less likely to attack British colonies in Southeast Asia and the Pacific. In 1936 this orientation was challenged by a shift in the balance of power in Tokyo away from the army and in favor of the navy. Although priority continued to be placed on winning the war in China and guarding against an attack from the Soviet Union, now the navy's plan for southward expansion was given more careful consideration and credibility.
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McIntyre, John Alexander. "New Education beyond the school: Rosemarie Benjamin’s Theatre for Children, 1937-1957." History of Education Review 47, no. 2 (October 1, 2018): 217–28. http://dx.doi.org/10.1108/her-11-2017-0021.

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Purpose The purpose of this paper is to examine the work of Rosemary Benjamin’s Theatre for Children in Sydney as a compelling narrative of the New Education in Australia in the late 1930s, an historical moment when theatre for children emerged as a cultural experiment rich in educational ideas. Design/methodology/approach Contemporary sources and archival records are explored through several interpretive frames to develop a historical account of Benjamin’s Theatre for Children from 1937 to 1957. Findings Benjamin’s concept of children’s theatre was shaped by English progressive education as much as the Soviet model she extolled. She pursued her project in Sydney from 1937 because she found there a convivial European emigré community who encouraged her enterprise. They understood her Freudian ideas, which commended the use of the symbolic resources of myth and fairy tales to help children deal with difficult unconscious material. Benjamin also analysed audience reactions applying child study principles, evidence of the influence of Susan Isaacs and the New Education Fellowship. More successful as a Publicist than a Producer, Benjamin was able to mobilise support for her educational cause among performers, parents, cultural figures and educational authorities. Her contribution was to pave the way for those who would succeed with different models of theatre for children. Originality/value This is the first study to employ archival sources to document the history of the Theatre for Children, Sydney and address its neglect as a theatre project combining educational and theatrical values.
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Ley, Graham. "Varifocalism: a Perspective on the Discipline of Theatre Studies." New Theatre Quarterly 30, no. 3 (August 2014): 268–73. http://dx.doi.org/10.1017/s0266464x14000505.

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What is the discipline in which ‘academic drama’ is engaged? Leaving aside debates about an emphasis on theatre or performance as the key term, who is included in the discipline, and how has it reshaped itself over the last decades? Is it right to say there have been major redefining changes, and if so, what are they? Graham Ley is Emeritus Professor of Drama and Theory at the University of Exeter. He has published widely on ancient Greek performance and comparative theory, and is currently preparing an essay on a theoretical history for Greek tragedy. He has previously published in New Theatre Quarterly on developments in Australian theatre (1986), the avant-garde (1991), Peter Brook (1993), Diderot (1995), Tara Arts (1997), and most recently diaspora theatre in the UK (2011). The present discussion is adapted from the conclusion to Ancient Greek and Contemporary Performance, a collection of essays to be published later in the year by the University of Exeter Press.
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Brown, Jacqueline M. "Unspoken Indigenous History on the Stage: The Postcolonial Plays of Jack Davis." New Theatre Quarterly 38, no. 4 (October 18, 2022): 333–45. http://dx.doi.org/10.1017/s0266464x22000240.

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Literary scholars and linguists have argued extensively that language is not simply a purely representational vehicle of thought but its determining medium, whose ordering powers not only shape cognizance of reality but are also actively involved in processes of imperialism and cultural erasure. It is the determinative yet slippery quality of language, prompting the loss of meaning in attempts at translation, that colonial powers manipulated to violent effect and which, as enacted in the plays of Nyoongah Indigenous Australian playwright Jack Davis, continue to haunt history and the present. This article considers how a history and culture made unspeakable by colonialism through the erasure of Indigenous Australian oral traditions, languages, and historical perspectives is translated on to the Anglophone stage in the plays of Davis, one of the first Indigenous playwrights to be published and performed internationally, and how this was received by the witnessing audience. Davis achieves this theatrical translation not only through the negotiation and manipulation of colonial language and verbatim history alongside Indigenous languages, enacting a kind of linguistic double consciousness, but also through physical theatre and dance. The latter are the central means of communicating meaning and knowledge in Nyoongah culture. Jacqueline M. Brown is a graduate student at Worcester College, University of Oxford, studying for a Master of Studies in English (1900–present). This article received first prize in the 2022 TORCH Reimagining Performance Network Graduate Essay Prize competition run in collaboration between the University of Oxford and New Theatre Quarterly. For more information on the Reimagining Performance Network, see <https://torch.ox.ac.uk/reimagining-performance-network>.
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Tulloch, John, Tom Burvill, and Andrew Hood. "Reinhabiting ‘The Cherry Orchard’: Class and History in Performing Chekhov." New Theatre Quarterly 13, no. 52 (November 1997): 318–28. http://dx.doi.org/10.1017/s0266464x00011441.

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Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criticism, Performance, and Reading’. Here – grounding their work in industry ‘readings’ via production study and interviews – they focus on production and performance of The Cherry Orchard, contrasting the Richard Eyre/Trevor Griffiths production of 1977 (reproduced in 1981 for BBC TV) with Adrian Noble's production at the Swan Theatre, Stratford, in 1995. In particular, they discuss the writing, directing, acting, and staging of Chekhov's ‘modernity’ in these productions, suggesting that whereas Noble referenced and yet simultaneously occluded class in his rehearsal style and staging, Griffiths and Eyre worked for a production which not only embodied the intra-class mobility of the Thatcher era in 1981, but also the ‘then’ of Chekhov's own particular engagement with modernity and environment. John Tulloch, Professor of Cultural Studies at Charles Sturt University, New South Wales, is author of Chekhov: a Structuralist Study. Tom Burvill is Associate Professor of Drama and Cultural Studies at Macquarie University, Sydney, where Andrew Hood is a PhD student working on reception cultures.
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Meyrick, Julian, Tully Barnett, and Robert Phiddian. "The conferral of value: the role of reporting processes in the assessment of culture." Media International Australia 171, no. 1 (September 24, 2018): 80–94. http://dx.doi.org/10.1177/1329878x18798704.

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This article considers the role of reporting processes in the assessment of arts and culture and argues that a determination of an organisation’s or event’s value is the result of a chain of administrative and political interactions. The ‘conferral of value’ on a particular cultural activity may be seen as the outcome of a multi-stakeholder dialogue involving governments, funding agencies, cultural organisations and individual artists. The article emerges from a mixed-methods research project, Laboratory Adelaide: The Value of Culture, underway at Flinders University. The project works with three industry partners: the State Library of South Australia, the State Theatre Company of South Australia and the Adelaide Festival. A sketch of the history of the problem of culture’s value is given, together with the historical background of the arts in South Australia. The article concludes with a brief overview of two innovative reporting frameworks – sustainability reporting (GRI) and Integrated Reporting (IR) – and the potential gains for the cultural sector in the reporting reforms now happening in South Australia across all public bodies at a state government level.
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Mulcahy, Sean Alexander, and Sean Mulcahy. "Acting Law | Law Acting: A Conversation with Dr Felix Nobis and Professor Gary Watt." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (April 30, 2017): 189–200. http://dx.doi.org/10.31273/eirj.v4i2.158.

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Dr Felix Nobis is a senior lecturer with the Centre for Theatre and Performance at Monash University. He has worked as a professional actor for many years. He previously played an assistant to the Crown Prosecutor in the Australian television series, Janus, which was set in Melbourne, Victoria and based on the true story of a criminal family allegedly responsible for police shootings. He also played an advisor to a medical defence firm in the Australian television series MDA. He is a writer and professional storyteller. He has toured his one-person adaptation of Beowulf (2004) and one-person show Once Upon a Barstool (2006) internationally and has written on these experiences. His most recent work Boy Out of the Country (2016) is written in an Australian verse style and has just completed a tour of regional Victoria. Professor Gary Watt is an academic in the School of Law at the University of Warwick where his teaching includes advocacy and mooting. He also regularly leads rhetoric workshops at the Royal Shakespeare Company. He is the author of Dress, Law and Naked Truth (2013) and, most recently, Shakespeare’s Acts of Will: Law, Testament and Properties of Performance (2016), which explores rhetoric in law and theatre. He also co-wrote A Strange Eventful History, which he performed with Australian choral ensemble, The Song Company, to mark the 400th anniversary of Shakespeare’s death.
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Milner, Lisa, and Cathy Brigden. "Staging international communism: British–Australian radical theatre connections." Contemporary British History 33, no. 4 (September 20, 2018): 507–23. http://dx.doi.org/10.1080/13619462.2018.1519431.

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Barker, Craig. "Some Initial Observations on a Building Excavated on Fabrika in Nea Paphos in Cyprus by the Australian Archaeological Mission." Studies in Ancient Art and Civilisation 19 (December 30, 2015): 169–201. http://dx.doi.org/10.12797/saac.19.2015.19.09.

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The Australian archaeological mission to Nea Paphos in Cyprus has begun exploring the remains of a structure to the rear of the cavea of the ancient theatre on the southeastern edge of the hill known as Fabrika. The preliminary results of this excavation suggest a significantly large post-medieval building constructed using stone taken from the former theatre. The building appears to have been used in some sort of industrial production, the precise nature of which is not yet determined, and is perhaps the source of the etymology of the name of the hill. This paper discusses a need for a reassessment of this area of the city of Nea Paphos in its more recent history, and discusses the needs for a better understanding of the urban relationship between Fabrika and the theatrical precinct during the Hellenistic and Roman periods.
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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.

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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.
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O'Sullivan, Patrick, and Judith Maitland. "Greek and Latin Teaching in Australian and New Zealand Universities: A 2005 Survey." Antichthon 41 (2007): 109–20. http://dx.doi.org/10.1017/s0066477400001787.

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The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.
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Fotheringham, Richard. "The Great War and popular modernism: Pat Hanna's Louis XI." Queensland Review 23, no. 2 (December 2016): 133–42. http://dx.doi.org/10.1017/qre.2016.25.

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AbstractPat Hanna's Famous Diggers, a professional vaudeville theatre troupe comprising ex-Great War Anzac soldiers (initially, mainly New Zealanders, as Hanna was himself) played for nearly two years (1923–24) at the old Cremorne Theatre in Brisbane. One item Hanna premiered at the Cremorne was Louis XI, a short (ten-minute) comic sketch he wrote himself. Modernism in the inter-war years, given its usual location within avant-garde aesthetics, high culture, internationalism and radical politics, is not — with the notable exception of Brecht's cabaret work in the 1920s — usually associated with popular theatre. While one comic playlet hardly challenges that positioning, Louis XI was a direct result of the Great War's profound reshaping of modern life. Many of the dramatised sketches performed by Hanna's company, including Louis XI, were structured around a contrast between events as they had occurred in the trenches and as they were portrayed in a utopian or dystopian fantasy, sometimes triggered by shell shock or a dream. Several, again including Louis XI, involve the past, and express the curiosity and cultural dislocation Australian- and New Zealand-born soldiers felt as they moved for the first time through real-life landscapes and architecture they had known only from popular history and romance.
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Kaori, Kobayashi. "‘The Actors Are Come Hither’: Shakespeare Productions by Travelling Companies in Asia." New Theatre Quarterly 32, no. 1 (January 7, 2016): 49–60. http://dx.doi.org/10.1017/s0266464x15000858.

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In 1882, a critic of the journal Theatre noted that ‘the theatrical life of the present day might be described as a round of glorified strolling. The ‘circuits’ of Bristol, Norwich, and York of the last century are now replaced by those of the United States, South Africa, India, and Australia, and a modern actor thinks as little of a season in Melbourne or New York as his grandfather did of a week’s ‘starring’ in Edinburgh.’ Yet the story of how these Western theatre companies reached audiences in the faraway lands of the British Empire and Asia is still relatively untold. In this article Kaori Kobayashi explores in detail some itineraries around the turn of the twentieth century of these travelling companies, many of them relatively obscure, showing that the companies had a particular and significant impact on the development of Shakespearean performance and interpretation in the East. In essence, it is impossible to understand the rise of ‘Asian Shakespeare’ without also grasping how Western touring companies helped shape the East’s engagement with the West’s most canonical dramatist. Kaori Kobayashi is Professor of English at Nagoya City University, author of The Cultural History of The Taming of The Shrew (in Japanese, 2007), and editor of Shakespeare Performance Studies in Japan (in Japanese, 2010).
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Waterhouse, Richard. "Lola Montez and high culture: The Elizabethan theatre trust in post‐war Australia." Journal of Australian Studies 21, no. 52 (January 1997): 148–58. http://dx.doi.org/10.1080/14443059709387305.

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Holman, Brett. "The militarisation of aerial theatre: air displays and airmindedness in Britain and Australia between the world wars." Contemporary British History 33, no. 4 (September 25, 2018): 483–506. http://dx.doi.org/10.1080/13619462.2018.1519430.

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Arrighi, Gillian. "Synthesising circus aesthetics and science: Australian circus and variety theatre at the turn of the twentieth century." Early Popular Visual Culture 16, no. 3 (July 3, 2018): 235–53. http://dx.doi.org/10.1080/17460654.2019.1569843.

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Hudoshnyk, Oksana, and Liliia Temchenko. "Discussion aspects of interdisciplinary interaction of journalism and oral history." Synopsis: Text Context Media 28, no. 2 (2022): 95–103. http://dx.doi.org/10.28925/2311-259x.2022.2.7.

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The article presents the context of modern scientific debates on the boundaries of interdisciplinarity. The subject of the study is the common procedure of the use of oral history practices in the mass media space. The oral history itself is changing rapidly under the pressure of digital platforms such as StoryCorps (USA), Listening Project (UK), The Story Project (Australia), and The Tale of a Town (Canada). Another key thing is the fact that the changes affected not only the technological process of archiving and dissemination of information but also the basic foundations of oral history, which is its methodology. The in-depth interview is replaced by the “rapid response collecting” method and historical storytelling. The purpose of the article is to outline the discussion field of the modern scientific discourse of the problem, to present the most significant interdisciplinary interaction using the example of world and Ukrainian media, namely: coverage of contradictory and ambiguous interpretations of historical facts; narrative; prolonged communication; multimedia and multiplatform. The research methods are traditional empirical methods of observation and description, as well as paradigmatic analysis of the functional features of oral history practices in journalism. Results of the research. Basic characterological directions proposed in the study allowed us to present the main points of discussion in various aspects: the use of oral historical materials, especially “hidden history” through the eyes of eyewitnesses, become an additional source of journalistic clarifications, investigations and expansion of the information agenda; addressing marginal themes of history, giving a voice to terrorist groups and participants in genocides poses extremely complex and ethically controversial questions to the audience; multimedia and multiplatform give new life to oral history information, while performance, theatre and participation are added to the usual practices of new media. The most expressive manifestation of changes in this interdisciplinary discourse is the practice of digital storytelling; its media use is illustrated by the BBC’s Capture Wales digital storytelling project. As part of the scientific discussion that has continued for the last few years, the issues of democratization of history, mass inclusion in digital archives, the creation of powerful social projects, and attempts to distance oral history as a separate discipline have been actualized. Moreover, it is recognized that, like any creative practice, interdisciplinarity remains a wide field for experimentation and creativity.
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Kartomi, Margaret J. "“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand." Journal of Southeast Asian Studies 26, no. 2 (September 1995): 366–400. http://dx.doi.org/10.1017/s0022463400007141.

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One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-centred artistic interests, though not always consciously. In Thailand, which was the only country in the region not to be colonized by a European power, Thai scholars had been actively researching their own court performing arts in the late colonial era but were nevertheless influenced by the colonial ethos of the region. In the past twenty years or so, the developing dialogue and contradictions between Southeast Asian and foreign scholars, each with their own partly distinctive assumptions and methodologies based on the priorities of their respective traditions and governments, have resulted in a healthy divergence, convergence, and cross-fertilization of ideas.
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Fenton-Smith, Ben. "Discourse structure and political performance in adversarial parliamentary questioning." Journal of Language and Politics 7, no. 1 (May 26, 2008): 97–118. http://dx.doi.org/10.1075/jlp.7.1.05smi.

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One of the most high-profile and glamorous speech situations to occur in many parliamentary democracies around the world is the spectacle of Question Time. Whereas most of what goes on in parliament may be drab, perfunctory and arcane, Question Time is often dramatic, adversarial, and highly publicised. It is, generally, the only parliamentary procedure to be televised and stands out in the public mind as one of the primary tests of a politicians ability to perform. But how might this performance be judged? Strangely, there has been little systematic linguistic research into the characteristic ways in which this political theatre is stage-managed by its actors. Using the Australian federal parliament as a case study, this paper attempts to elucidate some of the patterns that emerge from a close analysis of all opposition questions directed to government members over a weeks sitting of both the House of Representatives and the Senate. Utilising the tools of systemic functional grammar, recurring discourse structures are identified as standard techniques of formal interrogation between political parties.
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Gregory, Fiona. "Performing the Rest Cure: Mrs Patrick Campbell's Ophelia, 1897." New Theatre Quarterly 28, no. 2 (May 2012): 107–21. http://dx.doi.org/10.1017/s0266464x12000218.

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In 1897 audiences welcomed Johnston Forbes-Robertson's new interpretation of Hamlet to the London stage, and his sane, intelligent Prince was received as an exciting departure from tradition. Mrs Patrick Campbell's own experiments with the role of Ophelia in this production were not so warmly greeted, critics describing her playing as ‘curiously weak’ and ‘unconvincing and unimpressive’. Campbell had rejected the conventional model of the character as emblematic of the prettiness and pathos exemplified by Ellen Terry, and instead offered a vacant, depressive, ‘beaten’ Ophelia. In this article, Fiona Gregory examines the influences behind this choice, including the actress's own experience of mental illness and the notorious ‘rest cure’. The reception of the performance is read in terms of contemporary attitudes to Ophelia and mental illness, as well as of responses to Campbell and her celebrity identity in the visual arts. Ultimately, Campbell's performance of Ophelia can be read as a ‘witness account’ of neurasthenia and the ‘rest cure’, to stand alongside texts such as Charlotte Perkins Gilman's story ‘The Yellow Wallpaper’. Fiona Gregory lectures in the Centre for Theatre and Performance at Monash University, and has published work on the career of actress Judith Anderson, Australian cultural history, and Victorian and Edwardian writers. She is currently undertaking a wide-ranging study of actresses and mental illness from the nineteenth century to the present day, drawing on historical examples and literary and cultural representations to consider the intersections of ‘hysteria’ and the ‘histrionic’.
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Raudsepp, Anu. "Vaimse vastupanu püüded okupatsioonivõimudele Hugo Raudsepa 1940. aastate komöödiates." Ajalooline Ajakiri. The Estonian Historical Journal 172, no. 2 (December 31, 2020): 117–40. http://dx.doi.org/10.12697/aa.2020.2.02.

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In the 1940s, the totalitarian occupying regimes of Nazi Germany and the Soviet Union implemented the strictest control and ideological guidance of intellectual and spiritual life of all time in Estonia. Essentially, the mechanisms and results of control are known. Cultural life was subjected to strict pre-censorship and post-publication censorship, and in the Soviet era also to thematic dictation. The intellectual and spiritual resistance of Estonians in those years, in other words their refusal to accept the ruling ideology, has been studied very little. The most widespread way of putting up intellectual and spiritual resistance was to remain silent, in other words to avoid creating works that were agreeable to the authorities. Selective silence, that is the selection of one’s points of emphasis, and splitting, in other words writing for oneself works that one keeps in one’s drawer while at the same time writing for publication in print, are also placed in this category. Recording actual history in diaries through the eyes of contemporaries of events, reading intellectually and spiritually enjoyable literature, and other such actions were ways of putting up intellectual and spiritual resistance. The main objective of this study is to ascertain in historical context the attempts to put up intellectual and spiritual resistance in the comedies from the 1940s by Hugo Raudsepp (1883–1952), one of the most outstanding Estonian playwrights of the 20th century. Ideologically speaking, dramatic literature was clearly one of the most vulnerable branches of literature. It was created for public presentation in theatres, after all, for which reason authors had to be particularly careful in their wording. On the other hand, plays provided both authors and directors with opportunities to conceal messages between the lines. For this reason, theatre became exceedingly popular in Estonia by the final decades of the Soviet era. The ridicule and mocking of the Soviet regime were especially enjoyed. The subjugation of Estonian intellectual and spiritual life to the ideological requirements of the occupying regime was launched at the time of pre-war Stalinism (1940–1941). Its aim was to rear Soviet-minded people who would help to justify, fortify and enhance the Soviet regime. The systematic control of the activities of creative persons and the working out of dictates and regulations were nevertheless not yet completed during the first year of Soviet rule. Many outstanding cultural figures remained silent or earned a living by translating texts. At that time, Hugo Raudsepp wrote the non-political novel Viimne eurooplane [The Last European], which is noteworthy to this day, while his plays from the period of independent Estonian statehood were not staged in theatres. Starting with the German occupation (1941–1944), the point of departure for Hugo Raudsepp was writing between the lines in his comedies in order to get both readers and theatregoers to think and to give them strength of soul. In 1943, he wrote the comedy Vaheliku vapustused [Interspatial Jolts], which has later been styled as a masterpiece. He concealed numerous signs between the lines of this play referring to the fate of a small people, in other words Estonia, between its great neighbouring powers the Soviet Union and Germany. Performances of this play were soon banned. Performances in theatres of all other plays by Hugo Raudsepp were similarly banned, with one exception. During post-war Stalinism in 1944–51, the sovietisation of Estonian cultural life resumed. Hugo Raudsepp did not initially write on topical Soviet themes, rather he sought subject matter from earlier times. His first play from that period entitled Rotid [Rats] (1946) was about the German occupation during the Second World War and it ridiculed the occupying Germans. Raudsepp also skilfully wove messages supporting Estonian cultural identity into the play. The play was staged in the Estonia Theatre but was soon banned. Raudsepp’s second play from that period, Tagatipu Tiisenoosen (1946), earned first prize at the state comedy competition in that same year. The action in the play was set in the period of Estonian National Awakening at the end of the 19th century. It ridiculed Baltic Germans and the behaviour of parvenu Estonians. Similarly to his previous play, he demonstrated nationalist mentality in this comedy by way of nationalist songs. It is noteworthy that by the summer of 1947, Tagatipu Tiisenoosen had also reached expatriate Estonians and it was staged with an altered title as the only Stalinist- era play from Soviet Estonia in Canada (1952), Australia (1954) and Sweden (1956). The thematic precepts imposed on Estonian writers and the mechanism for ensuring that those precepts were followed became even stricter starting in 1947. Raudsepp wrote his next 7 plays on required Soviet subject matter: post-war land reform (Tillereinu peremehed [The Owners of Tillereinu], 1947), monetary reform (Noorsulane Ilmar [Ilmar the Young Farmhand], 1948), kolkhozes (Küpsuseksam [Matriculation Exam] and Lasteaed [Kindergarten], 1949, Mineviku köidikuis [In the Fetters of the Past] (1950) and his so-called Viimane näidend [Last Play], 1950 or 1951), and the beginning of the Soviet regime in Estonia in 1940 (Pööripäevad Kikerpillis [Solstices in Kikerpill], 1949). Hugo Raudsepp skilfully wove words of wisdom for Estonians on surviving under foreign rule through the mouths of his characters, or discreetly laughed about Soviet reality in a way that the censors did not grasp. Post-war cultural policy culminated with the 8th Plenum of the Estonian Communist (Bolshevist) Party (EC(B)P) Central Committee on 21–26 March 1950, where among other things, the EC(B)P Central Committee Bureau was accused of allowing the exaltation of the superiority of Western European science and culture. Cultural figures were branded bourgeois nationalists and they faced serious ordeals. The fate of the great figure of Estonian dramatic literature was very harsh. Hugo Raudsepp was depicted as a ‘fascist henchman’ in 1950. He was expelled from the Estonian Writers’ Union and was deprived of his personal pension. He was arrested on 11 May 1951. Opposition to the Soviet regime was stressed in the charges presented to him. His play Vaheliku vapustused, which the German occupying regime had banned, and his only play that was allowed at that time, Lipud tormis [Flags in the Storm], were named as the primary evidence supporting the charges. Hugo Raudsepp was sentenced to 10 years imprisonment in the autumn of 1951. He hoped to the last possible moment that he would be allowed to serve his sentence in Estonia. Unfortunately, on 18 February 1952 he was sent by train from Tallinn to Narva and on 19 February on to Leningrad. From there his journey took him to Vjatka, Kirov and finally Irkutsk oblast. This great man’s health was poor, and he soon died on 15 September 1952. Very few new literary works appeared in the 1940s. The historical nadir is altogether seen in post-war book production in the era of Stalinism. Estonian theatre was similarly in a most difficult situation due to censorship, shortage of repertoire, scarcity of funding, and layoffs and sackings of theatre personnel. Nowadays the survival of theatre at the time, regardless of difficult times, is appreciated, and actors are recognised for preserving Estonian identity and uniting the people. Hugo Raudsepp’s role as a playwright in supporting intellectual and spiritual resistance to foreign authorities has to be recognised on the basis of his occupation-era comedies. Hugo Raudsepp was one of the most productive authors of his day, writing a total of 11 plays in 1943–51. According to the assessment of scholars of literature, he never once rose with these works to the leading-edge level of his previous works. It was impossible to create masterpieces that would become classics in that time of strict ideological precepts and the monitoring of their observance. Taking into consideration the extremely restricted creative conditions, his works were still masterpieces of their time. As Hugo Raudsepp’s oeuvre demonstrates, spirit still managed to cleverly trump power regardless of censorship and official precepts. The denunciation of Stalin’s personality cult in 1956 once again opened the door to the theatre for Hugo Raudsepp’s best comedies from Estonia’s era of independent statehood. The witticism and laughter of Hugo Raudsepp’s comedies gave people renewed strength of soul.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 162, no. 4 (2008): 523–94. http://dx.doi.org/10.1163/22134379-90003665.

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I Wayan Arka, Malcolm Ross (eds); The many faces of Austronesian voice systems; Some new empirical studies (René van den Berg) H.W. Dick; Surabaya, city of work; A socioeconomic history, 1900-2000 (Peter Boomgaard) Josiane Cauquelin; The aborigines of Taiwan: the Puyuma; From headhunting to the modern world. (Wen-Teh Chen) Mark Turner, Owen Podger (with Maria Sumardjono and Wayan K. Tirthayasa); Decentralisation in Indonesia; Redesigning the state (Dorian Fougères) Jérôme Samuel; Modernisation lexicale et politique terminologique; Le cas de l’Indonésien (Arndt Graf) Nicholas J. White; British business in post-colonial Malaysia, 1957-70: neo-colonialism or disengagement? (Karl Hack) Chin Peng; Alias Chin Peng; My side of history; As told to Ian Ward and Norma Miraflor (Russell Jones) C.C. Chin, Karl Hack (eds); Dialogues with Chin Peng; New light on the Malayan Emergency (Russell Jones) Saw Swee-Hock; Population policies and programmes in Singapore (Santo Koesoebjono) Domenyk Eades; A grammar of Gayo; A language of Aceh, Sumatra (Yuri A. Lander) Derek Johnson, Mark Valencia (eds); Piracy in Southeast Asia; Status, issues, and responses (Carolyn Liss) Niclas Burenhult; A grammar of Jahai (James A. Matisoff) Ann R. Kinney, Marijke J. Klokke, Lydia Kieven (photographs by Rio Helmi); Worshiping Siva and Buddha; The temple art of East Java (Dick van der Meij) Ruben Stoel; Focus in Manado Malay; Grammar, particles, and intonation (Don van Minde) Pamela J. Stewart, Andrew Strathern (eds); Expressive genres and historical change; Indonesia, Papua New Guinea and Taiwan. (Dianne van Oosterhout) Johszua Robert Mansoben; Sistem politik tradisional di Irian Jaya, Indonesia; Studi perbandingan (Anton Ploeg) Timothy B. Barnard (ed.); Contesting Malayness; Malay identities across boundaries (Nathan Porath) Joel Bradshaw, Francisc Czobor (eds); Otto Dempwolff’s grammar of the Jabêm language in New Guinea (Ger Reesink) Jon Fraenkel; The manipulation of custom; From uprising to intervention in the Solomon Islands (Jaap Timmer) Clive Moore; Happy isles in crisis; The historical causes for a failing state in Solomon Islands, 1998-2004 (Jaap Timmer) Peter Burns; The Leiden legacy; Concepts of law in Indonesia (Bryan S. Turner) Terry Crowley; Bislama reference grammar (Kees Versteegh) REVIEW ESSAY Matthew Isaac Cohen; Transnational and postcolonial gamelan Lisa Gold; Music in Bali Margaret J. Kartomi; The Gamelan Digul and the prison camp musician who built it; An Australian link with the Indonesian revolution Marc Perlman; Unplayed melodies; Javanese gamelan and the genesis of music theory Ted Solís (ed.); Performing ethnomusicology; Teaching and representation in world music ensembles Henry Spiller; Gamelan; The traditional sounds of Indonesia Andrew N. Weintraub; Power plays; Wayang golek theater of West Java REVIEW ESSAY Victor T. King; People and nature in Borneo Tim Bending; Penan histories; Contentious narratives in upriver Sarawak Rajindra K. Puri; Deadly dances in the Bornean rainforest; Hunting knowledge of the Penan Benalui, 2005 Reed L. Wadley (ed.); Histories of the Borneo environment; Economic, political and social dimensions of change and continuity In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 162 (2006), no: 4, Leiden
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Parker, Christopher, Barbara Yorke, Elizabeth Truax, John N. King, Roberta Anderson, Geoff Ridden, Keith Lindley, et al. "Reviews: Historical Theory, a Companion to Anglo-Saxon Literature, Malory's Morte D'Arthur: Re-Making Arthurian Tradition, Writing the Reformation: Actes and Monuments and the Jacobean History Play, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1619, Who Killed Shakespeare? What's Happened to English since the Radical Sixties, Oral and Literate Culture in England, 1500–1700, the Poetry of Mildmay Fane, Second Earl of Westmorland from the Fulbeck, Harvard and Westmorland Manuscripts, the Antichrist's Lewd Hat: Protestants, Papists and Players in Post-Reformation England, Staging Domesticity: Household Work and English Identity in Early Modern Drama, Shakespeare's Domestic Economies: Gender and Property in Early Modern England, Dorothy Osborne: Letters to William Temple: Observations on Love, Literature, Politics and Religion, Eighteenth-Century Contexts: Historical Inquiries in Honor of Phillip Harth, Family and Friends in Eighteenth-Century England: Household, Kinship and Patronage, Jane Austen and the Theatre, Jane Austen and the Theatre, Waterloo and the Romantic Imagination, George Eliot and the British Empire, Fiction Rivals Science: The French Novel from Balzac to Proust, the Impact of the Railway on Society in Britain: Essays in Honour of Jack Simmons, Middle-Class Culture in the Nineteenth Century: America, Australia and Britain, James Hanley: Modernism and the Working Class, Transformations of Domesticity in Modern Women's Writing: Homelessness at Home, Teaching LiteratureFulbrookMary, Historical Theory , Routledge, 2002, pp. xii + 228, £10.99.PulsianoPhillip and TraherneElaine (eds), A Companion to Anglo-Saxon Literature , Blackwell, 2001, pp. 529, £80.BattCatherine, Malory's Morte D'Arthur: Re-making Arthurian Tradition , Palgrave, 2002, pp. xxiii + 264, £32.50.RobinsonMarsha S., Writing the Reformation : Actes and Monuments and the Jacobean History Play , Ashgate, 2002, pp. xxiii + 192, £40.McManusClare, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590–1619 , Manchester University Press, 2002, pp. 276, £45.BrantlingerPatrick, Who Killed Shakespeare? What's Happened to English Since the Radical Sixties , Routledge, 2001, pp. 238, £14.99 pb.FoxAdam, Oral and Literate Culture in England, 1500–1700 , Oxford Studies in Social History, Clarendon Press, Oxford, 2000, pp. 413, £45.00.CainTom (ed.), The Poetry of Mildmay Fane, Second Earl of Westmorland from the Fulbeck, Harvard and Westmorland Manuscripts , Manchester University Press, 2001, pp. xii + 465, £50.LakePeter (with Michael Questier), The Antichrist's Lewd Hat: Protestants, Papists and Players in Post-Reformation England , Yale UP, 2002, pp. 731, $45.00.WallWendy, Staging Domesticity: Household Work and English Identity in Early Modern Drama , Cambridge University Press, 2002, pp. xiii + 292, £45KordaNatasha, Shakespeare's Domestic Economies: Gender and Property in Early Modern England , University of Pennsylvania Press, 2002, pp. ix + 276, $49.95.ParkerKenneth (ed.), Dorothy Osborne: Letters to William Temple: Observations on Love, Literature, Politics and Religion , Ashgate, 2002, pp. xi + 348£49.50.WeinbrotHoward D., SchakelPeter J. and KarianStephen E. (eds), Eighteenth-century Contexts: Historical Inquiries in Honor of Phillip Harth , University of Wisconsin Press, 2001, pp. xviii + 305, $21.95.TadmorNaomi, Family and Friends in Eighteenth-century England: Household, Kinship and Patronage , Cambridge University Press2001, pp. x + 312, £40.ByrnePaula, Jane Austen and the Theatre , Hambledon, 2002, pp. xvii + 283, £25GayPenny, Jane Austen and the Theatre , Cambridge University Press, 2002, pp. xi + 201, £37.50.ShawPhilip, Waterloo and the Romantic Imagination , Palgrave, 2002, pp. xiv + 260, £45.HenryNancy, George Eliot and the British Empire , Cambridge University Press, 2002, pp. xi + 182, £35.ThiherAlan, Fiction Rivals Science: The French Novel from Balzac to Proust , University of Missouri Press, 2001, pp. ix + 226, £31.50.EvansA. K. B. and GoughJ. V. (eds), The Impact of the Railway on Society in Britain: Essays in Honour of Jack Simmons , Ashgate, 2003, pp. 340, 25 illustrations and 6 maps, £20.YoungLinda, Middle-Class Culture in the Nineteenth Century: America, Australia and Britain , Palgrave, 2003, pp. xi + 245, £45.FordhamJohn, James Hanley: Modernism and the Working Class , University of Wales Press, 2002, pp. xii + 315, £25.ForsterThomas, Transformations of Domesticity in Modern Women's Writing: Homelessness at Home , Palgrave, 2002, pp. 224, £42.50.ShowalterElaine, Teaching Literature , Blackwell, 2002, pp. xi + 166, £45, £12.99 pb." Literature & History 13, no. 1 (May 2004): 76–103. http://dx.doi.org/10.7227/lh.13.1.6.

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Wardhana, Husni, and Suharyoso Suharyoso. "Penciptaan Drama Musikal Sweeney Todd: The Demon Barber of Fleet Street (Sweeney Todd:Tukang Cukur Haus Darah)." Resital: Jurnal Seni Pertunjukan 12, no. 2 (November 2, 2013). http://dx.doi.org/10.24821/resital.v12i2.474.

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Proses kreatif penyutradaraan Sweeney Todd: The Demon Barber of Fleet Street memberi banyak pelajarantentang drama musikal. Drama musikal memiliki keunikan tersendiri dalam proses maupun bentuk penyajiannya.Jenis drama ini sangat populer di Amerika, dan merupakan satu-satunya sumbangan Amerika dalam memperkayajenis teater dunia. Cerita ini merupakan kisah legendaris Inggris. Berkali-kali naskah karya Christopher Bond inidimainkan di berbagai benua di dunia, namun bila dilihat dari sejarah penciptaannya, kisah balas dendam seorangtukang cukur ini telah melalui proses adaptasi yang panjang. Beberapa penulis besar di jamannya sebelum melewatitangan kreatif Christopher Bond telah mengkreasi ulang naskah ini. Drama musikal ini berawal dari komedi musikaldan sejak tahun 1920 mengangkat tema-tema serius yang biasa disebut musik Broadway atau musik Amerika. Biasadisajikan dalam panggung besar West End dan Broadway di London, New York, Australia dan Asia. Beberapa kalidipanggungkan oleh kelompok teater sekolah atau kelompok teater amatir. Hampir seluruh pertunjukan drama musikal Sweeney Todd: The Demon Barber of Fleet Street diiringi dengan musik dan dinyanyikan. Dialog diubahmenjadi nyanyian. Para aktor di tuntut untuk dapat menyanyi, akting, dan menari. Drama musikal merupakanpertunjukan yang menggunakan tiga ciri utama, yakni menyanyi, menari, dan berakting yang mendominasi hampirseluruh pertunjukan.Kata kunci: penyutradaraan, drama musikal, kisah legendaris, Sweeney Todd, teater sekolah.ABSTRACTThe musical drama Sweeney Todd: Th e Demon Barber of Fleet Street. The creative directing process of this drama has given many good lessons to the art work of performing arts, especially to musical drama performance. The musical drama has its own unique characteristics in its process and performance. This type of drama is very popular in the USA, and has been the only contribution from the USA to enrich the typical of world theater. Sweeney Todd: The Demon Barber of Fleet Street is as an English legend, especially in England. This script created by Christopher Bond has been performed for several times in all around the globe. Having seen from its creating history, the story of a barber who takes revenge has been through long adaptation process. Some big authors in this era, before proceeded by Christopher Bond’s creative touch, had creatively recreated this script. The musical drama Sweeney Todd: The Demon Barber of Fleet Street was fi rstly created from the musical comedy drama and since 1920 has shown serious themes that are well known as Broadway music or American music. This drama has commonly been shown on a big stage West End and Broadway in London and New York, also in Australia and Asia. Moreover, it has also been performed by groups of school-theater and amateur theater. Most of the musical drama performances Sweeney Todd: The Demon Barber of Fleet Street are accompanied by music and are sung as well. The dialog is changed into songs. The actors are supposed to be able to sing, to act, and to dance. The musical drama is a performance that uses three main characteristics, namely: singing (solo, ensemble, and choir), dancing (individual and group), and acting, that dominates in most parts of the performance.Key words: directing, musical drama, legend story, Sweeney Todd, theater.
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Aria, Kezia. "White Australia has a Blackie Blackie Brown history." NEW: Emerging scholars in Australian Indigenous Studies 5, no. 1 (March 6, 2020). http://dx.doi.org/10.5130/nesais.v5i1.1570.

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The gatekeepers for institutions of fine arts, classical music and theatre in Australia are traditionally white, upper middle-class people. Nakkiah Lui’s existence and success as an Indigenous playwright is a radical disturbance in this bubble of society as, by nature, stories and storytellers that challenge cultural hegemony will always be political, and Blak artists entering theatre demonstrate a fusion and adaptation of Indigenous oral traditions into Australia’s highbrow society. Aboriginal playwrights and performances have a complex history in terms of audience reception as they often deal with difficult and confronting topics that ‘regular’ theatre audiences may not engage with (Grehan 2010). Not only do they have the burden of representing ‘all’ Aboriginal people, but the stories they share are often those whose voices were historically silenced, erased or dismissed (Morris 1992).
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Vallack, Jocene. "Theatre as Research – A Mysterious Mix." eTropic: electronic journal of studies in the tropics 15, no. 1 (August 2, 2016). http://dx.doi.org/10.25120/etropic.15.1.2016.3357.

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The Australian Curriculum mandates that Arts will be taught as part of the Foundation to Year 10 program in schools. My background as a Theatre-in-Education performer and as a Drama teacher has informed an approach to doing research with children, which involves making up plays about local stories. Firstly, local folk are interviewed and their anecdotes are recorded as data. The children then analyse and interpret the data, as a group, with the help of their teacher. It is then synthesised into a written play script. I have found this Theatre as Research approach to be a wonderful tool for integrating the teaching of local history with the Arts. It also has potential to strengthen community bonds and enhance inter-generational communication. Once the play has been created, the storytellers are invited as audience members to see their lives played out on stage.<br />The paper will relate examples of how I have performed ethnographic Drama with various secondary and tertiary students to facilitate and present research. It will then offer a step by step approach for doing Theatre as Education.
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Mitchell, Annie. "Paronella Park: Music, Migration and the ‘Tropical Exotic’." eTropic: electronic journal of studies in the tropics 12, no. 2 (August 2, 2016). http://dx.doi.org/10.25120/etropic.12.2.2013.3343.

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The history of Paronella Park is a tale of migration from Europe to far north Queensland; underscored by the music of a diversity of cultures that weaves a rich tapestry through this narrative; set to a backdrop of tropical wilderness in the rainforest of Mena Creek, via Innisfail. Jose Paronella arrived in north Queensland, Australia from Catalonia, Spain in 1911; where he spent many years working as a cane cutter. In 1929 he bought thirteen acres of land on Mena Creek to fulfil his dream of creating a Spanish castle and tourist resort. By 1935 Paronella’s dream had become a reality, with the completed construction of Paronella Park: a Spanish castle, picnic area, ballroom, movie theatre, hydro-electric power system, tennis courts and botanical gardens. Paronella Park became the cultural hub of the Mena Creek-Innisfail area, providing entertainment in movies, dances, balls and theatre. North Queensland was a base for Allied Service personnel during World War II, so musical activities increased greatly during this time with Australian and United States soldiers frequenting Paronella Park on rest and recreation. From this heyday, Paronella Park has survived destruction by cyclones and floods, fire, years of neglect, and finally restoration of much of the property. Over the past decade, Paronella Park has won extensive tourism awards. In 2010, to commemorate Paronella Park’s 75th anniversary, the musical The Impossible Dream was written and performed in Cairns. This paper traces the musical history of Paronella Park, investigates the cultural and musical activities performed there, identifies the bands and musicians who played at Paronella Park, their musical styles and repertoire, discusses the contribution of Paronella Park to tourism in north Queensland, and evaluates the influences of Spanish culture and music on the identity of the Mena Creek community. Music and lyrics from The Impossible Dream are transcribed and analysed to correlate their musical links to entertainment at Paronella Park during the 1930s and 1940s and identify Spanish influences in the musical score. The research also evaluates the impact of The Impossible Dream on recent tourism at Paronella Park, investigates current musical entertainment at Paronella Park and its potential for future development.
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Makeham, Paul Benedict, Bree Jamila Hadley, and Joon-Yee Bernadette Kwok. "A "Value Ecology" Approach to the Performing Arts." M/C Journal 15, no. 3 (May 3, 2012). http://dx.doi.org/10.5204/mcj.490.

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In recent years ecological thinking has been applied to a range of social, cultural, and aesthetic systems, including performing arts as a living system of policy makers, producers, organisations, artists, and audiences. Ecological thinking is systems-based thinking which allows us to see the performing arts as a complex and protean ecosystem; to explain how elements in this system act and interact; and to evaluate its effects on Australia’s social fabric over time. According to Gallasch, ecological thinking is “what we desperately need for the arts.” It enables us to “defeat the fragmentary and utilitarian view of the arts that dominates, to make connections, to establish overviews of the arts that can be shared and debated” (Gallasch NP). The ecological metaphor has featured in debates about the performing arts in Brisbane, Australia, in the last two or three years. A growing state capital on Australia’s eastern seaboard, Brisbane is proud of its performing arts culture. Its main theatre organisations include the state flagship Queensland Theatre Company; the second major presenter of adapted and new text-based performances La Boite Theatre Company; venues which support local and touring performances such as the Judith Wright Centre for Contemporary Arts and the Brisbane Powerhouse; emerging talent incubator Metro Arts; indigenous companies like Kooemba Jdarra; independent physical theatre and circus companies such as Zen Zen Zo and Circa; and contemporary play-producing company 23rd Productions (cf. Baylis 3). Brisbane aspires to be a cultural capital in Australia, Australasia, and the Asia Pacific (Gill). Compared to Australia’s southern capitals Sydney and Melbourne, however, Brisbane does have a relatively low level of performing arts activity across traditional and contemporary theatre, contemporary performance, musicals, circus, and other genres of performance. It has at times been cast as a piecemeal, potentially unsustainable arts centre prone to losing talent to other states. In 2009, John Baylis took up these issues in Mapping Queensland Theatre, an Arts Queensland-funded survey designed to map practices in Brisbane and in Queensland more broadly, and to provide a platform to support future policy-making. This report excited debate amongst artists who, whilst accepting the tenor of Baylis’s criticisms, also lamented the lack of nuanced detail and contextualised relationships its map of Queensland theatre provided. In this paper we propose a new approach to mapping Brisbane’s and Queensland’s theatre that extends Baylis’s “value chain” into a “value ecology” that provides a more textured picture of players, patterns, relationships, and activity levels. A “value chain” approach emphasises linear relationships and gaps between production, distribution, and consumption in a specific sector of the economy. A “value ecology” approach goes further by examining a complex range of rhizomatic relationships between production, distribution, and consumption infrastructure and how they influence each other within a sector of the economy such as the performing arts. Our approach uses a “value ecology” model adapted from Hearn et al. and Cherbo et al. to map and interpret information from the AusStage performing arts database, the Australian Bureau of Statistics, and other sources such as previews, reviews, and an ongoing local blogosphere debate. Building upon Baylis’s work, our approach produces literal and conceptual maps of Queensland’s performing arts as they change over time, with analysis of support, infrastructure, and relationships amongst government, arts organisations, artists, and audiences. As debate on Mapping Queensland Theatre gives way to more considered reflection, and as Baylis develops a follow-up report, our approach captures snapshots of Queensland’s performing arts before, during, and after such policy interventions. It supports debate about how Queensland artists might manage their own sustainability, their own ability to balance artistic, cultural, and economic factors that influence their work in a way that allows them to survive long term, and allows policy makers, producers, and other players to better understand, articulate, assess, and address criticisms. The Ecological Metaphor In recent years a number of commentators have understood the performing arts as an “ecology,” a system characterised by interacting elements, engagements, flows, blockages, breaks, and breakthroughs whose “health” (synonymous in this context with sustainability) depends on relationships between players within and without the system. Traditionally, performing arts policies in Australia have concentrated on singular elements in a system. They have, as Hunt and Shaw argue, “concentrate[d] on individual companies or an individual artist’s practice rather than the sector as a whole” (5, cf. 43). The focus has been on how to structure, support, and measure the success—the aesthetic and social benefits—of individual training institutions, artists, administrators, and arts organisations. The “health” of singular elements has been taken as a sign of the “health” of the system. An ecologies approach, by contrast, concentrates on engagements, energies, and flows as signs of health, and thus sustainability, in a system. Ecological thinking enables policy makers, practitioners, and scholars to go beyond debate about the presence of activity, the volume of activity, and the fate of individual agents as signs of the health or non-health of a system. In an ecologies context, level of activity is not the only indicator of health, and low activity does not necessarily equate with instability or unsustainability. An ecological approach is critical in Brisbane, and in Queensland more broadly, where attempts to replicate the nature or level of activity in southern capitals are not necessarily the best way to shore up the “health” of our performing arts system in our own unique environment. As the locus of our study Queensland is unique. While Queensland has 20% of Australia’s population (OESR; ABS ‘ Population Projections’), and is regularly recognised as a rapidly growing “lifestyle superstate” which values innovation, creativity, and cultural infrastructure (Cunningham), it is still home to significantly less than 20% of Australia’s performing arts producers, and many talented people continue to migrate to the south to pursue career opportunities (Baylis 4, 28). An ecologies approach can break into oft-cited anxieties about artist, activity, and audience levels in Brisbane, and in Queensland, and create new ideas about what a “healthy” local performing arts sector might look like. This might start to infuse some of the social media commentary that currently tends to emphasise the gaps in the sector. Ecologies are complex systems. So, as Costanza says, when we consider ecosystem health, we must consider the overall performance of the system, including its ability to deal with “external stress” (240) from macro-level political, legal, social, cultural, economic, or technological currents that change the broader society this particular sector or ecosystem sits within. In Brisbane, there is a growing population and a desire to pursue a cultural capital tag, but the distinctive geographic, demographic, and behavioural characteristics of Brisbane’s population—and the associated ‘stresses’, conditions, or constraints—mean that striving to replicate patterns of activity seen in Sydney or Melbourne may not be the straightest path to a “healthy” or “sustainable” sector here. The attitudes of the players and the pressures influencing the system are different, so this may be like comparing rainforests with deserts (Costanza), and forgetting that different elements and engagements are in fact “healthy” in different ecosystems. From an ecologies point of view, policy makers and practitioners in Brisbane and in Queensland more broadly might be well advised to stop trying to match Sydney or Melbourne, and to instead acknowledge that a “healthy” ecosystem here may look different, and so generate policy, subsidy, and production systems to support this. An ecological approach can help determine how much activity is in fact necessary to ensure a healthy and sustainable local performing arts sector. It can, in other words, provide a fresh approach that inspires new ideas and strategies for sector sustainability. Brisbane, Baylis and the Blogosphere Debate The ecological metaphor has clearly captured the interest of policy makers as they consider how to make Queensland’s performing arts more sustainable and successful. For Arts Queensland: The view of the sector as a complex and interdependent ‘ecosystem’ is forging new thinking, new practices and new business models. Individual practitioners and organisations are rethinking where they sit within the broader ecology, and what they contribute to the health and vitality of the sector, and how they might address the gaps in services and skills (12). This view informed the commissioning of Mapping Queensland Theatre, an assessment of Queensland’s theatre sector which offers a framework for allocation of resources under the Queensland Arts & Cultural Sector Plan 2010-2013. It also offers a framework for negotiation with funded organisations to ensure “their activities and focus support a harmonious ecology” (Baylis 3) in which all types and levels of practice (emerging, established, touring, and so on) are functioning well and are well represented within the overall mix of activities. Utilising primary and secondary survey sources, Mapping Queensland Theatre seeks: to map individuals, institutions, and organisations who have a stake in developing Queensland’s professional theatre sector; and to apply a “value chain” model of production from supply (training, creation, presentation, and distribution) to demand (audiences) to identify problems and gaps in Queensland’s professional theatre sector and recommend actions to address them. The report is critical of the sector. Baylis argues that “the context for great theatre is not yet in place in Queensland … therefore works of outstandingly high quality will be rare” (28).Whilst acknowledging a lack of ready answers about how much activity is required in a vibrant theatre culture, Baylis argues that “comparisons are possible” (27) and he uses various data sets to compare numbers of new Australian productions in different states. He finds that “despite having 20% of the Australian population, [Queensland] generates a dramatically lower amount of theatre activity” (4, cf. 28). The reason, according to Baylis (20, 23, 25, 29, 32, 40-41, 44), is that there are gaps in the “value chain” of Queensland theatre, specifically in: Support for the current wave of emerging and independent artistsSpace for experimentation Connections between artists, companies, venues and festivals, between and within regional centres, and between Queensland companies and their (inter)national peers Professional development for producers to address the issue of market distributionAudience development “Queensland lacks a critical mass of theatre activity to develop a sustainable theatre culture” (48), and the main gap is in pathways for independent artists. Quality new work does not emerge, energy dissipates, and artists move on. The solution, for Baylis, is to increase support for independent companies (especially via co-productions with mainstage companies), to improve (inter)national touring, and to encourage investment in audience development. Naturally, Queensland’s theatre makers responded to this report. Responses were given, for example, in inaugural speeches by new Queensland Theatre Company director Wesley Enoch and new La Boite Theatre Company director David Berthold, in the media, and in blogosphere commentary on a range of articles on Brisbane performing arts in 2010. The blogosphere debate in particular raged for months and warrants more detailed analysis elsewhere. For the purposes of this paper, though, it is sufficient to note that blogosphere debate about the health of Queensland theatre culture acknowledged many of the deficits Baylis identified and called for: More leadershipMore government supportMore venuesMore diversityMore audience, especially for risky work, and better audience engagementMore jobs and retention of artists Whilst these responses endorse Baylis’s findings and companies have since conceived programs that address Baylis’s criticisms (QTC’s introduction of a Studio Season and La Boite’s introduction of an Indie program in 2010 for example) a sense of frustration also emerged. Some, like former QTC Chair Kate Foy, felt that “what’s really needed in the theatre is a discussion that breaks out from the old themes and encourages fresh ideas—approaches to solving whatever problems are perceived to exist in ‘the system’.” For commentators like Foy the blogosphere debate enacted a kind of ritual rehearsal of an all-too-familiar set of concerns: inadequate and ill-deployed funding, insufficient venues, talent drain, and an impoverished local culture of theatre going. “Value Chains” versus “Value Ecologies” Why did responses to this report demand more artists, more arts organisations, more venues, and more activities? Why did they repeat demands for more government-subsidised venues, platforms, and support rather than drive toward new seed- or non- subsidised initiatives? At one level, this is to do with the report’s claims: it is natural for artists who have been told quality work is “rare” amongst them to point to lack of support to achieve success. At another level, though, this is because—as useful as it has been for local theatre makers—Baylis’s map is premised on a linear chain from training, to first productions, to further developed productions (involving established writers, directors, designers and performers), to opportunities to tour (inter)nationally, etc. It provides a linear image of a local performing arts sector in which there are individuals and institutions with potential, but specific gaps in the production-distribution-consumption chain that make it difficult to deliver work to target markets. It emphasises gaps in the linear pathway towards “stability” of financial, venue, and audience support and thus “sustainability” over a whole career for independent artists and the audiences they attract. Accordingly, asking government to plug the gaps through elements added to the system (venues, co-production platforms, producer hubs, subsidy, and entrepreneurial endeavours) seems like a logical solution. Whilst this is true, it does not tell the whole story. To generate a wider story, we need to consider: What the expected elements in a “healthy” ecosystem would be (e.g. more versus alternative activity);What other aesthetic, cultural, or economic pressures affect the “health” of an ecosystem;Why practices might need to cycle, ebb, and flow over time in a “healthy” ecosystem. A look at the way La Boite works before, during, and after Baylis’s analysis of Brisbane theatre illustrates why attention to these elements is necessary. A long-running company which has made the transition from amateur to professional to being a primary developer of new Australian work in its distinctive in-the-round space, La Boite has recently shifted its strategic position. A focus on text-based Australian plays has given way to adapted, contemporary, and new work in a range of genres; regular co-productions with companies in Brisbane and beyond; and an “Indie” program that offers other companies a venue. This could be read as a response to Baylis’s recommendation: the production-distribution-consumption chain gap for Brisbane’s independents is plugged, the problem is solved, the recommendation has led to the desired result. Such a reading might, though, overlook the range of pressures beyond Brisbane, beyond Queensland, and beyond the Baylis report that drive—and thus help, hinder, or otherwise effect—the shift in La Boite’s program strategies. The fact that La Boite recently lost its Australia Council funding, or that La Boite like all theatre companies needs co-productions to keep its venue running as costs increase, or that La Boite has rebranded to appeal to younger audiences interested in postdramatic, do-it-your-self or junkyard style aesthetics. These factors all influence what La Boite might do to sustain itself, and more importantly, what its long-term impact on Brisbane’s theatre ecology will be. To grasp what is happening here, and get beyond repetitive responses to anxieties about Brisbane’s theatre ecology, detail is required not simply on whether programs like La Boite’s “plugged the gap” for independent artists, but on how they had both predicted and unpredicted effects, and how other factors influenced the effects. What is needed is to extend mapping from a “value chain” to a full ”value ecology”? This is something Hearn et al. have called for. A value chain suggests a “single linear process with one stage leading to the next” (5). It ignores the environment and other external enablers and disregards a product’s relationship to other systems or products. In response they prefer a “value creating ecology” in which the “constellation of firms are [sic] dynamic and value flow is multi-directional and works through clusters of networks” (6). Whilst Hearn et al. emphasise “firms” or companies in their value creating ecology, a range of elements—government, arts organisations, artists, audiences, and the media as well as the aesthetic, social, and economic forces that influence them—needs to be mapped in the value creating ecology of the performing arts. Cherbo et al. provide a system of elements or components which, adapted for a local context like Brisbane or Queensland, can better form the basis of a value ecology approach to the way a specific performing arts community works, adapts, changes, breaks down, or breaks through over time. Figure 1 – Performing Arts Sector Map (adapted from Cherbo et. al. 14) Here, the performing arts sector is understood in terms of core artistic workers, companies, a constellation of generic and sector specific support systems, and wider social contexts (Cherbo et al. 15). Together, the shift from “value chain” to “value ecology” that Hearn et al. advocate, and the constellation of ecology elements that Cherbo et al. emphasise, bring a more detailed, dynamic range of relations into play. These include “upstream” production infrastructure (education, suppliers, sponsors), “downstream” distribution infrastructure (venues, outlets, agents), and overall public infrastructure. As a framework for mapping “value ecology” this model offers a more nuanced perspective on production, distribution, and consumption elements in an ecology. It allows for analysis of impact of interventions in dozens of different areas, from dozens of perspectives, and thus provides a more detailed picture of players, relationships, and results to support both practice and policy making around practice. An Aus-e-Stage Value Ecology To provide the more detailed, dynamic image of local theatre culture that a value ecology approach demands—to show players, relations between players, and context in all their complexity—we use the Aus-e-Stage Mapping Service, an online application that maps data about artists, arts organisations, and audiences across cityscapes/landscapes. We use Aus-e-Stage with data drawn from three sources: the AusStage database of over 50,000 entries on Australian performing arts venues, productions, artists, and reviews; the Australian Bureau of Statistics (ABS) data on population; and the Local Government Area (LGA) maps the ABS uses to cluster populations. Figure 2 – Using AusStage Interface Figure 3 – AusStage data on theatre venues laid over ABS Local Government Area Map Figure 4 – Using Aus-e-Stage / AusStage to zoom in on Australia, Queensland, Brisbane and La Boite Theatre Company, and generate a list of productions, dates and details Aus-e-Stage produces not just single maps, but a sequential series of snapshots of production ecologies, which visually track who does what when, where, with whom, and for whom. Its sequences can show: The way artists, companies, venues, and audiences relate to each other;The way artists’ relationship to companies, venues, and audiences changes over time;The way “external stressors” changes such as policy, industrial, or population changes affect the elements, roles, and relationships in the ecology from that point forward. Though it can be used in combination with other data sources such as interviews, the advantage of AusStage data is that maps of moving ecologies of practice are based not on descriptions coloured by memory but clear, accurate program, preview, and review data. This allows it to show how factors in the environment—population, policy, infrastructure, or program shifts—effect the ecology, effect players in the ecology, and prompt players to adapt their type, level, or intensity of practice. It extends Baylis’s value chain into a full value ecology that shows the detail on how an ecology works, going beyond demands that government plug perceived gaps and moving towards data- and history- based decisions, ideas and innovation based on what works in Brisbane’s performing arts ecology. Our Aus-e-Stage mapping shows this approach can do a number of useful things. It can create sequences showing breaks, blockages, and absences in an individual or company’s effort to move from emerging to established (e.g. in a sudden burst of activity followed by nothing). It can create sequences showing an individual or company’s moves to other parts of Australia (e.g. to tour or to pursue more permanent work). It can show surprising spaces, relations, and sources of support artists use to further their career (e.g. use of an amateur theatre outside the city such as Brisbane Arts Theatre). It can capture data about venues, programs, or co-production networks that are more or less effective in opening up new opportunities for artists (e.g. moving small-scale experiments in Metro Arts’ “Independents” program to full scale independent productions in La Boite’s “Indie” program, its mainstage program, other mainstage programs, and beyond). It can link to program information, documentation, or commentary to compare anticipated and actual effects. It can lay the map dates and movements across significant policy, infrastructure, or production climate shifts. In the example below, for instance, Aus-e-Stage represents the tour of La Boite’s popular production of a new Australian work Zig Zag Street, based on the Brisbane-focused novel by Nick Earls about a single, twentysomething man’s struggles with life, love, and work. Figure 5 – Zig Zag Street Tour Map In the example below, Aus-e-Stage represents the movements not of a play but of a performer—in this case Christopher Sommers—who has been able to balance employment with new work incubator Metro Arts, mainstage and indie producer La Boite, and stage theatre company QTC with his role with independent theatre company 23rd Productions to create something more protean, more portfolio-based or boundary-less than a traditional linear career trajectory. Figure 6 – Christopher Sommers Network Map and Travel Map This value of this approach, and this technology, is clear. Which independents participate in La Boite Indie (or QTC’s “Studio” or “Greenroom” new work programs, or Metro’s emerging work programs, or others)? What benefits does it bring for artists, for independent companies, or for mainstage companies like La Boite? Is this a launching pad leading to ongoing, sustainable production practices? What do artists, audiences or others say about these launching pads in previews, programs, or reviews? Using Aus-e-Stage as part of a value ecology approach answers these questions. It provides a more detailed picture of what happens, what effect it has on local theatre ecology, and exactly which influences enabled this effect: precisely the data needed to generate informed debate, ideas, and decision making. Conclusion Our ecological approach provides images of a local performing arts ecology in action, drawing out filtered data on different players, relationships, and influencing factors, and thus extending examination of Brisbane’s and Queensland’s performing arts sector into useful new areas. It offers three main advances—first, it adopts a value ecology approach (Hearn et al.), second, it adapts this value ecology approach to include not just companies by all up- and down- stream players, supporters and infrastructure (Cherbo et. al.), and, thirdly, it uses the wealth of data available via Aus-e-Stage maps to fill out and filter images of local theatre ecology. It allows us to develop detailed, meaningful data to support discussion, debate, and development of ideas that is less likely to get bogged down in old, outdated, or inaccurate assumptions about how the sector works. Indeed, our data lends itself to additional analysis in a number of ways, from economic analysis of how shifts in policy influence productivity to sociological analysis of the way practitioners or practices acquire status and cultural capital (Bourdieu) in the field. Whilst descriptions offered here demonstrate the potential of this approach, this is by no means a finished exercise. Indeed, because this approach is about analysing how elements, roles, and relationships in an ecology shift over time, it is an ever-unfinished exercise. As Fortin and Dale argue, ecological studies of this sort are necessarily iterative, with each iteration providing new insights and raising further questions into processes and patterns (3). Given the number of local performing arts producers who have changed their practices significantly since Baylis’s Mapping Queensland Theatre report, and the fact that Baylis is producing a follow-up report, the next step will be to use this approach and the Aus-e-Stage technology that supports it to trace how ongoing shifts impact on Brisbane’s ambitions to become a cultural capital. This process is underway, and promises to open still more new perspectives by understanding anxieties about local theatre culture in terms of ecologies and exploring them cartographically. References Arts Queensland. Queensland Arts & Cultural Sector Plan 2010-2013. Brisbane: Arts Queensland, 2010. Australian Bureau of Statistics. “Population Projections, Australia, 2006 to 2101.” Canberra: ABS (2008). 20 June 2011 ‹http://www.abs.gov.au/AUSSTATS/abs@.nsf/Lookup/3222.0Main+Features12006%20to%202101?OpenDocument›. ——-. “Regional Population Growth, Australia, 2008-2009: Queensland.” Canberra: ABS (2010). 20 June 2011 ‹http://www.abs.gov.au/ausstats/abs@.nsf/Latestproducts/3218.0Main%20Features62008-09?opendocument&tabname=Summary&prodno=3218.0&issue=2008-09&num=&view=›. Baylis, John. Mapping Queensland Theatre. Brisbane: Arts Queensland, 2009. Bourdieu, Pierre. “The Forms of Capital.” Handbook of Theory and Research for the Sociology of Education. Ed. John G. Richardson. New York: Greenwood, 1986.241-58. Cherbo, Joni M., Harold Vogel, and Margaret Jane Wyszomirski. “Towards an Arts and Creative Sector.” Understanding the Arts and Creative Sector in the United States. Ed. Joni M. Cherbo, Ruth A. Stewart and Margaret J. Wyszomirski. New Brunswick: Rutgers University Press, 2008. 32-60. Costanza, Robert. “Toward an Operational Definition of Ecosystem Health”. Ecosystem Health: New Goals for Environmental Management. Eds. Robert Costanza, Bryan G. Norton and Benjamin D. Haskell. Washington: Island Press, 1992. 239-56. Cunningham, Stuart. “Keeping Artistic Tempers Balanced.” The Courier Mail, 4 August (2010). 20 June 2012 ‹http://www.couriermail.com.au/news/opinion/keeping-artistic-tempers-balanced/story-e6frerc6-1225901295328›. Gallasch, Keith. “The ABC and the Arts: The Arts Ecologically.” RealTime 61 (2004). 20 June 2011 ‹http://www.realtimearts.net/article/61/7436›. Gill, Raymond. “Is Brisbane Australia’s New Cultural Capital?” Sydney Morning Herald, 16 October (2010). 20 June 2011 ‹http://www.smh.com.au/entertainment/art-and-design/is-brisbane-australias-new-cultural-capital-20101015-16np5.html›. Fortin, Marie-Josée and Dale, Mark R.T. Spatial Analysis: A Guide for Ecologists. Cambridge: Cambridge University Press, 2005. Foy, Kate. “Is There Anything Right with the Theatre?” Groundling. 10 January (2010). 20 June 2011 ‹http://katefoy.com/2010/01/is-there-anything-right-with-the-theatre/›. Hearn, Gregory N., Simon C. Roodhouse, and Julie M. Blakey. ‘From Value Chain to Value Creating Ecology: Implications for Creative Industries Development Policy.’ International Journal of Cultural Policy 13 (2007). 20 June 2011 ‹http://eprints.qut.edu.au/15026/›. Hunt, Cathy and Phyllida Shaw. A Sustainable Arts Sector: What Will It Take? Strawberry Hills: Currency House, 2007. Knell, John. Theatre’s New Rules of Evolution. Available from Intelligence Agency, 2008. Office of Economic and Statistical Research. “Information Brief: Australian Demographic Statistics June Quarter 2009.” Canberra: OESR (2010). 20 June 2012 ‹http://www.oesr.qld.gov.au/queensland-by-theme/demography/briefs/aust-demographic-stats/aust-demographic-stats-200906.pdf›.
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46

Downing, Leanne. "Sensory Jam." M/C Journal 9, no. 6 (December 1, 2006). http://dx.doi.org/10.5204/mcj.2685.

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Sticky, messy and nauseatingly saccharine, the sensory properties of jam may be a long way from the stylized corporate polish of Australia’s multi-billion dollar film exhibition industry, yet the history of Australian cinema space will be forever indebted to the Victoria Preserving Company; one-time producer of the humblest of sweet treats. Through an analysis of Melbourne’s Jam Factory cinema complex, this article explores the unusual intersection of jam, sensory gratification and contemporary Australian cinema-going at the dawn of the 21st century. Encompassing the historic architecture of the former Victoria Preserving Company, South Yarra’s Jam Factory complex provides a gentrified gloss to an inner suburban precinct historically renowned for the manufacturing of jam and preserves. Nestled in the heart of Chapel Street, less than two blocks down from Toorak road and a stone’s throw from the nightclub precinct of Commercial road, the Jam Factory occupies an important part of Melbourne’s cultural heritage; functioning as a quintessential signifier of the city’s traversal from wholesale manufacturing during the early 1900s into the service vectors of digital media technologies and mixed-use retail entertainment destinations at the start of the new millennium. Established in 1876, the Victoria Preserving Company, AKA the ‘Jam Factory’, hosts an array of diverse retail and leisure outlets. Included amongst its tenants are Borders Books, Villa & Hut, TGI Fridays, The Pancake Parlour, a Virgin Music Mega-store, an elaborate Village Cinema megaplex, and a range of ancillary restaurants, fashion stores and cafes. According to the venue’s promotional material, “The Jam Factory of today is, in short, ‘jam packed’ with entertainment” (Chapel St Precinct, n.pag.). With the original building’s façade and cooling store still intact, the architectural remnants of the Victoria Preserving Factory provide a culturally significant backdrop for what is ostensibly Australia’s most noteworthy cinema venture; Village Roadshow’s megaplex cinema flagship. Replete with fifteen large format screens, including two Gold Class cinemas, a Cinema Europa enclave and an interactive games alcove, The Village Jam Factory signifies Australia’s first foray into cinema-based retail entertainment destinations. In commenting on the opening of the Jam Factory megaplex in 1998, Village Roadshow’s general manager Mr. David Herman said, “The objective was to create Australia’s first non-gambling cinema and lifestyle complex” (Catalano 6). More than any other cinema venue, the Village Jam Factory played a key role in pushing Australian film exhibition standards into the new millennium. In an era marked by competing home theatre technologies and diversified sites of media consumption, the Jam Factory’s shift from suburban cinema to lifestyle complex dramatically altered both the business and social practice of movie-going in Australia. Central to this shift was a tripartite marketing strategy which sought to capitalize on: protracted movie-going experiences; sensory stimulation; and, venue promotion. Experiential Jam The promotion of a protracted movie-going experience has been essential to the continued success of the Village Jam Factory. As I have argued elsewhere, the Australian cinema industry of the mid 1990s faced a number of significant incentives for extending the movie going experience beyond the auditorium; not the least being the steady decline of box office takings that occurred during the late 1980s (Downing). In the face of new media technologies such as the internet, DVD and Pay TV, many cinema operators were forced to look beyond the box office as a primary source of profits. To this end Village Roadshow effectively used the Jam Factory as a testing ground for the generation of ancillary leisure and retail income streams. During the mid 1990s Village actively promoted the Jam Factory as a space in which audiences could not only see a film, but also engage in a series of expanded retail activities such as shopping, dining and video-game playing. Discussing the development of multi-use cinema venues during the 1990s, Charles Acland has commented that such spaces “…do not situate conditions of spectatorship alone; they also construct relations between public and cinematic practices” (Acland 119). Sensory Jam Far from being a traditional site of film consumption, the Jam Factory set an industry precedent by becoming the nation’s first cinema venue in which audiences were encouraged to engage in an entertainment experience that was, above all, aimed at stimulating the senses. In keeping with the ‘lifestyle destination’ mantra, the Village Jam Factory provided a new generation of Australians with a multi-sensory entertainment experience that could not be emulated by home theatre technologies. Wide sweeping foyers and elaborate ticket and merchandising counters greet the eye; ‘luxury’ stadium seating with wide aisles and broad armrests offer the ‘ultimate’ in tactile comfort; digital surround sound facilities pleasure the ears and a plethora of food and beverage novelties work to gratify the senses of taste and smell. More than any other Village cinema outlet, the Jam Factory venue smacks of sugar-coated commerce. With a revenue contribution of over 18%, the Village Roadshow candy bar is the undisputed cash-cow of the enterprise (Australian Film Commission 143). Colloquially known as ‘Lollywood’, the Village confectionary counter is an over-priced explosion of colour and candy that sustains industry revenue through a deliberate appeal to the audience’s sense of taste. This sugar dependency synchronistically mirrors the former success of Henry Jones, the entrepreneur behind Australia’s IXL jam brand, who operated his famous preserving company on the site between 1895 and 1926 (Chapel St Precinct, n.pag.). Venue Jam Village Roadshow’s promotion of the Jam Factory venue over the actual films being screened is indicative of Australia’s primary shift towards retail entertainment based cinema complexes. Unlike the homogenous multiplex venues of the 1970s and 1980s, the Village Jam Factory Complex has been aggressively marketed as a Melbourne icon, capable of offering a unique entertainment experience. This agenda is clearly documented in the 1999 Village Roadshow annual report which, pointing towards a perceived threat of home theatre technologies, proclaimed: [In] broadening the cinema going experience … [Village] aims to create an environment of quality entertainment theming and ancillary lifestyle retailing, thus providing a consistently high level of incentive for people to leave their homes for cinema anchored destinations. (Village Roadshow 19) To this end, the Jam Factory became the physical embodiment of Village Cinemas’ corporate tagline “Where Movies Live” (Village Cinemas, n.pag.). Throughout the late 1990s, a number of similar sites proliferated across Europe, the United States and Canada. Two noteworthy examples of this trend are the Manchester Times building in the UK (initially managed by a short lived Village-Warner synergy) and the Sony Centre at Potsdamer Platz, Berlin; previous home to the Third Reich and later, the Berlin Wall. In both of these examples a similar venue-promotion agenda is clearly at work. In reflecting the cultural specificities of their host cities, each of these venues pays a semiotic homage to the previous occupants of their space. The Manchester Times building, for example, retains much of its former architecture and reflects the nocturnal vibrancy of 19th century printing plant. Similarly, the Sony Centre offers an architectural reflection on the complexities of Berlin history and German cinema. In Melbourne, the Jam Factory’s history of jam and jam making are equally preserved. Drawing heavily on postmodern architectural styles, the Jam Factory’s interior uses South Yarra’s local history as a backdrop for a schizophrenic collage of seemingly incommensurate time/place references. From the distinctive red-brick cooling tower (located in the centre of the building) one encounters a hybrid fusion of Mediterranean pasta courts, European coffee lounges, Romanesque artwork and columns (complete with weathered-look paint and ‘crumbling’ tops), statues of Hollywood stars, as well as a dazzling gaming alcove and a series of subdued ‘luxury’ (Gold Class) cinemas. Such eclectic displays of visual hyperbole have been prefigured by Umberto Eco, whose discussion on hyperreality addresses an imagination which “… demands the real thing, and in order to attain it, must fabricate the absolute fake” (Eco 8). As a relatively recent contributor to Australian cinema history, the Village Jam Factory has achieved little sustained academic attention, yet its significance must not be undervalued. As Australia’s first cinema-oriented retail entertainment destination, the Village Jam Factory has been crucial in placing Australia into the global film exhibition arena. While the pungent aromas of ripened fruit, vinegar and boiling sugar have long since been replaced by the scent of popcorn and recycled air, the legacy and architecture of jam-making has played a key role in propelling Australian film exhibition into the new millennium. References Acland, Charles. Screen Traffic: Movies, Multiplexes and Global Culture. Durham: Duke UP, 2003. Australian Film Commission. Get the Picture. Sydney: Australian Film Commission, 2001. Catalano, Anthony. “Village to Extend Jam Factory to 14 Cinemas.” The Age 5 Aug. 1998. Chapel St Precinct. General History of Chapel Street & Surrounds. 2006. 30 Dec. 2006 http://www.chapelstreet.com.au/default.asp?mode=history>. Downing, Leanne. “More than Meets the Eye: The Suburban Cinema Megaplex as Sensory Heterotopia.” Refractory: Journal of Media and Culture 8 (2005). http://www.refractory.unimelb.edu.au/journalissues/vol8/downing.html>. Eco, Umberto. Travels in Hyper Reality. Orlando Florida: Harcourt Brace Jovanovich, 1986. Village Cinemas. 2006. 30 Dec. 2006. http://www.villagecinemas.com.au/>. Village Roadshow. Annual Report. Melbourne: Village Roadshow, 1999. Citation reference for this article MLA Style Downing, Leanne. "Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/05-downing.php>. APA Style Downing, L. (Dec. 2006) "Sensory Jam: How the Victoria Preserving Company Pushed Australian Cinema Space into the New Millennium," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/05-downing.php>.
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47

Vella Bonavita, Helen, and Lelia Green. "Illegitimate." M/C Journal 17, no. 5 (October 29, 2014). http://dx.doi.org/10.5204/mcj.924.

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Illegitimacy is a multifaceted concept, powerful because it has the ability to define both itself and its antithesis; what it is not. The first three definitions of the word “illegitimate” in the Oxford English Dictionary – to use an illegitimate academic source – begin with that negative: “illegitimate” is “not legitimate’, ‘not in accordance with or authorised by law”, “not born in lawful wedlock”. In fact, the OED offers eight different usages of the term “illegitimate”, all of which rely on the negation or absence of the legitimate counterpart to provide a definition. In other words, something can only be illegitimate in the sense of being outside the law, if a law exists. A child can only be considered illegitimate, “not born in lawful wedlock” if the concept of “lawful wedlock” exists.Not only individual but national identity can be constructed by defining what – or who – has a legitimate reason to be a part of that collective identity, and who does not. The extent to which the early years of Australian colonial history was defined by its punitive function can be mapped by an early usage of the term “illegitimate” as a means of defining the free settlers of Australia. In an odd reversal of conventional associations of “illegitimate”, the “illegitimates” of Australia were not convicts. They were people who had not been sent there for legitimate – (legal) reasons and who therefore did not fit into the depiction of Australia as a penal colony. The definition invites us to consider the relationship between Australia and Britain in those early years, when Australia provided Britain with a means of constructing itself as a “legitimate” society by functioning as a location where undesirable elements could be identified and excluded. The “illegitimates” of Australia challenged Australia’s function of rendering Britain a “legitimate” society. As a sense of what is “illegitimate” in a particular context is codified and disseminated, a corresponding sense of what is “legitimate” is also created, whether in the context of the family, the law, academia, or the nation. As individuals and groups label and marginalise what is considered unwanted, dangerous, superfluous or in other ways unsatisfactory in a society, the norms that are implicitly accepted become visible. Rather as the medical practice of diagnosis by exclusion enables a particular condition to be identified because other potential conditions have been ruled out, attempts to “rule out” forms of procreation, immigration, physical types, even forms of performance as illegitimate enable a legitimate counterpart to be formed and identified. Borrowing a thought from Tolstoy’s Anna Karenina, legitimates are all alike and formed within the rules; the illegitimates are illegitimate in a variety of ways. The OED lists “illegitimate” as a noun or adjective; the word’s primary function is to define a status or to describe something. Less commonly, it can be used as a verb; to “illegitimate” someone is to bastardise them, to render them no longer legitimate, to confer and confirm their illegitimate status. Although this has most commonly been used in terms of a change in parents’ marital status (for example Queen Elizabeth I of England was bastardised by having her parents’ marriage declared invalid; as had been also the case with her older half-sister, Mary) illegitimisation as a means of marginalising and excluding continues. In October 2014, Australian Immigration Minister Scott Morrison introduced legislation designed to retrospectively declare that children born in Australia to parents that have been designated “unlawful maritime arrivals” should inherit that marginalised status (Mosendz, Brooke). The denial of “birthright citizenship”, as it is sometimes called, to these infants illegitimises them in terms of their nationality, cutting them away from the national “family”. Likewise the calls to remove Australian nationality from individuals engaging in prohibited terrorist activities uses a strategy of illegitimisation to exclude them from the Australian community. No longer Australian, such people become “national bastards”.The punitive elements associated with illegitimacy are not the only part of the story, however. Rather than being simply a one-way process of identification and exclusion, the illegitimate can also be a vital source of generating new forms of cultural production. The bastard has a way of pushing back, resisting efforts at marginalisation. The papers in this issue of M/C consider the multifarious ways in which the illegitimate refuses to conform to its normative role of defining and obeying boundaries, fighting back from where it has been placed as being beyond the law. As previously mentioned, the OED lists eight possible usages of “illegitimate”. Serendipitously, the contributions to this issue of M/C address each one of them, in different ways. The feature article for this issue, by Katie Ellis, addresses the illegitimisation inherent in how we perceive disability. With a profusion of bastards to choose from in the Game of Thrones narratives, Ellis has chosen to focus on the elements of physical abnormality that confer illegitimate status. From the other characters’ treatment of the dwarf Tyrion Lannister, and other disabled figures within the story, Ellis is able to explore the marginalisation of disability, both as depicted by George R. R. Martin and experienced within the contemporary Australian community. Several contributions address the concept of the illegitimate from its meaning of outside the law, unauthorised or unwarranted. Anne Aly’s paper “Illegitimate: When Moderate Muslims Speak Out” sensitively addresses the illegitimate position to which many Muslims in Australia feel themselves relegated. As she argues, attempting to avoid being regarded as “apologists for Islam” yet simultaneously expected to act as a unifying voice for what is in fact a highly fragmented cultural mix, places such individuals in an insupportable, “illegitimate” position. Anne Aly also joins Lelia Green in exploring the rhetorical strategies used by various Australian governments to illegitimate specific cohorts of would-be Australian migrants. “Bastard immigrants: asylum seekers who arrive by boat and the illegitimate fear of the other” discusses attempts to designate certain asylum seekers as illegitimate intruders into the national family of Australia in the context of the ending of the White Australia policy and the growth of multicultural Australia. Both papers highlight the punitive impact of illegitimisation on particular segments of society and invite recognition of the unlawfulness, or illegitimacy, of the processes themselves that have been used to create such illegitimacy.Illegitimate processes and incorrect inferences, and the illegitimisation of an organisation through media representation which ignores a range of legitimate perspectives are the subject of Ashley Donkin’s work on the National School Chaplaincy and Student Welfare Program (NSCSWP). As Donkin notes, this has been a highly controversial topic in Australia, and her research identifies the inadequacies and prejudices that, she argues, contributed to an illegitimate representation of the programme in the Australian media. Without arguing for or against the NSCSWP, Donkin’s research exposes the extent of prejudiced reporting in the Australian media and its capacity to illegitimise programmes (or, indeed, individuals). Interesting here, and not entirely irrelevant (although not directly addressed in Donkin’s paper), is the notion of prejudice as being an opinion formed or promulgated prior to considering the equitable, just or judicial/judged position. Analogous to the way in which the illegitimate is outside the law, the prejudiced only falls within the law through luck, rather than judgement, since ill-advised opinion has guided its formation. Helen Vella Bonavita explores why illegitimacy is perceived as evil or threatening, looking to anthropologists Mary Douglas and Edmund Leach. Using Shakespeare’s Henry V as a case study, Vella Bonavita argues that illegitimacy is one of the preeminent metaphors used in literature and in current political discourses to articulate fears of loss of national as well as personal identity. As Vella Bonavita notes, as well as being a pollutant that the centre attempts to cast to the margins, the illegitimate can also be a potent threat, a powerful figure occupying an undeniable position, threatening the overturning of the established order. The OED’s definition of illegitimate as “one whose position is viewed in some way as illegitimate” is the perspective taken by Crystal Abidin and Herawaty Abbas. In her work “I also Melayu OK”, Abidin explores the difficult world of the bi-racial person in multi-ethnic Singapore. Through a series of interviews, Abbas describes the strategies by which individuals, particularly Malay-Chinese individuals, emphasise or de-emphasise particular linguistic or cultural behaviours in order to overcome their ambivalent cultural position and construct their own desired socially legitimate identity. Abidin’s positive perspective nonetheless evokes its shadow side, the spectre of the anti-miscegenation laws of a range of racist times and societies (but particularly Apartheid South Africa), and those societies’ attempts to outlaw any legitimisation of relationships, and children, that the law-makers wished to prohibit. The paper also resonates with the experience of relationships across sectarian divides and the parlous circumstances of Protestant –Catholic marriages and families during the 1970s in the north of Ireland, or of previously-acceptable Serbo-Croatian unions during the disintegration of the former Socialist Federal Republic of Yugoslavia in the 1990s. Herawaty Abbas and Brooke Collins-Gearing reflect on the process of academic self-determination and self-construction in “Dancing with an illegitimate feminism: a female Buginese scholar's voice in Australian Academia”. Abbas and Collins-Gearing address the research journey from the point of view of a female Buginese PhD candidate and an Indigenous Australian supervisor. With both candidate and supervisor coming from traditionally marginalised backgrounds in the context of Western academia, Abbas and Collins-Gearing chart a story of empowerment, of finding a new legitimacy in dialogue with conventional academic norms rather than conforming to them. Three contributions address the illegitimate in the context of the illegitimate child, moving from traditional associations of shame and unmarried pregnancy, to two creative pieces which, like Abidin, Abbas and Collins-Gearing, chart the transformative process that re-constructs the illegitimate space into an opportunity to form a new identity and the acceptance, and even embrace, of the previously de-legitimising authorities. Gardiner’s work, “It is almost as if there were a written script: child murder, concealment of birth and the unmarried mother in Western Australia” references two women whose stories, although situated almost two hundred years apart in time, follow a similarly-structured tale of pregnancy, shame and infant death. Kim Coull and Sue Bond in “Secret Fatalities and Liminalities” and “Heavy Baggage and the Adoptee” respectively, provide their own stories of illuminative engagement with an illegitimate position and the process of self-fashioning, while also revisiting the argument of the illegitimate as the liminal, a perspective previously advanced by Vella Bonavita’s piece. The creative potential of the illegitimate condition is the focus of the final three pieces of this issue. Bruno Starrs’s “Hyperlinking History and the Illegitimate Imagination” discusses forms of creative writing only made possible by the new media. Historic metafiction, the phrase coined by Linda Hutcheon to reflect the practice of inserting fictional characters into historical situations, is hardly a new phenomenon, but Starrs notes how the possibilities offered by e-publishing enable the creation of a new level of metafiction. Hyperlinks to external sources enable the author to engage the reader in viewing the book both as a work of fiction and as self-conscious commentary on its own fictionality. Renata Morais’ work on different media terminologies in “I say nanomedia, You say nano-media: il/legitimacy, interdisciplinarity and the anthropocene” also considers the creative possibilities engendered by interdisciplinary connections between science and culture. Her choice of the word “anthropocene,” denoting the geological period when humanity began to have a significant impact on the world’s ecosystems, itself reflects the process whereby an idea that began in the margins gains force and legitimacy. From an informal and descriptive term, the International Commission on Stratigraphy have recently formed a working group to investigate whether the “Anthropocene” should be formally adopted as the name for the new epoch (Sample).The final piece in this issue, Katie Lavers’ “Illegitimate Circus”, again traces the evolution of a theatrical form, satisfyingly returning in spirit if not in the written word to some of the experiences imagined by George R. R. Martin for his character Tyrion Lannister. “Illegitimate drama” was originally theatre which relied more on spectacle than on literary quality, according to the OED. Looking at the evolution of modern circus from Astley’s Amphitheatre through to the Cirque du Soleil spectaculars, Lavers’ article demonstrates that the relationship between legitimate and illegitimate is not one whereby the illegitimate conforms to the norms of the legitimate and thereby becomes legitimate itself, but rather where the initial space created by the designation of illegitimate offers the opportunity for a new form of art. Like Starrs’ hyperlinked fiction, or the illegitimate narrators of Coull or Bond’s work, the illegitimate art form does not need to reject those elements that originally constituted it as “illegitimate” in order to win approval or establish itself. The “illegitimate”, then, is not a fixed condition. Rather, it is a status defined according to a particular time and place, and which is frequently transitional and transformative; a condition in which concepts (and indeed, people) can evolve independently of established norms and practices. Whereas the term “illegitimate” has traditionally carried with it shameful, dark and indeed punitive overtones, the papers collected in this issue demonstrate that this need not be so, and that the illegitimate, possibly more than the legitimate, enlightens and has much to offer.ReferencesMosendz, Polly. “When a Baby Born in Australia Isn’t Australian”. The Atlantic 16 Oct. 2014. 25 Oct. 2014 ‹http://www.theatlantic.com/international/archive/2014/10/when-a-baby-born-in-australia-isnt-australian/381549/›Baskin, Brooke. “Asylum Seeker Baby Ferouz Born in Australia Denied Refugee Status by Court”. The Courier Mail 15 Oct. 2014. 25 Oct. 2014 ‹http://www.couriermail.com.au/news/queensland/asylum-seeker-baby-ferouz-born-in-australia-denied-refugee-status-by-court/story-fnihsrf2-1227091626528›.Sample, Ian. “Anthropocene: Is This the New Epoch of Humans?” The Guardian 16 Oct. 2014. 25 Oct. 2014 ‹http://www.theguardian.com/science/2014/oct/16/-sp-scientists-gather-talks-rename-human-age-anthropocene-holocene›.
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48

Aly, Anne, and Mark Balnaves. "The Atmosfear of Terror." M/C Journal 8, no. 6 (December 1, 2005). http://dx.doi.org/10.5204/mcj.2445.

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Since September 11, Muslims in Australia have experienced a heightened level of religiously and racially motivated vilification (Human Rights and Equal Opportunity Commission). These fears were poignantly expressed in a letter to the Editor of The West Australian newspaper from a Muslim woman shortly after the London terror attacks: All I want to say is that for those out there who might have kamikaze ideas of doing such an act here in Australia, please think of others (us) in your own community. The ones who will get hurt are your own, especially we the women who are an obvious target in the public and have to succumb to verbal abuse most of the time. Dealing with abuse and hatred from some due to 9/11 and Bali is not something I want to go through again. (21) The atmosfear of terror finds many expressions among the Muslim communities in Australia: the fear of backlash from some sectors of the wider community; the fear of subversion of Islamic identity in meeting the requirements of a politically defined “moderate” Islam; the fear of being identified as a potential terrorist or “person of interest” and the fear of potentially losing the rights bestowed on all other citizens. This fear or fears are grounded in the political and the media response to terrorism that perpetuates a popular belief that Muslims, as a culturally and religiously incompatible “other”, pose a threat to the Australian collective identity and, ostensibly, to Australia’s security. At the time of publication, for example, there was mob violence involving 5,000 young people converging on Sydney’s Cronulla beach draped in Australian flags singing Waltzing Matilda and Advance Australia Fair as well as chanting “kill the Lebs”, “no more Lebs” (Lebanese). The mob was itself brought together by a series of SMS messages, appealing to participants to “help support Leb and Wog bashing day” and to “show solidarity” against a government-identified “threat to Aussie identity” (The West Australian). Since September 11 and the ensuing war on terror, a new discourse of terrorism has emerged as a way of expressing how the world has changed and defining a state of constant alert (Altheide). “The war on terror” refers as much to a perpetual state of alertness as it does to a range of strategic operations, border control policies, internal security measures and public awareness campaigns such as “be alert, not alarmed”. According to a poll published in The Sydney Morning Herald in April 2004, 68 per cent of Australians believed that Australia was at threat of an imminent terrorist attack (Michaelsen). In a major survey in Australia immediately after the September 11 attacks Dunn & Mahtani found that more than any other cultural or ethnic group, Muslims and people from the Middle East were thought to be unable to fit into Australia. Two thirds of those surveyed believed that humanity could be sorted into natural categories of race, with the majority feeling that Australia was weakened by people of different ethnic origins. Fifty-four per cent of those surveyed, mainly women, said they would be concerned if a relative of theirs married a Muslim. The majority of the Muslim population, not surprisingly, has gone into a “siege mentality” (Hanna). The atmosfear of terror in the Western world is a product of the media and political construction of the West as perpetually at threat of a terrorist attack from a foreign, alien, politically defined “other”, where “insecurity…is the new normal” (Massumi 31). Framed in a rhetoric that portrays it as a battle for the Western values of democracy and freedom, the “war on terror” becomes not just an event in space and time but a metonym for a new world order, drawing on distinctions between “us” and “them” and “the West” and “others” (Osuri and Banerjee) and motivating collective identity based on a construction of “us” as victims and “them” as the objects of fear, concern and suspicion. The political response to the war on terror has inculcated an atmosfear of terror where Australian Muslims are identified as the objects of this fear. The fear of terrorism is being modulated through government and the popular media to perpetuate a state of anxiety that finds expression in the heightened levels of concern and suspicion over a perceived threat. In the case of the war on terror, this threat is typically denoted as radical Islam and, by inference, Australian Muslims. In his exposition of political fear, Corey Robin notes that a central element of political fear is that it is often not read as such – rendering it alien to analysis, critical debate and understanding. Nowhere is this more salient than in the rhetoric on the war on terror characterised by the familiar invocation of terms like democracy and freedom to make distinctions between “the West and the rest” and to legitimise references to civilised and uncivilised worlds. In his speech delivered at the United Nations Security Council Ministerial Session on Terrorism on 20 January 2003, Colin Powell invoked the rhetoric of a clash of civilisations and urged, “we must rid the civilised world of this cancer … We must rise to the challenge with actions that will ride the globe of terrorism and create a world in which all God’s children can live without fear”. It is this construction of the war on terror as a global battle between “the West and the rest” that enables and facilitates the affective response to political fear – a reaffirmation of identity and membership of a collective. As Robin states: Understanding the objects of our fear as less than political allows us to treat them as intractable foes. Nothing can be done to accommodate them: they can only be killed or contained. Understanding the objects of our fear as not political also renews us as a collective. Afraid, we are like the audience in a crowded theatre confronting a man falsely shouting fire: united, not because we share similar beliefs of aspiration but because we are equally threatened. (6) This response has found expression in the perception of Muslims as an alien, culturally incompatible and utterly threatening other, creating a state of social tension where the public’s anxiety has been and continues to be directed at Australian Muslims who visibly represent the objects of the fear of terror. The Australian Government’s response to the war on terror exemplifies what Brian Massumi terms “affective modulation” whereby the human response to the fear of terror, that of a reinforcement and renewal of collective identity, has been modulated and transformed from an affective response to an affective state of anxiety – what the authors term the atmosfear of terror. Affect for Massumi can be inscribed in the flesh as “traces of experience” – an accumulation of affects. It is in this way that Massumi views affect as “autonomous” (Megan Watkins also makes this argument, and has further translated Massumi's notions into the idea of pedagogic affect/effect). In the Australian context, after more than four years of collected traces of experiences of images of threat, responses to terrorism have become almost reflexive – even automated. Affective modulation in the Australian context relies on the regenerative capacity of fear, in Massumi’s terms its “ontogenetic powers” (45) to create an ever-present threat and maintain fear as a way of life. The introduction of a range of counter-terrorism strategies, internal-security measures, legislative amendments and policies, often without public consultation and timed to coincide with “new” terror alerts is testimony to the affective machinations of the Australian government in its response to the war on terror. Virilio and Lotringer called “pure war” the psychological state that happens when people know that they live in a world where the potential for sudden and absolute destruction exists. It is not the capacity for destruction so much as the continual threat of sudden destruction that creates this psychology. Keith Spence has stated that in times of crisis the reasoned negotiation of risk is marginalised. The counter-terrorism legislation introduced in response to the war on terror is, arguably, the most drastic anti-libertarian measures Australia has witnessed and constitutes a disproportionate response to Australia’s overall risk profile (Michaelsen). Some of these measures would once have seemed an unthinkable assault on civil liberties and unreasonably authoritarian. Yet in the war on terror, notes Jessica Stern, framed as a global war of good versus evil, policies and strategies that once seemed impossible suddenly become constructed as rationale, if not prudent. Since September 11, the Australian government has progressively introduced a range of counter-terrorism measures including over 30 legislative amendments and, more recently, increased powers for the police to detain persons of interest suspected of sedition. In the wake of the London bombings, the Prime Minister called a summit with Muslim representatives from around the nation. In the two hours that they met, the summit developed a Statement of Principles committing members of Muslim communities to combat radicalisation and pursue “moderate” Islam. As an affective machination, the summit presents as a useful political tool for modulating the existing anxieties in the Australian populace. The very need for a summit of this nature and for the development of a Statement of Principles (later endorsed by the Council of Australian Governments or COAG) sends a lucid message to the Australian public. Not only are Australian Muslims responsible for terrorism but they also have the capacity to prevent or minimise the threat of an attack in Australia. Already the focus of at least a decade of negative stereotyping in the popular Australia media (Brasted), Australian Muslims all too quickly and easily became agents in the Government’s affective tactics. The policy response to the war on terror has given little consideration to the social implications of sustaining a fear of terrorism, placing much emphasis on security- focused counter-terrorism measures rather than education and dialogue. What governments and communities need to address is the affective aspects of the atmosfear of terror. Policy makers can begin by becoming self-reflexive and developing an understanding of the real impact of fear and the affective modulation of this fear. Communities can start by developing an understanding of how policy induced fear is affecting them. To begin this process of reflection, governments and communities need to recognise fear of terrorism as a political tool. Psychological explanations for fear or trauma are important, especially if we are to plan policy responses to them. However, if we are to fight against policy-induced fear, we need to better understand and recognise affective modulation as a process that is not reducible to individual psychology. Viewed from the perspective of affect, the atmosfear of terror reveals an attempt to modulate public anxiety and sustain a sense of Australia as perpetually at threat from a culturally incompatible and irreconcilable “other”. References Altheide, David. L. “Consuming Terrorism.” Symbolic Interaction 27.3 (2004): 289–308. Brasted, Howard, V. “Contested Representations in Historical Perspective: Images of Islam and the Australian Press 1950-2000”. In A. Saeed & S. Akbarzadeh, Muslim Communities in Australia. Sydney: U of NSW P, 2001. Dunn, K.M., and M. Mahtani. “Media Representations of Ethnic Minorities.” Progress in Planning 55.3 (2001): 63–72. Dunn, K.M. “The Cultural Geographies of Citizenship in Australia.” Geography Bulletin 33.1 (2001): 4–8. “Genesis of Cronulla’s Ugly Sunday Began Years Ago.” The West Australian 2005: 11. Green, Lelia. “Did the World Really Change on 9/11?” Australian Journal of Communication 29.2 (2002): 1–14. Hanna, D. 2003. “Siege Mentality: Current Australian Response.” Salam July-Aug. (2003): 12–4. Human Rights and Equal Opportunity Commission. Ismaa – Listen: National Consultations on Eliminating Prejudice against Arab and Muslim Australians. Sydney: Human Rights and Equal Opportunity Commission, 2004. Kerbaj, Richard. “Clerics Still Preaching Hatred of West.” The Australian 3 Nov. 2005. Kinnvall, Catarina. “Globalization and Religious Nationalism: Self, Identity, and the Search for Ontological Security.” Political Psychology 25.5 (2004): 741. “Letters to the Editor.” The West Australian 25 July 2005: 21. Massumi, Brian. “Fear (The Spectrum Said).” Positions 13.1 (2005): 31–48. Massumi, Brian. “The Autonomy of Affect.” In P. Patton, ed., Deleuze: A Critical Reader. Cambridge, Mass.: Blackwell, 1996. “Meeting with Islamic Community Leaders, Statement of Principles.” 23 Aug. 2005. http://www.pm.gov.au/news/media_releases/media_Release1524.html> Michaelsen, Christopher. “Antiterrorism Legislation in Australia: A Proportionate Response to the Terrorist Threat?” Studies in Conflict and Terrorism 28.4 (2005): 321–40. Osuri, Goldie, and Subhabrata Bobby Banerjee. “White Diasporas: Media Representations of September 11 and the Unbearable Whiteness of Being in Australia.” Social Semiotics 14.2 (2004): 151–71. Powell, Colin. “Ridding the World of Global Terrorism: No Countries or Citizens are Safe.” Vital Speeches of the Day 69.8 (2003): 230–3. Robin, Corey. Fear: The History of a Political Idea. New York: Oxford UP, 2004. Spence, Keith. “World Risk Society and War against Terror.” Political Studies 53.2 (2005): 284–304. Stern, Jessica. “Fearing Evil.” Social Research 71.4 (2004): 1111–7. “Terrorism Chronology.” Parliament of Australia Parliamentary Library. http://www.aph.gov.au/library/intguide/law/terrorism.htm> Tomkins, Silvan. Affect, Imagery and Consciousness. New York: Springer Publishing, 1962. Virilio, Paul, and Sylvere Lotringer. Pure War. New York: Semio-text(e), 1997. Watkins, Megan. “Pedagogic Affect/Effect: Teaching Writing in the Primary Years of School.” Presented at Redesigning Pedagogy: Research, Policy, Practice Conference. Singapore: National Institute of Education, 31 May 2005. Citation reference for this article MLA Style Aly, Anne, and Mark Balnaves. "The Atmosfear of Terror: Affective Modulation and the War on Terror." M/C Journal 8.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0512/04-alybalnaves.php>. APA Style Aly, A., and M. Balnaves. (Dec. 2005) "The Atmosfear of Terror: Affective Modulation and the War on Terror," M/C Journal, 8(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0512/04-alybalnaves.php>.
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Pender, Anne. "Australia and China at 50: The New Wave Theatre and the Drama of Cultural Exchange." Journal of Australian Studies, July 20, 2022, 1–14. http://dx.doi.org/10.1080/14443058.2022.2099951.

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Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2629.

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Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twenty-two pieces painted by graffiti writers from around Australia. Keen to present a respectable image, writers rejected the original title of Bomb the Wharf, as they felt it focused on the negative aspects of the culture (Andrews, 2). Premier Bob Carr opened the exhibition with the declaration that there is a difference between “graffiti art” and “graffiti vandalism”. The Premier’s stance struck a discordant note with Tony Stevens, a twenty-three-year veteran graffiti cleaner. Described by the Sydney Morning Herald as an “urban art critic by default,” Stevens could see no distinction between graffiti art and vandalism (Leys, 1). Furthermore, he expressed his disappointment that the pieces had “no sense of individuality … it could be graffiti from any American city” (Stevens, 1). As far as Stevens could see, Australian graffiti expressed nothing of its Australian context; it simply mimicked that of America. Sydney Theatre Company director Benedict Andrews responded with a venomous attack on Stevens. Andrews accused the cleaner of being blinded by prejudice (1), and felt that years of cleaning texta tags from railway corridors could not have possibly qualified Stevens as an art critic (3). “The artists in this exhibition are not misfits,” Andrews wrote (2). “They are serious artists in dialogue with their culture and the landscapes in which they live” (2). He went on to hail the strength and diversity of the Australian graffiti scene: “it is a vital and agile international culture and in Australia has evolved in specific ways” (1). The altercation between Stevens and Andrews pointed to one of the debates concerning Australian graffiti: whether it is unique or simply imitative of the American form. Hinged on the assessment of graffiti as vandalism is the view that graffiti is dirty, a disease. Proponents of this view consider graffiti to be an undifferentiated global phenomenon. Others conceive of graffiti as art, and as such argue that it is expressive of local experiences. Graffiti writers maintain that graffiti is expressive of local experiences and they describe it in terms of regional styles and aesthetics. This article maps the transformation of hip hop graffiti as it has been disseminated throughout the world. It registers the distinctiveness of graffiti in Australia and argues that graffiti is not a globally homogenous form, but one which develops in a locally specific manner. Writing and Replicating: Hip Hop Graffiti and Cultural Imperialism Contemporary graffiti subcultures are strongly identified with large American cities. Originating in the black neighbourhood cultures of Philadelphia and New York City in the late 1960s and early 1970s, hip hop graffiti emerged as part of a larger, homegrown, alternative youth culture (“Urban Graffiti”, 77). Before the end of the 1970s, the aesthetic codes and stylised images of hip hop graffiti began to disseminate to major cities across America and throughout the globe. Its transmission was facilitated by: the production and export of films such as Style Wars (Silver and Chalfant, 1983) and Wild Style (Ahearn, 1983); the covers of rap albums; graffiti magazines; art dealers; and style manuals such as Subway Art (Cooper and Chalfant) and Spraycan Art (Chalfant and Prigroff). Graffiti migrated to Australian shores during the early 1980s, gaining influence through the appearance of these seminal works, which are credited by many as having inspired them to pick up a can of spraypaint. During its larval stages, the subcultural codes of graffiti invented by American writers were reiterated in an Australian context. Australian graffiti writers poached the vocabulary and rhetoric invented by their American counterparts. Writers spoke of “getting up”, “getting fame” and their “crew”, classifying their work as “tags”, “pieces”, or “throw ups”. They utilised the same bubble letters, and later, the incomprehensible “wildstyle” originally devised by American writers. It was not long, however, before Australian writers were making their own innovations and developing a unique style. Despite this, there is still widespread conviction in the view that Australian graffiti is a replica of an American cultural form. This view is supported at a theoretical level by the concept of cultural imperialism. It is generally understood, at a basic level, to be the diffusion of a foreign culture at the expense of a local culture. The concept has been usefully clarified by John Tomlinson. Since there are various orders of power involved in allegations of cultural imperialism, Tomlinson attempts to resist some implicit “master narrative” of the term, accounting for cultural imperialism in a multidimensional fashion (20). He outlines five possible versions, which inflect cultural imperialism to mean cultural domination; a discourse of nationality; media imperialism; global capital; and modernity (19-28). The idea that Australian graffiti replicates American graffiti draws particularly on the first two versions—that of cultural imperialism as cultural domination, and the discourse of nationality. Both these approaches focus on the processes involved in cultural imperialism—“the invasion of an indigenous culture by a foreign one” (Tomlinson, 23). Many people I spoke to about graffiti saw it as evidence of foreign, particularly American, domination and influence over Australian culture. They expressed concern that the appearance of graffiti would signal an influx of “American” problems: gang activity, escalating violence and social disorder. Cultural imperialism as a discourse of nationality hinges on the concepts of “belonging” and “indigenous culture”. In a conference organised by the Graffiti Program of the Government of Western Australia, Senator Ian Campbell argued that graffiti had no place in Australia. He felt that, “there should be little need for social comment through the vandalism of other’s property. Perhaps in nations where … freedoms are not recognised … but not in Australia” (6). Tomlinson argues that the conceptions of cultural imperialism as both cultural domination and as a discourse of nationality are popular because of their highly ambiguous (and thus accommodating) nature (19, 23). However, both notions are problematic. Tomlinson immediately dismisses the notion of cultural imperialism as cultural domination, arguing that one should aim for specificity. “Imperialism” and “domination” are rather general notions, and as such both have sufficient conceptual breadth and ambiguity to accommodate most uses to which they might be put (19). Cultural imperialism as a discourse of nationality is similarly problematic, relying on the precise definitions of a series of terms—such as belonging, and indigenous culture—which have multiple inflections (24). Cultural imperialism has often been tracked as a process of homogenisation. Conceiving of cultural imperialism as homogenisation is particularly pertinent to the argument for the global homogeneity of graffiti. Cultural homogenisation makes “everywhere seem more or less the same,” assuming a global uniformity which is inherently Western, and in extreme cases, American (6). The implications of “Americanisation” are relevant to the attitudes of Australian graffiti writers. On the Blitzkrieg Bulletin Board—an internet board for Australian graffiti writers—I found evidence of a range of responses to “Americanisation” in Australian graffiti. One of the writers had posted: “you shouldn’t even be doing graff if you are a toy little kid, buying export paint and painting legal walls during the day … f*** all y’all niggaz!” s3 replied, “I do know that modern graffiti originated in America but … token are you American? Why do you want to talk like an American gangsta rapper?” The global currency of graffiti is one in which local originality and distinctiveness are highly prized. It is a source of shame for a writer to “bite”. Many of the writers I spoke to became irate when I suggested that Australian styles “bit” those of America. It seems inconsistent that Australian graffiti writers would reproduce American graffiti, if they do not even tolerate Australian writers using the word “nigga”. Like the argument that Australian graffiti replicates that of America, the concept of cultural imperialism is problematic. By the 1970s the concept was beginning to come apart at the seams, its “artificial coherence” exposed when subjected to a range of applications (Tomlinson, 8). Although the idea of cultural imperialism has been discredited and somewhat abandoned at the level of theory, the concept nonetheless continues to guide attitudes towards graffiti. Jeff Ferrell has argued that the interplay of cultural resources involved in worldwide graffiti directly locates it inside issues of cultural imperialism (“Review of Moscow Graffiti”, paragraph 5). Stylistic and subcultural consistencies are mobilised to substantiate assertions of the operation of cultural imperialism in the global form of graffiti. This serves to render it globally homogeneous. While many graffiti writers would concede that graffiti maintains certain global elements, few would agree that this is indicative of a global homogeneity of form. As part of the hip hop component of their website, Triple J conducted an investigation into graffiti. It found that “the graffiti aesthetic developed in New York has been modified with individual characteristics … and has transformed into a unique Australian style” (“Old Skool”, paragraph 6). Veteran writers Umph, Exit, Phibs and Dmote agree. Perth writer Zenith claims, “we came up with styles from the US back in the day and it has grown into something quite unique” (personal communication). Exit declares, “every city has its own particular style. Graffiti from Australia can easily be distinguished by graffiti artists. Australia has its own particular style” (1). Umph agrees: “to us writers, the differences are obvious” (2). Although some continue to perceive Australian graffiti as replicating that of America, it appears that this is no longer the case. Evidence has emerged that Australian graffiti has evolved into a unique and localised form, which no longer imitates that of America. “Going Over” Cultural Imperialism: Hip Hop Graffiti and Processes of Globalisation The argument that graffiti has developed local inflections has lately garnered increasing support due to new theories of global cultural interaction and exchange. The modern era has been characterised by the increasing circulation of goods, capital, knowledge, information, people, images, ideologies, technologies and practices across national borders and territorial boundaries (Appadurai, 230; Scholte, 10). Academic discussion of these developments has converged in recent years around the concept of “globalisation”. While cultural imperialism describes these movements as the diffusion of a foreign culture at the expense of a local one, globalisation interprets these profound changes as evidence of “a global ecumene of persistent cultural interaction and exchange” (Hannerz, 107). In such a view, the globe is not characterised by domination and homogenisation (as with cultural imperialism), but more in terms of exchange and heterogeneity. Recent studies acknowledge that globalisation is complex and multidimensional (Giddens, 30; Kalb, 1), even a process of paradoxes (Findlay, 30). Globalisation is frequently described in terms of contradictory processes—universalisation vs. particularisation, homogenisation vs. differentiation, integration vs. fragmentation. Another of these dialectical tendencies is that of localisation. Kloos defines localisation as representing “the rise of localised, culturally defined identities … localisation stresses sociocultural specificity, in a limited space” (281). While localisation initially appears to stand in opposition to globalisation, the concepts are actually involved in a dialectical process (Giddens, 64). The relationship between localisation and globalisation has been formulated as follows: “Processes of globalisation trigger identity movements leading to the creation of localised, cultural-specific, identities” (Kloos, 282). The development of localisation is particularly pertinent to this study of graffiti. The concept allows for local diversity and has led to the understanding that global cultural phenomena are involved in a process of exchange. Work around globalisation lends credence to the argument that, as graffiti has disseminated throughout the globe, it has mutated to the specific locale within which it exists. Graffiti has always been locally specific: from the early stages which witnessed writers such as Julio 204, Fran 207 and Joe 136 (the numbers referred to their street), to the more recent practice of suffixing tag names with the name of a writers’ crew and their area code. The tendency to include area codes has been largely abandoned in Australia as the law has responded to graffiti with increasing vigilance, but evolutions in graffiti have pointed towards the development of regionally specific styles which writers have come to recognise. Thus, graffiti cannot be thought of as a globally homogenous form, nor can it be said that Australian graffiti replicates that of America. As hip hop has circulated throughout the globe it has appeared to adopt local inflections, having adapted into something quite locally distinctive. In a sense hip hop has been “translated” to particular circumstances. It is now appropriate to consider Australian hip hop and graffiti as a translation of a global cultural phenomenon. A useful reference in this regard is Yuri Lotman, who designates dialogue as the elementary mechanism of translation (143). He suggests that participants involved in a dialogue alternate between a position of “transmission” and “reception” (144). Hence cultural developments are cyclical, and relationships between units—which may range from genres to national cultures—pass through periods of “transmission” and “reception” (144). Lotman proposes that the relationship between structures follows a pattern: at first, a structure will appear in decline, static, unoriginal. He records these “intermissions” as “pauses in dialogue”, during which the structure absorbs influences from the outside (144). When saturation reaches a certain limit, the structure begins producing its own texts as its “passive state changes to a state of alertness” (145). This is a useful way of comprehending Australian hip hop culture. It appears that the Australian hip hop scene has left behind its period of “reception” and is now witnessing one of “transmission” in which it is producing uniquely Australian flavours and styles. Of the contemporary graffiti I have observed, it appears that Australian writing is truly distinctive. Australian writers may have initially poached the subcultural codes developed by their American counterparts, however Australia has evolved to be truly unique where it counts—in graffiti styles. Distinctive graffiti styles can be witnessed, not only between different continents, but also within geographic locations. American graffiti registers a variety of locally specific forms. New York remains devoted to the letter, while graffiti on the west coast of America is renowned for its gang writing. American lettering styles tend to develop existing styles. New York wildstyle is easily recognised, and differs from letters in the Bay Area and San Francisco, which feature arrows inside the letters. While American graffiti is by and large concerned with letters, Australia has gained some repute for its exploration of characters. Like American writers, Australians employ characters poached from popular culture, but for the most part Australian writers employ characters and figures that they have invented themselves, often poaching elements from a wide variety of sources and utilising a wide variety of styles. Marine imagery, not usually employed in American graffiti, recurs in Australian pieces. Kikinit in the Park, a youth festival held in Fremantle in March 2001, featured a live urban art display by Bugszy Snaps, who combined oceanic and graffiti iconography, fusing sea creatures with spraypaint cans. Phibs also “uses images from the sea a lot” (Hamilton, 73), having grown up at the beach. In spite of this focus on the development of characters and images, Australia has not neglected the letter. While initially Australian graffiti artists imitated the styles developed in America, Australian lettering has evolved into something exceptional. Some writers have continued to employ bubble letters and wildstyle, and Australia has kept up with modifications in wildstyle that has seen it move towards 3D. Australia has cultivated this form of traditional wildstyle, elevating it to new heights. Sometimes it is combined with other styles; other times it appears as controlled wildstyle—set around a framework of some sort. In other instances, Australia has charted new territory with the letter, developing styles that are completely individual. Australian writing also blends a variety of lettering and graphic styles, combining letters and figures in new and exciting ways. Australian graffiti often fuses letters with images. This is relatively rare in American graffiti, which tends to focus on lettering and, on the whole, utilises characters to less effect than Australian graffiti. Conclusion Graffiti is not a globally homogeneous form, but one which has developed in locally specific and distinctive ways. As hip hop graffiti has circulated throughout the globe it has been translated between various sites and developed local inflections. In order to visualise graffiti in this manner, it is necessary to recognise theories of cultural imperialism as guiding the widespread belief that graffiti is a globally homogeneous form. I have refuted this view and the worth of cultural imperialism in directing attitudes towards graffiti, as there is a valid foundation for considering the local distinctiveness of Australian graffiti. By engaging critically with literature around globalisation, I have established a theoretical base for the argument that graffiti is locally specific. Envisaging the global form of hip hop graffiti as translated between various sites and having developed in locally specific ways has exposed the study of graffiti outside of the United States. Current writings on cultural studies and graffiti are dominated by the American academy, taking the United States as its centre. In rectifying this imbalance, I stress the need to recognise the distinctiveness of other cultures and geographic locations, even if they appear to be similar. While writers across Australia argue that their locations produce original styles, few have been willing to expound on how their scene is “fresh”. One writer I spoke with was an exception. Zenith explained that: “the way we are original is that our style has developed for so long, fermented if you will, because of Perth being so damned isolated” (personal communication). He went on to say: “I also happen to feel that we’re losing the originality every second of every day, for a number of reasons … with web sites, videos, magazines, and all this type of graffito affiliated stuff” (personal communication). Hip hop graffiti culture is one in which communication and exchange is of central concern. The circulation of this “graffito affiliated stuff”—websites, graffiti magazines, videos, books—as well as the fact that aerosol artists frequently travel to other cities and countries to write, demonstrates that this is a culture which, although largely identified with America, is also global in reach. This global interaction and exchange is increasingly characterised by a complex relationship which involves imitation and adaptation. Glossary Bite To copy another graffiti writer’s style Crew Organised group of graffiti writers Getting up Successful graffiti endeavour; to graffiti Going over To graffiti over another’s graffiti Piece The most sophisticated kind of graffiti, which includes characters, words and phrases Tag A stylised version of a signature; the most basic form of graffiti Throw up Two-dimensional version of a tag Wildstyle Style of graffiti characterised by interlocking letters and arrows Writer Graffiti artist; one who does graffiti References Andrews, Benedict. “If a Cleaner Can Review Graffiti Art, Then …” Sydney Morning Herald 15 Jan. 2001. 15 August 2001 http://www.smh.com.au/news/0101/15/features/features8.html>. Appadurai, Arjun. “Globalization and the Research Imagination.” International Social Science Journal 51.2 (1999): 229-38. Campbell, Ian. “The National Perspective.” Dealing with Graffiti. Ed. Graffiti Program, Government of Western Australia: Perth, 1997: 6-7. Chalfant, Henry, and James Prigroff. Spraycan Art. London: Thames & Hudson, 1987. Cooper, Martha, and Henry Chalfant. Subway Art. London: Thames & Hudson, 1984. “Exit”. n.d. [1998]. 18 Jul. 2001 http://loud.net.au/projects/digit/garry/exit.htm>. Ferrell, Jeff. “Review of Moscow Graffiti: Language and Subculture.” Social Justice 20.3-4 (1993): 188 (15). ———. “Urban Graffiti: Crime, Control, and Resistance.” Youth and Society 27 (1995-6): 73-87. Findlay, Mark. The Globalization of Crime: Understanding Transitional Relationships in Context. Cambridge: Cambridge UP, 1999. Giddens, Anthony. Runaway World: How Globalization Is Reshaping our Lives. New York: Routledge, 2000. Hamilton, Kate. “Can in Hand.” Rolling Stone 590 (2001): 72-5. Hannerz, Ulf. “Scenarios for Peripheral Cultures.” Culture, Globalization and the World-System: Contemporary Conditions for the Representation of Identity. Ed. Anthony D. King. Houndmills: Macmillan, 1991. 107-28. Kalb, Don. “Localizing Flows: Power, Paths, Institutions, and Networks.” The Ends of Globalization: Bringing Society Back In. Ed. Don Kalb. Boston: Rowman and Littlefield Publishers, 2000. 1-29. Kloos, Peter. “The Dialectics of Globalization and Localization.” The Ends of Globalization: Bringing Society Back In. Ed. Don Kalb. Boston: Rowman and Littlefield, 2000. 281-97. Leys, Nick. “Graffiti Removalist Gives Art Installation a Spray.” Sydney Morning Herald 9 January 2001. 9 Jan. 2001. http://www.smh.com.au/news/0101/09/national/national15.html>. Lotman, Yuri. The Universe of the Mind: A Semiotic Theory of Culture. Bloomington, IN: Indiana UP, 1990. “Old Skool.” Triple J. 2001. 18 Jul. 2001 http://www.abc.net.au/triplej/arts/graff/oldskool/default.htm>. s3. “Name & Email Supplied.” Online posting. 9 May 2004. Blitzkrieg Bulletin Board. 20 July 2001 http://network54.com/Forum>. Scholte, Jan Aarte. “Globalisation: Prospects For a Paradigm Shift.” Politics and Globalisation: Knowledge, Ethics and Agency. Ed. Martin Shaw. London: Routledge, 1999. 9-22. Stevens, Tony. “It’s Vandalism, It’s Illegal and It Causes Anguish and Frustration.” Sydney Morning Herald 5 Feb. 2001. 4 Mar. 2001 http://www.smh.com.au/news/0102/05/features/features10.html>. Style Wars. Dir. Tony Silver and Henry Chalfant. 1983. DVD. Passion River, 2005. Token. “F*** You Little Kids!” Online posting. 5 May 2000. Blitzkrieg Bulletin Board. 20 Jul. 2001 http://network54.com/Forum>. Tomlinson, John. Cultural Imperialism: A Critical Introduction. London: Pinter Publishers, 1991. Umph. n.d. [1998]. 18 Jul. 2001. http://loud.net.au/projects/digit/garry/umph.htm>. Wild Style. Dir. Charlie Ahearn. 1983. DVD. Rhino Theatrical, 2002. Citation reference for this article MLA Style Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”: The Adaptation of Hip Hop Graffiti to an Australian Context." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/05-lombard.php>. APA Style Lombard, K. (May 2007) "“To Us Writers, the Differences Are Obvious”: The Adaptation of Hip Hop Graffiti to an Australian Context," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/05-lombard.php>.
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