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Artykuły w czasopismach na temat "Arts – Australia"
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Thomson, John, i Joye Volker. "Australian visual arts: libraries and the new technologies". Art Libraries Journal 21, nr 1 (1996): 4–7. http://dx.doi.org/10.1017/s0307472200009676.
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Electronic networking has been welcomed in Australia not least because of its potential to help solve problems of distances within Australia and of the isolation of Australia. In the world as a whole, the Internet, and the World Wide Web in particular, is transforming the communication of art information and access to art images. Three Australian Web servers focus on the visual arts: Art Serve, Diva, and AusArts. A number of initiatives intended to provide online bibliographic databases devoted to Australian art were launched in the 1980s. More recently a number of CD-ROMs have been published. As elsewhere, art librarians in Australia need new skills to integrate these products of new technology into the art library, and to transform the latter into a multimedia resource centre.
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Pardy, John. "Remembering and forgetting the arts of technical education". History of Education Review 49, nr 2 (12.11.2020): 181–93. http://dx.doi.org/10.1108/her-02-2020-0009.
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PurposeTechnical education in the twentieth century played an important role in the cultural life of Australia in ways are that routinely overlooked or forgotten. As all education is central to the cultural life of any nation this article traces the relationship between technical education and the national social imaginary. Specifically, the article focuses on the connection between art and technical education and does so by considering changing cultural representations of Australia.Design/methodology/approachDrawing upon materials, that include school archives, an unpublished autobiography monograph, art catalogues and documentary film, the article details the lives and works of two artists, from different eras of twentieth century Australia. Utilising social memory as theorised by Connerton (1989, 2009, 2011), the article reflects on the lives of two Australian artists as examples of, and a way into appreciating, the enduring relationship between technical education and art.FindingsThe two artists, William Wallace Anderson and Carol Jerrems both products of, and teachers in, technical schools produced their own art that offered different insights into changes in Australia's national imaginary. By exploring their lives and work, the connections between technical education and art represent a social memory made material in the works of the artists and their representations of Australia's changing national imaginary.Originality/valueThis article features two artist teachers from technical schools as examples of the centrality of art to technical education. Through the teacher-artists lives and works the article highlights a shift in the Australian cultural imaginary at the same time as remembering the centrality of art to technical education. Through the twentieth century the relationship between art and technical education persisted, revealing the sensibilities of the times.
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Kelly, Veronica. "The Globalized and the Local: Theatre in Australia and Aotearoa/New Zealand Enters the New Millennium". Theatre Research International 26, nr 1 (marzec 2001): 1–14. http://dx.doi.org/10.1017/s0307883301000013.
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Late in 1999 the Commonwealth of Australia's Department of Communications, Information Technology and the Arts released Securing the Future, the final Report of the Major Performing Arts Enquiry chaired by Helen Nugent (commonly referred to as the Nugent Report). The operations of the committee and the findings of the Report occasioned considerable public debate in the Australian arts world in the late 1990s, as the Enquiry solicited and analysed information and opinion on the financial health and artistic practices of thirty-one national major performing arts companies producing opera, ballet, chamber and orchestral music as well as theatre. The Report saw the financial viability of Australian live performance as deeply affected by the impact of globalization, especially by what elsewhere has been called ‘Baumol's disease’ – escalating technical, administrative and wage costs but fixed revenue – which threaten the subsidized state theatre companies of Brisbane, Adelaide and Perth with their relatively small population bases. The structural implementation recommended a considerable financial commitment by Commonwealth and State Governments to undertake a defined period of stabilizing and repositioning of companies. Early in 2000 both levels of Government committed themselves to this funding – in fact increasing Nugent's requested $52 million to $70 million – and to the principle of a strengthened Australia Council dispensing arms-length subsidy. In an economically philistine political environment, these outcomes are a tribute to Nugent's astute use of economic rhetoric to gain at least a symbolic victory for the performing arts sector. In 2000 New Zealand arts gained a similar major injection of funding, while a commissioned Heart of the Nation report, advocating the dilution of the principle of arm's-length funding through the abolition of the national funding organization Creative New Zealand, was rejected by Prime Minister Helen Clark.
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Bereson, Ruth. "Advance Australia—Fair or Foul? Observing Australian Arts Policies". Journal of Arts Management, Law, and Society 35, nr 1 (kwiecień 2005): 49–59. http://dx.doi.org/10.3200/jaml.35.1.49-59.
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Phillips, Louise Gwenneth, i Catherine Montes. "Walking Borders: Explorations of Aesthetics in Ephemeral Arts Activism for Asylum Seeker Rights". Space and Culture 21, nr 2 (11.09.2017): 92–107. http://dx.doi.org/10.1177/1206331217729509.
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Australia’s Operation Sovereign Borders vehemently enforces closed borders to asylum seekers arriving by boat to Australia. Policed urban borders were enforced in Brisbane, Australia, during the G20 Summit in 2014, to protect visiting dignitaries from potential violent protest. The ephemeral arts intervention Walking Borders: Arts activism for refugee and asylum seeker rights symbolically confronted border politics by peacefully protesting against Australian immigration policy. Rather than focusing on the direct effects of the ephemeral arts intervention, this article attends to the affective workings of the aesthetic elements of the project through sensory ethnography and storying. Informed by Ranciere’s aesthetics of politics, this article explores the affective experience and potential educative gains of the ethical turn attended to in participatory arts such as ephemeral arts interventions.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection". Dance Research 38, nr 2 (listopad 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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Broinowski, Alison. "Australia, Asia and the arts". Asian Studies Association of Australia. Review 12, nr 1 (lipiec 1988): 18–23. http://dx.doi.org/10.1080/03147538808712535.
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Cartwright, Michael, Glyndwr Williams i Alan Frost. ""Terra Australis" to Australia." Eighteenth-Century Studies 24, nr 3 (1991): 393. http://dx.doi.org/10.2307/2738679.
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Trinh, Huong Thu. "The Heildelberg School in forming Australianness". Science and Technology Development Journal 17, nr 4 (31.12.2014): 62–73. http://dx.doi.org/10.32508/stdj.v17i4.1575.
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In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.
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Khuda, Kudrat-E. "Education, Arts and Sustainability: Emerging Practice for a Changing World, by Mary Ann Hunter, Arnold Aprill, Allen Hill & Sherridan Emery". Canadian Review of Art Education 48, nr 1 (11.12.2021): 100–102. http://dx.doi.org/10.26443/crae.v48i1.108.
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Book Response: Education, Arts and Sustainability: Emerging Practice for a Changing World, by Mary Ann Hunter, Arnold Aprill, Allen Hill & Sherridan Emery. Springer Singapore, Springer, 2018, 120 pp., ISBN: 9811077096 Keywords: Australia; Arts; Critical Thinking; Education; Partnership; Sustainability. Réaction à un ouvrage : Education, Arts and Sustainability: Emerging Practice for a Changing World, par Mary Ann Hunter, Arnold Aprill, Allen Hill et Sherridan Emery. Springer Singapore, Springer, 2018, 120 pp., ISBN: 9811077096 Mots-clés : Australie, arts, raisonnement critique, éducation, partenariat, pérennité.
Rozprawy doktorskie na temat "Arts – Australia"
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Chalon, Christopher. "Conflict and citizenship behaviour in Australian performing arts organisations". University of Western Australia. Faculty of Economics and Commerce, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0096.
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The managers of professional performing arts organisations are faced with a unique dilemma. They must support their artistic personnel, who are typically driven by the quest for new, challenging and experimental works, while achieving the economic success necessary for the continued viability of their organisations. Failing to effectively manage this artistic-economic dichotomy can result in a conflict between artists and managers that threatens the long-term survival of these organisations. There is a clear need, therefore, for arts managers to foster an organisational climate that minimises conflict, while promoting organisational citizenship behaviours (OCBs) such as sportsmanship (a willingness to tolerate less than ideal circumstances without complaining) and courtesy (a willingness to show sensitivity towards others and actively avoid creating problems for co-workers). The main aim of the present study was to examine the extent to which factors such as organisational structure, organisational culture and employees motivational orientation influence peoples perceptions of their job scope (as indicated by high levels of task variety, task identity, task significance, autonomy and feedback from the job), a construct which has been found to reduce organisational conflict and increase employees propensity to display OCBs. While these relationships have been suggested in previous research, they have not been tested in a performing arts industry context. The data analysed in the present study suggested an enjoyment motivational orientation, a challenge motivational orientation, an organic culture and formalisation positively influenced perceptions of job scope, which, in turn, positively influenced both OCBs (sportsmanship and courtesy). A challenge orientation also had a positive impact on sportsmanship, while sportsmanship positively and directly influenced courtesy. Centralisation was negatively related to perceived job scope and sportsmanship, although it had a positive impact on courtesy. Conflict was negatively influenced by formalisation and by an organic culture, but was positively influenced by a hierarchal culture.
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Scarparolo, Gemma E. "Character cars : How computer technology enhances learning in terms of arts ideas and arts skills and proceses in a year 7 male visual arts education program". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/662.
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'The possibilities that the technology can offer are seemingly endless and remain to be fully explored in [visual] art education." (Callow. 2001. p,43) The aim of this research is to investigate whether the integration of Visual Arts Technology Tools (TECH-TOOLS) into Traditional Visual Arts Programs (TRAD-['ROG) enhance the students' learning in terms of Arts Ideas (AI) and Arts Skills and Processes (ASP) and whether it is a cost effective option for Western Australian primary schools. To determine whether it is worth the inclusion of TECH-TOOLS in terms of enhancing learning. this research will statistically state whether the combination of TECH-TOOLS and Traditional Visual Arts Media (TRAD-MEDIA) enhance the expressive outcomes of Year Seven boys' artwork. The comparative case study method has been chosen as the most suitable method to enable the Researcher to establish the impact that combining TECH-TOOLS with TRAD-MEDIA have upon Year Seven boys' artwork. The Control group only used TRAD-MEDIA and the Experimental group used both TRAD-MEDIA and TECH-TOOLS to create a piece of artwork based on the chosen theme, Character Cars. There were 23 students in the Control group and 24 students in the Experimental group, however not all students attempted or completed the task for reasons which will be explained in Chapter Four. Each group was involved in three sequenced activities based on the chosen theme, with the second activity varying only according to the media used to complete the task. Combinations of quantitative and qualitative methods have been used in this research. To present quantitative data which provides insights into whether Visual Arts (VA) teachers should be combining TECH-TOOLS with TRAD-MEDIA in their Visual Arts Programs (VAP), each piece of artwork was assessed and analysed using descriptive analysis of the data. Each participant completed a written feedback form outlining their attitudes, feelings and thoughts about their artwork and the media that they used. The Researcher and an independent Visual Arts Education (V AE) expert also took anecdotal records during the VA activities with the aim of recording the participants' involvement and enjoyment of the activities. This study is significantly different from the current research in this area u!; it will: provide quantitative data which will demonstrate Whether the combination of TECH-TOOLS and TRAD-MEDlA enhances students' artwork; link the relevant literature and findings of this study to the Western Australian primary school context; provide links to the Western Australian Curriculum Council's Curriculum Framework; and comment on the influence of gender in VAE. All of these factors contribute to the uniqueness of this study.
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Farmer, Margaret Art College of Fine Arts UNSW. "Terra Alterius: land of another". Awarded by:University of New South Wales. School of Art, 2007. http://handle.unsw.edu.au/1959.4/29574.
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What would Australia be like if it had been recognised as terra alterius, ???land of another???, by the British, rather than claimed and treated as terra nullius, ???land of no-one???? This question was posed by the exhibition Terra Alterius: Land of Another, which comprised works by Gordon Bennett, Barbara Campbell-Allen, Julie Dowling, Shaun Gladwell + Michael Schiavello, Jonathan Jones, Joanne Searle, Esme Timbery, Freddie Timms, Lynette Wallworth, Guan Wei and Lena Yarinkura, created or nominated in response to the theme. This thesis describes the concept of terra alterius and the exhibition Terra Alterius: Land of Another. It considers the utility of the concept terra alterius, whether the exhibition achieved its ambition to explore the political and social terrain of a reconciled Australia, and, briefly, whether the concept of terra alterius might be useful to other ???terra nullius??? countries. It argues that the curatorial strategies ??? the ???What if???? re-imagination of Australia???s past, multiplicity of vision and active creation, grounding of the exhibition in affect (in response to Aboriginal painting), and working within Indigenous protocols ??? were effective, and that the exhibition was a useful means of exploring the relationships between Indigenous and non-Indigenous Australians. Comparisons with the exhibition Turn the Soil curated by Kevin Murray and the ???retrospective utopia??? W.H. Oliver argues has been created for New Zealand by the Waitangi Tribunal provide insight into the nature of the reconciled Australia presented in the exhibition and what might be achieved by a counterfactual exhibition. From these comparisons, it is argued, first, that the exhibition points to a disjuncture between Australia???s ongoing official, psychological and legal terra nullius and the approaches and relationships present in Australian society (characterised as a performance of Bloch???s utopian function); and secondly, that a counterfactual exhibition, because it is not bound to the factual, causal or narrative qualities traditionally attributed to history, is able to explore the future in a way that contains rather than denies the past. Although the concept of terra alterius is seen as having played a crucial role in the realisation of the exhibition, it is questioned whether the concept???s utility extends beyond Australia.
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Masters, Tristan Andrew, i tristan masters@acma gov au. "Supply and Demand of Creative Arts in Regional Victoria, Australia". RMIT University. Economics, Finance and Marketing, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080507.152730.
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Creative arts can make vital contributions to both economies and communities. Moreover, these impacts can be keenly felt by smaller, regional communities, where shifts away from traditional rural industries are apparent, and in the context of the Inew economy' which emphasises the importance of knowledge industries and creative industries. This research investigates creative arts supply and demand in regional Victoria, Australia through the collection and analysis of qualitative and quantitative data in three target communities. Fundamentally, this thesis presents a detailed analysis of the current supply and demand environment, including the impacts of regional arts festivals, and determines the conditions, events and characteristics which could strengthen regional Victorian supply and demand of creative arts. This thesis analyses focus group data to investigate current levels of supply of creative arts in regional Victoria. Qualitative analysis of the data shows that the supply of creative arts in the target areas is limited by scarce resources, isolation, negative community attitudes towards creative arts, and a small audience or sales market and an over-reliance on volunteers. Small and micro-businesses in the regional Victorian arts sector are seen as having motivations for operating beyond making money, limited business acumen, and have difficulty in marketing themselves effectively. Best-practice strategies to strengthen the operations of small and micro-businesses include adopting a more entrepreneurial attitude towards arts business, using an agent to source new audiences or sales markets and to maximise the promotion of their product, creating art which is accessible to the local community, and to engage in skills development and business training. Using attitudes towards creative arts, participation in creative arts and expenditure on creative arts as a measure of current demand levels, this thesis applies a range of statistical and econometric tests to the data collected from the three target communities. Contrary to the view emergent from the supply data, this thesis shows that regional Victorians have strong levels of demand for creative arts. Results show higher than average levels of overall monthly arts expenditure, and strong demand for cinema, craft fairs or exhibitions, books, CDs and other music formats. Low levels of demand were noted for classical music, opera or ballet. Chi-Squared analysis and ordered probit results show that gender, age, festival attendance, education, and individual levels of overall arts expenditure are all determinants of creative arts demand. Analysis regarding impacts and key aspects of two regional arts festivals found that regional festival patrons are more likely to be female, local to the host region, have a middle income, and hold a high school or equivalent qualification. An econometric model, including two versions of an Ordinary Least Squares regression in addition to Tobit and probit estimations, was used to more accurately estimate individual expenditure characteristics, notably accounting for the zero-expenditure of attendees who are local to the host region. This thesis provides valuable contributions to knowledge regarding the supply and demand of creative arts in regional areas. It also provides practical insights for policy makers, festival organisers, and the regional arts industry.
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McCarron, Robyn Janelle. "Performing arts and regional communities : the case of Bunbury, Western Australia /". Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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au, r. mccarron@ecu edu, i Robyn McCarron. "Performing arts in regional communities: The case of Bunbury, Western Australia". Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.
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Abstract
In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society.
This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title community theatre than the state-funded community theatre movement of the 1970s and 1980s.
The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region.
A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
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McCarron, Robyn. "Performing arts in regional communities: the case of Bunbury, Western Australia". Thesis, McCarron, Robyn (2004) Performing arts in regional communities: the case of Bunbury, Western Australia. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/191/.
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In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society.
This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title 'community theatre' than the state-funded community theatre movement of the 1970s and 1980s.
The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region.
A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
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McCarron, Robyn. "Performing arts in regional communities: the case of Bunbury, Western Australia". McCarron, Robyn (2004) Performing arts in regional communities: the case of Bunbury, Western Australia. PhD thesis, Murdoch University, 2004. http://researchrepository.murdoch.edu.au/191/.
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In Australia during the 1990s increased attention was paid to regional, rural and remote communities and, in terms of arts and culture, the establishment of regional arts umbrella organisations, at both national and state levels, stimulated interest in, and development of, the arts in those communities. Discourses around the notion of the civil society and the ways in which social and cultural capital can be acquired and transferred, have led to renewed interest in the economic and social functions of the voluntary, not-for-profit sector of Australian society.
This thesis aims to advance the critical study of regional cultural development. It examines the role and function of the performing arts within regional communities through a case study of the city of Bunbury, Western Australia. Regional performing arts are often trivialised or marginalised by metropolitan practitioners, critics and academics, particularly as they are almost entirely, in Australia, a volunteer/amateur pursuit. However volunteer performing arts groups provide physical and social spaces that encourage networks of civil engagement that have implications for the functioning of the broader community; and, in the case of Bunbury, a degree of independence from the bureaucratic requirements of arts funding bodies. The thesis proposes that volunteer, not-for-profit (amateur) theatre has a stronger claim on the title 'community theatre' than the state-funded community theatre movement of the 1970s and 1980s.
The thesis also examines the strong community affiliations that have been generated by the community-owned, professionally-managed Bunbury Regional Entertainment Centre. It situates this discussion in the context of the rapidly changing urban landscape in which the Entertainment Centre is placed and its affiliations with local, regional, state and national funding, networking and touring structures. It argues that considerable social and cultural capital is generated through the active involvement of citizens at many levels of the performing arts in a regional community such as Bunbury. Although for most, the involvement is voluntary and recreational, it also has direct economic outcomes in terms of the developing creative industries of the region.
A major contribution of the thesis is the provision of a model for the function and impact of regional community performing arts as it theorises the tensions between governmental (funding) models and self-generated regional arts practices through case study and detailed analysis. In doing so the thesis contributes to key debates in two significant ways, firstly by providing an important historical/cultural document and secondly, by highlighting new ways of thinking and speaking about the role of the performing arts in regional communities.
Książki na temat "Arts – Australia"
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Ian, Chance, Wakefield Press i Tandanya National Aboriginal Cultural Institute., red. Kaltja now: Indigenous arts Australia. Kent Town, S. Aust: Wakefield Press in association with the National Aboriginal Cultural Institute - Tandanya, 2001.
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Australia, Art Gallery of South. Australian decorative arts: 1820s-1990s : Art Gallery of South Australia. Adelaide: Art Gallery of South Australia, 1996.
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Atkinson, Ann. Dictionary of performing arts in Australia. St. Leonards: Allen and Unwin, 1996.
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1946-, Gunew Sneja Marina, i Rizvi Fazal 1950-, red. Culture, difference and the arts. St Leonards, NSW, Australia: Allen & Unwin, 1994.
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Arguing the arts: The funding of the arts in Australia. Ringwood, Vic., Australia: Penguin Books, 1985.
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Academy of the Social Sciences in Australia, red. Creative Australia: The arts and culture in Australian work and leisure. Canberra: Academy of the Social Sciences in Australia, 2008.
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Catriona, Moore, red. Dissonance: Feminism and the arts 1970-1990. St. Leonards, NSW, Australia: Allen & Unwin, 1994.
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Atkinson, Ann. The dictionary of performing arts in Australia. St Leonards, NSW, Australia: Allen & Unwin, 1996.
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Gardiner-Garden, John. Arts policy in Australia: A history of Commonwealth involvement in the arts. Canberra: Dept. of the Parliamentary Library, 1994.
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Council, Australia, red. Ozarts: A guide to arts organisations in Australia. Wyd. 4. Port Melbourne, Vic., Australia: Thorpe in association with the Australia Council, 1989.
Znajdź pełny tekst źródłaCzęści książek na temat "Arts – Australia"
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Smithies, John, i Surajen Uppal. "Australia". W Palgrave Studies in Business, Arts and Humanities, 127–58. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-98860-3_6.
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Brinkman, Tim. "Arts Centre Melbourne, 1982 Melbourne, Australia". W Modern Theatres 1950–2020, 296–307. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-36.
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Hartwig, Kay, Stuart Wise i Naomi Faik-Simet. "Arts Education Across Australia, New Zealand and Papua New Guinea". W The Palgrave Handbook of Global Arts Education, 125–43. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-55585-4_8.
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Ajioka, Chiaki. "Representation of Japanese Art at the Art Gallery of New South Wales (Sydney, Australia)". W Educating in the Arts, 103–20. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6387-9_7.
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Dooley, Kath. "Teaching Screen Arts in Australia: Challenges, Opportunities and Current Trends". W The Palgrave Handbook of Screen Production, 427–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21744-0_33.
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Harris, Anne M. "Neir Chi Puj: Educated Girls (Co-created with Lina Deng): Sexuality and Gender Performance in Sudanese Australia". W Ethnocinema: Intercultural Arts Education, 29–53. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-4226-0_2.
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Madsen, Wendy, Michelle Redman-MacLaren, Vicki Saunders, Cathy O’Mullan i Jenni Judd. "Reframing Health Promotion Research and Practice in Australia and the Pacific: The Value of Arts-Based Practices". W Arts and Health Promotion, 179–96. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56417-9_11.
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Galbally, R., C. Borthwick i M. Blackburn. "Australia: Sports and arts: Tobacco-Free, tobacco control and health promotion". W Tobacco: The Growing Epidemic, 443–47. London: Springer London, 2000. http://dx.doi.org/10.1007/978-1-4471-0769-9_180.
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Luckman, Susan, i Jane Andrew. "Educating for Enterprise". W Creative Working Lives, 65–100. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44979-7_3.
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AbstractThis chapter will provide a necessarily brief historical overview of the models of training available to support skills development for the applied arts in Australia, from colonial cottage industries to the educational experiences of the contemporary craftspeople and designer makers who participated in this study. In doing so, it will highlight significant contemporary Australian federal and state government political and economic policy agendas that have directly and indirectly influenced changes to the nature, form and institutional investment in education supporting the development of contemporary Australian makers. The second half of this chapter reports on the research participants’ educational experiences and sense of how well prepared they were upon graduating to establish and sustain a viable creative enterprise.
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Sonn, Christopher C., Alison M. Baker i Rama P. Agung-Igusti. "Promoting Epistemic Justice: Community Arts, Identity and Belonging Among African Diaspora in Australia". W Decoloniality and Epistemic Justice in Contemporary Community Psychology, 141–57. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72220-3_8.
Pełny tekst źródłaStreszczenia konferencji na temat "Arts – Australia"
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Kafno, Paul. "High Definition Production in Arts and Documentaries". W SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001159.
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Pointon, Stuart. "Arts and Science – Building the Educational Bridge". W SMPTE Australia Conference. IEEE, 2015. http://dx.doi.org/10.5594/m001735.
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Zhu, Shiyang, i Haorui Zhang. "School-based Bullying Prevention Program in Australia: Safe Schools Program". W 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.029.
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Goodwyn, Andy. "Language Arts Teachers' Adaptive Agency in the United States, England, and Australia, Committed to Equity". W 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1887265.
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Connoley, Kathy. "Integration for a New Generation - Technological Solutions for Linking Core Functions of Teaching and Learning". W InSITE 2006: Informing Science + IT Education Conference. Informing Science Institute, 2006. http://dx.doi.org/10.28945/3012.
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The Teaching and Learning Group, in the Faculty of Arts, Deakin University, Australia, has successfully implemented Stage One of a Teaching and Learning Database. The database is unique in Deakin, and aims to integrate the core functions of curriculum, unit chair and assessment panel maintenance, academic workloads and quality assurance reporting for the Faculty of Arts. Stage One developments have already replaced many hard-copy forms. The following paper describes the database project, how it was initiated in the Faculty, the options considered, and an illustration of its progress to date. It will also describe the future developments planned for this project during the next six months, developments that will add capabilities to manage academic workloads.
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Corkhill, Anna, i Amit Srivastava. "Alan Gilbert and Sarah Lo in Reform Era China and Hong Kong: A NSW Architect in Asia". W The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4015pq8jc.
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This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.
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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia". W LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.
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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Goad, Philip. "Designing a Critical Voice: Discourse and the Victorian Architectural Students Society (VASS), 1907-1961". W The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3992pwp5p.
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Students are a necessary part of the architecture profession. Their training and preparation have long been key to maintaining the business and culture of architecture, and in doing so perpetuating traditional territories that control the institutionalisation of a profession. Students have also created their own associations, often mirroring, and at the instigation of, their parent organizations. More often than not though, in addition to acting as social binders and playing out the role of disciplinary ‘club’, these associations have developed a critical voice, urging change and injecting critique: in short, setting the basis for the framing of a local discourse. Using its publications as primary source material, this paper explores the critical activities of the Victorian Architectural Students Society (VASS), which developed under the auspices of the Royal Victorian Institute of Architects (RVIA). VASS published its annual from 1908, which evolved by 1932 to become Lines and, then additionally in 1939, students Robin Boyd and Roy Simpson expanded VASS’s publishing remit, producing the oft-controversial fold-away pamphlet Smudges that infamously gave ‘blots’ and ‘bouquets’ to new buildings. In 1947, VASS published Victorian Modern, Australia’s first polemical history of modern architecture and in 1952, it was the first publisher of the influential journal, Architecture and Arts. This paper examines the shifting ambitions of VASS, its chief protagonists, the role of graphics and the deft blending of the social, satirical and the critical that eventually framed and shaped Victoria’s architecture culture after World War II.
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Chun Wai, Wilson Yeung, i Estefanía Salas Llopis. "THE SPACE BETWEEN US". W INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.
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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Li, Qiuyu. "Australia Media Studies". W 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.058.
Pełny tekst źródłaRaporty organizacyjne na temat "Arts – Australia"
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena i Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, grudzień 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Hearn, Greg, Marion McCutcheon, Mark Ryan i Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, sierpień 2020. http://dx.doi.org/10.5204/rep.eprints.203692.
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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan i Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, grudzień 2020. http://dx.doi.org/10.5204/rep.eprints.136822.
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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.
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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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Hearn, Greg, Mark Ryan, Marion McCutcheon i Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, listopad 2021. http://dx.doi.org/10.5204/rep.eprints.216570.
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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham i Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, styczeń 2021. http://dx.doi.org/10.5204/rep.eprints.207597.
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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
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Tian, Nan, Siemon T. Wezeman, Pieter D. Wezeman, Aude Fleurant i Alexandra Kuimova. Trends in International Arms Transfers, 2018. Stockholm International Peace Research Institute, marzec 2019. http://dx.doi.org/10.55163/sxak9616.
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The volume of international transfers of major arms in 2014–18 was 7.8 per cent higher than in 2009–13 and 23 per cent higher than in 2004–2008. The five largest exporters in 2014–18 were the United States, Russia, France, Germany and China. The five largest importers were Saudi Arabia, India, Egypt, Australia and Algeria. The flow of arms to the Middle East increased by 87 per cent between 2009–13 and 2014–18, while there was a decrease in flows to all other regions. From 11 March 2019 the freely accessible SIPRI Arms Transfers Database includes updated data on arms transfers for 1950–2018. Based on the new data, this Fact Sheet highlights global and regional trends and selected issues related to arms transfers.
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Wezeman, Pieter, Alexandra Kuimova i Siemon Wezeman. Trends in International Arms Transfers, 2020. Stockholm International Peace Research Institute, marzec 2021. http://dx.doi.org/10.55163/mbxq1526.
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The volume of international transfers of major arms in 2016–20 was 0.5 per cent lower than in 2011–15 and 12 per cent higher than in 2006–10. The five largest arms exporters in 2016–20 were the United States, Russia, France, Germany and China. The five largest arms importers were Saudi Arabia, India, Egypt, Australia and China. Between 2011–15 and 2016–20 there were increases in arms transfers to the Middle East and to Europe, while there were decreases in the transfers to Africa, the Americas, and Asia and Oceania. From 15 March 2021 SIPRI’s open-access Arms Transfers Database includes updated data on transfers of major arms for 1950–2020, which replaces all previous data on arms transfers published by SIPRI. Based on the new data, this Fact Sheet presents global trends in arms exports and arms imports, and highlights selected issues related to transfers of major arms.