Experience and the artist's body : resisting the Uber-artist construct in socially engaged performance

Looking back over the past 20 years of my practice, the vista is littered with ambiguities of process and form within socially engaged performance. Sifting through the debris, one question arises: what have I been doing?; another might be: what have I been making? What feels relevant to me is the aggregate of my experiences; the who I am. With the current sector creep towards instrumentalising arts for social agendas, the value and relevance of experience ebbs. Demands on artists extend well beyond aesthetic skill, process facilitation and project management. In this essay, I critique the risk within socially engaged practice of art becoming subservient to social agendas and consider how the shift towards an uber-artist construct renders the sector unsustainable.

Creative arts research : a pedagogical perspective

This paper emerges from current work related to a number of research projects across several creative arts disciplines. It poses the following questions: What implication does creative arts research have for extending our understandings of the role of experiential, problem-based learning and multiple intelligences in the production of knowledge? How can the application of such understandings influence policy and enhance opportunities for support of creative arts research in the university and the broader arena? In a previous paper examining the function of the exegesis (Barrett, 2004), I referred to the suggestion made by Lauchlan Chipman that: in a knowledge economy, it is necessary for a large number of people to comprehend the creative output of others in order for such output to be sufficiently taken up for the enhancement of society. This paper is an extension of the previous one in its attempt to promote wider understanding of the value of creative arts research. I will focus on the dialogic relationship between the exegesis and studio practice in painting, creative writing, performance and dance, in order to demonstrate that creative arts enquiry can promote a more profound understanding of how knowledge is revealed, acquired and expressed. Four successful research projects will be examined as 'case studies' to show how creative arts research methodologies may be applied in the development of more critical and innovative pedagogies and to argue that the role of creative arts research is still to be fully realized and acknowledged in the knowledge economy.

Restructuring of education and training in Vietnam : a development and application of arts management training in Australia to Vietnam

The adoption of a more market-oriented economy under doi moi has paved the way for Vietnam to record remarkable human development achievements in the past decades. The Vietnamese education system has been undergoing continuous changes for almost twenty years. Key reforms have been implemented in the education and training sector such as privatising the sector; expanding the schooling system, the vocational education and training (VET) system, and higher education. This paper examines: (1) key reforms implemented in the education and training sector, placed in a broader context of economic reforms in Vietnam; (2) a development of arts management training courses in Vietnam to assist cultural organisations to adjust to social changes, as Vietnamese education institutions have not had much experience in designing training courses in arts and culture management; (3) several arts management training courses in Australian institutions to see the possibility to apply training in arts management in Australia to Vietnam. The findings indicate that a variety of management training modes in Australia can be adapted and applied to the Vietnamese training context. Some factors such as differences in culture, education and training systems, shortages in training staff and resources are also considered in this paper.

Arts curriculum reform : social and cultural reproduction in Victorian schools

This thesis examines the implementation of the government educational policy document The Curriculum and Standards Framework. I examined the historical and political motivation behind the development of this document and how it introduced a pervasive new initiative of outcomes based education and accountability based on economic rationalism. In particular I examined the implications this new approach had for visual arts education and the subsequent changes to the arts curriculum. This has entailed the introduction of the aesthetic appreciation of the arts as an outcome of the CSF: The Arts. I applied Bourdieu's theory of cultural reproduction in education which draws predominantly on a Weberian view and a theory of practice. Bourdieu discusses differential educational achievement according to cultural capital stating education requires certain forms of cultural capital that are not equally distributed among the classes. This therefore impedes or enhances life chances according to social class i.e. educational qualifications become a commodity in the labour market and other social fields. I examined how aesthetic appreciation of the arts has evolved historically as a form of social distinction. This entails an abstract element of arts discourse, which demands a certain linguistic competence, and familiarisation, which Bourdieu claims, is developed in the family, as 'cultural capital' this is further perpetuated in schools. The likely outcome is that the introduction of aesthetic appreciation in arts education i.e the demand to 'write about' and 'talk about' art, will perpetuate class inequality due to social and cultural difference. The study has been to examine the practices of arts education in four schools and the extent to which aesthetic appreciation was implemented in the visual arts. Data was collected by case study methods of observation, questionnaire and interview and was interpretive in both quantitative and qualitative methods. I analysed the data based on class differentiation by socioeconomic divisions and examined the school ethos and attitude towards the Arts along with differentiation in cultural capital between student population. I also found teacher and student habitus played a vital role in the implementation of the CSF. This is because habitus can cause resistance to change due to the division between the formulation of the curriculum in the bureaucratic order and the practice of teachers in classrooms. My thesis interprets education as a form of social reproduction, perpetuating the existing social order. However, as Bourdieu asserts and I agree education is a form of symbolic power as it conceals its social function under the guise of neutrality and the technical functional premise. Therefore, this thesis aims to make transparent how the education system serves the interests of the dominant group through curriculum policy. Consequently, it becomes clear how education has far reaching social implications where the distinctions of class are perpetuated through cultural reproduction.

Kristeva reframed : interpreting key thinkers for the arts

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject (a sense of self) and an object that is able to transform meaning and consciousness.Kristeva Reframed examines key ideas in Kristeva's work to show how they are most relevant to artists, and how they can be applied in interpreting artworks. With examples from the paintings of Van Gogh and Picasso, the work of contemporary feminist painters, the photography of Bill Henson and the film and animation work of Van Sowerine, Estelle Barrett demonstrates how Kristeva can illuminate the relationships between artist and art object, between artists, artworks and audiences, and between art and knowledge. Through these relationships she explores what Kristeva's work reveals about the role and function of art in society and offers a smooth passage through Kristeva's ideas and her relevance to visual culture.

Developing creative citizens through experiential learning environments in applied drama

The Seoul Agenda (2010, p.8) recognizes the value of arts education in enhancing creative and innovative capacity in young people. It goes so far as to suggest that applying arts will “cultivate a new generation of creative citizens”. This paper documents a specific area of arts education in university level drama degrees. In a case study approach, it discusses the outcomes of a work-based learning approach for students of applied drama. It explores the drama student‟s experience and considers how engaging in the study of applied drama and applied performance and having the support and opportunity to transfer these skills in real contexts acts to develop creative capacity and to contribute to consolidating the students‟ identities as citizens