Festivals and music : negotiating culture, identity and place

It is noted in the introduction to this book that ' Festivals are believed to recreate and emphasize relationships that are normally submerged; of being built in structures whilst following unstructured codes, of creating a separate world with its own rules, personnel and expectations; of encompassing contradictory ideas and practices while involving formal and informal institutions: So what is this 'separate world'? What relationships, normally unseen or unnoticed, are made apparent within the space of the festival? While the origins of festivals lie in the close relationship of the quotidian and ritual aspects of traditional communities, how do contemporary festivals relate to the diversity of multicultural societies? Conversely, how are they inflected by the forces of globalization, by the festivalization of culture that in recent years has become a widespread tactic for the promotion of cities and regions? While many traditional festivals still exist, increasing urbanization, improved communications and diversified migration have meant that many contemporary festivals are of recent origin, the products of what Giddens refers to as the post-traditional state of present societies (Giddens 1994). This description highlights the self-conscious nature of dealing with culture in a world of competing and overlapping world views. While cultural identity and authenticity are still used to infer the existence of qualities intrinsic to communities, ethnicities or nations, the fragmentation and interconnectedness of contemporary societies have long made assertions of essence untenable. Meanings have become dependent on performativity and context. Cultural identity, while traditionally applied to those sharing a particular geographic, linguistic, ethnic or religious background, has become extended to other senses of belonging, to communities based on sexuality, physicality or simply shared experience and taste. The notion that festivals might create separate worlds suggests that part of the reason for their recent proliferation in recent times is that they provide the ideal medium for both performance and participation in this diffuse and shifting environment.

Youth Festival Music Performance : Deception Bay

Research Background - Young people with negative experiences of mainstream education often display low levels of traditional academic achievement. These young people tend to display considerable cultural and social resources developed through their repeated experiences of adversity. Education research has a duty to provide these young people with opportunities to showcase, assess and translate their social and cultural resources into symbolic forms of capital. This creative work addresses the following research question. How can educators develop disengaged teenager's social and cultural capital through live music performances? Research Contribution - These live music performances afford the young participants opportunities to display their artistic, technical, social and cultural resources through a popular cultural format. In doing so they require education institutions to provide venues that demonstrate the skills these young people acquire through flexible learning environments. The new knowledge derived from this research focuses on the academic and self confidence benefits for disengaged young people using festival performances as authentic learning activities. Research Significance - This research is significant because it aims to maximise the number of tangible outcomes related to a school-based arts project. The young participants gained technical, artistic, social and commercial skills during this project. This performance led to more recording and opportunities to perform at other youth festivals in SE QLD. Individual performances were distributed and downloaded via creative commons licences at the Australian Creative Resource Archive. It also contributed to their certified qualifications and acted as pilot research data for two competitively funded ARC grants (DP0209421 & LP0883643)

Is there an app for that? A case study of the potentials and limitations of the participator turn and networked publics for classical music audience engagement

The participatory turn, fuelled by discourses and rhetoric regarding social media, and in the aftermath of the dot.com crash of the early 2000s, enrols to some extent an idea of being able to deploy networks to achieve institutional aims. The arts and cultural sector in the UK, in the face of funding cuts, has been keen to engage with such ideas in order to demonstrate value for money; by improving the efficiency of their operations, improving their respective audience experience and ultimately increasing audience size and engagement. Drawing on a case study compiled via a collaborative research project with a UK-based symphony orchestra (UKSO) we interrogate the potentials of social media engagement for audience development work through participatory media and networked publics. We argue that the literature related to mobile phones and applications (‘apps’) has focused primarily on marketing for engagement where institutional contexts are concerned. In contrast, our analysis elucidates the broader potentials and limitations of social-media-enabled apps for audience development and engagement beyond a marketing paradigm. In the case of UKSO, it appears that the technologically deterministic discourses often associated with institutional enrolment of participatory media and networked publics may not necessarily apply due to classical music culture. More generally, this work raises the contradictory nature of networked publics and argues for increased critical engagement with the concept.

An orchestral audience: Classical music and continued patterns of distinction

This paper considers the key findings of a year-long collaborative research project focusing on the audience of the London Symphony Orchestra and their introduction of a new mobile telephone (‘app’) ticketing system. A mixed-method approach was employed, utilizing focus groups and questionnaires with over 80 participants, to research a sample group of university students. This research develops our understanding of classical music audiences, and highlights the continued individualistic, middle-class, and exclusionary culture of classical music attendance and patterns of behaviours. The research also suggests that a mobile phone app does prove a useful mechanism for selling discounted tickets, but shows little indication of being a useful means of expanding this audience beyond its traditional demographic.

Transmedia Victoria

Christy Dena was commissioned by the Australia Council for the Arts to organise and curate a special conference and workshop event on transmedia. Her brief was to secure all the relevant funding bodies to support it financially (the first time they ever all funded the same event). Christy brought in transmedia professionals from around the world, and targeted directors, writers, designers, and producers, from film, TV, theatre, gaming, music, literature and digital sectors. She curated the audience as well as the speakers. It was a huge success, and follow-up meetups with the IGDA were also organised.

Smaller steps into longer journeys : experiencing African music and expressing culture

This paper outlines an exploratory research project that draws on survey data from both primary and secondary school music teachers in Victoria. The research stems from a study that I undertook in 2002-2003 with final year Deakin University undergraduate students. That project investigated the potential of African music to enhance the generic musical experiences, learning, motivation, interest, confidence and competence of non-specialist primary teacher education students. The research project being reported in this paper is an extension of the previous study to focus on practising music teachers at both primary and secondary school levels. The research addresses the significance and contribution of African music and culture as a cross-cultural experience for music teachers, their students and the wider community. It further considers my role as an African music practitioner in terms of transformation and acculturation. This paper outlines the progress of, and provides preliminary data about, the emergence of an innovative area of teaching and learning based on African music in Victorian schools. It also explores the notion of why cross-cultural and multi-cultural engagement matters in the contemporary context of educational change.

Music education in Australia : valuing cultural diversity

Australia is a ‘mosaic of cultures’, the borders between cultures, communities and societies are continually blurring, thus music and multiculturalism cannot be divorced from society per se. As teachers are agents of change, broadening students’ experiences and understandings of ‘other cultures’ can only enhance the provision of inclusive, rich, multicultural programs at schools. The article considers notions of multiculturalism, cultural diversity and music education. It also raises concerns and issues when valuing cultural diversity in music education. Music is an effective platform to foster understanding of difference within and beyond the classroom. I propose that teacher education courses provide intercultural inclusive practices.

Why teach music in schools?

One of the most pressing problems for contemporary school education is an overcrowded curriculum. The so-called 'National Curriculum' developed as a result of the Australian Education Council's Hobart meeting in 1989 and the subsequent publication of a series of 'Statements' and 'Profiles' by the Curriculum Corporation in 1994 consolidated the school curriculum into eight Key Learning Areas (Curriculum Corporation 1994a, 1994b). Since that time most states have moved away from school-based curriculum development and have embraced the National Curriculum but with adaptations to suit their own needs. In the case of Victoria there have been two iterations of the National Curriculum in the form of Curriculum and Standards Frameworks. In the original version, Music was one of the five arts strands specified for years P to 6 and one of the six strands for years 7 to 12 (Board of Studies 1995). With the CSF2, Music is now one of three possible arts form included under Performing Arts which, with Visual Arts, form the two strands specified for years P to 4 (Board of Studies 2000). Music is then included in its own right as one of six Arts strands for years 5 to 12. However, effectively the CSF2 represents a significant loss of ground for Music at the lower and middle primary school levels in Victoria.

Opening the doors to multiculturalism : Australian pre-service music teacher education students' understandings of cultural diversity

Educational reform in Australia has urged teachers and tertiary institutions to prepare students for multicultural classrooms. Engagement with multicultural music by teachers and students promotes understanding of difference and diversity as music has both global and cross-cultural manifestations. This article reports on a research project undertaken at both Deakin University and Monash University (Melbourne, Victoria, Australia) with final year music specialist students (2005-2007). Students participated in an online, anonymous survey (2005) regarding their understandings of multiculturalism. By in-depth analysis of four semi-structured interviews undertaken with volunteers from the 2006 to 2007 cohort, using Interpretative Phenomenological Analysis, emergent themes and construct understandings of participant experiences were identified. Two significant themes are discussed: representations of multicultural music in Victorian schools and cultural context. Music education can be an effective platform to 'opening the doors to multiculturalism and cultural understanding'. Pre-service teacher education courses should reflect the changing societies in which they are situated.

Belonging to a Victorian community choir : ageing, music and culture

Australia's ageing population created challenges for maintaining well-being and combating social isolation. Older Australians frequently rely on community arts organizations to enhance quality of life, specifically in health, happiness and community. Arts engagement takes place in many different contexts, from formal to informal and throughout the lifespan of the individual. Culture shapes the way in which we age and cultural identity is celebrated through the arts. This study will explore ageing and cultural diversity within Australian society through an examination of community arts engagement, specifically a community choir in Melbourne, Victoria, Australia. Much previous research concerning music engagement by older people has focused on its therapeutic applications, but there have been less attention given to healthy older people still living in communities. This paper reports on how music engagement can facilitate successful ageing be encouraging a sense of community, enhancing well-being and supporting cultural identity.