Creative graduate pathways within and beyond the creative industries

This special issue explores the nuances of graduate creative work, the kinds of value that creative graduates add through work of various types, graduate employability issues for creative graduates, emerging and developing creative career identities and the implications for educators who are tasked with developing a capable creative workforce. Extent literature tends to characterise creative careers as either ‘precarious’ and insecure, or as the engine room of the creative economy. However, in actuality, the creative workforce is far more heterogeneous than either of these positions suggest, and creative careers are far more complex and diverse than previously thought. The task of creative educators is also much more challenging than previously supposed. In this introductory article, we commence by providing a brief overview of the creative labour debates, and the evidence for each position. We present the latest literature in this area that starts to speak to how diverse and complex the landscape of creative work actually is. We then introduce each of the articles in this special issue and indicate how they contribute to a more multi-faceted picture of creative activity, and the lives and career trajectories of graduates from creative degrees.

Neighborhood sustainability assessment : evaluating residential development sustainability in a developing country context

Rapid urbanization, improved quality of life, and diversified lifestyle options have collectively led to an escalation in housing demand in our cities, where residential areas, as the largest portion of urban land use type, play a critical role in the formation of sustainable cities. To date there has been limited research to ascertain residential development layouts that provide a more sustainable urban outcome. This paper aims to evaluate and compare sustainability levels of residential types by focusing on their layouts. The paper scrutinizes three different development types in a developing country context—i.e., subdivision, piecemeal, and master-planned developments. This study develops a “Neighborhood Sustainability Assessment” tool and applies it to compare their sustainability levels in Ipoh, Malaysia. The analysis finds that the master-planned development, amongst the investigated case studies, possesses the potential to produce higher levels of sustainability outcomes. The results reveal insights and evidence for policymakers, planners, development agencies and researchers; advocate further studies on neighborhood-level sustainability analysis, and; emphasize the need for collective efforts and an effective process in achieving neighborhood sustainability and sustainable city formation.

Cultural safety, diversity and the servicer user and carer movement in mental health research

This study will be of interest to anyone concerned with a critical appraisal of mental health service users’ and carers’ participation in research collaboration and with the potential of the postcolonial paradigm of cultural safety to contribute to the service user research (SUR) movement. The history and nature of the mental health field and its relationship to colonial processes provokes a consideration of whether cultural safety could focus attention on diversity, power imbalance, cultural dominance and structural inequality, identified as barriers and tensions in SUR. We consider these issues in the context of state-driven approaches towards SUR in planning and evaluation and the concurrent rise of the SUR movement in the UK and Australia, societies with an intimate involvement in processes of colonisation. We consider the principles and motivations underlying cultural safety and SUR in the context of the policy agenda informing SUR. We conclude that while both cultural safety and SUR are underpinned by social constructionism constituting similarities in principles and intent, cultural safety has additional dimensions. Hence, we call on researchers to use the explicitly political and self-reflective process of cultural safety to think about and address issues of diversity, power and social justice in research collaboration.

"Rebirth: Combined art performance"--Shirin Madg & Sweet Sound Ensemble

Vanessa Mafe-Keane was invited to participate as choreographer in Iranian singer Shirin Madg 's project, Rebirth: Combined art performance. This project integrated singing, music, visual-art, film, dance and is based on the dissident poetry of female Iranian poet, Forough Farrokhzad. The choreographic dance movement focused on simple, lyrical, flowing classical dance forms that also incorporated everyday gestures and actions performed by two Queensland dancers, Caitlin MacKenzie and Abby Johnson. The choreographic intention was not to attempt to re-create Iranian dance practices instead, to draw inspiration and reference specific movement qualities. This was achieved through the subtle inclusion of spinning movements and focusing attention on the dancers’ arms and upper torso. This fusion became an underlying theme reflected throughout the choreographic component. Additionally, this project presented an opportunity to draw on past experiences and problem-solve ways to construct choreographic work where the dancers and the musical assemble group could be staged side by side. This experience highlighted differing approaches to rehearsal protocols within disciplines, the practicalities of staging different artists, understanding musical cues and the diversity of audience engagement. Performances: BEMAC Multicultural Centre, Brisbane 06 February 2015 and Helensvale Cultural Centre, Gold Coast 07 February 2015

Working on the edge : Exploring the creative tensions experienced by practitioners facilitating participatory media projects with refugees and asylum seekers in Australia

This paper aims to provide a contextualised and embedded exploration of how the notions of "practice" and "participation", key concepts in the study of culture and media, are manifest in an example of a complex creative project. This project aimed to engage with refugees and asylum seekers through the co-creation of cultural material and is an outcome of an? ethnographic action research (Tacchi et al. 2003) partnership involving a community development worker in a settlement support agency and a storytelling/community media researcher (the author), along with other project collaborators. The discussion of this project focuses on the role of the facilitator and illustrates the processes of orchestrating a complex project involving a series of linked stages with cumulative effect. As practitioners at this site we are working in the space where personal narratives, participatory arts and media, and the staging of intercultural, civic dialogue events, intersect. Co-creative media facilitation in these contexts involves both managing hybrid communicative spaces and (re)combining the "integrative practices" (Schatzki 1996) of a range of professional approaches and creative roles. This is liminal work, located on the boundaries of several disciplines and practices. Drawing on reflections gathered from collaborative ethnographic descriptions (Bhattacharya 2008), this paper traces moments of practitioner uncertainty that can be linked to the way "practice" and “participation” is problematised within the community cultural development field in a way that is at times an uneasy fit with conventional ways of operating in social service roles. These moments of tension also indicate where this project pushed practitioners into spaces of improvisation and new learning. Keywords: Youth, refugees, community cultural development, co-creative media facilitation, ethnographic action research, intercultural dialogue.

Negotiating indeterminacy in studio teaching: Using the zones of material and immaterial play to shape pedagogies and practices in art

The processes of studio-based teaching in visual art are often still tied to traditional models of discrete disciplines and largely immersed in skill-based learning. These approaches to training artists are also tied to an individual model of art practice that is clearly defined by the boundaries of those disciplines. This paper will explain how the open studio program at QUT can be broadly understood as an action research model of learning that ‘plays’ with the post-medium, post-studio genealogies and zones of contemporary art. This emphasises developing conceptual, contextual and formal skills as essential for engaging with and practicing in the often-indeterminate spatio-temporal sites of studio teaching. It will explore how this approach looks to Sutton-Smith’s observations on the role of play and Vygotsky’s zone of proximal development in early childhood learning as a way to develop strategies for promoting creative learning environments that are collaborative and self sustainable. Social, cultural, political and philosophical dialogues are examined as they relate to art practice with the aim of forming the shared interests, aims, and ambitions of graduating students into self initiated collectives or ARIs.

Life storytelling at the ABC: Challenges of 'giving the audience a voice' in the context of public service media

Life storytelling projects have become an important means through which public service media institutions such as the Australian Broadcasting Corporation are seeking to foster audience participation and involve particular cohorts in the creation and distribution of broadcast content. This paper contributes to the wider conversation on audience participation within public service media intuitions (PSMs), and focuses on the opportunities and challenges that arise within life storytelling projects that are facilitated by these institutions, and that aim to ‘give voice’ to members of ‘the audience’. In particular, it focuses on two of the Australian Broadcasting Corporation’s current life storytelling projects: ABC Open and Heywire.

Indigenous Australia is deadly – and Leah Purcell shows it (Documentary review)

Urban skyline, as seen from inside a medium-density apartment block, opens Australian director Leah Purcell’s Who We Are: Brave New Clan (2014), which was broadcast on Foxtel’s Bio Channel last night. The one-off documentary – which deserves another run – follows the lives of six Indigenous Australians (not connected in real life but our “clan” for the sake of the documentary). Does it work? Oh yes...

The cultures of Restaurant Australia: epicurean food experiences for tourists in south east Queensland

Tourism Australia’s launch of the ‘Restaurant Australia’ marketing campaign in 2014 is aimed at changing perceptions of the ‘prawn on the barbeque’ image of Australian culinary culture. The campaign is the government's response to global research that reveals that tourists want ‘good’ food and wine experiences (in Australia?). In effect, ‘Restaurant Australia’, and the AUS$10 million supporting it, is promoting? the notion that Australian tourism should provide epicurean food experiences associated with high quality and ‘authentic cultural’ tourism, rather than contrived versions of national identity articulated via stereotypical notions of national cuisine. This paper adopts a cultural tourism approach, especially in relation to theories of authenticity and the relationship of post-tourists, cultural tourists, and tactical tourists to examine two very different areas of wine and food production in Australia in the context of the Restaurant Australia campaign. In particular, it considers issues associated with defining Australian cuisine and the development of a narrative about Australia as a epicurean destination.

Black Diggers: Out of the trenches at the Brisbane Festival (Theatre review)

The performance space in which Wesley Enoch’s play Black Diggers is being performed at the Brisbane Festival is a large black box. It features a raised stage in the middle which proves versatile for battlegrounds at home and abroad – and later as ground for discriminatory encounters experienced by Aboriginal returned ex-servicemen. The fire-filled 44-gallon drum off to the side creates another space of encounter; there are few other props. Now and then, dates and other details are whitewashed on the black walls...

Sustainability

One normally understands sustainability as a term connoting the capacity of an Initiative to raise or seek funds that enable It to continue. However, as we shall show in this chapter, in the initiatives with which we work, the question of how to sustain Is a multifaceted one. It is more, that is, than simply a question of how the initiatives can continue to be 11nanclally sustainable. There Is a need, rather, to 11nd ways to marry social (including organisational), technical and financial sustalnablllty...

Disability performance in Australia

In disability arts, as in so many things, Australia has both its own cultural specificities, as well as the cultural followings that come with being a colonised country. In Australia, our colonial legacy, multiculturalism, and Asia-Pacific location have always made our relation to our own arts and culture fraught, the subject of ongoing aesthetic, cultural and political contestation. We have historically suffered from what Phillips (2006) calls a ‘cultural cringe’, in which we worry about the individuality, value and volume of our arts and culture compared to others, and this comes up again and again in commentary to this day...

CultureMap

CultureMap is the mobile app for the Cultural Atlas of Australia, a digital atlas that maps the locations of more than 200 films, novels, and plays that feature Australian spaces and places. You can use the CultureMap app to find narrative and filming locations near you, you can search for your favourite Australian stories to find out where they are set, or you can search by location to discover what stories have been set there. The app also features our Mapping Ecological Themes showcase, which focuses on films and novels that foreground ecological themes or are set in environmentally sensitive areas. CultureMap is co-funded through an Australian Research Council Discovery Grant and an Inspiring Australia: Unlocking Australia’s Potential grant.

The favelas through the lenses of photographers: Photojournalism from community and mainstream media organisations

Photographers from community and mainstream media organisations bring the everyday of favela communities to the attention of Rio de Janeiro’s society from different perspectives. While mainstream photojournalists mainly report on favelas from outside to inside, denouncing wrongdoings and human rights abuses, community photographers do it from the opposite direction, from inside to outside, presenting images of the everyday life of favela communities. This paper takes an ethnographic and discursive approach to comparing these two categories of photographers to ask how their different practices can yield benefits for the people living in marginalised communities. Furthermore, by adapting Foucault and Bourdieu’s theories, this study examines photographers’ habitus so as to determine how cultural capital and economic capital that they possess shape their subjectivity and, as such, the fields of community and mainstream photojournalism. This study has no intention of creating polarised distinctions between community and mainstream photojournalism. Instead, the research aims, through the investigation of the working practices, identities, and discourses of photographers from community and mainstream media organisations, to identify the activities and limitations of both community and mainstream in order to build an understanding about how the media ecology works best within both.