The last avant-garde?: Disability arts and (rethinking) mobility

Taking as its starting point a remark by Turner Prize nominee Yinka Shonibare that disability arts is “the last avant garde”, this panel focuses on the role of aesthetic experimentation in disability arts and the possible rethinking of the relationship between avant-garde aesthetic strategies and inclusive arts. Points of connection between the avant-garde and disability arts include a rejection of traditional aesthetic forms, the development of aesthetic strategies appropriate to non-normative bodies, politics and populations and the implications of these ideas for the conference themes. This panel is intended as a facilitated discussion involving researchers and artists undertaking work in this area. The panel will begin with some brief provocations reflecting on the implication of Shonibare’s comment. For example, Gerard Goggin will discuss three projects by Antoni Abad with artists and activists with disability in Barcelona, Geneva and Montreal as part of Abad’s Megaphone project, a decade-long, global digital art project. Bree Hadley will speak on performative interventions in public space, performance art, live art, activism and culture hacking by artists with disabilities, such as pwd's online performances, and artist’s performative responses to the austerity agenda in the US, UK, and Australasia. Eddie, Lachlan and Sarah will discuss ideas arising from their work on the project Beyond Access: The Creative Case for Inclusive Arts, which involved research with six Melbourne-based artists/artistic companies with disability, supported by Arts Access Victoria. Chair: Dr Eddie Paterson (School of Culture and Communication, Faculty of Arts, University of Melbourne) Dr Bree Hadley (Creative Industries, QUT) Professor Gerard Goggin (Professor of Media and Communication and ARC Future Fellow, University of Sydney) Dr Lachlan MacDowall (Head, Centre for Cultural Partnerships, University of Melbourne). Sarah Austin (PhD candidate, Theatre/Centre for Cultural Partnerships, VCA and MCM) Artists (tbc, based on existing relationships with artists developed in the Beyond Access research).

(un)childhood: performing the voices and times of childhood through relational video-making

This practice-based PhD is comprised of two interrelated elements: (i) ‘(un)childhood’, a 53’ video-essay shown on two screens; and (ii) a 58286 word written thesis. The project, which is contextualised within the tradition of artists working with their own children on time-based art projects, explores a new approach to timebased artistic work about childhood. While Stan Brakhage (1933-2003), Ernie Gher (1943-), Erik Bullot (1963-) and Mary Kelly (1941-) all documented, photographed and filmed their children over a period of years to produce art projects (experimental films and a time-based installation), these projects were implicitly underpinned by a construction of childhood in which children, shown as they grow, represent the abstract primitive subject. The current project challenges the convention of representing children entirely from the adult’s point of view, as aesthetic objects without a voice, as well as through the artist’s chronological approach to time. Instead, this project focuses on the relational joining of the child’s and adult’s points of view. The artist worked on a video project with her own son over a four-and-a-half year period (between the ages of 5 and 10) through which she developed her ‘relational video-making’ methodology. The video-essay (un)childhood performs the relational voices of childhood as resulting from the verbal interactions of both children and adults. The non-chronological nature of(un)childhood offers an alternative to the linear-temporal approach to the representation of childhood. Through montage and a number of literal allusions to time in its dialogue, (un)childhood performs the relational times of childhood by combining children’s lives in the present with the temporal dimensions that have traditionally constructed childhood: past, future and timeless.

Barriers to indigenous education and educational research reform in Australia

Across all Indigenous education sectors in Australia there continues to be extensive debate about the appropriateness of proposed assessment criteria, curriculum content, language of instruction, pedagogical approaches, research practices and institutional structures. Until relatively recently, policy initiatives targeting these issues have been developed and implemented separately and without reference to the interrelated nature of the barriers that confront Indigenous peoples in their attempts to challenge mainstream educational and research practices that potentially marginalise their individual and collective interests. Increasingly, these issues are being linked under the banner of 'Indigenous education reform', and the potential for collective Indigenous community action is being realised. The current Indigenous education reform process in Australia is concerned with reversing the trend associated with patterns of academic underachievement by Indigenous students in the nation's school systems. Concurrently, reforms in the area of Indigenous education research are concerned with achieving fundamental changes to the way Indigenous education research is initiated, constructed and practised. Mainstream institutions. Indigenous peoples and non-Indigenous peoples have different interests in the outcome of the resolution processes associated with proposals to reform Indigenous education and research practices. It is through investigation of stakeholder positioning in relation to key issues, and through reference to stakeholder interests in the outcome of negotiated resolutions, that a critical approach to analysing Indigenous education and research reform initiatives can be achieved. The three case studies contained within this portfolio represent an attempt to investigate the patterns of contestation associated with the delivery of primary school education for Aboriginal students in the Northern Territory and the problems associated with implementing reformed Indigenous education research guidelines. This research has revealed pervasive mainstream community and institutional support for assimilatory policies and a related lack of support for policies of Indigenous community 'self-determination1. This implies insufficient support within the Nation-State for Indigenous proposals for education and research reforms that legitimise the incorporation of Indigenous languages and cultural knowledge and that aim to re-position Indigenous peoples as central to the construction and delivery of education and educational research within their own communities. Common barriers to the implementation of reformed institutional structures and educational and research practices have been identified across each of the three case studies. The analysis of these common barriers points to a generalised statement about the nature of the resistance by mainstream Australians and their institutions to Indigenous community proposals for educational and research reforms. This research identifies key barriers to Indigenous Australian education and research reforms as being: Resurgent mainstream community and institutional support for assimilatory policies implies a lack of support for increasing the level of Indigenous community involvement in the construction and delivery of education and educational research; Mainstream institutional commitment to the principles of economic rationalism and the incorporation of corporate managerialist approaches reduces the potential for Indigenous community involvement in the setting of educational and research objectives; The education and social policy agendas of recent Australian governments are geared toward the achievement of national economic growth and the strengthening of Australia's position in the global economy. As a direct result, the unique cultural identities and linguistic heritages of Indigenous peoples in Australia are marginalised; Identified 'disempowenng' attitudes and practices of educators, researchers and institutional representatives continue to impact negatively upon the educational outcomes of Indigenous students; Insufficient institutional support for the development of mechanisms to ensure Indigenous community control over all aspects of the research project continues to impede the successful negotiation of research in Indigenous community contexts; The promotion of 'deficit' educational approaches for Indigenous students reinforces the marginalisation of their existing linguistic and cultural knowledge bases; The relationship between Indigenous and non-Indigenous peoples in Australia continues to be constrained by the philanthropically based 'donor-recipient' model of service delivery. The framing of Indigenous peoples as recipients of mainstream community benevolence has ongoing disempowering and negative consequences; Currently proposed national Indigenous education policies and programmes for the implementation of these polices do not adequately take into account the diversity in linguistic, political, cultural and social interests of Indigenous peoples in Australia; Widespread 'institutional racism' within mainstream educational institutions perpetuates the disadvantage experienced by Indigenous students and Indigenous community members who aim to derive benefit from education and educational research.

Building capacity or burning out? Supporting indigenous performing artists and filmmakers

Public support for both Indigenous filmmaking and the live performing arts has a number of common features: at a national level the present schemes were introduced in the early 1990s, and both sets of schemes aim to improve the capacity of Indigenous practitioners to tell their stories to national and international audiences. Yet, in the late 2000s, Screen Australia’s support for filmmaking has contributed to well-known successes, whereas Australia Council support for performing arts has been withdrawn from two of the three state-based Indigenous companies. This article reviews the capacity-building strategies offered by the funding agencies to Indigenous filmmaking and performing arts. While the film policies appear to have been more successful than those in the performing arts, both sectors continue to experience obstacles to capacity-building for Indigenous practitioners and organisations.

Illinois ethnic and folk performing artists directory.

Reprint of the 1989 edition.

The arts build communities : a training handbook on arts programming and public housing /

Shipping list no.: 97-0031-P.

Influences and advice of theatrical consumption. A study about the effect of the theatre critics and other instances of evaluation in the habits of theatre attendance

This article analyses the influence that different criticism stages of proceedings exert in the habits of theatre attendance. The study is based on the survey carried out specifically for this research in which 210 people, who attended a theatrical representation, were interviewed in three different theatres in the city of Valencia. The study has revealed the mouth to mouth importance in the decision of attending the theatre and its stronger influence on the audiences who less frequently go to theatrical representations. The results obtained have also made clear the existence of a narrow relation between the advice effect of the theatre critics and the patterns of attendance to the theatre, just like its bigger influence between theatres with commercial orientation and those which are addressed to the broad audiences.

Gambling in a remote Aboriginal setting - the good, the bad and the ugly

The effort undertaken by the Ceduna Koonibba Aboriginal Health Service (CKAHS) and Statewide Gambling Therapy Service (SGRS) to investigate the impact of gambling on Aboriginal people living in the region is discussed. The different initiatives undertaken after obtaining additional funding to help stop gambling in the region are highlighted.

In the mouth of the imagination : positioning children as co-researchers and co-artists to create a professional children's theatre production

In recent decades a number of Australian artists and teacher/artists have given serious attention to the creation of performance forms and performance engagement models that respect children’s intelligence, engage with themes of relevance, avoid the cliche´s of children’s theatre whilst connecting both sincerely and playfully with current understandings of the way in which young children develop and engage with the world. Historically a majority of performing arts companies touring Australian schools or companies seeking schools to view a performance in a dedicated performance venue engage with their audiences in what can be called a ‘drop-in drop-out’ model. A six-month practice-led research project (The Tashi Project) which challenged the tenets of the ‘drop-in drop-out’ model has been recently undertaken by Sandra Gattenhof and Mark Radvan in conjunction with early childhood students from three Brisbane primary school classrooms who were positioned as co-researchers and co-artists. The children, researchers and performers worked in a complimentary relationship in both the artistic process and the development of product.

Sleeper [for laptop computer and live performer]

Sleeper is an 18'00" musical work for live performer and laptop computer which exists as both a live performance work and a recorded work for audio CD. The work has been presented at a range of international performance events and survey exhibitions. These include the 2003 International Computer Music Conference (Singapore) where it was selected for CD publication, Variable Resistance (San Francisco Museum of Modern Art, USA), and i.audio, a survey of experimental sound at the Performance Space, Sydney. The source sound materials are drawn from field recordings made in acoustically resonant spaces in the Australian urban environment, amplified and acoustic instruments, radio signals, and sound synthesis procedures. The processing techniques blur the boundaries between, and exploit, the perceptual ambiguities of de-contextualised and processed sound. The work thus challenges the arbitrary distinctions between sound, noise and music and attempts to reveal the inherent musicality in so-called non-musical materials via digitally re-processed location audio. Thematically the work investigates Paul Virilio’s theory that technology ‘collapses space’ via the relationship of technology to speed. Technically this is explored through the design of a music composition process that draws upon spatially and temporally dispersed sound materials treated using digital audio processing technologies. One of the contributions to knowledge in this work is a demonstration of how disparate materials may be employed within a compositional process to produce music through the establishment of musically meaningful morphological, spectral and pitch relationships. This is achieved through the design of novel digital audio processing networks and a software performance interface. The work explores, tests and extends the music perception theories of ‘reduced listening’ (Schaeffer, 1967) and ‘surrogacy’ (Smalley, 1997), by demonstrating how, through specific audio processing techniques, sounds may shifted away from ‘causal’ listening contexts towards abstract aesthetic listening contexts. In doing so, it demonstrates how various time and frequency domain processing techniques may be used to achieve this shift.

Procurement Case Study and Decision-making Strategies

Objectives The procurement research of Sydney Opera House FM Exemplar Project aims to develop innovative methods and guidelines for the procurement of FM services, applicable to iconic and / or performing arts centre facilities, or facilities with similar FM functions. The initial procurement report in June 2005 analysed the strategic objectives and operational requirements that provide ‘demand statements’ as evaluation criteria in the service procurement process. The subsequent interim procurement report in September 2005 discussed the elements contributing to the criteria for decision-making in the service procurement process. This procurement report concentrates on the research on procurement strategies and innovative methods using a case study approach. The objectives of this report are: • to investigate service procurement methods and process in iconic and/or performing arts centre facilities; • to showcase FM innovation in Sydney Opera House through a case study; • to establish a preliminary decision-making framework and guidelines for selection of appropriate FM procurement routes to provide a useful model for FM community. Findings Findings from this procurement research are presented as follows. • FM innovation and experience of Sydney Opera House • Innovative procurement methods and processes, drawn from a case study of Sydney Opera House as exemplar • An integrated performance framework to link maintenance service functions to high level organisational objective and strategies • Procurement methods and contract outcomes, focusing on building maintenance and cleaning services of Sydney Opera House • Multi-dimensional assessment of Service Providers • General decision-making strategies and guidelines for selection of appropriate FM procurement routes Further Research Whilst the Sydney Opera House case study emphasises the experience of Sydney Opera House, a study of procurement strategies and methods from published research and FM good practice will supply facilities managers with alternative procurement routes. Further research on the procurement theme will develop a final decision-making model for the procurement of FM services, drawn from the evaluation of the case study outcomes, as well as FM good practice and findings from current published research.