What’s Mime got to do with it?

What has Mime got to do with Corporate Communication? As a professional Mime artist on both stage and screen for more than 25 years, the author has been adapting and applying the techniques of Mime to the corporate communication context over a number of years, coaching corporate CEO’s, Executives and Managers, representing both public and private sector corporations and organisations. This unusual inter-contextual skill transfer is the subject of both a book and series of VODCasts by the author (currently in the final stages of completion), which form part of the author’s Doctoral Research and from which this paper is substantially drawn. The author’s professional background is multi-disciplinary – encompassing theatre, television, media, music, tertiary education and corporate training contexts. It is also inter-disciplinary – concerned with the commonality of different artistic mediums and forms and how, where and why these professional disciplines: intersect; interact, and inform each other – and therefore how they support each other - rather than losing creative/professional opportunities because of areas where they might conflict. This paper examines in particular the physicality of presentation and communication – beyond ‘generic’ body-language analysis. It involves the analysis, manipulation and stylisation of human physicality to support and enhance individual inter-professional communication, and how mime performance skills specifically, inform that process. This paper discusses:- • how mime skills clarify and enhance inter-professional communication. • what adaptations need to be applied in that context • getting a ‘performance’ from ‘non-performers’

Toward a deeper understanding of branching dialogue systems

This practice-based exegesis examines the field of writing interactive branching dialogues within video games from the perspective of a professional game writer. Leanne analyses both existing critically-acclaimed titles and her own personal works to create a taxonomy for critique that expands upon the current understanding of games as a literary medium. The final project of the exegesis purposely applies the elements of her new taxonomy in an ineffective manner, making explicit the outcomes and pitfalls of writing multi-layered, tiered dialogues and how tacit assumptions made during the writing process can negatively impact player agency.

Boundary swaying

This practice-led research is positioned within my ongoing enquiry into the dancer’s experience and role within the creative process. Gins and Arakawa (1997) and Keane (2007) speak to the unsatisfactory reliance on discipline boundaries, to describe the dynamic lived-experience of interaction. This theorising is of application to this project, which examines creative agency through the lens of Arakawa and Gins’ language prompt, boundary-swaying. In this project the boundaries of movement creator, performer and director overlap and blur through the use of improvisation and multiple cameras. All contributors are invested creatively and compositionally in the ensuing dynamic collaboration, wearing many hats, ‘conceiver, creative thinker, teacher and learner’ (McKechnie 2005, 93; Stevens & McKechnie 2005, 250). This project asked the question, how can the work of Arakawa and Gins to agitate, disrupt, and transform the modus operandi of creative practice between choreographer and practice, dancer and practice and choreographer and dancer? The use of Arakawa and Gins’ philosophy and language prompts within this project stimulated and positively influenced the established creative relationship of researcher and choreographer/artist in the following ways: • Foregrounded the dancers tacit knowledge, first-hand experience, know-how and embodied savviness; • Promoted artistic collaboration, illuminating new creative possibilities, choices and innovation; • Facilitated the distribution of creative authority and agency. This creative work was presented as part of the AG3 ONLINE: the Third International Arakawa and Gins - Architecture and Philosophy Conference. The work was vetted for inclusion by an international panel of examiners.

Experience has no shadow

This research is situated in the field of practice-led research investigating embodied perspectives on the performance of dance making. In the stock of choreographic literature, the celebrated ‘creativity’ label is associated predominantly with the choreographer and is discussed in terms of product rather than process (Lussier-Ley and Durand-Bush 2009; Hennessey 2003). A reliance on the mystery of inspiration or choreographic genius (Penty 1998) for the production of ‘great’ dance works does not acknowledge the complex and timely process common in the creation of dance (Mace and Ward 2002) nor provide a true representation of the creative contributors (Farrer 2014). The failure to attribute creative impulses and skills to dancers is reminiscent of a time when they were thought of only as instruments in the creative process not active participants and collaborators (Jowitt 2001a; H’Doubler 1957). This project asked the question, to what end do dancers contribute to choreography and how is this contribution valued and recognised? Dancers are integral to the creative process. The research found that the scope of a dancers’ creative involvement in the development of a new work is dependent on: the individual choreographers approach to creating movement; the relationship between dancer and choreographer, and dancer and fellow company members; and the dancers collaborative skills and interpretive skills, versatility, and initiative. Recognition and attribution of dancers’ creative input is dependent on a choreographer’s viewpoint, generosity, and prior creative experiences. The work was created as a part of the Ausdance Queensland 2010 Bell Tower III Choreographic Residency program. Applicants were peer reviewed and vetted by a panel of local and national dance producers. The creative work was presented at the Judith Wright Centre for Live Arts. The project was funded by Ausdance Queensland and Arts Queensland. https://es-es.facebook.com/events/106661226023025/?hc_location=stream

Coping strategies used by ballet dancers: effects of individual differences in competitive trait anxiety

The world of classical ballet exerts considerable physical and psychological stress upon those who participate, and yet the process of coping with such stressors is not well understood. Relationships between coping strategies and competitive trait anxiety were investigated among 104 classical dancers (81 females and 23 males) from three professional ballet companies, two private dance schools, and two full-time, university dance courses in Australia. Coping strategies were assessed using the Modified COPE scale (MCOPE: Crocker & Graham, 1995), a 48-item measure of 12 dimensions of coping. Competitive trait anxiety was assessed using the Sport Anxiety Scale (SAS: Smith, Smoll, & Schutz, 1990), a 21-item measure of three anxiety dimensions. Trait anxiety scores, in particular for Somatic Anxiety and Worry, predicted seven of the 12 coping strategies (Suppression of Competing Activities: R2 = 27.1%; Venting of Emotions: R2 = 23.2%; Active Coping: R2 = 14.3%; Denial: R2 = 17.7%; Self-Blame: R2 = 35.7%; Effort: R2 = 16.6%; Wishful Thinking: R2 = 42.3%). High trait anxious dancers reported more frequent use of all categories of coping strategies, some of which are considered to be maladaptive. No effects of gender or status (professional versus students) were identified. Results emphasize the need for the effectiveness of specific coping strategies to be considered during the process of preparing young classical dancers for a career in professional ballet.

Street reads - Creating mobile walking events

By 2012 mobile devices had become the main interface for people to access information about anything from their current GPS position to the latest book reviews. What was less accessible were tools and techniques for writers to leverage this new technology to construct and distribute located stories. This project began with a series of master classes for local Brisbane writers to demonstrate processes and techniques for imagining, constructing and distributing stories. Most significantly, this project equipped writers with how to identify and adopt various mobile services and applications to research, produce and deliver packaged multi-modal content for readers to access and experience stories in the very locations from which they were inspired. Four stories by four writers were selected to be developed and published as location-based events in four different neighbourhoods across Brisbane. These writers were mentored throughout the writing process and a model was developed for them to simply upload several multi-modal chapters for access on location by readers using QR codes. These activities culminated in a major 25 day event presented by Brisbane City Council and supported by Brisbane Writers Festival and Queensland Writers Centre. The 'Street Reads' event presented the four stories on location in Cannon Hill, Darra, Toowong and West End. The significance of the Street Reads project went beyond extending the capacity for writers to access mobile technologies as a new platform for distributing stories. This event also motivated readers to travel to neighbourhoods to experience them in ways that had not previously imagined possible. These located stories were fictionalisations of actual events and characters that have current and historic importance to these places. These histories are hidden from view and yet can provide locals and visitors with a new found appreciation for the past and set an example for how neighbourhoods can become active stages for the sharing of stories inspiring a deeper connection with each other and an agency for participating in the development of the identity of the local places they inhabit together. Due to the success of the project and by employing more advanced tools now available, Street reads has been further developed by Brisbane City Council and is now available as a the Story City App available for download at itunes.

Scripting the journey

"The architect Christopher Alexander once said that design is but “a residue of the all important process.” This cluster views the creative process through the scrim of drafts, sketches, mock-ups, rough cuts, and prototypes—the secondary output of art and design. Curated by Kari Kraus Co-curated by Amalia Levi"

Creative occupations as knowledge practices : innovation and precarity in the creative economy

The ARC Centre of Excellence in Creative Industries and Innovation (herewith CCI) was established with two simple policy objectives. One was to assess anecdotal and boosterish claims about the growth rates of the creative industries, and hence, to measure the size of the creative industries contribution to gross domestic product (GDP). The other was to ascertain the contribution of the creative industries to employment. Preliminary research detailed in Cunningham and Higgs (2009) showed that the existing industrial classifications did not incorporate the terminology of the creative industries, nor did they disaggregate new categories of digital work such as video games. However, we discovered that occupational codes provide a much more fine-grained account of work that would enable us to disaggregate and track economic activity that corresponded to creative industries terminology. Thus was born one major centrepiece of CCI research – the tracking of national occupational codes in pursuit of measuring creative industries policy outcomes. This paper commences with some description of empirical work that investigates creative occupations; however, the real point is to suggest that this type of detailed, occupation-based empirical work has important theoretical potential that has not yet been fully expended (though see Cunningham 2013; Hearn and Bridgstock 2014; Bakhshi, Freeman and Higgs 2013; Hartley and Potts 2014).

“You could scream the place down”: Five poems on the experience of aged care

This article presents five poems constructed from interviews with older people adjusting to living in residential aged care. They are part of the “Inside Aged Care” project, on-going longitudinal phenomenological research tracking the lived experience of aged care from the perspective of residents, family members and service providers. Poetry, through the process of poetic transcription, provided an engaging, evocative and almost visceral way to help us appreciate what it might be like to be ageing in aged care. To date, despite a growing body of work documenting the importance and impact of research in the form of poetry, applying a literary lens is rare in gerontological research. At a very practical level, therefore, we hope these poems help older people, their families, students and those working in aged care better understand the unique world and perspective of new aged care residents.

Writing Ourselves : pastpresentfuture

If resilience is a hallmark of Aboriginal and Torres Strait Islander people’s survival beyond centuries of colonisation and oppression, brandishing the pen – or any its modern equivalents– can be understood as key resilience and survival strategy. Writing ourselves into contemporary and future existence is a complex act of cultural translation; it involves a speaking to others through a technology from a foreign culture. Subsequently, Indigenous writing is born into complexity.

An experiment in collaborative writing

We’re starting 2015 with an experiment in collaborative creative writing. What happens when you ask ten academics to write a story together? Taking our cue from the Exquisite Cadaver game played by Surrealist artists and poets in the 1930s, we’ve asked our authors to contribute to a story in progress. We gave them free rein: no restrictions on style or genre.

Bricolage and storied selves: Young people's assemblages of narrative and identity in an Australian life storytelling project

Narrating is simultaneously self-interpretation and self-construction. People make sense of their lives and create their identities through an active process of assembling and applying meaning to memories, experiences, thoughts, actions and passions. Such a process can usefully be described as a bricolage: life narratives are created as an assemblage of scattered experiences and events. Through the particular way in which they are arranged, the storyteller constructs what Paul Ricoeur (1992) calls a “narrative identity”; that is, an identity which is organised through and specific to the story told. Applying this notion of narrative as bricolage to ‘Heywire’ – an Australian youth life storytelling project – this paper discusses the unique affordances that the process of storytelling offers in terms of identity and the way new, digital technologies and the internet augment the features of life narratives. It argues that narrative, in addition to new media, offers important tools through which young people who participate in the Heywire project make sense of personal experiences and craft their own identities in powerful and purposeful ways.

Fresh Cuttings: A Celebration of Fiction and Poetry from UQP's Black Writing Series

As the first anthology of UQP's indigenous-authored books, Fresh Cuttings represents the very best of fiction and poetry publishing from UQP's Black Australian Writing series. An introduction by the editors and a biography of each author is included.

Green: Exploring the aestheticized use of chroma-key techniques and technologies in two intermedial productions

Peggy Shaw’s RUFF, (USA 2013) and Queensland Theatre Company’s collaboration with Queensland University of Technology, Total Dik!, (Australia 2013) overtly and evocatively draw on an aestheticized use of the cinematic techniques and technologies of Chroma Key to reveal the tensions in their production and add layers to their performances. In doing so they offer invaluable insight where the filmic and theatrical approaches overlap. This paper draws on Eckersall, Grehan and Scheer’s New Media Dramaturgy (2014) to reposition the frame as a contribution to intermedial theatre and performance practices in light of increasing convergence between seemingly disparate discourses. In RUFF, the scenic environment replicates a chroma-key ‘studio’ which facilitates the reconstruction of memory displaced after a stroke. RUFF uses the screen and projections to recall crooners, lounge singers, movie stars, rock and roll bands, and an eclectic line of eccentric family members living inside Shaw. While the show pays tribute to those who have kept her company across decades of theatrical performance, use of non-composited chroma-key technique as a theatrical device and the work’s taciturn revelation of the production process during performance, play a central role in its exploration of the juxtaposition between its reconstructed form and content. In contrast Total Dik! uses real-time green screen compositing during performance as a scenic device. Actors manipulate scale models, refocus cameras and generate scenes within scenes in the construction of the work’s examination of an isolated Dictator. The ‘studio’ is again replicated as a site for (re)construction, only in this case Total Dik! actively seeks to reveal the process of production as the performance plays out. Building on RUFF, and other works such as By the Way, Meet Vera Stark, (2012) and Hotel Modern’s God’s Beard (2012), this work blends a convergence of mobile technologies, models, and green screen capture to explore aspects of transmedia storytelling in a theatrical environment (Jenkins, 2009, 2013). When a green screen is placed on stage, it reads at once as metaphor and challenge to the language of theatre. It becomes, or rather acts, as a ‘sign’ that alludes to the nature of the reconstructed, recomposited, manipulated and controlled. In RUFF and in Total Dik!, it is also a place where as a mode of production and subsequent reveal, it adds weight to performance. These works are informed by Auslander (1999) and Giesenkam (2007) and speak to and echo Lehmann’s Postdramatic Theatre (2006). This paper’s consideration of the integration of studio technique and live performance as a dynamic approach to multi-layered theatrical production develops our understanding of their combinatory use in a live performance environment.