It takes a village to raise a family : designing desire-based community support with parents receiving a family service in south-west Ballarat
- Authors: Goff, Rachel
- Date: 2021
- Type: Text , Thesis , PhD
- Full Text:
- Description: In Victoria, Australia, the family services system is characterised by high referral rates and ongoing challenges to meet the needs of families who are experiencing risks and vulnerabilities. These issues are demonstrating the fact that there is a need to strengthen the level of community support that is being provided to children and their families prior to the escalation of their circumstances. Although the current neoliberal family services system has a key policy priority of reducing and managing family risk and vulnerability, it is neglecting to account for what families no longer want or are yet to experience. This is a shortcoming that the research study that is the subject of this thesis has addressed. In the context of a place-based, government–industry–university collaboration, this research study used a human-centred design methodology to engage with eight parents who were living in the south-west region of Ballarat, Victoria – an area characterised by socio-spatial disadvantage – and receiving a family service. This research study collected data over two phases of investigation. First, it explored the parents’ conceptualisations and experiences of community support in semi-structured interviews. Second, in a design workshop and post-workshop feedback and review interviews, it examined their views, priorities and recommendations for how their self-defined communities might support them in ways that would meet their own and their families’ needs. The research study found that parents conceptualise and experience community support as primarily informal, relational and bound to interpersonal characteristics such as reciprocity, trust, connection and belonging. It also found that their key priorities were supporting their children’s needs, their growing minds and their social skills, as well as bringing people together to promote equality. The parents who participated in this study proposed four recommendations: address the systemic constraints that are impacting on social cohesion; provide more opportunities for parents to support each other; provide non-judgemental and tailored services that can be accessed as a last resort; and enable greater self-determination, equality, trust and safety. These recommendations indicate that parents do not view community support as synonymous with risk and vulnerability; rather, they consider such support enables transformative change to occur in spite of it. Therefore, this research study has provided an understanding of the support that Victorian families want from their communities and has indicated that the paradigms that underpin the family services system are potentially incompatible with parents’ needs and desires.
- Description: Doctor of Philosophy
- Authors: Goff, Rachel
- Date: 2021
- Type: Text , Thesis , PhD
- Full Text:
- Description: In Victoria, Australia, the family services system is characterised by high referral rates and ongoing challenges to meet the needs of families who are experiencing risks and vulnerabilities. These issues are demonstrating the fact that there is a need to strengthen the level of community support that is being provided to children and their families prior to the escalation of their circumstances. Although the current neoliberal family services system has a key policy priority of reducing and managing family risk and vulnerability, it is neglecting to account for what families no longer want or are yet to experience. This is a shortcoming that the research study that is the subject of this thesis has addressed. In the context of a place-based, government–industry–university collaboration, this research study used a human-centred design methodology to engage with eight parents who were living in the south-west region of Ballarat, Victoria – an area characterised by socio-spatial disadvantage – and receiving a family service. This research study collected data over two phases of investigation. First, it explored the parents’ conceptualisations and experiences of community support in semi-structured interviews. Second, in a design workshop and post-workshop feedback and review interviews, it examined their views, priorities and recommendations for how their self-defined communities might support them in ways that would meet their own and their families’ needs. The research study found that parents conceptualise and experience community support as primarily informal, relational and bound to interpersonal characteristics such as reciprocity, trust, connection and belonging. It also found that their key priorities were supporting their children’s needs, their growing minds and their social skills, as well as bringing people together to promote equality. The parents who participated in this study proposed four recommendations: address the systemic constraints that are impacting on social cohesion; provide more opportunities for parents to support each other; provide non-judgemental and tailored services that can be accessed as a last resort; and enable greater self-determination, equality, trust and safety. These recommendations indicate that parents do not view community support as synonymous with risk and vulnerability; rather, they consider such support enables transformative change to occur in spite of it. Therefore, this research study has provided an understanding of the support that Victorian families want from their communities and has indicated that the paradigms that underpin the family services system are potentially incompatible with parents’ needs and desires.
- Description: Doctor of Philosophy
The idea of audience : audience development and the creative industries in Australia's small-to-medium performing arts sector
- Authors: Piening, Simon
- Date: 2022
- Type: Text , Thesis , PhD
- Full Text:
- Description: In recent decades, the governance of arts and culture in Australia has been dominated by the “creative industries” model, which is a market-driven approach to cultural policy that seeks to bring together those workers who operate in the realm of creativity with those who have the knowledge and resources to monetise their creative output. The increased focus on market outcomes has resulted in the need for arts organisation to pay much greater attention to developing audiences and cultivating consumers for the arts. However, strikingly absent from much of the discussion concerning audience development in the arts has been the voices of the artists and arts workers themselves, whose work sits at the very heart of any relationship with the audience. The research study that is the subject of this thesis sought to better understand the audience relationship from the perspective of artists and arts workers operating in Melbourne’s small-to-medium performing arts sector, which is a not-for-profit niche of the performing arts industry that has been charged with creating new works and pushing creative boundaries. In light of the increasingly marketised environment for cultural production, the study asked two broad questions: How do these arts professionals conceptualise their relationship with the audience?; and What role do they envisage for the performing arts in their communities? Through individual interviews and a series of group discussions occurring over a 12-month period between 2017 and 2018, arts professionals from the small-to-medium performing arts sector in Melbourne, Australia, discussed the ways in which the rise of the market-oriented creative industries had been impacting on their understanding of, and relationship with, the audience. The study found that the growing demands of the market and the commodification of artistic work had, for many arts professionals, increased the sense of distance between the artist and the audience and had resulted in confusion over the role and value of art in contemporary society. Despite this, arts workers, through their craft, were seeking greater engagement with their communities and were contributing to a more diverse and robust public sphere. As the authors and architects of the aesthetic experience, artists, arts workers and arts organisations have a profound impact in shaping the audience’s understanding of, and relationship with, the arts (Belfiore & Bennett, 2008). Yet much audience development research and practice has focused on understanding the attitudes and motivations of audience members in relation to the arts and ignored or minimised the important contribution that artists themselves might be making to developing audiences. This study’s aim was to address a significant gap in the understanding of the needs and motivations of arts professionals with regard to their relationship with the audience, and, in so doing, argued for a re-imagining of the field and practice of audience development that considers the needs of both the producers and consumers of culture.
- Description: Doctor of Philosophy
- Authors: Piening, Simon
- Date: 2022
- Type: Text , Thesis , PhD
- Full Text:
- Description: In recent decades, the governance of arts and culture in Australia has been dominated by the “creative industries” model, which is a market-driven approach to cultural policy that seeks to bring together those workers who operate in the realm of creativity with those who have the knowledge and resources to monetise their creative output. The increased focus on market outcomes has resulted in the need for arts organisation to pay much greater attention to developing audiences and cultivating consumers for the arts. However, strikingly absent from much of the discussion concerning audience development in the arts has been the voices of the artists and arts workers themselves, whose work sits at the very heart of any relationship with the audience. The research study that is the subject of this thesis sought to better understand the audience relationship from the perspective of artists and arts workers operating in Melbourne’s small-to-medium performing arts sector, which is a not-for-profit niche of the performing arts industry that has been charged with creating new works and pushing creative boundaries. In light of the increasingly marketised environment for cultural production, the study asked two broad questions: How do these arts professionals conceptualise their relationship with the audience?; and What role do they envisage for the performing arts in their communities? Through individual interviews and a series of group discussions occurring over a 12-month period between 2017 and 2018, arts professionals from the small-to-medium performing arts sector in Melbourne, Australia, discussed the ways in which the rise of the market-oriented creative industries had been impacting on their understanding of, and relationship with, the audience. The study found that the growing demands of the market and the commodification of artistic work had, for many arts professionals, increased the sense of distance between the artist and the audience and had resulted in confusion over the role and value of art in contemporary society. Despite this, arts workers, through their craft, were seeking greater engagement with their communities and were contributing to a more diverse and robust public sphere. As the authors and architects of the aesthetic experience, artists, arts workers and arts organisations have a profound impact in shaping the audience’s understanding of, and relationship with, the arts (Belfiore & Bennett, 2008). Yet much audience development research and practice has focused on understanding the attitudes and motivations of audience members in relation to the arts and ignored or minimised the important contribution that artists themselves might be making to developing audiences. This study’s aim was to address a significant gap in the understanding of the needs and motivations of arts professionals with regard to their relationship with the audience, and, in so doing, argued for a re-imagining of the field and practice of audience development that considers the needs of both the producers and consumers of culture.
- Description: Doctor of Philosophy
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