The ethics of writing performance from the archive: The case of Georgiana Molloy
- Authors: Campbell, Angela
- Date: 2011
- Type: Text , Journal article
- Relation: Australasian Drama Studies Vol. 58, no. (2011), p. 55-70
- Full Text: false
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- Description: Abstract: Historian Greg Dening writes of history as performance. In his book Performances, he considers the limits of knowledge, claiming: we cannot describe the past independently of our knowing it, any more than we can describe the present independently of our knowing it. And, knowing it, we create it, we textualise it. That is the circle, hermeneutic if you like, of our human being. In the light of Dening's statement, I would like to reconsider my own exploration of the Australian colonial archive in writing for performance. My point of departure is a performative lecture, The More I Study Nature: Georgiana Molloy and the Code of Modernity, that I wrote as part of a larger creative work - a play, as yet unproduced, called Orchids and Insects. In the performative lecture, I follow the life story of Georgiana Molloy (1805-43), an early settler of Western Australia, and ask my reader - or audience - to consider the codes of knowledge and behaviour that we in the twenty-first century might have inherited from our colonial predecessors. My research journey led me to reflect upon the kind of stories we draw from the past, so that we might know ourselves in the present, and the role performance might play in this. I consider the choices we make about the stories that we as a culture celebrate and also, as I was to discover, the stories that we repress.
Balancing risk? First year performing arts students’ experience of a community arts event
- Hains-Wesson, Rachael, Campbell, Angela
- Authors: Hains-Wesson, Rachael , Campbell, Angela
- Date: 2014
- Type: Text , Journal article
- Relation: Issues in Educational Research Vol. 24, no. 3 (2014), p. 320-342
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- Description: This study examines participants’ responses to first year students’ street performances as a non-placement work-integrated learning (WIL) activity over a two year period. The purpose of the study was to determine: (1) community perception, (2) continuous improvement, and (3) future needs. Data was collected through surveying participants’ post-viewing of the street performances, students’ reflective notes, and a recorded focus group interview. The findings indicated that audience members require additional assistance to value the students’ street performances. The results revealed that students require more guidance around researching the sites of practice, understanding group work dynamics, relaxation methods, intra- and interpersonal skill development, conflict resolution and how to effectively build community relations with the local government Council. From the findings, specific recommendations for continual improvement are made. These include offering an explanation of the street performances’ historical and aesthetic connections to the building sites for audience members, affording battery operated body-microphones and light rostrum for improved sight lines, delivering group dynamics information and arranging opportunities for students to engage more effectively with the Council. While the recommendations in this study are intended to advance the field of research that evaluates non-placement WIL performing arts curriculum in higher education, the findings are relevant to any group-based performance activity in learning and teaching. © 2014, Western Australian Institute for Educational Research Inc. All rights reserved.
- Authors: Hains-Wesson, Rachael , Campbell, Angela
- Date: 2014
- Type: Text , Journal article
- Relation: Issues in Educational Research Vol. 24, no. 3 (2014), p. 320-342
- Full Text:
- Reviewed:
- Description: This study examines participants’ responses to first year students’ street performances as a non-placement work-integrated learning (WIL) activity over a two year period. The purpose of the study was to determine: (1) community perception, (2) continuous improvement, and (3) future needs. Data was collected through surveying participants’ post-viewing of the street performances, students’ reflective notes, and a recorded focus group interview. The findings indicated that audience members require additional assistance to value the students’ street performances. The results revealed that students require more guidance around researching the sites of practice, understanding group work dynamics, relaxation methods, intra- and interpersonal skill development, conflict resolution and how to effectively build community relations with the local government Council. From the findings, specific recommendations for continual improvement are made. These include offering an explanation of the street performances’ historical and aesthetic connections to the building sites for audience members, affording battery operated body-microphones and light rostrum for improved sight lines, delivering group dynamics information and arranging opportunities for students to engage more effectively with the Council. While the recommendations in this study are intended to advance the field of research that evaluates non-placement WIL performing arts curriculum in higher education, the findings are relevant to any group-based performance activity in learning and teaching. © 2014, Western Australian Institute for Educational Research Inc. All rights reserved.
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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