Victorian College of the Arts - Research Publications
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ItemMusic Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone(Oxford University Press, 2021-04-15)To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.
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ItemEffects of Mirror and Metronome Use on Spontaneous Dance Movements(HUMAN KINETICS PUBL INC, 2021-01)This study investigated effects of mirror and metronome use on spontaneous upper body movements by 10 preprofessional dancers in a motor task in which maximally diverse upper body movement patterns were targeted. Hand and trunk accelerations were digitally recorded utilizing accelerometers and analyzed using polar frequency distributions of the realized acceleration directions and sample entropy of the acceleration time. Acceleration directions were more variably used by the arms than by the torso, particularly so when participants monitored their performance via a mirror. Metronome use hardly affected the predictability of the acceleration time series. The findings underscore the intrinsic limitations that people experience when being asked to move randomly and reveal moderate effects of visual and acoustic constraints on doing so in dance.
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ItemKids Stay Free(Gippsland Art Gallery, Sale, 2021)“Kids Stay Free” is an architectural ruin fantasy that is a contemporary reinterpretation of the historical capriccio genre.
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ItemSTILL NOW(Horsham Regional Art Gallery, 2021-05-29)Oceanic Feeling and Old School were paintings included in the curated exhibition STILL NOW held at the Horsham Regional Art Gallery.
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ItemEx Tropical(Bayside Arts and Cultural Centre, Melbourne, 2020)Ex Tropical is an example of a contemporary approach to making paintings about ruins that speculate about possible futures.
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ItemSaltwater City(StreetWORKS Hopkins Street Bridge Footscray and CEO foyer, 2020-07)Saltwater City: Experimentations in photography and moving image compositions on the industrial impact on waterways across a Melbourne bridge alongside research of climate and the sublime.
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ItemNo Preview AvailableThe First Provocation (film) & 02 BRIDGET (Shooting Script)(Australian Screen Production Education and Research Association, 2021)The First Provocation (2015) and the shooting script 02: BRIDGET combine to demonstrate practice-led research into how to expand on the process of crafting and capturing performance on film. The enquiry was framed by the question: How might it be possible to mediate a live performance work into a narrative fiction film to engage an audience beyond the intended performance audience of the original? What approaches can a director adopt to elicit spontaneous and intimate emotional responses that are captured for the screen? A close examination of the filmmaking processes used by Miranda July (live performance) and Mike Leigh (character-based improvisation) informed the production process undertaken for the creative practice. The single-shot film, The First Provocation, explores how to expand the realist form in an experimental approach to performance that merges unexpected live performance within a narrative fiction film.
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ItemNo Preview AvailableCreating Kaleidoscopic Characters: Working with Performance to Develop Character Stories Prior to Screen Story(Palgrave Macmillan, 2021)This chapter draws on practice that begins the filmmaking process with character performance before developing a script. Hence characterisation precedes the script and suggests a viable model of story development and film production. This chapter examines a development process of creating nuanced characters prior to the screenwriting practice through a comparative examination of the methods used by contemporary filmmakers working with actors and performance prior to story or script. The chapter investigates approaches to screen work and methods used by UK filmmaker Mike Leigh and Indie US filmmaker Miranda July and draws from Angie Black’s filmmaking practice in the development of the feature film, The Five Provocations (Black, 2018) as a case study. This chapter highlights the importance of character in story creation and how collaboration with cast at the initial stages of the screenwriting process can play a significant part in capturing compelling screen performances that lead to greater character verisimilitude and emotional integrity in the completed film.
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ItemNo Preview AvailableCanopy(Station Gallery, 2021)This artwork was included in the exhibition Ten Year Show at Station Gallery Melbourne and was a constructed object of 2 interlocking components referencing modernist form through an ambiguous suggestion towards function.
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ItemNo Preview AvailableHot Autumn(Gertrude Contemporary, 2021)Hot Autumn was exhibited as part of a group exhibition Gertrude Studios 2021: If Not At Arm's Length at Gertrude Contemporary, Melbourne. This work consisted of a found acrylic panel that identified the Auto Gas bowser at the Liberty petrol station in Fitzroy. In an incident that occurred in 2021 where a fire was started at the petrol station, this panel was warped and melted into an abstract dripping organic form. Later Desmond salvaged this panel from the site and housed it in a custom-made wooden support. The work's name Hot Autumn, refers to a series of worker strikes in Italy in the 1960s.