School of Culture and Communication - Research Publications
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ItemA festival in disarray: the 2002 Adelaide festival: A debacle or another model of arts organization and leadership?(HELDREF PUBLICATIONS, 2004-01-01)
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ItemPrivilege or problem: The distinct role of government in arts development in South Australia(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2005-01-01)
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ItemArts and business: The impact of business models on the activities of major performing arts organisations in Australia(University of Queensland, School of Languages and Comparative Cultural Studies, 2010)Managerial business models were first introduced to Australian subsidised performing arts organisations by the then Howard Coalition government in 2000. Until the early 1990s, Australian arts organisations were contextualised as 'not for profit' entities, with an overall objective of producing good art. Over the past decade, however, major Australian performing arts organisations have been viewed more frequently as part of an 'industry' and, within this industry construct, framed as 'business entities', with a need to prove positive financial outcomes as a first priority. This article explores what is meant by business models in the context of Australian major performing arts organisations and looks at the impact of this approach.
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ItemCultural wars in an Australian context: challenges in developing a national cultural policy(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2015-03-15)In March 2013, the Australian Federal Labor Government released Creative Australia. This document was described as the first national Cultural Policy statement in 20 years since the publication by a previous Labor Government of Creative Nation in 1994. However, within 6 months of the launch of this new policy, a Coalition (Conservative) Federal government was elected in September 2013. Up till now, Coalition Governments have rejected the need for a national cultural policy, so the future for Creative Australia may in fact be both contested and limited. Indeed, during the previous Federal Coalition Government a ‘cultural war’ erupted between the government and artists and intellectuals, over the latter’s desire for an Australian cultural policy. This paper addresses questions around the process of developing this new national cultural policy, why it occurred, and what future it might have now there is a new Coalition Federal Government in power.
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ItemThere is not one ideal model: Different governments and how they relate to the arts(WSB University, 2018)There are many approaches to the arts by governments. Some governments take a ‘hands-off’ approach to the extent of providing no funding or institutional support. Others are deeply involved from conception to production with arts practice, providing funding but also expecting the right to intervene and control what occurs. Some governments see the provision of funding in transactional terms, expecting specific economic or social outcomes. Others say that they operate with an ‘arms-length’ model, but nevertheless demonstrate forms of intervention. Whatever the nature of the relationship, there are usually expectations by governments around their engagement with the arts. Using three case studies as exemplars of government approaches, this paper explores the nature of the relationship between art makers and government funders and reviews the potential impact of the different approaches on both organisations and their art practise.
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ItemIs UNESCO World Heritage recognition a blessing or burden? Evidence from developing Asian countries(ELSEVIER FRANCE-EDITIONS SCIENTIFIQUES MEDICALES ELSEVIER, 2017-10)To both acknowledge and protect many cultural heritage expressions, sites and practices, UNESCO has instituted three conventions; Tangible Heritage, Intangible Heritage and Diversity of Cultural Expression. If a site/practice receives this UNESCO badge, it is an acknowledgment of its universal cultural and/or natural value as well as recognition of the need to protect it from harm. However, the UNESCO badge is an important marketing tool in world tourism and its presence ensures many more visitors to a site/practice that is UNESCO recognised. With increasing wealth and mobility, many more people are travelling than was possible even a decade ago. Increasing numbers of visitors can negatively impact on a site/practice as well as affect the local culture and integrity of a region, particularly in developing countries. So, is the UNESCO recognition a blessing or burden? This paper addresses the challenges that ensue from the UNESCO conventions by considering three UNESCO World Heritage case study sites in Asian developing countries. In particular, it seeks to understand the extent to which UNESCO's World Heritage approach protects or further undermines the cultural heritage sustainability of these sites.
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ItemOpen Access Arts Festivals and Artists: Who Benefits?(Taylor and Francis Group, 2019)Arts festivals are of interest to researchers, but the research focus is usually on the festival's economic or social impact. This approach does not usually reflect the engagement and experience of the artists involved. There has been controversy recently around the experiences of participating artists in open access arts festivals. Open access arts festivals are significant players in the festival landscape. They enable anyone to participate in a festival, if they pay a registration fee. This research, using a case study methodology, examines an open access festival from different perspectives with a focus on the experience of the participating artists.
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ItemApathy: Disaffection, Enthusiasm, Fanaticism(C. Hurst and Co., 2023)Charity, community, duty, and struggle are good – not only sanctified and rewarding but also good in themselves. And yet the evidence is that society at large is losing and devaluing commitment to others: we live in times diagnosed as consisting of social pathologies and a-pathologies – where, curiously, apathy is taken as a variant of, rather than existing in opposition to, pathology. Fascinated, for obvious reasons, with their diminishing share of trust, older print and broadcast news media have exhaustively analysed the rise of social media bubbles and echo chambers, trolls, and splenetic outbursts, discovering that the profitability of these emergent media forums depends on the speed and energy of their communications, and that unsurprisingly, anger sells. Aggrieved fury would appear to be a dominant emotional state of our times. More reflective commentators, including William Davies in the UK and Joseph Vogl in Germany – both acknowledging the same condition where ‘knowledge becomes more valued for its speed and impact than for its cold objectivity, and emotive falsehood often travels faster than fact’ – observe that it can generate an emotional state in which ‘otherwise peaceful situations can come to feel dangerous, until eventually they really are’.
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ItemNo Preview AvailableUnderstanding gendered transnational education mobility: Interview with Fran Martin(SAGE Publications, 2023-12-01)In this interview, Fran Martin discusses gendered transnational education mobility in relation to research methodology, the contradictions of neoliberal ideology, and the social implications of ethnographic research. Challenging stereotypical and often biased portrayals of Chinese international students in the Anglosphere, Martin argues for the importance of attending to the irreducible details of individual life experiences and explains how to employ affective methods to convey these details to readers. Calling for attention to gender as a key perspective in understanding education mobility, she discusses how the global neoliberal discourse underpinning this form of mobility can be restricting and empowering at the same time. She also reflects on the ways in which researchers could engage with social and policy realities and contribute to improving international students’ well-being.
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ItemArtists’ interviews and their use in conservation: reflections on issues and practices(Routledge - Taylor & Francis, 2016-12-21)Artists’ interviews are widely used in the conservation of contemporary art. Best practice is detailed in recent publications, conferences and workshops, however, there is little information on how to analyse the data collected, and the issues related to the dissemination and future access to the content. This article examines various techniques of analysis appropriated from qualitative research in the social sciences, and relates them to the intended uses of interviews in conservation. Drawing on a case study that involved interaction with an artist over several years, including interviews and informal conversations, this article argues that a conservators’ specific skills set has the capacity to interpret the findings and to understand the creative processes. It also highlights the importance of reflexivity and the public circulation of this interpretation, which is essential for the development of a sustainable practice of artists’ interviews in conservation.