Fine Arts and Music Collected Works - Research Publications

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Exploring the Self through Songwriting: An Analysis of Songs Composed by People with Acquired Neurodisability in an Inpatient Rehabilitation Program

Baker, FA ; Tamplin, J ; MacDonald, RAR ; Ponsford, J ; Roddy, C ; Lee, C ; Rickard, N (Oxford University Press, 2017-03-01)

Background: Neurological trauma is associated with significant damage to people’s pre-injury self-concept. Therapeutic songwriting has been linked with changes in self-concept and improved psychological well-being. Objective: This study analyzed the lyrics of songs composed by inpatients with neurological injuries who participated in a targeted songwriting program. The aim of this study was to understand which of the subdomains of the self-concept were the most frequently expressed in songs. Methods: An independent, deductive content analysis of 36 songs composed by 12 adults with spinal cord injury or brain injury (11 males, mean age 41 years +/– 13) were undertaken by authors 1 and 2. Results: Deductive analysis indicated that when writing about the past self, people created songs that reflected a strong focus on family and descriptions of their personality. In contrast, there is a clear preoccupation with the physical self, on the personal self, and a tendency for spiritual and moral reflections to emerge during the active phase of rehabilitation (song about the present self). Statistical analyses confirmed a significant self-concept subdomain by song interaction, F(10, 110) = 5.98, p < .001, ηp2 = .35), which was primarily due to an increased focus on physical self-concept and a reduced focus on family self-concept in the present song, more than in either past or future songs. Conclusions: The analysis process confirmed that songwriting is a vehicle that allows for exploration of self-concept in individuals with neurological impairments. Songwriting may serve as a therapeutic tool to target the most prevalent areas of self-concept challenges for clients undergoing inpatient neurological rehabilitation programs.
A therapeutic songwriting intervention to promote reconstruction of self-concept and enhance well-being following brain or spinal cord injury: pilot randomized controlled trial

Baker, FA ; Tamplin, J ; Rickard, N ; Ponsford, J ; New, PW ; Lee, Y-EC (SAGE PUBLICATIONS LTD, 2019-06)

OBJECTIVE: To determine the size of the effects and feasibility (recruitment and retention rates) of a therapeutic songwriting protocol for in-patients and community-dwelling people with acquired brain injury or spinal cord injury. DESIGN: Randomized controlled trial with songwriting intervention and care-as-usual control groups, in a mixed measures design assessed at three time points. PARTICIPANTS: A total of 47 participants (3 in-patients with acquired brain injury, 20 community participants with acquired brain injury, 12 in-patients with spinal cord injury, and 12 community participants with spinal cord injury: 23 1208 days post injury). INTERVENTIONS: The intervention group received a 12-session identity-targeted songwriting programme, where participants created three songs reflecting on perceptions of past, present, and future self. Control participants received care as usual. MEASURES: Baseline, postintervention, and follow-up measures comprised the Head Injury Semantic Differential Scale (primary outcome measure), Patient Health Questionnaire-9, Emotion Regulation Questionnaire, and Satisfaction with Life Scale. RESULTS: No significant between group pre-post intervention differences were found on the primary self-concept measure, the Head Injury Semantic Differential Scale ( p = 0.38, d = 0.44). Significant and large effect sizes from baseline to post between groups in favour of the songwriting group for Satisfaction with Life ( p = 0.04, n2 p = 0.14). There were no significant between group pre-post interaction effects for the Emotion Regulation Suppression subscale ( p = 0.12, n2 p = -0.08) although scores decreased in the songwriting group over time while increasing for the standard care group. There were no significant differences in baseline to follow-up between groups in any other outcome measures. Recruitment was challenging due to the small number of people eligible to participate combined with poor uptake by eligible participants, particularly the in-patient group. Retention rates were higher for the community-dwelling cohorts. CONCLUSION: This study demonstrates the challenges in recruitment and retention of participants invited to participate in a music therapy study. Findings suggest this identity-focused therapeutic songwriting protocols may be more beneficial for people who have transitioned from in-patient to community-contexts given the greater proportion of participants who consent and complete the intervention. Preliminary effects in favour of the intervention group were detected in a range of well-being measures suggesting that a larger study is warranted.
Automatic

Meade, J (Auckland Art Fair 2011, and MADA Art Gallery, Monash University, 2011)

Automatic, 2011, is a wall sculpture constructed in fibreglass and polyester resin and coated two-tone in automotive enamel. The form, which is mounted flush to the wall at head height, suggests a power button for a machine. There is a little negative space between the inner dome and the outer casing, creating a sense of depth and a shadow that softens the outer ring of the pale dome. The sculpture’s design invites fingertip stimulation as if it were a body’s erogenous zone. The touching of a person’s erogenous zone is regarded as an act of physical intimacy. The work is therefore intended to be sexual and has been interpreted as queer but this is a non-exclusive classification.
Siamese

Meade, J (Carriageworks, 2012)

‘Siamese’ (2012-14) is a freestanding sculpture (1.3m high) of two spheres covered in black human hair elevated on a display stand. The two ‘heads’ abut each other (one a little higher than the other) and their tangle of hair acts to converge their identities. The work is an investigation into the potential of formlessness in the sculptural object while it manages to maintain its autonomous identity. The partial blurring/dissolution of the object occurs in the merger of the twin heads and the falling tresses of the hair which dissolve the outline of the sculpture. The figurative work has links to Japanese anime and the horror/monster film genre. It also has a relationship to hair: to the styling of hair and the making of wigs (postiche). Similar works by the artist include ‘Self Portrait as Mary Magdalene’ (2004), also a small figure (1m high) draped in long black human hair.
Honeymoon Hitching Post

Meade, J (The Honeymoon Suite, Melbourne, and National Art School, Sydney, 2016)

The sculpture, Honeymoon Hitching Post, re-stages the Panton Chair, a classic pop Danish design by Verner Panton. The chair was the first plastic (& fibreglass), mass-produced, stackable, moulded chair cast in one piece. It was introduced to the market through a Swiss company, Vitra, in 1967. The Hitching Post is one of my more humorous sculptures; it also has an erotic vibe to it, which is probably due to the ‘riding’ aspect of the saddle and the sensuous curves of the line. It also suggests the glossy red 1971 Rolling Stones tongue logo, by John Pasche, which originally appeared in inner sleeve of the Sticky Fingers album.
Maquette for Everyday Devotional

Meade, J (Sutton Gallery, Melbourne, 2016)

Maquette for Everyday Devotional (2016), is a 1:8 scale working model for a larger public commission, Everyday Devotional (2017), a 5m free-standing sculpture sited across from the City Botanic Gardens in Alice Street, Brisbane. Everyday Devotional is a figurative expression of the pleasure of living a life each day. The sculpture engages philosophically with a play of forces, as it relates to the human experience of joy and transcendence accessed through a devotion to physical practice.
Set Pieces

Meade, J (Sutton Gallery, 2016)

The exhibition, Set Pieces, sought to consider how the overall spatial, architectural and decorative details in the presentation of a discrete artwork might enhance the work, and the viewer’s experience of that work. It questions a range of factors currently influencing contemporary modes of exhibition display, such as recent installation art practices, the rising interest in exhibition design, and the increasing demand for an immersive experience for the viewing subject. The concept stems from a personal observation that contemporary solo and group exhibition in galleries and museums are becoming increasingly more focused on their staging. Artists and curators have taken up this installed quality when presenting art objects which might not typically fall into the category of the ‘art installation’. This area of research has significant relevance to contemporary sculpture.
Everyday Devotional

Meade, J (The Abian Botanic, Sunland Group, 2017)

Everyday Devotional (2017) is a freestanding sculpture located at the entrance to the Abian Botanic residential tower in Alice Street, Brisbane. The 5m sculpture was commissioned by the developer, Sunland Corporation to complement the curving architectural lines of the Wood Marsh building. The biomorphic, softly abstracted, form of the sculpture presents a figurative expression of the joy of living a life each day. The material is foundry cast marine grade aluminium, painted in white matte acrylic.
Set Pieces (2018)

Meade, J (TaraWarra Museum of Art, as part of the TARRAWARRA BIENNIAL 2018: FROM WILL TO FORM, 2018)

Set Pieces (2018), is re-working of an earlier iteration, the exhibition, Set Pieces (2016). The new version was commissioned for the TaraWarra Biennial 2018, and it aims to present the eleven sculptural objects as a group to the viewer without relying on a formal, overarching, narrative, inviting a less mediated address to the viewer. A modular display structure of unpainted, mill finished, aluminium is designed to present each sculpture individually, while, at the same time, it acts to cohere the objects as a group. The design of the display structure refers to a department store display unit. The unpainted mill finish does not compete with the highly chromatic and detailed sculptures. As each sculpture is roughly 500mm, the modular display device addresses their small scale by displaying them at various levels, low or high (over 2m), while allowing the group to be a larger-scaled installation in the museum. Its design allows the viewer to navigate their way in and out of the weaving display structure to access the sculptures in the round.
The Puschelhockers

Meade, J (Neon Parc Gallery, 2018)

The Puschelhockers refer to a time in the 1960’s. A puschelhocker is a small German vanity stool with hairpin-bend steel legs and a fluffy acrylic seat. They were used when dressing tables were common in bedrooms – particularly laminate dressing tables with brush and mirror sets and perfume bottles with a tasselled spray atomiser. My mother always had a dressing table like this, and I don’t think she ever sat at it. So it was a display of vanity and self-care.

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