Centre for Cultural Partnerships - Theses
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ItemComposing contemporary ceremonyMackay, Margie ( 2017)Towards a praxial technique from a critical ‘practice as research’ perspective. Composed between 2007 and 2014, in collaboration with artists, Elders, and general public, Contemporary Ceremonies map multi-sited, transcultural ritual-art practices where Indigenous and non-Indigenous Australians meet in reflexive exchange. This thesis posits a theory for composing these events from an emplaced and relational perspective utilizing Nelson’s definition of ‘Practice as Research’ which interrogates the “know that, know how and know what” of composition. This perspective includes propositional knowledge as found in ritual studies and Indigenous studies, procedural knowledge found in practice, and the ethical and instinctive choices made from experience and insight, which temper and guide aesthetics and poetics. An ‘Indigenist oriented research paradigm’ guides each step of this research, its findings, and outcomes, in an emplaced reconsideration of ritual theory and the artistic praxis of ceremony making. One vital ethical and relational imperative has been to articulate compositional ‘matters of concern’ from Western onto-epistemological lineages that I find to be in concert with Indigenous “Ways of Knowing, Being and Doing.” In doing so, I acknowledge and interrogate my own heritage and story in accordance with Indigenous protocols of research, as articulated by Shawn Wilson in ‘Research is Ceremony.’ The post-humanist philosophies of Bruno Latour and Peter Sloterdijk and their complimentary theories of spheres and networks have assisted in articulating the ethical, relational, and spatial perspectives in this approach. Through abbreviated grounded theory analysis of the structural, philosophical, and social dynamics revealed in four case studies, theory coalesces throughout the passage of the thesis to reveal the proposed praxial technique for Contemporary Ceremony composition as conclusion. Data collected for analysis includes auto-ethnographic accounts of case studies, artist’s diaries, video and photographic documentation, anonymous questionnaires, and working drawings, all of which have enabled the ‘matters of concern’ found in compositional dynamics to be identified and grouped into ‘categories of meaning.’ Categories of meaning emerged from scrutinizing data through a ‘Lefebvrean lens’ which considered producing the space of CCs, determining how they were conceived and perceived, and charting them as they evolved and were enacted in lived experiences. Hyperlinks in the text enable an experience of a mediated version of these CCs, and further detail is provided in auto- ethnographic accounts of each of the case studies. This thesis is structured in three books. It honours Wilson’s contention that ‘research is a ceremony’ through following the trifold schema of Arnold van Gennep’s theory on rites of passage. The first book, ‘Cosmos – Rites of Separation’ considers how the cosmos of Contemporary Ceremony is conceived. The second book, ‘Community – Rites of Transition’ considers the communities’ and other entities’ perceptions of CCs, whilst the third book ‘Artist’s Self – Rites of Incorporation’ reveals the artist’s material thinking, and from analysis of lived experience, disentangles the praxial technique.
ItemAesthetic Systems of Participatory Painting: communicating in Third Space and mental wellbeing in TongaDouglass, Adam ( 2017)This thesis builds upon Homi Bhabha’s concept of Third Space to frame social connection and self-determination in a socially-engaged collaborative painting practice. Developed in the Polynesian kingdom of Tonga with On the Spot Arts Initiative (OTS) and involving diverse groups including patients from the Vaiola Hospital Psychiatric Ward, this research offers a new approach to collaborative painting and provides a framework to support mental health and wellbeing. I have theorised this methodology and titled it the Aesthetic System of Participatory Painting (ASOPP). Integrating mental health and contemporary art frameworks, this hybrid model promotes individual autonomy and critical thinking by supporting both harmony and difference, creating a generative space. This research argues that by expanding modernist, individualised aesthetic systems to accommodate a social application, ASOPP projects provide opportunities for local communities to critique social structures and self-represent. This can assist in empowering participants and destabilising pre-established cultural hierarchies that hold power and often determine cultural standards. ASOPP has also informed the accompanying documentary video used to account for the research, providing an accessible research outcome and an opportunity to self-represent for collaborative partners and participants.
Item“Naming the world”: a relational approach to representational practice in socially-engaged arts and cultural indicatorsBadham, Marnie Kay ( 2012)This thesis argues for a relational approach to forms of representational practice, offering meaningful ways for communities to engage in self-determination by “naming the world.” This approach challenges the cultural hierarchies of both formal government policy benchmarks and contemporary art paradigms, by offering a more localized and situated approach to represent local values and aesthetics. Paulo Freire’s conscientização is used as a framing device to identify this relational approach in two forms of representational practice: socially-engaged arts and the development of cultural indicators. This pedagogy of critical consciousness offers a dialogic space to reconcile real world contradictions and prevailing mythologies. Thus, “naming the world” is understood as a process of representing one’s self, shifting from object-hood to a position of subjectivity. The thesis positions these representational practices as both method and subject of inquiry through the exploration of two practice-led case studies. The studies investigate the development of local cultural indicators in two unique contexts: the increasingly gentrified and socially diverse City of Port Phillip, Melbourne, Australia and the North Central neighbourhood in Regina, Saskatchewan, identified in media reporting as “Canada’s Worst Neighbourhood.” The thesis concludes by emphasizing the inextricable link between aesthetics and ethics in these forms of representational practice and that cultures are neither closed nor static, but in fact, multi-layered, evolving and unique; this has specific implications for the field of cultural indicators. Comparative studies are illuminated as fundamentally problematic, and instead, a new relational approach to contextually rich and community-driven processes is mandated.