Fine Arts and Music Collected Works - Theses
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ItemPerforming Credibility( 2018)Theatre practitioners have displayed an increasing interest in staging Refugee narratives, with approaches undertaking a number of methodologies. This thesis intends to look at a larger pattern of socio-political power relations, rather than a case by case analysis. The focus is on frame and thus primarily theoretical. Essentially this research looks at how Refugee theatre reproduces colonial terms of enunciation that restrict, limit, prescribe and demand how Refugees must perform to particular characters and narratives—both on and off stage. The research asserts that the performative demands of Refugee as a socio-political identity- exists before the theatrical site- extending to the performance demands of Refugee Theatre. I suggest that Refugee Theatre primarily relies on truth claims not because they are the most effective of all forms; but because it remains problematically tied to expectations to prove truth, authenticity and innocence. Refugee is continually asked to speak to these, as a Performance of Credibility. This has severe implications who gets seen and how they get seen. I argue that Performing Credibility is silencing rather than self determining. Thus it argues that that Refugee theatre as Performances of Credibility, function as an extension of the geospatial border in that they are just as oppressive, violent and silencing in its performative demands. The thesis offers two performative interventions that frame ‘Refugeeness’ in ways that resist these colonial narratives, as a form of anti-Performing Credibility dramaturgy. Drawing upon Latin American decolonial scholarship, the thesis argues for a conception of Refugeeness as ongoing and navigational, displacing borders and evading nationalist frameworks. The thesis explores how Refugeeness might be a useful re-frame to ensure Refugee challenges borders, rather than be assaulted within them; Refugeeness as a generative, creative site towards re-emergence and a step away from the burden of continuously Performing Credibility.
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ItemNo Preview AvailableFrom Tomb to Womb: How a Sensory Ethnographic Methodology can be Developed to Engage with Regional Communities and their Archives( 2020)This research creates a working methodology to engage with archives and communities in regional areas. Discussions on a community’s experience of their environment can be initiated through a sharing of personal archives and storytelling, touching on notions of memory, imaginings and change. My methodology is situated in a sensory ethnographic discipline. Through participation with communities, and my own photographic practice, I devise an applicable methodology for artists in regional environments. The research is developed through emplacement and community engagement, beginning with the Bring Your Own Archive event, and developing into an embedded approach that foregrounds listening and attention. It also expands upon discussions on the use and enquiry into the value of non-digital film material in a contemporary practice and as archival object, and considers what an archive image can tell us with regard to memory, histories and personal stories. Connecting to the notion of non-digital film, my own analogue practice explores place and history in Australian regional towns and this is developed as part of the research and the artwork. This research aims to show how an artist can participate in an active and honourable collaboration with regional towns, and engage in a re-imagination of their archives to create an interactive and lasting work that becomes an archive for the future. It also seeks to create a reflective space for the experiential histories in regional towns and a space for discussion on their future. The outcome of my research is entitled Glory Box. It is an interactive digital artwork that collages a series of archival reinterpretations into a new alternative archive of life in regional areas. It reimagines regional archives for future audiences. It connects my own experiential and dialogical methodology with my fine art photographic practice, commenting on the nature of film photography and on the position of the artist. The research proposes a progressive and experimental approach to archives through a sensory collecting of material, and a knowing or mindful handling of these tangible and intangible histories. A multiplicity of voices through a reauthoring of archive images manifests a contemplation of rituals and customs held within small regional towns today: a visual study on the local, unfolding into a wider reflection on the universal. It also uncovers delicate and indefinite contributions to a community’s connection to its archives that can reveal a deeply felt attachment.
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ItemEmanuel Phillips Fox (1865-1915): the development of his art, 1884-1913( 1979)The aim of this study is to establish the main phases of Emanuel Phillips Fox's artistic development between the years 1884 and 1913. Since the works painted in Australia during the two final years of Fox's career form a less original phase in his oeuvre than the preceding ones, and because of a need to limit the scope, the period between 1913 and 1915 has been omitted from the discussion. (From introduction)