Is it possible to make a surf-film without humans? Sounds of Unridden Waves is the world’s first feature length surf film without any human surfers. Its accompanying original soundtrack is produced by The Ghosts of Nothing— a fictional rock band formed in 2014 as a conceptual vehicle through which a diverse range of objects and activities can be produced. Taken together, these different objects and activities are understood to collectively point to, yet do not constitute, the work itself. This new work was developed as a collaboration between The Ghosts of Nothing (aka Sean Lowry and Ilmar Taimre) and over a dozen renowned surf film makers. It also includes contributions from over a dozen renowned surf film makers. The result, we argue, provides an example of contemporary post-conceptual art. Significantly, some forms of post-conceptual art do not manifest as a singular materialisation. Instead, they might be accessed in numerous ways or as an aggregate of medial elements. Presented as an unfolding series of speculative and immersive journeys across time and space, Sounds of Unridden Waves seeks to revive romantic ambitions historically associated with the so-called “total work of art”. Although fragmentary glimpses of recognisable surf breaks are occasionally apparent, the specific time and place at which Sounds of Unridden Waves is located is deliberately fluid. Far more than a straightforward moving image experience, its Dionysian omnivorousness occasionally veers towards the outermost limits of unbounded maximalism and conceptual chaos. In this respect, it is partly reminiscent of the content-saturated psychotropic dream states of early Surrealism, 1960s psychedelia, 1970s surf iconography, together with some recent examples of romantic conceptualism and neo-Baroque currents in contemporary art. https://www.youtube.com/watch?v=CyrzNDRtRJQ&feature=youtu.be

The widespread growth of Broadway and West End musicals, especially after World War II, has produced a global market in need of industry-ready performers and writers resulting in an exponential growth in training programmes. This chapter offers a global snapshot of the rise of systematic training looking at how innovations in the musical artform reinforce, in writing, collaborative training built primarily on the paradigm of close-knitted, sophisticated dramaturgies of canonical exemplars, and in integrative performance training, a versatility characterised by a seamless fusion of singing, acting and dancing (otherwise ubiquitously trademarked as the ‘triple threat’), which emerged alongside the rise of the choreographerdirector. Towards new writing, there is arguably a creative tension between global and local (‘glocal’) socio-economics and culture, played out as both an appropriation and resistance to the transmitted principles of Broadway-style musicals, in as much as foreign markets may develop the next Filipina Kim or Chinese Cats for the ‘megamusical’ trade whilst fostering an indigenous talent base for their own burgeoning markets. A summary of the global status quo considers the vexed challenges of vocational training in context of integration, industryfacing aims, and current social issues.

WAHAWAEWAO is a Moving Image Installation developed as a VR Mozilla Hub Exhibition for the Ars Electronica Festival 2020 In Kepler's Gardens. Movement and landscape in flux, five figures wander across the landscape of Central Otago. Between the rocks and crevices, they move. The work explores our persistent longing for belonging in an age of virtual travel. Filmed in the raw physical landscapes of Central Otago and the Motion Capture Studio of CoLab AUT in Auckland, it maps between radically different scapes. The consolations of landscape dissolve as fractures and junctures open between the memory and affect of these different atmospheres, altering the performers transit. In this new cartography, that is here and everywhere; their bodies take on the rhythms of an altered place. Tracked in all dimensions, they become trackers, navigating travel to unknown and ungraspable places.

International development initiatives increasingly use programmes involving arts participation to facilitate desired outcomes, such as improved psycho-social wellbeing and conflict resolution. Research into effectiveness of these interventions has increased commensurately. However, this research has not necessarily been of high quality. This article reports a systematic review of 67 studies of arts-based international development initiatives, to examine research methods used and quality of their application. Methodological strength and integrity was analysed against criteria important for research quality in this field. These include: use of participatory methods; clarity of research question; methodological rigour and system; supportable claims of causal links and supportable generalisations. Findings indicate only one-third of studies were found to employ robust methods. Challenges including inappropriate selection of research methods to match stated research questions, lack of adequate reporting of data to allow readers to assess validity of claims, and overly strong claims made with insufficient support.

From breaching breaths to wild dialects with the clouds, LungSong brings attention and feeling to the scientific labor of climate change research through an activation of relations between bodies, airs, atmospheres and cosmologies. Catalysed by a residency at the Lauder Atmospheric Research Station (NIWA) and meetings with scientists and technicians who are involved in ‘ground truth’ readings and data collection of the changes taking place in our atmosphere due to global warming, LungSong is an eco-feminist response to the temper(ature) of our times. LungSong is an ongoing event of reckoning with the state we are in - responsive and resistive, eruptive and sensing - it is shaped by the living experience of planetary and human breaths and the writings of Luce Irigaray.

A 5-minute family-friendly short film. When a girl makes a magical discovery in her egg box, she sets out to discover which of her chickens laid the golden egg.

The Five Provocations is a 94 minute, fictional, magic-realist, ensemble drama feature film that investigates the process of crafting and capturing performance on film. Dr Black wrote, directed and produced the feature film as practice-led research. She examined alternative approaches to film production in response to the research on the mediation of live performance, improvisation as a screenwriting tool and gender disparity in screen media. She determined that when performance is used as an initiator to film development it not only provides a more collaborative process but also enables the ability for more authentic screen performances.Her findings produced a successful feature film The Five Provocations that demonstrates a working method for working with cast to develop story.

I Feel Ya is a three-minute, dance film/music video that investigates the juxtaposition of music and image to explore familiar (largely stereotypical) depictions of older women with fraying mental health on screen. The challenge is to subvert the hero’s journey being gender skewed to a male saviour. In this scene the women who appears to be isolated, alone and vulnerable, possibly suffering from agoraphobia becomes the hero when she lures out a more reclusive male figure from a room in the house. She becomes the saviour.

Junba for Yilala was written by Johnny Nyunjuma Divilli in 2017 and 2018 withcontributions from Francis Nunburrngu Divilli, Rona Goonginda Charles, MatthewDembalali Martin and Sally Treloyn.Each year, young Ngarinyin, Worrorra and Wunambal dancers and singers, supported byelders, teach younger community members Junba choreography and practices. Junba forYilala: An instruction book was written by Johnny Nyunjuma Divilli to provide young boysand young men with a resource to support this teaching and learning.In developing the book, Nyunjuma also drew upon contributions from his brother FrancisNunburrngu Divilli, elder Matthew Dembalali Martin, Rona Goonginda Charles, andethnomusicologist Sally Treloyn.The book includes photos that document the revival of skin-based bodypaint designs andtechniques by Divilli, Martin, and others, in 2016. The book also includes transcriptions ofinterviews with key teachers of Junba in the Ngarinyin community conducted by Divilli in2016 and 2017 that document how they learned Junba as children.

The Rainbow Serpent and the Young Man Wunggurr nyindi Warrunga jirri was illustrated and told by Eamarlden Rivers in 2016 in Mowanjum, an Aboriginal Community in the Kimberley, Western Australia. In May 2018 Matthew Dembalali Martin and Pansy Ngalgarr Nulgit retold Eamarlden’s story in Ungarinyin with the assistance of Rona Goonginda Charles, at Mangkajarda wetlands near Mowanjum. The retelling of Eamarlden’s story was translated by Matthew Dembalali Martin, Pansy Nalgarr Nulgit, and Thomas Saunders. The translation was edited by Sally Treloyn to fit the format of Eamarlden’s book. This is a new story in English by a young Nyikina and Ngarinyin dancer and storyteller, retold in Ngarinyin language by elders in the Kimberley region of Western Australia. A young man, chased by his brothers, is protected by the Rainbow Serpent until they join together to dance Junba. The Rainbow Serpent and the Young Man, Wunggurr nyindi Warrunga jirri is a cultural story about bullying and the healing power of Country and dancing.

J is for Junba was developed by Rona Goonginda Charles and Sally Treloyn as a resource tosupport teaching and learning through Junba in Ngarinyin language speaking communities.Pansy Ngalgarr Nulgit provided Charles and Treloyn with sample sentences in Ngarinyinlanguage for each word in the course of several sessions at Mangkajarda wetlands nearMowanjum. These sample sentences were then transcribed and translated by Pansy NgalgarrNulgit, Rona Goonginda Charles, Thomas Saunders and Sally Treloyn with assistancefrom Matthew Dembalali Martin. Francis Nunburrngu developed illustrations overseveral months.The book follows the format of a typical English-language alphabet book, A – Z, andincludes sounds that are additional to (e.g., rn, rl, rd, ny) and absent from (e.g., c, f, h, k, p, q,s, t, v, x, z) Ngarinyin language and orthography. A guide to reading Ngarinyin language isat the end of the book

Lip(s) was a multi-sensory exhibition presenting different perspectives on the body, circularity and femininity while exploring the intersections between diverse disciplines: sculpture, sound, installation, dance, painting, poetry and film.