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177 pages

English

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This is the first major collection to reimagine and analyze the role of the creative arts in building resilient and inclusive regional communities. Bringing together Australia’s leading theorists in the creative industries, as well as case studies from practitioners working in the creative and performing arts and new material from targeted research projects, the book reconceptualizes the very meaning of regionalism and the position—and potential—of creative spaces in nonmetropolitan centers.

Introduction - Janet McDonald and Robert Mason

Rethinking Regionalism

Chapter 1: Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions - Paul Carter

Chapter 2: Creative and Destructive Communities of Lake Condah/Tae Rak, Western Victoria - Louise Johnson

Chapter 3: Creativity and Attenuated Sociality: Creative Communities in Suburban and Peri-Urban Australia - Mark Gibson

Chapter 4: Learning from Inland: Redefining Regional Creativity - Margaret Woodward and Craig Bremner

Returning Creativity

Chapter 5: Getting to Know the Story of the Boathouse Dances: Football, Freedom and Rock ‘n’ Roll - Tamara Whyte, Chris Matthews, Michael Balfour, Lyndon Murphy and Linda Hassall

Chapter 6: ‘The Artists Are Taking Over This Town’: Lifestyle Migration and Regional Creative Capital - Susan Luckman

Chapter 7: Art in Response to Crisis: Drought, Flood and the Regional Community - Andrew Mason

Chapter 8: ‘Now We Will Live Forever’: Creative Practice and Refugee Settlement in Regional Australia - Wendy Richards

Restoring Community

Chapter 9: Making Stories Matter: Using Participatory New Media Storytelling and Evaluation to Serve Marginalized and Regional Communities - Ariella Van Luyn and Helen Klaebe

Chapter 10: Vicarious Heritage: Performing Multicultural Heritage in Regional Australia - Robert Mason

Chapter 11: Practising for Life: Amateur Theatre, Regionalism and the Gold Coast - Patrick Mitchell

Chapter 12: Artist-Run Initiatives as Liminal Incubatory Arts Practice - Janet McDonald

Chapter 13: Same but Different: Growing New Audiences for the Performing Arts in Regional Australia - Rebecca Scollen

Sujets

Arts visuels

ART

Arts

Australia

Inclusion

General

Regional

Region

General officer

International studies

The arts

Performing Arts

Informations

Publié par	Intellect Books
Date de parution	01 décembre 2015
Nombre de lectures	0
EAN13	9781783205141
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2015 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2015 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2015 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy-editor: MPS Technologies
Cover designer: Stephanie Sarlos
Production manager: Claire Organ
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-512-7
ePDF ISBN: 978-1-78320-513-4
ePUB ISBN: 978-1-78320-514-1
Printed and bound by Short Run Press Ltd, UK
Contents
List of Figures
List of Abbreviations
Introduction
Janet McDonald and Robert Mason
Rethinking Regionalism
Chapter 1: Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions
Paul Carter
Chapter 2: Creative and Destructive Communities of Lake Condah/Tae Rak, Western Victoria
Louise Johnson
Chapter 3: Creativity and Attenuated Sociality: Creative Communities in Suburban and Peri-Urban Australia
Mark Gibson
Chapter 4: Learning from Inland: Redefining Regional Creativity
Margaret Woodward and Craig Bremner
Returning Creativity
Chapter 5: Getting to Know the Story of the Boathouse Dances: Football, Freedom and Rock ‘n’ Roll
Tamara Whyte, Chris Matthews, Michael Balfour, Lyndon Murphy and Linda Hassall
Chapter 6: ‘The Artists Are Taking Over This Town’: Lifestyle Migration and Regional Creative Capital
Susan Luckman
Chapter 7: Art in Response to Crisis: Drought, Flood and the Regional Community
Andrew Mason
Chapter 8: ‘Now We Will Live Forever’: Creative Practice and Refugee Settlement in Regional Australia
Wendy Richards
Restoring Community
Chapter 9: Making Stories Matter: Using Participatory New Media Storytelling and Evaluation to Serve Marginalized and Regional Communities
Ariella Van Luyn and Helen Klaebe
Chapter 10: Vicarious Heritage: Performing Multicultural Heritage in Regional Australia
Robert Mason
Chapter 11: Practising for Life: Amateur Theatre, Regionalism and the Gold Coast
Patrick Mitchell
Chapter 12: Artist-Run Initiatives as Liminal Incubatory Arts Practice
Janet McDonald
Chapter 13: Same but Different: Growing New Audiences for the Performing Arts in Regional Australia
Rebecca Scollen
List of Figures
Figure 1: Conceptual map of agri-tivity
Figure 2: Creative occupations in New South Wales by Local Government Area using 2011 Australian Bureau of Statistics Census Data
Figure 3: The Boathouse
Figure 4a&b: ‘The Artist’s Lounge’, Healesville, Victoria, Australia
Figure 5a&b: Trends in location of resident art professionals, Victoria (Source: Australian Bureau of Statistics 2011)
Figure 6a&b: Trends in location of resident art professionals, South Australia (Source: Australian Bureau of Statistics 2011)
Figure 7: Jennifer Wright (Summers)’s Mutant Diversity used recycled items, papier-mâché and expanding foam to create colourful faux gardens in disused water fountains
Figure 8a&b: Sandra Jarrett’s The Poetry Within (2008) is a steel water tank, with its emptiness exposed through decorative plasma-cut floral design
Figure 9: Charlton’s Forlawn (2008) – model developed in planning stage; on display at the Toowoomba Regional Art Gallery
Figure 10: Charlton’s Forlawn (2008) – completed artwork in the botanical gardens during the 2008 Carnival of Flowers
Figure 11: A 2007 publicity shot of Mary-Kate Khoo at the empty water feature that her sculpture would fill
Figure 12a&b: Mary-Kate Khoo’s Bed Of Roses (2007) and detail
Figure 13: Mayor Peter Taylor opening the 2008 exhibition in Gallery M
Figure 14: Deborah Beaumont’s plan for ‘Four Worlds’, constructing fish patterns from discarded aluminium plates used in newspaper printing
Figure 15: Beaumont’s completed work installed in a fountain for the 2008 Carnival of Flowers
Figure 16: Sister Angela Mary’s scanned baggage tags
List of Abbreviations ABS Australian Bureau of Statistics ARI Artist-Run Initiatives CDHA Cardwell and District Historical Association LGAs Local Government Areas NARPACA Northern Australia Regional Performing Arts Centres Association NBN National Broadband Network OHAA Qld Oral History Association of Australia (Queensland) PACs Performing Arts Centres RADS Report Regional Audience Development Specialists National Overview Report RDA Regional Development Areas SLQ State Library of Queensland SPLA Sudan People’s Liberation Army
Introduction
Janet McDonald and Robert Mason The University of Southern Queensland Griffith University
A pproximately 86 per cent of Australians live in the large cities that cling to the coastal periphery of the arid continent (Australian Bureau of Statistics 2008). Each of these cities is assumed to act as the administrative and cultural hub of their respective state and territory. This metropolitan focus is replicated in many countries throughout the Global North. Over 80 per cent of Canadians (Human Resources and Skills Development Canada [HRSDC] 2014) and Americans (United States Census Bureau 2010) live in major cities and conurbations; similar patterns underpin most of the modern nation-states of the Global North. Simultaneously, these highly urbanized societies continue to extol the rural lifestyle as central to the nation’s moral and historical compass. Within Australia, cultural knowledge of the country’s rural and regional areas remains axiomatic to citizens’ sense of self and national community. This is reflected in the creative practice of those in the major metropolitan centres. While creative products connect audiences with global trends, urban populations retain an intense emotional affinity with those who live what are imagined to be wholesome lives in regional and rural settings.
In this book, we challenge the metropolitan focus in much of the scholarship regarding regional arts, along with the assumption that creative practice in the regions is necessarily a pale reflection of the cities. Instead, we argue that patterns of creative practice in regional communities are sustainable and innovative in distinct ways. Rather than compare regional and metropolitan experiences, we foreground the non-metropolitan as central to a broader understanding of self and community. In this way, this book’s contributors use the Australian example to suggest ways to re-imagine how regionalism might be constituted in the Global North, and explore new ways in which the creative arts can strengthen and refashion inclusive communities.
Regional Creativity
Regional communities are at the centre of Australia’s successful export economy, which has sustained the country’s buoyant economic growth through successive global economic crises. Most regional communities are heavily dependent on industries associated with agriculture and mining, making their inhabitants vulnerable to fluctuations in the market. Nonetheless, regional Australia continues to contribute a sizeable majority of the country’s export income through mining and agriculture. Despite this, regional Australians frequently feel that they are marginalized in the decision-making processes that affect them (Charters et al. 2011). Rather than benefit from their centrality in the national economy, many feel their communities are marginalized and threatened by accelerating change.
A close association with the land, and familial connections that frequently span multiple generations, are at the heart of regional communities’ sense of self. This is particularly the case for the large numbers of Indigenous Australians, who form a significant proportion of rural and regional communities, and whose connections to the land are profound and enduring. Rather than the common depiction of communities in terminal decline, there are emerging patterns of people seeking to join regional communities. These range from those returning to childhood homes in order to raise young families, professionals seeking less stressful lives (Regional Australia Institute 2014) and newly arrived refugees and migrants (Schech 2013). The phenomenon of fly-in fly-out workers also continues to redefine regional families and society (Meredith et al. 2014). Communities beyond the metropolitan fringe should properly be considered as dynamic, fluid and forward-thinking.
This reality is not represented in the cultural mythology of regional Australia. Creative products, such as films, rarely depict the vibrant creativity in regional communities. Instead, they reproduce the dichotomy between a supposedly cultured metropolis and rugged frontier. Many replicate images of hardy resilience, which focus on heavily gendered stereotypes of alcohol-fuelled violence exacerbated by a hostile untameable landscape. In this tradition, people in regional settings are frequently bored and suicidal, suffering intellectual atrophy, a dark secretive loneliness, murderous intent and high levels of conservatism. While other products depict a romantic idealism, it is generally achieved through an almost total erasure of the contemporary Indigenous presence.
In line with many countries in the Global North, Australia’s intellectuals, policy makers, creative thinkers and practitioners predominantly reside in the country’s major metropolitan centres. A population of approximately 24 million in a geographical area the size of the continental United States means that many services are inevitably centralized, with creative activity similarly affected. Yet, the assumption that metropolitan culture provides a default model for others to aspire towards continues to influence the formation of policy and the creation of artistic opportunity. One recent government initiative in the state of