ORCID Profile
0000-0001-7332-4645
Current Organisation
Edith Cowan University
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Screen and Media Culture | Consumption and Everyday Life | Cultural Studies | Library and Information Studies not elsewhere classified |
Expanding Knowledge in Education | The Media | Expanding Knowledge in Language, Communication and Culture
Publisher: Cambridge University Press (CUP)
Date: 02-2011
DOI: 10.1017/S0266464X11000054
Abstract: In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).
Publisher: Informa UK Limited
Date: 05-2008
Publisher: Informa UK Limited
Date: 22-05-2014
Publisher: Informa UK Limited
Date: 08-2009
Publisher: Emerald
Date: 15-06-2015
DOI: 10.1108/IJEFM-12-2014-0027
Abstract: – The purpose of this paper is to identify the value of the arts play in public spaces in replicating a contemporary commons. – The study is an exploratory investigation which uses a case study of cultural events in public parks – the Vancouver Parks Board’s fieldhouse residency program (2012-2015). The study uses content analysis of the social media sites created for these projects to identify how the sites and the cultural events were valued by stakeholders and participants. – The paper finds that, in combination, the park events and the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests. – The paper finds that, in combination, the park events and the reflective engagement prompted by the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests. – It is anticipated that cultural programs will increasingly interact with common public places. – The study supports the increased use of and recognition of public places as culturally significant. – The study aims to encourage the expansion of arts and cultural policy and programs to incorporate common public places.
Publisher: Springer Science and Business Media LLC
Date: 14-07-2022
DOI: 10.1007/S12109-022-09901-5
Abstract: The concept of #ownvoices writing has gained traction in contemporary publishing as both a genre of reader interest and a focus for debates about authors’ rights to write cross-culturally. This paper examines tensions the #ownvoices movement reveals between the commissioning, publishing, and critical reception of a book, using debate about Craig Silvey’s Honeybee , an Australian novel focalized through a young trans protagonist but written by a straight male author. Drawing on the theory of recognition, it analyzes author and publisher media interviews, social media, and literary reviews in mainstream publications, which are given context through with selected interviews with Australian publishers. Misrepresentation and appropriation are concerns for many readers, while judgements about aesthetic quality vary. Structures within the book industries limit the economic representation of erse creators which, in turn, has implications for the ersity of experience represented in young adult fiction and its literary quality.
Publisher: Wiley
Date: 06-2014
Publisher: Informa UK Limited
Date: 10-03-2022
Publisher: Informa UK Limited
Date: 2002
Publisher: Routledge
Date: 23-03-2022
Publisher: Informa UK Limited
Date: 15-04-2006
DOI: 10.2167/NEW243.0
Publisher: Elsevier BV
Date: 08-2010
Publisher: Routledge
Date: 23-03-2022
Publisher: SAGE Publications
Date: 29-04-2021
DOI: 10.1177/09500170211004239
Abstract: Precarious employment and unpaid labour are common features of the cultural and creative industries. While existing literature highlights the benefit of professional development in building careers, it focuses on self-driven rather than formalised activities. Social capital and social disadvantage are recognised as major factors limiting career success. Yet, it is unclear whether formalised professional development programs offer advantages to overcoming such barriers. This article examines a professional development scheme led by a government-funded cultural agency that provides cultural workers with opportunities to develop education-to-work ‘transition enhancers’. Using data from 45 participants in the Australia Council for the Arts’ Venice Biennale Professional Development Program, we find that the program enables access to three transition enhancers (professional experience, social connections and international experience). However, the program’s lack of structure ensures the benefits of participation are most effective for those who bring a proactive approach to engaging in events and building social relations.
Publisher: Informa UK Limited
Date: 04-2008
Publisher: Informa UK Limited
Date: 02-01-2015
Publisher: Informa UK Limited
Date: 16-08-2023
Publisher: Informa UK Limited
Date: 04-07-2019
Publisher: Elsevier BV
Date: 04-2014
Publisher: Routledge
Date: 23-03-2022
Publisher: SAGE Publications
Date: 08-2010
DOI: 10.1177/1329878X1013600110
Abstract: Public support for both Indigenous filmmaking and the live performing arts has a number of common features: at a national level the present schemes were introduced in the early 1990s, and both sets of schemes aim to improve the capacity of Indigenous practitioners to tell their stories to national and international audiences. Yet, in the late 2000s, Screen Australia's support for filmmaking has contributed to well-known successes, whereas Australia Council support for performing arts has been withdrawn from two of the three state-based Indigenous companies. This article reviews the capacity-building strategies offered by the funding agencies to Indigenous filmmaking and performing arts. While the film policies appear to have been more successful than those in the performing arts, both sectors continue to experience obstacles to capacity-building for Indigenous practitioners and organisations.
Publisher: SAGE Publications
Date: 20-09-2018
Abstract: Claire Bishop argued that the ethical lens applied to socially engaged arts practice encourages ‘authorial renunciation’ in favour of collaboration and limits the opportunity to expose such practice to critical reception. This article responds to Bishop’s implicit call to envision an artist-centred framework for participatory arts by identifying the motivations and beneficial discoveries that artists make when they seek out the creative involvement of others. Based on interviews with Australian performing artists who have established socially engaged practices, the article aims to bring about a form of ‘authorial reinstatement’ into the value system around participatory arts practice. It identifies a range of motivations for artists who establish socially engaged or participatory practice, from self-developmental to altruistic and from arts-focused to community- and society-focused. The article argues that using these motivations to inform indicators of achievement for participatory practice provides new opportunities for critical interrogation of those practices.
Publisher: Informa UK Limited
Date: 04-2005
Publisher: Informa UK Limited
Date: 27-05-2023
Publisher: Informa UK Limited
Date: 02-10-2017
Publisher: Informa UK Limited
Date: 2007
Publisher: Informa UK Limited
Date: 04-2012
Publisher: Informa UK Limited
Date: 12-2010
Publisher: Informa UK Limited
Date: 12-2009
Publisher: Elsevier BV
Date: 06-2022
Publisher: Informa UK Limited
Date: 27-05-2019
Publisher: Informa UK Limited
Date: 03-07-2017
Publisher: Informa UK Limited
Date: 2012
Publisher: Informa UK Limited
Date: 13-02-2017
Location: United States of America
Start Date: 02-2020
End Date: 12-2023
Amount: $346,097.00
Funder: Australian Research Council
View Funded Activity