UPDATES
* Arts and Public Life Breakfast with the Hon James Spigelman AC
FROM THE BOARD
22 February 2012 at The Tea Room Queen Victoria Building Sydney
To book click here
The former Chief Justice of NSW reminisces about Arts Boards he has known and recalls the effort, the contribution and the enrichment which the experience has brought him. He is currently the Chair of the National Library of Australia.
* The Empire Actors
Read Ailsa McPherson on The Empire Actors here
The Empire Actors is reviewed in Popular Entertainment Studies 2.1. 117-121
* Philip Parsons Memorial Lecture
Katharine Brisbane gave the lecture IN PRAISE OF NEPOTISM
Read it here
The Philip Parsons Lecture was given on 27 November at Belvoir Street Theatre
* Platform Papers 30 published 1 January 2012
INDIG-CURIOUS: WHO CAN PLAY ABORIGINAL ROLES? by Jane Harrison
Read more
David Unaipon had a commitment to sharing his stories with non-Aboriginal people. What can we make of this? Did he mean they have the freedom to adopt Aboriginal myths and stories without qualm, without recourse, without responsibility? Or did he merely hope that they would be valued as part of our country’s cultural expression? How, if ever, can Aboriginal themes be 'used' in a way that is acceptable to Aboriginal people? How can non-Aboriginals interpret their work? Neither Homer nor Shakespeare are around to defend their work, but Aboriginal people are alive and outspoken about how they are depicted on the page, stage and on the screen. Muruwari playwright Jane Harrison tackles this intractable issue and finds a way forward.
* Platform Papers 29 published 1 October
DEMOCRACY V CREATIVITY IN AUSTRALIAN CLASSICAL MUSIC by Nicole Canham
People working in the classical music sector today, writes Canham, have lost connection with the larger public. We are not facing up to the fundamental question: “Why don’t you, or wouldn’t you, come to our concert? Or if you were to come, what would you like to see/hear?” Today we are in the middle of a creativity revolution, inventing new forms of popular culture in which everyone can be a participant.
Join Nicole's blog
Click here
* 'NETWORKING Commercial Television in Australia'
The new book by Nick Herd
THE REAL STORY OF THE TELEVISION WE HAD TO HAVE.
The conduct of a commercial television service is not to be considered as merely running a business for the sake of profit. Because of the influence they can bring to bear on the community, the business interests of licensees must at all times be subordinated to the overriding principle that possession of a licence is a public trust for the benefit of all members of our society.
PMG Charles Davidson to Parliament on the passing of the Broadcasting and Television Act 1956.
* Latest comments on Platform Papers
Platform Papers 25
Erin Brannigan has provided an important catalyst with her considered, complex and persuasive study which is a pleasure to ponder on. It should be on the reading list of every dance and creative arts course and disseminated widely through the industry.
Cheryl Stock, choreographer and dance educator
www.currencyhouse.org.au/node/129
Platform Papers 27
Any blogger will know the weird sense of beginning an online ‘conversation’. It's akin to delivering an informal lecture to an empty auditorium. In most cases, you're met with silence. This is no different from a newspaper review, or a novel, or a message scratched into a bus stop seat.
John Bailey, Melbourne arts journalist and bloggist
www.currencyhouse.org.au/node/185
eNEWS
Join our friendly email list!
We will send you:
- News and updates on our activities
- Pre-publication discounts on our books
- Advance notices of our Arts and Public Life Breakfasts
- Invitations to our forums
- A chance to meet like-minded friends in the arts community
PLATFORM PAPERS
Title
Moving Across Disciplines: Dance in the Twenty-first Century
Author
Erin Brannigan
Platform Paper Issue#
25
ISBN13
9780980798210
Purchase Options
Product Description
PUBLISHED OCTOBER 2010
Taking the perspective of both dancer and critic, Erin Brannigan examines the increasing disciplinarity of contemporary Australian dance practice and discusses local developments in the context of global trends and their history. Such regulation is incongruous, she claims, in the face of the extraordinary cross-media diversity displayed by the leading choreographers abroad. The place of dance as a discrete discipline in both education and public performance has been hard won, but now the accelerating move towards collaboration with other art forms is challenging the old disciplines and confusing the received rules of critical discourse and public funding. Adaptability, openness, collaboration, inclusiveness—these are the terms that define a discipline that is a far cry from the closed, inward-looking, exclusive profile so often implied by the term 'contemporary dance'. How can the concept of 'technique' be refigured to enable the openness and collaboration now apparent in the profession? How can we embrace the extraordinary opportunities opened to artists by the digital moving image as a vehicle for dance?
Dr Erin Brannigan works in the fields of dance and film as an academic, curator and journalist. She was founding director in 1999 of the biennial ReelDance International Dance on Screen, and has curated programs for Melbourne and Sydney festivals. She writes on dance for the magazine RealTime.
Published with the support of the Sidney Myer Fund