Contents indexed selectively.
' I've just switched off the engine, killing the lights, when someone's banging on the car roof. A rangy young man in ragged shorts and t-shirt appears beside me, brandishing a bush-knife and wrenching at the locked door, his mouth open in a fury of yelling. In front, a boy about sixteen holds a rock as big as his head, poised to plunge it through the windshield. The lamp on my cabin's front porch - so near yet so far - backlights a third youth squinting through the passenger window's dark glass. He has a gun...' (Publication abstract)
'This paper investigates the role of play in university-based communities of practice. We consider play through the lens of Bogost (2016), as an exploration of the possibilities afforded by a structure or system. As educators and creative practitioners in a contemporary music university program, we draw on collaborative approaches that act as precursors to our students' future work in more naturally occurring social domains. Through the design of musical interventions that are intended to foster joint creativity, our students are encouraged to play with the possibilities available within a system, with the idea of a system being considered from a social standpoint as well as from a technical standpoint.
'Building on Lave and Wenger's (1991) conception of communities of practice (CoPs), we use Hoadley's (2012) definition of 'knowledge-building communities' to differentiate explicitly designed learning communities of practice from endemic CoPs. We consider knowledge-building as an experiential activity, and argue that play is an essential component of any knowledge building. We believe that fostering a 'whole of student', or holistic, approach in our teaching reinforces the transformational role that music can play. In this paper, we discuss an exemplar of this approach, Flow, a student-run, collaborative, interactive musical experiment. While this project did not overtly target pre-existing external communities such as with other 'community music' projects, we designed it as a pedagogical strategy to encourage inclusive and collaborative approaches, processes, and technologies as a normative aspect of our students' creative practice.'
Source: Abstract.
'This article offers a perspective on strategies for community engagement by independent performance-makers and cultural institutions in Australia today. Beginning with an overview of community engagement in Australian performance, the article then describes a specific casestudy drawn from personal practice: Belloo Creative's 'Rovers' which was a new performance work based on the lives of its performers, Roxanne MacDonald and Barbara Lowing. As part of the production of Rovers, Belloo Creative, working with young Aboriginal artist Emily Coleman, trialled a community engagement project to welcome Aboriginal audiences to the 2018 Brisbane Festival. The article includes a personal reflection on 'Rovers' that interleaves the commentary of Emily and Kathryn as the two artists who lead the community engagement project, and concludes by suggesting some key considerations for other independent companies who might wish to engage with community.' (Publication abstract)
'Synott describes The Fake Prince as fiction, ‘… loosely based on events that happened in Queensland, Australia, from 2007 to 2011’. Clearly referenced is Joel MorehuBarlow, dubbed the ‘fake Tahitian prince’, who was jailed in 2013 on charges of embezzling some $16 million from Queensland’s Department of Health.' (Introduction)
