Asian-Australian creative practice and intercultural communication is proudly presented by the Socially and Ecologically Engaged Practice research program of the QUT Creative Lab on Friday 31 August, in Room Z9-607, Level 6, Building Z9, Kelvin Grove QUT, from 10.00am – 2.00pm.
Attendance is free but registration at the Eventbrite site is essential.
|Panel discussion: 10.00 – 10.30am||Panel discussion: Artists working on Asian-Australian collaborations: Ben Ely (Regurgitator), Tenzin Choegyal and Lalka in conversation with Matt Hsu.
|Session 1: 10.30-11.00||Dr Barnaby Ralph – Juna’s Groove and Emi’s Beat: Women and Rock in Modern Japan
|Session 1: 11.00-11.30||Dr Jeremy Neideck – We Are Bad Company: Friendship as methodology in creative collaboration
|Session 1: 11.30-12.00||Dr Sophie McIntyre – The Art of Intercultural Collaboration and Translation: Writing and Exhibiting Chinese Art in Local and Global Contexts
|12.00 – 12.30pm||Lunch
|Session 2: 12.30-1.00pm||Joon-Yee Kwok – Producing community festivals and events: An Asian-Australian perspective
|Session 2: 1.00-1.30pm||Dr Anthony Garcia – The Innovation Spectrum: culture, tradition and experimentation in intercultural arts practice
|Session 2: 1.30pm-2.00pm|| Takako Nishibori Haggarty – Cross cultural music pedagogy for special needs
ABOUT THE SPEAKERS
Juna’s Groove and Emi’s Beat: Women and Rock in Modern Japan
This paper discusses the careers of and influences on the contemporary rock musicians Juna Serita (bass) and Emi Yonekubo (drums), who have built careers both in Japan and internationally as artists working in a variety of genres. it explores some of the challenges they have faced and the successes that they have achieved, as well as offering some insight into the general history of and issues within the contemporary music scene in Japan. Diverse approaches to music, such as YouTube collaborations, will also be discussed.
Dr. Barnaby Ralph is an Associate Professor in the Department of English and American Literature at Seikei University, Tokyo, Japan. He holds degrees in literature, legal studies, musicology, performance and applied linguistics. His PhD dissertation examined the idea of aesthetic duality in seventeenth- and eighteenth-century England. He has presented internationally on a broad range of academic topics and his current research interests range from the interaction of eighteenth-century rhetorical metalanguages with the arts through to critical theory, particularly involved with modern cultural authenticity and the progress of the sign in Baudrillardian terms. He also studied music in Vienna and has been active as a performing musician for many years, playing numerous concerts and appearing on CD, TV and radio.
We Are Bad Company: Friendship as methodology in creative collaboration
For over two decades, a creative community has flourished between Australia and South Korea, initiated by the work of the late theatre maker Roger Rynd. The work of the artists maintaining Roger’s legacy has always been difficult to define, partially because of its wide-ranging form: from play-based work for children and families, bilingual music theatre focused on building healthy queer communities, to dance theatre combining traditional Korean opera and expressionistic contemporary Japanese dance. What does bind these disparate practices together however is a focus on friendship as methodology. This presentation will provide a brief context for this body work, before discussing lessons learned and an emerging framework of best practice in transcultural collaboration developed as part of Neideck’s research.
Dr Jeremy Neideck is a performance maker and academic who has worked between Australia and Korea for over a decade, investigating the interweaving of cultures in performance, and the modelling of new and inclusive social realities. The recipient of scholarships from Aphids, Australia-Korea Foundation, Asialink, and Brisbane City Council, Jeremy has undertaken residencies at The National Art Studio of Korea, The National Changgeuk Company of Korea, and The Necessary Stage (Singapore). Jeremy currently teaches across the drama, music, and dance programs at Queensland University of Technology, and coordinates the first year program for the BFA Acting course. Jeremy consults on the architecture and facilitation of collaborative projects, and programs of institutional and community transformation.
The Art of Intercultural Collaboration and Translation: Writing and Exhibiting Chinese Art in Local and Global Contexts
Drawing on my new book, Imagining Taiwan: the role of art in Taiwan’s quest for identity (Brill, 2018), this talk will critically reflect on the issues and challenges involved in researching, writing and curating art from Taiwan, mainland China, and Hong Kong in local, regional and global contexts. Imagining Taiwan is the culmination of more than two decades of academic and curatorial research in Taiwan, and it examines the role of identity politics in Taiwan in the production, display and reception of art. This research laid the groundwork for several touring exhibitions I curated including: Face to Face: contemporary art from Taiwan (1999-2000); Islanded: contemporary art from New Zealand, Singapore and Taiwan (2005-06 – co-curated with Eugene Tan and Lee Weng Choy); Penumbra: New Media Art from Taiwan (2007); and Ink Remix: contemporary art from mainland China, Taiwan and Hong Kong (2015-17). These exhibitions will be examined in relation to the curatorial and exhibition frameworks, and the international reception to these exhibitions which toured Australia and the Asia-Pacific.
Dr Sophie McIntyre is a lecturer, curator and writer specialising in art and curatorship in Mainland China, Taiwan and Hong Kong. Her PhD (ANU, 2013) focused on art, politics and identity issues in Taiwan. She has just published a book entitled Imagining Taiwan: the Role of Art in Taiwan’s Quest for Identity (Brill, 2018) which was based on her PhD. Sophie has been a director and curator in museums in Australia, New Zealand and Taiwan, and she has curated more than 30 exhibitions from the Asia-Pacific. She is a lecturer in the Faculty of Creative Industries at Queensland University of Technology.
Producing community festivals and events: An Asian-Australian perspective
Joon’s practice-based research aims to identify and develop approaches for facilitating more meaningful and engaging intercultural encounters at community festivals and events celebrating Asian culture. Taking a reflexive practice approach, she intends to unravel her practice and make explicit the ways in which she works. Utilising autoethnographic methods, her research will also explore the influence of her cultural heritage and lived experience on her work. From her research, she aims to develop a model of practice and contribute knowledge on producing community festivals and events. In this presentation, Joon will share some initial thoughts on her work.
Joon-Yee Kwok is a Creative Producer with 20 years’ experience working in the arts with a particular focus on producing community festivals, events, major celebrations and placemaking. She also consults on cultural diversity initiatives and artist and sector development programs. Her recent festival and events work celebrating Asian culture includes: initiating BrisAsia Festival; producing To Bollywood with Love, Amigurumi Toyland, Yum Chat, and Neon Pop as part of BrisAsia; and community engagement at OzAsia Festival. Cultural diversity initiatives include Australia Council’s Theatre Diversity Initiative, Multicultural Artists’ Development Program for City of Gold Coast and Here & Now Brisbane Artist Gathering for the Australia Council for the Arts.
The Innovation Spectrum: culture, tradition and experimentation in intercultural arts practice
The increasing number of artists from diverse ethnic and cultural backgrounds living and working in Australia has infused our culture with ancient traditions, fresh creative perspectives and new artistic possibilities. The curious artist, often driven to blend, mix and mash materials from distinct styles and or collaborate with artists from diverse backgrounds may, as I have, be faced with internal questions about this process and what methods and strategies feel appropriate both culturally and artistically to employ in the creation of new work. As an improviser and composer I tend toward experimentation, however, years of intercultural collaboration in Australia, North America, Asia and Europe has balanced this tendency and helped me develop an creative approach that respects tradition and those that preserve it, while taking risks and exploiting new stylistic fusions where it feels right to do so. The results are mixed, the process ongoing yet the collaborative and career possibilities are exponential. This presentation will share a unique philosophy of practice through sound, vision and performance, tracking a path from simple musical experiments to a larger scale educational reform agenda.
Dr Anthony Garcia is an acclaimed guitarist, composer and educator based in Brisbane, Australia. Born in the United States and raised and educated in South East Asia, Australia and Mexico Garcia has recorded, toured and performed extensively throughout the world collaborating with creatives across a diverse range of artistic disciplines. His passion for unifying the interlocking fields of musical performance, composition and education has informed ongoing pedagogical experimentation in schools, universities and the broader community and led to the establishment in 2014, in partnership with his wife Jennifer Garcia, of Sounds Across Oceans, a new music organisation dedicated to exploring ‘the multidimensional capacity of music and the arts to create and share new ideas, uplift, heal, shift energies and ignite new perspectives.’
Cross cultural music pedagogy for special needs
Can a cross cultural application of music pedagogy allow music to be taught more efficiently to disadvantaged learners by turning barriers, such as cultural, linguistic and social barriers to their advantage? I am interested in researching what benefit the ancient Japanese instrumental music teaching technique, known as “Kuchishoga” brings to the students with vision impairment and intellectual impairment in a non-Japanese speaking environment. The Kuchishoga technique is unique in that it uses Japanese onomatopoeia syllables to teach music phrases and techniques that can include notes, tone of colour, expression and phonetic value.
Takako Nishibori Haggarty is Queensland’s eminent Japanese Koto player and educator. She started playing the koto at the age of six and was granted her teaching licence both in the Koto and Shamisen in 2000 from the Miyagi school of Tokyo, being placed in the top ten for all of Japan. Since then, she has been teaching, performing, writing, recording and collaborating in a variety of projects.
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